Book Review: Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries

1993 ◽  
Vol 43 (3) ◽  
pp. 82-82
Author(s):  
Davis Brooks
1988 ◽  
Vol 113 (1) ◽  
pp. 97-128 ◽  
Author(s):  
Clive Brown

There are many aspects of nineteenth-century violin playing that have received little attention from scholars. The subject is a vast and complicated one, far beyond the scope of a short article to treat adequately, but there are a number of important areas in which problems have not even been recognized, let alone investigated. For instance, the most substantial recent work on this subject, Robin Stowell's Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries (Cambridge, 1985), provides a useful digest of what the major violin methods of the period say, but because it is mainly confined to these sources, ignoring for the most part journalism and other contemporary accounts, and because it has a rather artificial terminal date of 1840, it fails to illuminate major underlying patterns of continuity and change in nineteenth-century violin playing. It may be valuable, therefore, to put forward a few ideas and suggest a few fruitful lines of enquiry which have until now remained largely unconsidered.


2020 ◽  
Vol 384 (2) ◽  
pp. 222-232
Author(s):  
P. V. Menshikov ◽  
G. K. Kassymova ◽  
R. R. Gasanova ◽  
Y. V. Zaichikov ◽  
V. A. Berezovskaya ◽  
...  

A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.


Notes ◽  
1999 ◽  
Vol 55 (4) ◽  
pp. 907
Author(s):  
Tilden A. Russell ◽  
Valerie Walden

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