In the last issue, we presented a provocative interview withElizabeth Green about music education... more In the last issue, we presented a provocative interview withElizabeth Green about music education in general that gave uspause toreflect onthe status ofourschool Stephen Shipps: Can you tell me about your early training asa violinist? It was at home, was it not? Elizabeth Green: Yes. It was totally unique. When I was a baby, like every other baby in the world, I would sometimes howl lustily. Dad would go to the piano and pound on a single note. Soon I'd be crying on pitch. (He never lost his sense of humor.) By the time I was three, he had taught me the names of the piano keys so that, without looking at the keyboard, I could name every note by ear in any chord he might play. Shipps: You began your ear-training early. Did it work? Green: It certainly did. When I began working on my master's degree at Northwestern University, I was told, ''You'll have to take eight semesters of undergraduate ear-training since no credits show on your transcript." I hit the ceiling. ''The reason there are no credits is because I was able to pass it all and didn't have to take it." I was furious!
Stephen Shipps began violin studies with Wilfred Biel, astudent ofIvan Galamian. He then moved to... more Stephen Shipps began violin studies with Wilfred Biel, astudent ofIvan Galamian. He then moved tohismain teacher,JosefGingold,
As one of the first 20 th century violin teachers at the Paris Conservatory, Lucien Capet, was kn... more As one of the first 20 th century violin teachers at the Paris Conservatory, Lucien Capet, was known for his violin bowing technique. His students were influential, especially Ivan Galamian whose teaching and widely referenced treatise Principles of Violin Playing and Teaching remain icons for the international string community even today. Although Capet was a much sought after teacher and performer, his innovative teaching practices were absorbed into the mainstream of teaching pedagogy without being associated with him. Though this assimilation is a natural process, some unique pedagogical techniques still retain traces of origin such as a particular bowing with Viotti; or slide with Kreisler; where it is more challenging to find such a link to Capet. Perhaps one reason that Capet is commonly overlooked by violinists as a pedagogue is the lack of oral anecdotes and written biographical information that are essential for the development of folk and scholarly history. Other than his association with Galamian, his influence and works have been contained mostly to France and the Paris Conservatory. Limited practical information (such as the title of the treatise or publishing company) in addition to the difficulty of translation has made the ownership and use of Capet's treatise uncommon. La Technique supérieure de l'archet-pour violon was printed in Paris in 1916, but a successful and complete English translation was not published until 2007. Thus this text has just become available to the English-speaking violin community. Capet's bowing style was taught to many of the leading violinists of his day. If we consider just the influence of Ivan Galamian on the leading violinists of our day, we begin to understand that Lucien Capet's techniques may be more significant to our LIST OF TABLES……………………………………………………………….……….vi
Green isalegend inthe musical world. She is competent in somany different fields that it defies d... more Green isalegend inthe musical world. She is competent in somany different fields that it defies description. I first became aware ofher when my parents bought memyfirst copy of Ivan Galamian's Principles of Violin Playing and Teaching. Green tothis day denies
In the last issue, we presented a provocative interview withElizabeth Green about music education... more In the last issue, we presented a provocative interview withElizabeth Green about music education in general that gave uspause toreflect onthe status ofourschool Stephen Shipps: Can you tell me about your early training asa violinist? It was at home, was it not? Elizabeth Green: Yes. It was totally unique. When I was a baby, like every other baby in the world, I would sometimes howl lustily. Dad would go to the piano and pound on a single note. Soon I'd be crying on pitch. (He never lost his sense of humor.) By the time I was three, he had taught me the names of the piano keys so that, without looking at the keyboard, I could name every note by ear in any chord he might play. Shipps: You began your ear-training early. Did it work? Green: It certainly did. When I began working on my master's degree at Northwestern University, I was told, ''You'll have to take eight semesters of undergraduate ear-training since no credits show on your transcript." I hit the ceiling. ''The reason there are no credits is because I was able to pass it all and didn't have to take it." I was furious!
Stephen Shipps began violin studies with Wilfred Biel, astudent ofIvan Galamian. He then moved to... more Stephen Shipps began violin studies with Wilfred Biel, astudent ofIvan Galamian. He then moved tohismain teacher,JosefGingold,
As one of the first 20 th century violin teachers at the Paris Conservatory, Lucien Capet, was kn... more As one of the first 20 th century violin teachers at the Paris Conservatory, Lucien Capet, was known for his violin bowing technique. His students were influential, especially Ivan Galamian whose teaching and widely referenced treatise Principles of Violin Playing and Teaching remain icons for the international string community even today. Although Capet was a much sought after teacher and performer, his innovative teaching practices were absorbed into the mainstream of teaching pedagogy without being associated with him. Though this assimilation is a natural process, some unique pedagogical techniques still retain traces of origin such as a particular bowing with Viotti; or slide with Kreisler; where it is more challenging to find such a link to Capet. Perhaps one reason that Capet is commonly overlooked by violinists as a pedagogue is the lack of oral anecdotes and written biographical information that are essential for the development of folk and scholarly history. Other than his association with Galamian, his influence and works have been contained mostly to France and the Paris Conservatory. Limited practical information (such as the title of the treatise or publishing company) in addition to the difficulty of translation has made the ownership and use of Capet's treatise uncommon. La Technique supérieure de l'archet-pour violon was printed in Paris in 1916, but a successful and complete English translation was not published until 2007. Thus this text has just become available to the English-speaking violin community. Capet's bowing style was taught to many of the leading violinists of his day. If we consider just the influence of Ivan Galamian on the leading violinists of our day, we begin to understand that Lucien Capet's techniques may be more significant to our LIST OF TABLES……………………………………………………………….……….vi
Green isalegend inthe musical world. She is competent in somany different fields that it defies d... more Green isalegend inthe musical world. She is competent in somany different fields that it defies description. I first became aware ofher when my parents bought memyfirst copy of Ivan Galamian's Principles of Violin Playing and Teaching. Green tothis day denies
Uploads
Papers by Stephen Shipps