The Russian Violin School: The Legacy of Yuri Yankelevich is the first English translation of the methodological works by Yuri Yankelevich, one of the most important violin teachers of 20th Century Russia. Casting an entirely new light on the Russian Violin School, this book includes two original texts by Yankelevich addressing positioning and shifting along with material by prominent violinists examining his pedagogy.
The Russian Violin School: The Legacy of Yuri Yankelevich is the first English translation of the methodological works by Yuri Yankelevich, one of the most important violin teachers of 20th Century Russia. Casting an entirely new light on the Russian Violin School, this book includes two original texts by Yankelevich addressing positioning and shifting along with material by prominent violinists examining his pedagogy.
Considered one of the most important violin teachers in 20th century Russia, Yuri Yankelevich (1909 - 1973) taught at the Moscow Conservatory from 1936 to 1973. He contributed a significant amount of methodological work to the pedagogical literature and was known for his systematic and analytical approach. Yankelevich was an heir to the great traditions of the Russian violin school (later known as the Soviet violin school) and his students included over forty prize winners in international competitions. Masha Lankovsky (translator) studied the violin with Nelli Shkolnikova, one of Yankelevich's first students to receive international recognition. A graduate of Indiana University and the City University of New York she has written about the Russian Violin School for The Strad magazine and presented at the American String Teachers Association. Presently she teaches at the Conservatoire de Versailles in France.
Inhaltsangabe
* Table of Contents * Introduction Yuri Yankelevich and the Russian School of Violin Playing * Part I * Chapter 1 Yuri Yankelevich: Setting up the Violin and Bow Hold * Chapter2 Yuri Yankelevich: Shifting in Conjunction with the Musical Goals of the Violinist * 1. General perception of the positions. Different systems of dividing the fingerboard; their conventions and modifications in the evolution of violin playing * 2. Shifting and the problem of intonation. The aural perception of intervals and the role this plays in developing a sense of distance on the fingerboard * 3. Particularities of moving the left hand along the fingerboard and changing positions in various parts of the fingerboard - in search of the most efficient techniques * 4. Relaxed movement as an essential condition for realizing artistic intentions. An analysis of the reasons restricting the movement of the left hand while changing positions * 5. An optimal setup and developing correct playing movements * 6. Particularities of descending shifts. Coordination between the principal movements of the left hand while shifting * 7. General principles of shifting in cantilena and technical passages. The role of objective methodology in analyzing shifting. A classification of shifts * 8. Details of executing different types of shifts. How different shifting techniques depend on musical context * 9. Shifts made with the help of an open string or natural harmonic. Shifts using chromatic glissando * 10. Shifting in double stops: octaves and tenths, thirds and fingered octaves, sixths and fourths * 11. The interdependence of the left and right hands while shifting. Methods of shifting while changing bows. Shifts and various bow strokes * Part II * Chapter 3 Maya Glezarova: Aspects of Yankelevich's Teaching Methods * Chapter 4 Vladimir Grigorev: Yankelevich's Methodological System * Appendix A: Selected students and assistants of Yuri Yankelevich * Appendix B: Methodological writings by Yuri Yankelevich * Appendix C: Compositions edited by Yuri Yankelevich * Bibliography
* Table of Contents * Introduction Yuri Yankelevich and the Russian School of Violin Playing * Part I * Chapter 1 Yuri Yankelevich: Setting up the Violin and Bow Hold * Chapter2 Yuri Yankelevich: Shifting in Conjunction with the Musical Goals of the Violinist * 1. General perception of the positions. Different systems of dividing the fingerboard; their conventions and modifications in the evolution of violin playing * 2. Shifting and the problem of intonation. The aural perception of intervals and the role this plays in developing a sense of distance on the fingerboard * 3. Particularities of moving the left hand along the fingerboard and changing positions in various parts of the fingerboard - in search of the most efficient techniques * 4. Relaxed movement as an essential condition for realizing artistic intentions. An analysis of the reasons restricting the movement of the left hand while changing positions * 5. An optimal setup and developing correct playing movements * 6. Particularities of descending shifts. Coordination between the principal movements of the left hand while shifting * 7. General principles of shifting in cantilena and technical passages. The role of objective methodology in analyzing shifting. A classification of shifts * 8. Details of executing different types of shifts. How different shifting techniques depend on musical context * 9. Shifts made with the help of an open string or natural harmonic. Shifts using chromatic glissando * 10. Shifting in double stops: octaves and tenths, thirds and fingered octaves, sixths and fourths * 11. The interdependence of the left and right hands while shifting. Methods of shifting while changing bows. Shifts and various bow strokes * Part II * Chapter 3 Maya Glezarova: Aspects of Yankelevich's Teaching Methods * Chapter 4 Vladimir Grigorev: Yankelevich's Methodological System * Appendix A: Selected students and assistants of Yuri Yankelevich * Appendix B: Methodological writings by Yuri Yankelevich * Appendix C: Compositions edited by Yuri Yankelevich * Bibliography
Es gelten unsere Allgemeinen Geschäftsbedingungen: www.buecher.de/agb
Impressum
www.buecher.de ist ein Shop der buecher.de GmbH & Co. KG Bürgermeister-Wegele-Str. 12, 86167 Augsburg Amtsgericht Augsburg HRA 13309
