Teaching Violin, Viola, Cello, and Double Bass

Dijana Ihas is Professor of Music Education at Pacific University, Oregon.Miranda Wilson is Professor of Cello at the University of Idaho.Gaelen McCormick is Instructor of Double Bass at the University of Rochester's Eastman Community Music School.

• AcknowledgementsIntroductionPART ONE: Violin and violaChapter 1: Historical treatises and approaches for violinEssay 1: Prototype treatises: Geminiani, L. Mozart, L’abbé le fils, and their contemporariesEssay 2: French violin school: Rode, Kreutzer, Baillot, and their disciplesEssay 3: Old German violin school: Spohr and DavidEssay 4: Franco-Belgian violin school: De Bériot, Léonard, Massart, and the first modern virtuosi-composersEssay 5: Berlin violin school: Joachim and MoserEssay 6: Rational thinkers: Ševčík and FleschEssay 7: Lonely star: Lucien CapetEssay 8: Toward artistic expertise: The Russian violin schoolEssay 9: The Soviet violin school: Stolyarski, Yampol’sky, Mostras, and Yankelevich Essay 10: The birth and rise of the American violin school: Galamian, DeLay, Gingold, and BronsteinEssay 11: Holistic approaches: Menuhin and HavasEssay 12: The science of expressive techniques: Demetrios Constantine DounisEssay 13: A synthesizing mind: Simon FischerBibliography for Chapter 1Chapter 2: Historical treatises and approaches for violaEssay 14: Cinderella no more: Lionel TertisEssay 15: Virtuoso of the new solo instrument: William PrimroseEssay 16: Teaching the physicality of musicality: Karen TuttleBibliography for Chapter 2Chapter 3: Approaches and methods for beginning and intermediate students: Violin and ViolaEssay 17: Teaching as an art and science: Samuel ApplebaumEssay 18: Whole instrument approach: George BornoffEssay 19: Movement in action: Paul RollandEssay 20: Every Child Can: Shinichi SuzukiEssay 21: Emerging string pedagogy approaches for beginning and intermediate students: Colourstrings, Milanov Method, Sassmannshaus Tradition, Wartberg, and ZweigBibliography for Chapter 3Chapter 4: Applications to modern teaching: A summary of concepts and pedagogical practicesEssay 22: Teaching foundationsEssay 23: Teaching left-hand techniquesEssay 24: Teaching right-hand techniques:Essay 25: Teaching musical expression and interpretationEssay 26: Teaching how to practiceBibliography for Chapter 4PART TWO: CelloChapter 5: Historical treatises and approaches for celloEssay 27: The Paris Conservatoire pedagogues: J. L. Duport, Bréval, Levasseur, Baudiot, Hus-Desforges, VaslinEssay 28: The Dresden School pedagogues: Romberg, Dotzauer, Kummer, and LeeEssay 29: The etude composers: Piatti, Grützmacher, and PopperEssay 30: The first endpin pedagogues: Davidoff, de Swert, C. Schroeder, and van der StraetenEssay 31: The influence of physiology: Krall, Becker, and MantelEssay 32: Paris Conservatoire pedagogues of the twentieth century: Feuillard, Bazelaire, and TortelierEssay 33: Disciples of Casals: Alexanian, Eisenberg, and BuntingEssay 34: Beyond national schools: Stutschewsky, Silva, Matz, and AronsonEssay 35: Mind-body approaches to cello pedagogy: Sazer, Mackie, Benedetti, and de AlcantaraEssay 36: Lonely stars—cello: Pleeth, Jensen, and ChungBibliography for Chapter 5Chapter 6: Approaches and methods for beginning and intermediate students: CelloEssay 37: Suzuki-based approaches for beginning and intermediate players: Carey and Devenport Essay 38: American approaches for beginning and intermediate players: Rowell, Potter, Young, and WatkinsBibliography for Chapter 6Chapter 7: Applications to modern teaching: CelloEssay 39: Teaching foundationsEssay 40: Teaching left-hand techniquesEssay 41: Teaching right-hand techniquesEssay 42: Teaching practicingBibliography for Chapter 7PART THREE: Double BassChapter 8: Historical treatises and approaches for double bassEssay 43: Moving beyond fisticuffs: Asioli, Rossi, Hause, Franke, and GoufféEssay 44: Italian school: Montanari, Bottesini, Caimmi, and BillèEssay 45: Prague school: Simandl, Warnecke, and FindeisenEssay 46: Paris Conservatoire: Labro, Verrimst, and NannyEssay 47: English school: White, Lotter, and CruftEssay 48: New directions: Montag, Streicher, and RabbathEssay 49. American teaching: Influence of Billè and SimandlBibliography for Chapter 8Chapter 9: Approaches and methods for beginning and intermediate students: Double bassChapter 10: Applications to modern teaching: Double bassEssay 50: Teaching foundationsEssay 51: Teaching left-hand techniquesEssay 52: Teaching right-hand techniquesEssay 53: Teaching practicingBibliography for Chapter 10Appendix A An Overview of Historic National Schools - ViolinSelected Readings: Hidden Gems - ViolinSelected Readings: Hidden Gems - ViolaAn Overview of National Schools - ViolinAppendix B Selected Pedagogical Materials: Historical and Modern Approaches in Cello PedagogySelected Pedagogical Materials for Cello – Historical and Modern Approaches in Cello PedagogySelected Pedagogical Materials for Cello – Beginning and Intermediate Approaches in Cello PedagogyAppendix CSelected Pedagogical Materials for Double BassIndex