StringPedagogy VOLUME ONE
INTRODUCTION
Philosophical and Pedagogical Approach
MIMI ZWEIG'S APPROACH TO VIOLIN TEACHING
Violin performance engages the physical, the psychological, and the musical
abilities of the player. Mimi Zweig's fundamental principle of violin
teaching, based on natural physical motions nurtured in a *non-judgmental
environment, embodies all three of these elements of performance. The
development of a facile and secure technique begins with physical freedom.
This then gives the performer the freedom to play with musical sensitivity
and confidence. The teaching/learning environment is also critical. From
the first lesson a non-judgmental atmosphere is established. This means
that mistakes are viewed as an opportunity to learn. Much of what one
does in life is learned through experimentation. Mistakes should not be
used as negative experiences. Instead, they can be seen as neutral information
that will be used to solve problems. Another goal is to reduce anxiety.
Anxiety can be a primary source of tension. Tension is also a physical
issue. It is wise for teachers to be aware of the students' physical approach
to the violin for many years. As young students become older students,
their bodies are constantly changing. Overnight, what seemed comfortable
to a child can feel awkward to the growing gangly young person. The natural
reaction is to hang on for dear life, but this only exacerbates the tension
problems. Training students to be aware of their own bodies is a life
long quest. The more one tries to control specific motions, the tighter
one can become. By returning to the basic physical motions of playing,
restoring and refining the natural balance of movement, unnecessary tension
can be avoided.
Establishing a healthy foundation for playing the violin is like growing
a beautiful and strong tree. Without a secure root system, the tree will
be blown away in the first storm. The same occurs in violin playing. A
violinist must have a healthy foundation that can withstand the pressures
of performing. The teacher guides the student in building a solid technical
and musical foundation with a clear sense of the journey from the beginning
sounds to the artist level.
Mimi Zweig founded the Indiana University String Academy in 1976. Her
teaching integrates the violin pedagogy, musical vision, and teaching
philosophy of *Shinichi Suzuki, *Paul Rolland, *Josef Gingold, *Tadeusz
Wronski, *Janos Starker, and *Jerry Horner. By synthesizing the best aspects
of each pedagogue, Mimi Zweig and her colleagues at the Indiana University
String Academy, are engaged in a teaching process that releases the creative
potentials of their students. The art of teaching is a life long adventure;
many other people, artists, colleagues and students alike have contributed
to the whole. Students develop solid foundations in the basics of violin
performance, ensemble and chamber music, and are well grounded in written
and aural music theory. Even when students do not choose to become professional
musicians upon completion of their studies, all take with them a love
and understanding of music only obtainable after years of study.
SHINICHI SUZUKI
The String Academy emphasizes two principles of learning that come from
Suzuki's philosophy as expressed in *Nurtured by Love.
1. All children are encouraged to strive for their potential. Given the
right environment, any child can learn to do anything, and in particular,
to play the violin. This musical environment includes supportive and actively
involved parents, listening to good music from an early age (including
the early violin pieces), and good instrumental training. [p.13, 36-38,
97-99]
2. Children can learn to do anything given enough repetitions in an encouraging
environment. As a result, practice is based upon the number of repetitions
rather than the quantity of time. [p. 43-47, 97-99]
The String Academy also incorporates much of the Suzuki repertoire into
its curriculum because it is a well-conceived technical and musical progression
of pieces. Students progress from open strings to Vivaldi Concertos with
ease and confidence. (See the repertoire list.)
PAUL ROLLAND
From *Paul Rolland, who founded the University of Illinois String
Research Project in the early 1970's, comes the awareness that violin
playing must incorporate the most natural physical motions allowing all
string players to play with ease and beauty of tone. By applying balanced
body positions to violin playing, physical tension is reduced. Rolland
made a series of fourteen films entitled*"The Teaching of Action
in String Playing", in which he demonstrates innovative ideas to
achieve this freedom.
Each film deals with a specific aspect of string playing, i.e., Left Hand
Position, Vibrato, Bow Strokes, etc. The films approach violin playing
in a systematic way starting with large motions and proceeding to the
smaller ones. The basic premises are that all movements must be balanced
and that every action has a reaction. Rolland's action studies awakened
the string teaching profession to systematic movement training and to
the relationship between the kinesthetic and the musical.
It is important to develop a sense of pulse and rhythm from the beginning
lessons. Students are taught to associate rhythm with action by beating
drums and moving in time to music. Rolland's principle is that, "Good
rhythm concepts are the basis of all well controlled movements, otherwise
our playing becomes disorganized and confused." (From page 60 in
"The Teaching of Action in String Playing" 1974)
The String Academy has applied many of the Rolland principles to its program.
For example, the Statue of Liberty, sliding on the "Magic X",
tapping over the high dot, shadow bowing, plucking the high, low and middle
positions to develop freedom and flexibility in reaching all the positions,
are just a few of the concepts that are used.
Paul Rolland worked with the composer Stanley Fletcher to develop two
volumes of repertoire with piano accompaniment, *New Tunes for Strings.
Each piece deals with a specific technical issue and portrays a unique
musical character. These books are a valuable addition to the beginning
repertoire for private and group lessons.
THE INDIANA UNIVERSITY STRING ACADEMY PROGRAM
Mimi Zweig began the *Indiana University String Academy in 1976 with six
violin students. Now it has grown to 160 students studying the violin and cello with a faculty of teachers dedicated to working
with young people. Beginning students in the String Academy participate
in three weekly lessons. These are a half-hour private lesson given by
the major teacher, a one hour group lesson, and a “helper lesson”.
The “helper lesson” is a private lesson given by a university
student taking a *string pedagogy class. As the student advances, the
lesson times expand to 45 minutes and then to one hour. With advanced
students, more time is given as needed.
Groups are divided by repertoire according to the Suzuki books. Group
lessons for students in Books 2 to 5 meet for 1-1/2 hours and include
ensemble playing, solo performances and theory instruction. Books 6 and
7 meet for a 1-1/2 hour ensemble and master class, and a one hour theory
class. Up to this point theory was included in the group lessons and now
it is a separate class. The most advanced group, The Violin Virtuosi,
meet for a one hour theory class, 1-1/2 hour master class, a two hour
ensemble class, and chamber music. A chamber orchestra is arranged for
the advanced students once a year and rehearses intensely for three weeks
prior to the concert.
Performance opportunities are an important aspect of the musical education.
Each semester contains a series of Solo Recitals where each student is
required to perform. For students who have prepared entire works, there
is an Entire Works Concert. If students have an entire recital program
prepared, this will be added to the concert schedule. The Violin Virtuosi
perform a number of concerts outside of Bloomington. Highlights of the
last few years have been tours of France, Spain, Sweden, Italy and Japan, a concert at Carnegie Recital
Hall and an appearance on the National Public Radio show, “From
the Top.” A documentary film entitled, "Circling Around-The Violin Virtuosi", was released by PBS Television in 2006. Performing is the worthy reward for all the hard work it takes to play
well.
Competitions also become a part of the musical education for students
in the String Academy. The real benefit of a competition lies in the preparation
process. The student needs to be ready at a specific time, with specific
repertoire. It is the responsibility of the teacher to make wise decisions
as to what a student is capable of doing and what is in the student's
best interest.*Go
to "Online References" found at the top of the page.