Critical success factors in cello training a comparative study by Anzél Gerber Submitted in partial fulfilment of the requirements for the degree PhD Music (Performance Practice) in the Department of Music Goldsmiths College, University of London Supervisor Professor Alexander Ivashkin 2008 (ii) DECLARATION I, Anzél Gerber, the undersigned, hereby declare that this dissertation, submitted in partial fulfilment for the degree PhD Music (Performance Practice), is my own original work. Signed: _______________________ Anzél Gerber (iii) ABSTRACT The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical study was based on a sample of cello teachers in four countries selected for the study, namely Germany, Russia, the United Kingdom and the United States of America. A literature study, identifying a broad category of factors that could contribute towards successful cello training, formed the basis of the questionnaire. These critical success factors included the quality of the teacher, acquired skills, the talent and giftedness of the student, support rendered to the student, and the curriculum. Each of these factors comprised five sub factors. The respondents were required to rank these factors in order of importance. In the final analysis, they were requested to rank the five main factors. A statistical process of ranking (forced ranking) and Kruskal-Wallis was applied to rank and analyse the responses of the cello teachers in the survey. The critical success factors that contribute the most significantly towards successful cello training were identified and compared. ________________________________ (iv) PREFACE This study is in partial fulfilment for the degree PhD Music Performance at Goldsmiths College, University of London. The practical examination requires a public recital of approximately 90 minutes. Since the comparative study was conducted in four countries, namely Germany, Russia, the United Kingdom and the United States of America, it was decided to structure the recital to include works by composers of the four above-mentioned countries. The programme1 will include the following works: 1. L. van Beethoven Sonata for cello and piano in C major, Op.102 no.1 2. A. Rubinstein Sonata for cello and piano in D major, Op.18 3. B. Britten Sonata for cello and piano in C major, Op.65 4. G. Crumb Sonata for solo violoncello Apart from the fact that the composers originate from the four countries, various historic periods of cello technique development are reflected in the chosen repertoire. These works form part of the core cello repertoire in the international 2 arena, and is often prescribed for international cello competitions. It is interesting to note that the composers were influenced by contemporary cellists. It is known that Romberg and Beethoven as well as Rostropovich and Britten performed together and that these composers incorporated the virtuoso and expressive techniques displayed by the cellists, in their compositions. 1. A live recording of the examination recital can be found in Annexure D on a CD in the back cover. 2. The sonatas by Beethoven, Britten and Crumb appears in the repertoire lists of several international cello competitions, such as the International Tchaikovsky Competition and Unisa International Strings Competition. (v) The four composers above were prominent figures, both on national and international level. Beethoven: The prominence and independence given to the cello part in his sonatas was unprecedented. In the sonata Op. 102, no. 1, this independence, as also the freedom in the formal structure and musical idea, set new trends for the next generation of composers. Rubinstein: In his Sonata, Op. 18, the melodious, expressive qualities of the cello, are incorporated in the true romantic idiom. This sonata can be considered to be one of the first cello sonatas of the Russian romantic school. Rubinstein was also influence by an epoch when cello playing soared to new hights in Russia. He played a key role in the establishment of professional music education in Russia, and appointed prominent performing artists to teach at the Imperial Conservatory of which he was a founder. Britten: Inspired by the technical and expressive powers of cellist Mstislav Rostropovich, Britten composed the Sonata Op. 65 as the first of a series of works for Rostropovich. The sonata reflects a strong influence of works by Shostakovich. (The two composers shared a deep mutual respect.) As a prominent composer and performer, Britten performed with world-renowned artists, while his compositions reflect the technical virtuosity, rhythmic complexity and sound effects of the mid-twentieth century. Crumb: The solo cello sonata by Crumb reflects a compositional style of the 20th century, where new potentials are investigated by expanding the traditional technique. Crumb is still active as one of the foremost American composers. ______________________________ (vi) Acknowledgements I would like to express my sincere gratitude and appreciation to the following organisations and individuals: x My supervisor, Professor Alexander Ivashkin, for his encouragement and guidance and for opening new horizons. x My co-supervisor, Professor Natalia Shakhovskaya, for her expertise, support and sharing of knowledge. x The American String Teachers Association, the European String Teachers Association in Germany and the United Kingdom, as well as the Verband deutscher Musikschulen (Association for German Music Schools) which assisted with the distribution of my questionnaire. x The National Research Foundation, the National Arts Council and the Oppenheimer Memorial Trust in South Africa for their financial assistance. x Dr Lizelle Fletcher, for her expertise and assistance with the statistical analysis. x Moya Joubert, for the professional way in which she edited the dissertation. x Elna van Rensburg, for her excellent typing, encouragement and special care. x My parents, grandparents and my sister, for their tremendous support, encouragement and love which inspire me to broaden my vision of life. I love you dearly. x The Lord Almighty who blesses me with His love. ________________________________ (vii) Contents Page Declaration ......................................................................................................... (ii) Abstract .............................................................................................................. (iii) Preface .............................................................................................................. (iv) Acknowledgements ............................................................................................ (vi) CHAPTER 1 INTRODUCTION AND LITERATURE REVIEW 1.1 Background to the research problem ...................................................... 1 1.2 The research design ............................................................................... 3 1.2.1 The literature review ................................................................................ 3 1.2.2 The research problem ............................................................................. 4 1.2.3 The research question ............................................................................ 4 1.2.4 The research methodology ...................................................................... 4 1.3 Factors that impact upon the effectiveness of cello training: a literature review .................................................................................... 5 1.3.1 Introduction ............................................................................................. 5 1.3.2 The quality of the teacher ........................................................................ 6 1.3.2.1 The teachers education ...................................................................... 9 1.3.2.2 The teachers experience .................................................................... 10 1.3.2.3 The teachers personality .................................................................... 13 1.3.2.4 The teachers attitude .......................................................................... 14 1.3.2.5 The teachers teaching ability .............................................................. 15 1.3.3 Acquired skills ......................................................................................... 16 1.3.3.1 Technique ........................................................................................... 17 1.3.3.2 Aural development .............................................................................. 30 1.3.3.3 Sight reading ....................................................................................... 33 1.3.3.4 Music theory ........................................................................................ 36 1.3.4 Talent and giftedness .............................................................................. 40 1.3.4.1 The students intellectual capacity ....................................................... 43 1.3.4.2 The students aptitude for the cello ..................................................... 46 1.3.4.3 Artistic performance abilities ............................................................... 48 1.3.4.4 Self-management ................................................................................ 49 1.3.4.5 Creativity ............................................................................................