DOCSLIB.ORG

A Comparison of the Violin Pedagogy of Auer, Flesch, And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comparison of the Violin Pedagogy of Auer, Flesch, And A COMPARISON OF THE VIOLIN PEDAGOGY OF AUER, FLESCH, AND GALAMIAN: IMPROVING ACCESSIBILITY AND USE THROUGH CHARACTERIZATION AND INDEXING By KELLEY M. ARNEY Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of MASTER OF MUSIC IN MUSIC EDUCATION THE UNIVERSITY OF TEXAS AT ARLINGTON May 2006 Copyright © by Kelley M. Arney 2006 All Rights Reserved ACKNOWLEDGEMENTS I would like to thank Dr. Scott Conklin for providing the initiative and guidance to form this study and Dr. Jeffrey Howard for seeing the project through by guiding the writing and content of this paper. I would also like to recognize the formatting and editing support from Dr. Graham Hunt and Dr. Diane Lange who also serve as members of the committee. It has been a pleasure to work with four of the most selfless, talented, and knowledgeable professors during the past year. I would like to thank the University of Texas at Arlington library system, Dr. Jeffrey Howard, and family members for provided the research materials for this project. I would like to thank Paul Kelly for his interest and support as well as the great community of musician friends around the world who have contributed in many ways. In addition, I would like to express thanks to my husband Nolan and my sister Rose specifically and my family generally for their support. I humbly appreciate the never failing love and support of my Father in Heaven and His great son Jesus Christ, and for members of The Church of Jesus Christ of Latter-day Saints Dallas Stake who have been my family in Texas. This thesis is dedicated to all my wonderful students who not only pursue excellence in performance but are also caring leaders among their peers. April 13, 2006 iii ABSTRACT A COMPARISON OF THE VIOLIN PEDAGOGY OF AUER, FLESCH, AND GALAMIAN: IMPROVING ACCESSIBILITY AND USE THROUGH CHARACTERIZATION AND INDEXING Publication No. ______ Kelley M. Arney, MM The University of Texas at Arlington, 2006 Supervising Professor: Dr. Jeffrey Howard The development of the index and characterization tools allows pedagogical texts to be used as resource texts. The common index allows any researcher to access applicable and significant information of a text quickly without destroying the continuity of the original text. The characterization charts aid the researcher in using the information in historical and philosophical ways. Thus, the index and characterizations of the Auer, Flesch, and Galamian texts gives string educators of advanced students (especially conservatory and university violin teachers) and iv performers access to three important pedagogical texts by an accessible, applicable, and scholarly approach. v TABLE OF CONTENTS ACKNOWLEDGEMENTS....................................................................................... iii ABSTRACT .............................................................................................................. iv Chapter 1. GENERAL OVERVIEW AND RESEARCH QUESTIONS........................ 1 1.1 Topic ....................................................................................................... 1 1.2 History of Violin Treatises ...................................................................... 2 1.3 Resources................................................................................................. 6 1.4 Current Research...................................................................................... 7 1.5 Distinctive Factors ................................................................................... 9 1.6 Purpose and Problems.............................................................................. 11 2. LITERATURE REVIEW .............................................................................. 12 2.1 Auer: Violin Playing as I Teach It ........................................................... 12 2.2 Flesch: The Art of Violin Playing, Book One ......................................... 16 2.3 Flesch: The Art of Violin Playing Book Two: Artistic Realization and Instruction................................ 20 2.4 Galamian: Principles of Violin Playing and Teaching ............................ 23 3. METHODOLOGY ........................................................................................ 29 3.1 Index Methodology.................................................................................. 29 vi 3.1.1 Short History of Indexing ......................................................... 29 3.1.2 Types of Indexes....................................................................... 30 3.1.3 Reasons for Index Use .............................................................. 31 3.1.4 Indexing Process....................................................................... 32 3.2 Characterization Methodology................................................................. 33 3.2.1 Content of Characterization Charts .......................................... 34 3.2.2 Characterization Instructions .................................................... 35 4. RESULTS...................................................................................................... 37 4.1 Philosophy: General Approach to Teaching............................................ 37 4.2 History: Kreisler ...................................................................................... 41 4.3 Holding the Instrument: Body Posture .................................................... 42 4.4 Practice: Too Much Practice.................................................................... 43 4.5 Tone Production: Portamento or Slide .................................................... 45 4.6 Teaching: Incompetent Instruction .......................................................... 47 4.7 Bowing: Legato........................................................................................ 49 4.8 Left Hand: Intonation............................................................................... 51 4.9 Ornaments: Trills..................................................................................... 54 4.10 Nuance: Need for Nuance...................................................................... 58 4.11 Style: Individual Magnetism.................................................................. 61 4.12 Psychological: Stage Fright ................................................................... 62 4.13 Repertoire: Developing an Appropriate Repertory................................ 64 vii 4.14 Conclusion ............................................................................................. 67 5. IMPLICATIONS AND RECOMMENDATIONS ........................................ 69 5.1 Implications ............................................................................................. 69 5.2 Applications............................................................................................. 69 5.2.1 Personal Applications (Playing and Teaching)......................... 70 5.2.2 Educational Applications (Studio or Classroom) ..................... 71 5.2.3 Professional Research............................................................... 71 5.3 Further Study ........................................................................................... 71 Appendix A. COMMON INDEX TO THE AUER, FLESCH, AND GALAMIAN TEXTS ............................................................. 74 B. AUER CHARACTERIZATION CHART ................................................. 84 C. FLESCH CHARACTERIZATION CHART ............................................. 86 D. GALAMIAN CHARACTERIZATION CHART ..................................... 88 REFERENCES .......................................................................................................... 90 BIOGRAPHICAL INFORMATION......................................................................... 95 viii CHAPTER 1 GENERAL OVERVIEW AND RESEARCH QUESTIONS Private violin pedagogy has generally been an oral tradition throughout four centuries; the knowledge that is passed from teacher to student is mostly verbal in a one-on-one setting. Each teacher has developed his or her own style and approach but few teachers have written down these ideas. In general, performers and teachers of advanced violin students in the United States use the violin treatises by Auer, Flesch, and Galamian. The focus of this thesis is to create tools that would enable teachers and performers the ability to use these texts faster. A common index coordinates the contents of the texts so that the teacher or performer is able to access several approaches to the same concept. Because the texts were written in different eras, characterization charts are needed to preserve the historical and philosophical aspects of the treatises. 1.1 Topic In developing this thesis the author researched most of the currently available material dealing with violin pedagogy. Finding that most of the texts had few commonalities and that all research done in approaching an ideal pedagogy failed, the author decided to take another approach. By tracing the lines of pedagogy from student to teacher to reach the common sources of modern pedagogy, she found the writings of Leopold Auer, Carl Flesch, and Ivan Galamian to have the greatest degree of impact on modern violin pedagogy. To coordinate the information in the texts for further analysis 1 it was necessary to create a common index. Because the index itself addressed many of the problems facing this research project it will be
Load more

Recommended publications
  • The Family of Leopold Auer in Reminiscences and Letters
    The Family of Leopold Auer in Memories and Letters by Marina Akimova I In 2018 it will be 150 years since Leopold Auer began his teaching career at the St. Petersburg Conservatory. Since his death his name has become synonymous with that of an incomparable pedagogue of violin in the same way as Paganini’s name has become identical to that of a supreme violinist. By now no one knows for certain how exactly he taught his students. Sometimes he is described as merely an adroit manager who helped to organise the concert life of the already accomplished musicians. This opinion can be contradicted by the words of Heifetz who worshipped Auer all his life: “Professor Auer was an extraordinary and incomparable teacher. I do not think that there has ever been anyone to touch him in the whole world. Ask me not how he taught. I know not how to tell you about it because he taught every student entirely differently. Perhaps it was because of this supremely individual approach that he was such a marvellous teacher. For me even half an hour with Auer was sufficient to provide me with emotional and intellectual stimulus. He was possessed of a first class brain, superb sense of humour, marvellous nervous system, and tremendous magnetism. As you see everything in him was superlative.” Of late, interest in Auer and his teaching seems to be everywhere. One can come across his name in the most unusual places, for instance on an internet site or in a new book by Dina Rubin, a contemporary writer in the Russian language.
    [Show full text]
  • University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • What Is the “Ševčík Method”?
    Course: CA1004 Degree Project, Master, Classical, 30hp 2020 Master's Programme in Classical Music at Edsberg Manor | 120.0 hp Department of Classical Music Supervisor: Sven Åberg Angelika Kwiatkowska What is the “Ševčík Method”? Deeper understanding of Otakar Ševčík’s excercises for violin based on the example of his 40 Variations, op. 3 Written reflection within independent project The sounding part of the project is the following recordings: Mozart – Symphony no. 39 Finale – before Mozart – Symphony no. 39 Finale – after Rossini – Overture La Gazza Ladra - before Rossini – Overture La Gazza Ladra - after Abstract In this thesis I have studied the so-called “Ševčík method” based on the example of his 40 Variations, op. 3. I’ve tried to achieve a deeper understanding of what the exercises are good for and how they work. I took a closer look at Otakar Ševčík’s life and work history, I also investigated other’s opinions and judgements of the “method” that were appearing in press and literature during the last hundred years. The practical part of my project is the experiment that I’ve put myself through. I was diligently practicing 40 Variations every day, trying to improve my technique and learn by playing how to apply those exercises in real life. As a result of this process I’ve developed my bow technique and gained better understanding of how to use Ševčík’s exercises. Keywords: Violin, technique, exercises, bow technique, right-hand technique, Ševčík I Contents Introduction ......................................................................................................
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 33,1913-1914, Trip
    SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 26 AT 8.00 COPYRIGHT, 1914, BY C. A. ELLIS PUBLISHED BY C, A. ELLIS, MANAGER M MELBA KUBELTK These world famous artists prefer and use exclusively Everywhere acknowledged to be, musically, the most beautiful piano the world has ever known. Send for a description of the MASON & HAM- LIN TENSION RESONATOR, the greatest discovery in pianoforte construction in the last fifty years. ESTABLISHED 1854 492-494 BOYLSTON STREET. BOSTON SANDERS THEATRE CAMBRIDGE HARVARD UNIVERSITY Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor SEVENTH CONCERT THURSDAY EVENING, MARCH 26 AT 8.00 PROGRAMME Chadwick Symphony No. 3, F major I, Allegro sostenuto. II. Larghetto. III. Vivace non troppo: L'istesso tempo. IV. Finale : Allegro molto energico. Wagner "A Siegfried Idyl Tschaikowsky . Concerto in D major, for Violin, Op. 35 I. Allegro moderato. II. Canzonetta: Andante. III. Finale: Allegro vivacissimo. Wagner • • Overture, "Tannhauser" SOLOIST FRITZ KREISLER There will be an intermission of ten minutes after the symphony 3 Victrolas $15 to $200 at Steinert's If you have a Victrola you should know how convenient and satis- factory it is to buy records at our stores. You can make selections from very large stocks. You will be pleased with the prompt, cour- teous and intelligent service. Mail orders promptly filled Accounts solicited Records delivered anywhere in New England We invite you to call and hear at either of our Boston stores 35 ARCH STREET STEINERT HALL Largest Exclusive Victor Store 162 BOYLSTON STREET in New England Piano and Victor Departments Branches in Bangor, Portland, Brockton, Fall River, New Bedford, Fitchburg, Worcester, Springfield, Lowell, Haverhill, Providence, Pawtucket, Manchester, New Haven, Bridgeport, and other principal cities.
    [Show full text]
  • June 1924) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1924 Volume 42, Number 06 (June 1924) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 42, Number 06 (June 1924)." , (1924). https://digitalcommons.gardner-webb.edu/etude/713 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. MVSIC “ETVDE MAGA ZINE Price 25 cents JUNE, 1924 $2.00 a Year JUNE 1924 Page 363 THE ETUDE New Publications that will serve Many Schools and Colleges Noteworthy Announcements in this Issue on Pages 363, 384, 366, 367, 368 _ Branches of the Music Profession \AMERICAN INSTITUTE ^njumitr g>rluml of JHuBiral Ir-Buralton Professional The Presser Policy is to Issue Only Those Book Publications that have Merit and are of Real Value \0F APPLIED MUSIC Music taught thru the awakening of the inner consciousness Directory to the Profession. With Compilations and Teaching Works the Aim is to Make Each Work One of \ Metropolitan College of Music High Standing in its Particular Classification.
    [Show full text]
  • TWENTIETH REHEARSAL and CONCERT
    Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telepkene, M92 Back Bay.) TWENTY-FOURTH SEASON, J904-J905. WILHELM GERICKE, CONDUCTOR programme OF THE TWENTIETH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, MARCH 31, AT 2.30 O'CLOCK. SATURDAY EVENING, APRIL J, AT 8.00 O'CLOCK. Published by C A. ELLIS^ Manager. 1293 "THE MAKERS OF THESE INSTRUMENTS have shown that genius for piano-, forte making that has been defined as 'an infinite capacity for taking pains'. The result of over eighty- one years of application of this genius to the production of musical tone is shown in the Chickering of to-day." Catalogue upon Application CHICKERING & SONS EttaHisAed iSaj 79, Tremont St, Boston U94 : TWENTY-FOURTH SEASON, I904-J905. Twentieth Rehearsal and Concert* FRIDAY AFTERNOON, MARCH 3J, at 2.30 o'clock. SATURDAY EVENING, APRIL J, at 8.00 o'clock. PROGRAMME. Brahms . Tragic Overture, Op. 8i . Violin, Tschaikowsky . Concerto in D major, for Op. 35 I. Allegro moderato. II. Canzonetta. III. Allegro vivacissimo. Hugo Wolf ..... Italian Serenade, First time Huber ..... Symphony No. 2, E minor, Op. 115 I. Allegro con fuoco. II. Allegro con fuoco non troppo. III. Adagio ma non troppo. " IV. Finale : Metamorphoses suggested by pictures by Bocklin." SOLOIST Mr. KARL BARLEBEN. There will be an intermission of ten minutes before ttie symphony. The doors of the hall will be closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval 6e- tween the numbers.
    [Show full text]
  • Undergraduate Student Recital Noelle Barr, Violin Erik Lawrence, Piano May 21, 2021 | 6 Pm PDT | Virtual Event Program
    Undergraduate Student Recital Noelle Barr, violin Erik Lawrence, piano May 21, 2021 | 6 pm PDT | Virtual Event program Partita No. 1 in B minor, for solo violin, BWV 1002 Johann Sebastian Bach Allemande - Double (German, 1685-1750) Sarabande - Double Sonata No. 1 in D Major, for violin and piano, Op. 12 Ludwig van Beethoven Allegro con brio (German, 1770-1827) Tema con variazioni: Andante con moto Rondo: Allegro Concerto in D Major, for violin, Op. 35 Pyotr Ilyich Tchaikovsky Allegro moderato (Russian, 1840-1893) *** Noelle Barr is a student of UC Santa Barbara Lecturer Ertan Torgul Presented by the University of California, Santa Barbara Division of Humanities and Fine Arts in the College of Letters and Science and the UC Santa Barbara Department of Music in partial fulfillment of the Bachelor of Arts degree. About the Artist Noelle started playing the violin at the age of 9 in a public school program. After participating in the local community orchestra throughout elementary and middle school, she became a member of the Claremont Young Musicians Orchestra (CYMO), where she was exposed to an expansive list of symphonic repertoire, coachings led by musicians of the Los Angeles Philharmonic, and a rehearsal with Gustavo Dudamel in 2015. Since continuing her violin studies as a double major in Music Studies and the History of Art and Architecture at UCSB, she has participated in the music department’s chamber ensembles as a student of Ertan Torgul. Receiving masterclasses from the Danish String Quartet in 2019 and Sheryl Staples of the NY Philharmonic in 2020, she extends her gratitude to the UCSB string faculty and musicologists, her parents, and friends.
    [Show full text]
  • City Research Online
    Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/7937/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. EARLY RECORDED VIOLINISTS CIHAT AS KIN 1996 EARLY RECORDED VIOLINISTS Cihat Askin Thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Musical Arts City University Music Department April 1996 2 CONTENTS Acknowledgements 25 Abstract 26 Preface 27 Introduction 29 Abbreviations & Symbols 32 1. Joseph Joachim 33 1.1 A Short Biography 34 1.2 Joachim: Beethoven and Brahms Concertos 35 1.3 Joachim as Performer 39 1.4 Joachim as Teacher 40 1.5 Analysis of Joachim's Recordings 43 1.5.1 Bach Adagio and Tempo di Borea 44 1.5.2 Vibrato 60 1.5.3 Chords 61 1.5.4 Perfect Rubato 62 1.5.5 Agogic Accents 62 1.5.6 Intonation 63 1.6 Conclusion 66 2.
    [Show full text]
  • A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia
    University of South Carolina Scholar Commons Theses and Dissertations 2018 A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Chang, C.(2018). A Guide for Playing the Viola Without a Shoulder Rest. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5036 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A Guide for Playing the Viola Without a Shoulder Rest by Chin Wei Chang Bachelor of Music National Sun Yat- sen University, 2010 Master of Music University of South Carolina, 2015 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2018 Accepted by: Daniel Sweaney, Major Professor Kunio Hara, Committee Member Craig Butterfield, Committee Member Ari Streisfeld, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Chin Wei Chang, 2018 All Rights Reserved ii DEDICATION This dissertation is dedicated to my dearest parents, San-Kuei Chang and Ching-Hua Lai. Thank you for all your support and love while I have pursued my degree over the past six years. iii ACKNOWLEDGMENTS I truly appreciate the director of the dissertation, Dr. Daniel Sweaney, for his advice, inspiration, and continuous encouragement over the past four years.
    [Show full text]
  • Jascha Heifetz, David Oistrakh, Joseph Szigeti: Their Contributions to the Violin Repertoire of the Twentieth Century Jae Won (Noella) Jung
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Jascha Heifetz, David Oistrakh, Joseph Szigeti: Their Contributions to the Violin Repertoire of the Twentieth Century Jae Won (Noella) Jung Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC JASCHA HEIFETZ, DAVID OISTRAKH, JOSEPH SZIGETI: THEIR CONTRIBUTIONS TO THE VIOLIN REPERTOIRE OF THE TWENTIETH CENTURY By Jae Won (Noella) Jung A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 Copyright © 2007 Jae Won (Noella) Jung All Rights Reserved The members of the Committee approve the treatise of Jae Won (Noella) Jung on March 2, 2007. ____________________________________ Karen Clarke Professor Directing Treatise ____________________________________ Jane Piper Clendinning Outside Committee Member ____________________________________ Alexander Jiménez Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS First of all, I would like to express my sincere appreciation to my advisor, Professor Karen Clarke, for her guidance and support during my graduate study at FSU and I am deeply grateful for her advice and suggestions on this treatise. I would also like to thank the rest of my doctoral committee, Professor Jane Piper Clendinning and Professor Alexander Jiménez for their insightful comments. This treatise would not have been possible without the encouragement and support from my family. I thank my parents for their unconditional love and constant belief, my sister for her friendship, and my nephew Jin Sung for his precious smile.
    [Show full text]
  • The Application of Ivan Galamian's Violin Pedagogy to T
    UNIVERSITY OF CALIFORNIA SAN DIEGO An Adaptable Approach to Expertise: The Application of Ivan Galamian’s Violin Pedagogy to Trumpet Practice and Teaching A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Rachel Allen Committee in charge: Professor Stephanie Richards, Chair Professor Amy Cimini Professor Gedeon Deák Professor Mark Dresser Professor Wilfrido Terrazas 2020 The dissertation of Rachel Allen is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ Chair University of California San Diego 2020 iii Dedication To my teachers and students, past and present, who inspired my interest in learning about learning. iv Table of Contents Signature Page…………………………………………………………………….…………..iii Dedication……………………………………………………………………………………..iv Table of Contents………………………………………………………………………………v List of Figures…………………………………………………………………………………vi Acknowledgements…………………………………………………………………………..vii Vita…………………………………………………………………………………………..viii Abstract of the Dissertation…………………………………………………………………...ix Chapter 1 Introduction………………...……………………………………………...………..1 Chapter 2 Development of Expertise…………………………………………………………12
    [Show full text]
  • Tracing Curtis Traditions Curtis’S Rich Heritage Has Deeper Roots Than You May Realize
    TRACING CURTIS TRADITIONS CURTIS’S RICH HERITAGE HAS DEEPER ROOTS THAN YOU MAY REALIZE BY MATTHEW BARKER Here’s a game for a lazy afternoon: Pick your favorite Curtis faculty member and count the connections back to 18th- and 19th-century masters. it’s fun, easy, and kind of amazing. Start with the violin. Current faculty members Aaron rosand, Joseph Silverstein, Michael tree, and Shmuel Ashkenasi all studied with efrem Zimbalist, Curtis’s director from 1941 to 1968. Go back just one generation and you’ll find that Zimbalist was a pupil of famed pedagogue Leopold Auer, the dedicatee of the tchaikovsky Leopold Auer Violin Concerto. Auer himself served on the Curtis faculty for two years, from 1928 to 1930. His pupils, at Curtis and elsewhere, also included Mischa elman, Jascha Heifetz, Nathan Milstein, toscha Seidel, and Oscar Shumsky. Also among current faculty members, ida Kavafian was a Shumsky student and Arnold Steinhardt Konstantin Mostras Oscar Shumsky (’36) Efrem Zimbalist Ivan Galamian Ida Kavafian Aaron Rosand (’48) Joseph Silverstein (’50) Michael Tree (Violin ’55) Shmuel Ashkenasi (’63) Arnold Steinhardt (’59) Yumi Ninomiya Scott (’67) Jaime Laredo (’59) Pamela Frank (’89) More Online Are you a part of this family tree? Let us PHOTOS: BETTMAN/CORBIS (BEETHOVEN, CZERNY, LESCHETIZKY, SCHNABEL); JEAN E. BRUBAKER (ROSAND, know where your branch fits in. Post a SOLZHENITSYN); PETE CHECCHIA (ASHKENASI, C. FRANK, KAVAFIAN, MCDONALD, SILVERSTEIN); JOYCE CREAMER/ comment on the Curtis Facebook page at CURTIS ARCHIVES (HORSZOWSKI); DAVID DEBALKO (TREE); DOROTHEA VON HAEFTEN (STEINHARDT); www.facebook.com/CurtisInstitute. L.C. KELLEY (P. FRANK), PETER SCHAAF (GALAMIAN); STEVE J.
    [Show full text]