DOCSLIB.ORG

4. Meisterkurs Für Violine Prof. Koji Toyoda

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
4. Meisterkurs Für Violine Prof. Koji Toyoda Teilnahmebedingungen Veranstaltungsort ist die Clara-Schumann-Musikschule, Der Kurs beginnt mit einem Vorspiel der Teilnehmerinnen und Teilnehmer Prinz-Georg-Straße 80, 40479 am Donnerstag, 21.07. um 10:00 Uhr. Ein öffentliches Abschlusskonzert ist Düsseldorf. mit ausgewählten Teilnehmer(innen) für Freitag, 29.07., um 19:00 Uhr, ein Nähere Informationen unter 0211 89-27422 abschließendes Klassenvorspiel am Samstag, 30.07. vormittags vorgesehen. Anmeldeschluss: 13. Mai 2016 Der Kurs richtet sich an Studierende und fortgeschrittene junge Musiker(innen) mit hoher Leistungsbereitschaft. Der Kurs (aktive und Anmeldungen bitte an: Bernd Zingsem c/o Clara-Schumann-Musikschule passive Teilnahme) schließt den Besuch des Unterrichts, aller Vorspiele und Fax: 0211/893 27422 [email protected] des Abschlusskonzerts ein. Änderungen vorbehalten, jedoch nicht beabsichtigt. Die Zahl der aktiven Teilnehmer(innen) ist auf 10 begrenzt. Die maximal sechs Teilnehmer(innen) der Gruppe A werden täglich von Herrn Prof. Toyoda unterrichtet. Die Teilnehmer(innen) der Gruppe B erhalten jeden zweiten Tag Unterricht bei Herrn Prof. Toyoda, an den alternativen Tagen bei Frau Ozeki. Die Einteilung der Gruppen wird nach dem Vorspiel am 21.07.2015 von Prof. Toyoda vorgenommen. Unterrichtssprachen sind Deutsch, Englisch, Französisch, Italienisch und Japanisch. Die Teilnehmer(innen) werden gebeten, drei Werke eigener Wahl einzustudieren und mit der Anmeldung mitzuteilen. Für die Dauer des Kurses steht eine Klavierbegleitung zur Verfügung. Eine 4. Meisterkurs für Violine passive Teilnahme als Zuhörer(in) ist während des ganzen Meisterkurses Prof. Koji Toyoda möglich. Kursgebühr für aktive Teilnehmer(innen): 650 Euro (Gruppe A) (Gruppe B 500 Euro) Nicht in der Kursgebühr enthalten sind Kosten für Unterkunft und Verpflegung vor Ort. Meisterkurs für Violine Hiermit melde ich mich zum Meisterkurs an der Clara-Schumann- an der Clara-Schumann-Musikschule Düsseldorf Musikschule vom 21. bis 30. Juli 2016 verbindlich an. Der Anmeldung füge ich einen kurzen musikalischen Lebenslauf bei. Die Kursgebühr in Höhe von 650 Euro (500,-) überweise ich nach Zulassung zum Meisterkurs im Voraus auf das Konto des Fördervereins: 21. Juli 30. Juli 2016 IBAN: DE 15300501100010175438 Clara-Schumann-Musikschule, Prinz-Georg-Straße 80 BIC: DUSSDEDDXXX Stadtsparkasse Düsseldorf Stichwort: Meisterkurs Prof. Toyoda Name: Vorname: Anschrift: Geburtsdatum: Telefon: E-Mail: Lehrer/in: Ich möchte folgende(s) Werk(e) im Meisterkurs spielen: Ermöglicht durch die großzügige Unterstützung des Vereins der Freunde und Förderer der Clara-Schumann-Musikschule a. ein Konzert, eine Sonate oder ein Solowerk b. ein einsätziges Werk c. (ersatzweise) Unterschrift der Schülerin/des Schülers bei Volljährigkeit: …………………………………………………………………………. Bei den internationalen Wettbewerben von Paris, Genf und Brüssel Ich bin damit einverstanden, dass meine Tochter/mein Sohn ……………… zählte er zu den Preisträgern. Von 1962-1979 war er 1. Konzert- am Meisterkurs von Prof. Toyoda an der Clara-Schumann-Musikschule meister des Radio-Symphonie-Orchesters Berlin. teilnimmt. Danach nahm er eine Professur für Violine an der Hochschule der Künste Berlin an. Zahlreiche Konzerte führten Toyoda durch Erziehungsberechtigte(r): …………………………………………………………. Europa, in die USA und nach Japan. Von 1999 bis 2008 leitete er das Talent Education Research Institute. Heute ist er Ehrenpräsident des oben genannten Instituts Informationen und Präsident der International Suzuki Association. Koji Toyoda wurde in Hamamatsu (Japan) geboren. Nach der Ausbildung bei Shinichi Suzuki (Matsumoto) studierte er bei René Benedetti am Conservatoire National Supérior de Paris. Anschließend folgten weitere Studien bei Georges Enesco (Paris) und Arthur Grumiaux (Brüssel). .
Load more

Recommended publications
  • Sur Le Nom Du Compositeur)
    FR - Répertoire des œuvres jouées depuis le début du festival en 1958 (Clic sur le nom du compositeur) NL - Repertoire van de uitgevoerde werken sinds de oprichting van het festival in 1958 (klik op de naam van de componist) EN - Repertoire of the works performed since the foundation of the festival in 1958 (click on the composer’s name) DE - Repertoire der Werke, die beim Festival seit seiner Gründung im Jahr 1958 aufgeführt wurden (Klicken Sie auf den Namen des Komponisten) A B ABEL, Karl Friedrich ALBRECHTSBERGER, Johann ARENSKY, Anton BACARISSE, Salvador BACH, Johann Sebastian Georg ABLONIZ, Miguel ALKAN, Charles Valentin ARRIAGA, Juan Criostomo de BACH, Carl Philipp Emmanuel BACH, Wilhelm Friedemann ABSIL, Jean ALLEGRI, Gregorio ASSAD, Sergio BACH, Johann BAERMANN, Carl ADLER DE OLIVEIRA, Judith AMELLER, André BACH, Johann Bernhard BALAKIREV, Mily AGER, Klaus. ANONYME BACH, Johann Christoph BARBER, Samuel ALBENIZ, Isaac. ANDRIESSEN, Hendrik BACH, Johann Christoph BARBIER, René Friedrich ALBENIZ, Mateo ARAUJO, Juan de BACH, Johann Ludwig BARTHOLOMÉE, Pierre ALBICASTRO, Henrico ARNE, Thomas Augustine BACH, Johann Michael BARTOK, Bela ALBINONI, Tomaso ARBAN, Jean-Baptiste BACH, Johann Christian BARTSCH, Charles C BAX, Arnold BODIN DE BOISMORTIER, BOVICELLI, Giovanni Battista BUSONI, Ferruccio CABANILLES, Juan de Joseph BEETHOVEN, Ludwig van BOEHM, Georg BOYCE, William BUXTEHUDE, Dieterich CACCINI, Francesca BENNET, John BOESMANS, Philippe BOYD, Anne BYRD William CAIX D’HERVELOIS, Louis BERG, Alban BOGAR, Istvan BOZZA, Eugène CALDARA, Antonio BERIO, Luciano BOIELDIEU, François-Adrien BRADE, William CAMPRA, André BERLIOZ, Hector BOLOGNINI, Ennio BRAHMS, Johannes CAPLET André BERNIER, René BORODINE, Alexandre BRIDGE, Frank CARISSIMI, Giacomo BERTALI, Antonio BOULANGER, Lili BRITTEN, Benjamin CASTEDERE, Jacques BIBER, Heinrich Ignaz Franz BOULANGER, Nadia BROTONS, Salvador CASTELLO, Dario von BIZET, Georges BOULEZ, Pierre BRUCH, Max CASTIL-BLAZE, François H.
    [Show full text]
  • Pressedienst ______26
    Pressedienst _______________________________________ 26. Juli 2016 Abschlusskonzert des 4. Meisterkurses Violine mit Prof. Koji Toyoda Ausgewählte Teilnehmerinnen und Teilnehmer des Meisterkurses für Violine treten am Freitag, 29. Juli, 19 Uhr, unter der Leitung von Prof. Koji Toyoda im Udo-van-Meeteren-Saal der Clara-Schumann-Musikschule auf. Auf dem Programm stehen Werke von Mendelssohn, Sibelius, Saint-Saens und Kreisler. Der Eintritt ist frei. Interessierte Zuhörerinnen und Zuhörer sind herzlich willkommen. Vom 21. Juli bis 30. Juli unterrichtet Prof. Koji Toyoda, langjähriger Konzertmeister des Radio-Symphonie-Orchesters Berlin und bis 2000 Professor an der Berliner Universität der Künste, junge Geigerinnen und Geiger aus Deutschland und Japan in der Clara-Schumann-Musikschule. Aufgrund seiner Ausbildung in Japan, Frankreich und Belgien bei herausragenden Musikern sowie seiner exponierten Stelle im Orchester in Verbindung mit seiner langjährigen Lehrtätigkeit in Berlin verkörpert Prof. Koji Toyoda das glückliche Zusammenwirken von mehreren bedeutenden Musiktraditionen. Im Meisterkurs begegnen sich Studierende aus Übersee und fortgeschrittene Schülerinnen und Schüler aus Deutschland. Der Austausch untereinander ist mit den Gelegenheiten des gemeinsamen Musizierens ein Beitrag zur Völkerverständigung durch Musik. Veranstalter des Meisterkurses ist der Verein der Freunde und Förderer der Clara-Schumann-Musikschule e. V. Der Meisterkurs wird von der Düsseldorfer Flughafen Gesellschaft unterstützt. Hintergrund: Prof. Koji Toyoda Koji Toyoda wurde in Hamamatsu (Japan) geboren. Nach der Ausbildung bei Shinichi Suzuki (Matsumoto) studierte er bei René Benedetti am Conservatoire National Supérior de Paris. Anschließend folgten weitere Studien bei Georges Enesco (Paris) und Arthur Grumiaux (Brüssel). Bei den internationalen Wettbewerben von Paris, Genf und Brüssel zählte er zu den Preisträgern. Von 1962 bis 1979 war er 1.
    [Show full text]
  • MEC FM Dial: 99,3Mhz Cidade: Rio De Janeiro UF: RJ Data Hora Nome Da Música Nome Do Intérprete Nome Do Compositor Gravadora Vivo Mec
    Relatório de Programação Musical Razão Social: Empresa Brasil de Comunicação S/A CNPJ:09.168.704/0001-42 Nome Fantasia: MEC FM Dial: 99,3Mhz Cidade: Rio de Janeiro UF: RJ Data Hora Nome da música Nome do intérprete Nome do compositor Gravadora Vivo Mec. ENSEMBLE HELIOS 18 DUSSEK(Franz Xaver)(1731- 01/04/2021 02:00:35 SINFONIA MI BEMOL MAIOR. DIREÇÃO MUSICAL: MARIE-LOUISE X 1799)(República Checa) OSCHATZ. VIOLINO: ISAAC STERN (1797 - 1828) 01/04/2021 02:26:22 FANTASIA EM DÓ MAIOR, D 934 - "EU O SAÚDO!" X PIANO: DANIEL BAREMBÓIM SCHUBERT (Franz) REGENTE: THOMAS FEY SALIERI (Antonio) (1750-1825) 01/04/2021 02:52:34 LES DANAIDES - Suíte de ballet X ORQUESTRA MOZART DE MANNHEIM (Itália) TROMPETE: LUCIENNE RENAUDIN VARY ROSSINI (Gioacchino) (1792-1868) 01/04/2021 03:16:15 La Danza (das Soirées Musicales) ORQUESTRA NACIONAL DE LILLE X (Itália) REGENTE: ROBERTO RIZZI BRIGNOLI (1841 - 1904) ORQUESTRA FILARMÔNICA DE BERLIM 01/04/2021 03:19:56 DUAS DANÇAS ESLAVAS DVORÁK (Antonín)(1841 - X REGENTE: DANIEL BARENBOIM 1904)(República Checa) SCHERZO NÚMERO 3, EM DÓ SUSTENIDO MENOR, CHOPIN (FREDERICK) 01/04/2021 03:29:33 PIANO: NELSON FREIRE X OPUS 39 (1810-1849) FANTASIA SOBRE TEMA DA ÓPERA "UMA VIDA PARA (1837 - 1910) 01/04/2021 03:37:08 PIANO: ALEXANDER PALEY X O TZAR", DE GLINKA BALAKIREV (Mily Alexeyevich) ORQUESTRA FILARMÔNICA DE BERLIM (1839 - 1881) 01/04/2021 03:51:20 MARCHA FESTIVA DA ÓPERA `MLADA` X REGÊNCIA: CLÁUDIO ABBADO MUSSORGSKY (Modeste) "A HISTÓRIA DO SOLDADO" - QUATRO MOVIMENTOS STRAVINSKY (Igor) 01/04/2021 03:56:57 PIANO: CHRISTOPHER
    [Show full text]
  • Walter Felsenstein
    IANUARY 1976 $1.50 LAZAR BERMAN: Mystery HIGH Soviet pianist talks about FIDELITy his coming U.S.A. tour -rd musical amensea THEProblems MET and prospects CO lea o ES • lieenE5 a CU SAE M. VIB FM tuner Realistic (RA-770 receiver GAS Ampzilla amplifier kit Thorens ID- 115 turntable lo Lab Test •=so eports liber CG- 360 cassette deck •r -- - " ' d KIM CL-4loudspeaker Hitachi D-3500 cassette deck Aud;o-Technica AT- 706 headphones Dolby under $200 Twin illuminated VU meters, plus Frequency Response (Chrome Tape): separate input level controls for each 30-16,000 Hz channel help you set accurate Wow & Flutter ( WRMS): 0.12% recording levels. Stereo microphone Signal- to- Noise Ratio ( with Dolby): 58dB inputs as well as the headphone Input Sensitivity: 0.3mV — 63mV ( mic); 63mV — 12V ( tine) output jack are all easily accessible Outputs: 450mV ( line & DIN): 80mV 8ohms on the front panel. (headphones) By any point of reference, compare the CT-F2121's combination U.S. Pioneer Electronics Corp., of performance and features with 75 Oxford Drive, Moonachie, The CT-F2121 comes ready for custom New Jersey 07074. installation. Handsome, optional cabinet wi cassette decks costing much more. walnut veneered top and sides also avoua You can come to only one conclusion West: 13300 S. Estrella, Los Angeles — at under $ 200t this is the most 90248 / Midwest: 1500 Greenleaf, extraordinary cassette deck value Elk Grove Village, III. 60007 / Canada: ever offered. S. H. Parker Co. when you want something be' CIRCLE 26 ON READER- SERVICE CARD PAUSE E 'Dolby is atrademark ot Dolby Laboratories, Inc.
    [Show full text]
  • Canada Du Canada Canadian Theses Service Service Des Thèses Canadiennes
    National Library Bibliothèque nationale .+. of Canada du Canada Canadian Theses Service Service des thèses canadiennes Ottawa. Canada KtA ON4 NOTICE AVIS The quality of this microform is heavily dependent upon the La qualité de celle microforme dépend grandement de la quality of the original thesis submitted for microfilming. qualité de la thèse soumise au microfilmage. Nous avons Every effort has been made to ensure the highest quality of tout fait pour assurer une qualité supérieure de reproduc, reproduction possible. tion. If pages are missing. contact the university which granted S'il manque des pages, veuillez communiquer avec the degree. l'unlversilé qui a conféré le grade. Sorne pages may have indistinct print especially ~ the La qualité d'impression de certaines pages peul laisser il original pages were typed with a poor typewriter ribbon or désirer, surtout si les pages originales onl été dactylogra· ~ the university sent us an inferior photocopy. phiées à l'aide d'un ruban usé ou si l'université nous a fail parvenir une photocopie de qualité inférieure. Reproduction in full or in part of this microform is governed La reproduction, même partielle, de celle microfonne est by the Canadian Copyright Act, R.S.e. 1970, c. C-30, and soumise à la Loi canadienne sur le droit d'auteur, SRC subsequent amendments. 1970, c. C-30, et ses amendements subséquents. Canada THE GENESIS OF SUZUKI: AN INVESTIGATION OF THE ROOTS OF TALENT EDUCATION by ERIC MADSEN A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES AND RESEARCH IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS HISTORY PROGRAM DEPARTMENT OF ADMINISTRATION AND POLICY STUDIES FACULTY OF EDUCATION MCGILL UNIVERSITY MONTREAL SEPTEMBER 1990 National lîtxary Bibliothèque nationale of Canada du Canada Canadian Theses Service Service des thèses canadiennes Ottawa.
    [Show full text]
  • In This Issue: Joshua Bell, Featured Above, and Jeremy Denk Will Perform Denk Will Perform and Jeremy Bell, Featured Above, Joshua Nationalat Conference
    AMERICAN STRING TEACHER February 2008 | Volume 58 | Number 1 February 2008 In this Issue: Return to Matsumoto A Lesson in Playing It Forward Plus: Institutional Membership Directory Summer Camps and Conferences American String Teachers Association 1 www.astaweb.com Joshua Bell, featured above, and Jeremy Denk will perform at the ASTA National Conference. AMERICAN STRING TEACHER CONTENTS February 2008 | Volume 58 | Number 1 Features and Forums 22 Return to Matsumoto I traveled to Matsumoto, Japan to see if there had been any changes at the Talent Education Institute since Shinichi Suzuki’s death in 1998. by Marianne Murray Perkins On Mentorship: Sharing the Gift of Music – A 32 Perspective from a Teenage Strings Teacher I looked up to her as a teacher, and her words made me feel like I could do it. I told her, “I’ll give it a try.” by Asia Echard 42 A Lesson in Playing It Forward It feels good to help other people feel the wonder you feel when expressing a musical phrase or playing a fast passage with fellow musicians. by Erika Boras Tesi The Art of String Teaching and Performance: 44 Thoughts on Zen in the Art of Archery From the primeval centuries came the sound of a string instrument resonating in the air. The similarities between the archer with the bow and the string player with instrument and bow are striking. by Michael Fanelli www.astaweb.com | 5 AMERICAN STRING TEACHER CONTENTS February 2008 | Volume 58 | Number 1 Columns Special Inspirations Sections 10 by Donna Sizemore Hale 50 National Conference Member2Member Final Preview 20 Memory and Violin Days 59 Summer Conferences: by John C.
    [Show full text]
  • Yoshiaki Shibata
    YOSHIAKI SHIBATA Born in Tokyo. Start Violin Piano from a young age. From young age belongs to Toho Gakuen University Music department "Music School for Children" (piano) belongs. All Nippon Student Music Competition, 2.Prize in Elementaryschool Students at the Violin Category in 1984. He won the 2. Prize in the 1987 Junior Highschool department. He studied the Violin by Prof. Saburo Sumi, Prof. Ryosaku Kubota, Prof. Tomotada Soh, Prof. Keiko Urushihara, Prof. Hideki Oguni, Prof. Koichiro Harada, and Piano with Prof. Noriko Minagawa and Prof. Fujiko Yamada. In 1988 from 16 years old, studied at Julius-Stern-Institut attached to Berlin University of the Arts in Berlin, Germany . In 1989 German Youth Music Competition Piano category 2nd Prize Since 1990 he entered Berlin Universitye of Art at age 17 (youngest). Prof. Koji Toyoda, the Violin, and the Piano with Prof. Ingeborg Peukert, later studied the violin with Prof.. Thomas Brandis, graduating with the highest point. Since 1995, he studied under Dresden "Carl Maria von Weber" Dresden "Music University Soloist course with Prof. Manfred Scherzer, in 1997 in Semperoper Dresden at Brahms: Performing the Violin Concerto (conducted by Prof. Jörg-Peter Weigle), German National Qualification Exam, got "Best". From 1997, followed by Dresden "Carl Maria von Weber" Dresden "Music University study from ?Meister(Maestro)? course, while in University, Beethoven in Dresden hold a recital of all 10 sonatas and get great popularity. In 1999 got a German Musician "Maestro (Maestro)" as "Best". He took a break from Soloist activity and joined Hannover State Opera National Orchestra 1st Violin, Starting Soloist activities again in parallel with Orchestra activities since 2001.
    [Show full text]
  • A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister
    University of South Carolina Scholar Commons Theses and Dissertations Summer 2020 A Legacy Preserved: A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister Peter M. Geldrich Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Geldrich, P. M.(2020). A Legacy Preserved: A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/ 5990 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 LEGACY PRESERVED: A COMPARISON OF THE CAREERS AND RECORDINGS OF STANLEY DRUCKER AND KARL LEISTER by PETER M GELDRICH Bachelor of Music University of Maryland, 2003 Master of Music University of Florida, 2006 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2020 Accepted by: Joseph Eller, Major Professor Rebecca Nagel, Committee Member Clifford Leaman, Committee Member Sarah Williams, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Peter M Geldrich, 2020 All Rights Reserved. ii Dedication To my father, Peter James Geldrich, who placed me on my musical path…and to my wife, Shannon Lowe, who has held my hand on the journey. iii Acknowledgements This document is a result of the inspiration and guidance that many people have provided me, and to whom I owe an enormous debt of gratitude.
    [Show full text]
  • University of Oklahoma Graduate College Margery
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SHAREOK repository UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MARGERY ABER AND HER CONTRIBUTIONS TO THE SUZUKI METHOD IN THE UNITED STATES A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By ANA MARIA WILSON Norman, Oklahoma 2011 MARGERY ABER AND HER CONTRIBUTIONS TO THE SUZUKI METHOD IN THE UNITED STATES A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ____________________ Dr. Eugene Enrico, Chair ____________________ Dr. Gregory Lee, Co-chair ____________________ Dr. Roland Barrett ____________________ Dr. Anthony Stoops ____________________ Dr. Luther White © Copyright by ANA MARIA WILSON 2011 All Rights Reserved. Acknowledgements I would like to thank my husband, Joe Vandervort, for his constant love and encouragement in finishing this work. You are a great source of strength and comfort to me. I love you so much. To my unborn son and future children: May you always go all the way to the finish line in achieving your goals. Set your standards high and never give up. A special thank you to my parents, Elsa Maria and John Wilson, for all of your countless hours in taking me to violin lessons, rehearsals, and attending my concerts. Thank you for taking me seriously as a toddler when I begged to play the violin, and then for practicing with me and listening to those first “Twinkles” over and over. You have supported me through good times and bad with your undying love. I would like to thank all of my violin, viola, and Suzuki pedagogy teachers who have touched my life: Carol Linsenmeier, Nancy Zippay, Patricia Hackler, Betsy Jones, Marcia Henry Liebenow, Stephen Rose, Michele Higa George, Diane Slone, Teri Einfeldt, Koji Toyoda, Felicia Moye, Matthew Dane, Joanna Mendoza, Gary Kosloski, Evan Wilson, Rossitza Jekova Goza, Nancy Lokken, and Christie Felsing.
    [Show full text]
  • European Su Zijki Teaci{E Rs' Ne§I/Sletter
    THE Volur-nc 23 Spring 2003 EUROPEAN SU ZIJKI TEACI{E RS' NE§I/SLETTER ffi ffiä :$'! / Official Publication of the -I European Suzuki Association w; b Ltd (ESA) The ESA's mission is to further Dr. Tru Shinichi Sr:zuki's Approach to education. The organisation's area of operation is Europe, thc Nliddle llast and Africa, as decic'lcd by the International Suzuki Ässociati<-rn of g'hich the ESA is a member. 'flre cornerstone oi maintaining quailn' in Suzuki teaching is Suzuki 'Ieacher Training. Training cours( s are pxrt dme and long term and foilou, the rules of the ESA's Teacher Training and Examinatjon I\{anual (copres of which are available from the national associations and the ESA office). Iquki Guitar - Elio Ga/uagnoJ 5'chool in 5'aluqo celebrates 15ilt Annitvr.rary Ex.rminations are held at fir.e levels leading to the Diploma of the European Suzuki Associadon. TABLE OF CONTENTS For more information about clates, Organ becomes a Suzuki Instrument h1 Haukur Lt. Hanne.rson 3 venues and instruments taught, please The Suzuki Voice Programme in a Nutshell ly Päiui Kukkantriki 3 contact the organisers in each counül, Viola News 3 listed in dre centre pages of this journal. The Guitar and the Suzuki Method: intcruie»,a,itlt Elio Ga/uagno 4 Chairperson: F.leonorc Fürsrin zu Salm-Salm European Suzuki'Ieaching Development Trust: A report 5 Dcputy Chairman & ESA News: Board and Conference 6-7 Administratiye Of{icel News from ESA's National Associations /', t2-15 Dr. Birte Kelh., ESA, Stour I-Iouse, The Street, East Bergholt, ESÄ Information 8-9 Colchester, CO7 6TF, England ESA Teache r -T rainer f Examiners 9-10 E-mail: i [email protected] ESA Teacher-Trainees' E xam Resul t s 2001.
    [Show full text]
  • ISA Journal Volume 17, Number 1 (July 2020)
    Volume 17, Number 1 July 2020 Welcome to the latest edition of the ISA Journal. We’re pleased to bring you articles and photos about Talent Education activities from around the globe. • Hiroko Suzuki to Succeed Koji Toyoda as Honorary President • Koji Toyoda Retires as President of ISA Board • ISA Announces New Board Members: Anke van der Bijl, Cristophe Bossuat, and Threse Wirakesuma • Martin Rüttimann, Hiroko Driver-Lippman, and Pasquale A. Razzano to Retire from ISA Board of Directors • Talent Education Journal Archive to be Posted on ISA Website • 1976 Recordings of Dr. Suzuki at the American Suzuki Institute are Online • Alfred New Product News June 2020 • News and Photos from the Thailand Association for Talent Education (TATE) International Suzuki Journal, Volume 17, Number 1, July 2020 ©2020 1 Cover Photo: Thailand Association for Talent Education (TATE) Activities in 2019 Suzuki Cello Teacher Training Book 2 & Book 3 1 - 5 and 8 - 12 July 2019 “Thank you Teacher Bai-Chi Chen for teaching and inspiring us not only to be better teachers, but also for us to be better musicians. This time we have the biggest cello class ever with 11 cello teachers from Thailand, Indonesia and Philippines.” Visit and join the ISA Facebook SUZUKI™ Teachers page for postings, discussions and questions from Suzuki teachers around the globe. Visit and like the ISA Facebook page for important announcements about Suzuki events across our Association and the latest developments in all the instrument areas: https://www.facebook.com/InternationalSuzukiAssociation Visit the ISA website at InternationalSuzuki.org for up-to-date news from each Instrument Committee, important an- nouncements and events from Regional Associations, and read past editions of the ISA Journal dating from 1983.
    [Show full text]
  • Shinichi Suzuki and Musical Talent: an Analysis of His Claims
    Shinichi Suzuki and Musical Talent: An Analysis of His Claims Zachary Ebin A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO March, 2015 © Zachary Ebin, 2015 Abstract The Suzuki Method is a popular and influential method of music education for strings. Central to this study is the Method’s premise that musical talent is not inborn, but rather cultivated through one’s environment. A critical reading of treatises by other influential violin pedagogues revealed that Suzuki’s premise was revolutionary. An analysis of Suzuki’s claims regarding musical talent showed that some of his claims are valid and some are unsubstantiated by current research. Suzuki’s argument that musical talent is not genetically inherited through a comparison to bird-song is flawed. In particular, important differences between bird song and human music suggest they are non-commensurate. From a story about children raised by wolves, Suzuki argued that human ability is a direct result of the environment and not an inborn predisposition. This story proved to be a fabrication, and while one’s environment clearly has an effect on development it is likely not as strong as Suzuki maintains. Suzuki argued that just as being right- handed or left-handed is a result of repetitive use of one hand, so too any skill can be trained through repetition. Though current research has failed to identify the cause of handedness, it has shown that, as Suzuki maintained, dexterity in the non-dominant hand is best trained through repetitive use of that hand, and in an environment with strong motivation to do so.
    [Show full text]