Tag Archives: violin

Switching from violin to viola

violin to violaLearn­ing to play vio­lin or vio­la can be very reward­ing. Once you learn to play one it is actu­al­ly sim­ple to become pro­fi­cient on the oth­er instru­ment as well. There are just a few minor dif­fer­ences one should know when switch­ing from vio­lin to vio­la.

The vio­la is just a bit larg­er than the vio­lin; the notes are a lit­tle far­ther apart on the fin­ger­board, so one has to stretch the hand a tad more. How­ev­er, the fin­ger pat­tern and posi­tions are the same. The bow is slight­ly heav­ier for the vio­la but you still use the same bow hold.

Per­haps the biggest obsta­cle one might face when switch­ing from vio­lin to vio­la is chang­ing the clef. Most peo­ple have some famil­iar­i­ty with the tre­ble (or G) clef, which the vio­lin uses, while the vio­la uses the alto (or C) clef. Some peo­ple claim the alto clef is hard to read; actu­al­ly it is no more dif­fi­cult to read then the G clef. Like any­thing in music, you have to prac­tice to mas­ter it.

I high­ly rec­om­mend that what­ev­er instru­ment you decide to play you learn aspects of the oth­er and become a “switch hit­ter”. The big ben­e­fit is you will always be in demand, espe­cial­ly on the vio­la. Orches­tras and cham­ber ensem­bles always need vio­la play­ers, while find­ing a gig as a vio­lin­ist may be dif­fi­cult from time to time, as there always seems to be a glut of vio­lin play­ers, so if you can play both you will always have a place to play.

Both instru­ments have a rich reper­toire. While there is less vio­la music if you like to play Baroque and Clas­si­cal Peri­od works, the com­posers of the Roman­tic peri­od, such as Berlioz, Dvo­rak, Brahms, Wag­n­er, Mahler, and Richard Strauss wrote won­der­ful parts for the vio­la. Dur­ing the 20th Cen­tu­ry up to the present such com­posers such as Hin­demith, Elgar, Wal­ton, Bar­tok and Pen­derec­ki wrote many beau­ti­ful works for the vio­la. One of the great­est musi­cians today, Pin­chas Zuk­er­man, switch­es back and forth from both instru­ments on a reg­u­lar basis. What­ev­er instru­ment you pick to learn, you will gain years of enjoy­ment, but if you learn both you will more than dou­ble your plea­sure.

8 Things Top Practicers Do Differently

violin-practice-Limassol8 Things Top Practicers Do Differently

by Noa Kageya­ma, Ph.D.

Synopsis
We’ve all heard the phrase “practice smarter, not harder,” but what does that really mean? What does “smarter” practice actually look like? A study of collegiate piano majors suggests that the key lies in how we handle mistakes.

As my kids were (begrudg­ing­ly) prac­tic­ing their Tae Kwon Do pat­terns not long ago, I caught myself telling my old­est that he had to do his pat­tern five times before return­ing to his video game.

My goal, of course, was not for him to sim­ply plod through the motions of his pat­tern five times like a pouty zom­bie, but to do it once with good form and com­mit­ment. But the par­ent in me finds it very reas­sur­ing to know that a cer­tain num­ber of rep­e­ti­tions has gone into some­thing. Beyond the (erro­neous) assump­tion that this will some­how automag­i­cal­ly solid­i­fy his skills, it feels like a path to greater dis­ci­pline, and a way to instill with­in my kids some sort of work eth­ic that will serve them well in the future.

It’s true that some degree of time and rep­e­ti­tion is nec­es­sary to devel­op and hone our skills, of course. But we also know on some intu­itive lev­el that to max­i­mize gains, we ought to prac­tice “smarter, not hard­er.”

But what does that real­ly mean any­way? What exact­ly do top prac­ticers do dif­fer­ent­ly?

Pianists learn­ing Shostakovich
A group of researchers led by Robert Duke of The Uni­ver­si­ty of Texas at Austin con­duct­ed a study sev­er­al years ago to see if they could tease out the spe­cif­ic prac­tice behav­iors that dis­tin­guish the best play­ers and most effec­tive learn­ers.

Sev­en­teen piano and piano ped­a­gogy majors agreed to learn a 3-mea­sure pas­sage from Shostakovich’s Piano Con­cer­to No. 1. The pas­sage had some tricky ele­ments, mak­ing it too dif­fi­cult to sight read well, but not so chal­leng­ing that it couldn’t be learned in a sin­gle prac­tice ses­sion.

The set­up
The stu­dents were giv­en two min­utes to warm up, and then pro­vid­ed with the 3-mea­sure excerpt, a metronome, and a pen­cil.

Par­tic­i­pants were allowed to prac­tice as long as they want­ed, and were free to leave when­ev­er they felt they were fin­ished. Prac­tice time var­ied quite a bit, rang­ing from 8 1/2 min­utes to just under 57 min­utes.

To ensure that the next day’s test would be fair, they were specif­i­cal­ly told that they may NOT prac­tice this pas­sage, even from mem­o­ry, in the next 24 hours.

24 hours lat­er…
When par­tic­i­pants returned the fol­low­ing day for their test, they were giv­en 2 min­utes to warm up, and then asked to per­form the com­plete 3-mea­sure pas­sage in its entire­ty, 15 times with­out stop­ping (but with paus­es between attempts, of course).

Each of the pianists’ per­for­mances were then eval­u­at­ed on two lev­els. Get­ting the right notes with the right rhythm was the pri­ma­ry cri­te­ria, but the researchers also ranked each of the pianists’ per­for­mances from best to worst, based on tone, char­ac­ter, and expres­sive­ness.

That led to a few inter­est­ing find­ings:

Prac­tic­ing longer didn’t lead to high­er rank­ings.
Get­ting in more rep­e­ti­tions had no impact on their rank­ing either.
The num­ber of times they played it cor­rect­ly in prac­tice also had no bear­ing on their rank­ing. (wait, what?!)
What did mat­ter was:

How many times they played it incor­rect­ly. The more times they played it incor­rect­ly, the worse their rank­ing tend­ed to be.
The per­cent­age of cor­rect prac­tice tri­als did seem to mat­ter. The greater the pro­por­tion of cor­rect tri­als in their prac­tice ses­sion, the high­er their rank­ing tend­ed to be.
The top 8 strate­gies
Three pianists’ per­for­mances stood out from the rest, and were described as hav­ing “more con­sis­tent­ly even tone, greater rhyth­mic pre­ci­sion, greater musi­cal char­ac­ter (pur­pose­ful dynam­ic and rhyth­mic inflec­tion), and a more flu­id exe­cu­tion.”

Upon tak­ing a clos­er look at the prac­tice ses­sion videos, the researchers iden­ti­fied 8 dis­tinct prac­tice strate­gies that were com­mon to the top pianists, but occurred less fre­quent­ly in the prac­tice ses­sions of the oth­ers:

1. Play­ing was hands-togeth­er ear­ly in prac­tice.

2. Prac­tice was with inflec­tion ear­ly on; the ini­tial con­cep­tu­al­iza­tion of the music was with inflec­tion.

3. Prac­tice was thought­ful, as evi­denced by silent paus­es while look­ing at the music, singing/humming, mak­ing notes on the page, or express­ing ver­bal “ah-ha”s.

4. Errors were pre­empt­ed by stop­ping in antic­i­pa­tion of mis­takes.

5. Errors were addressed imme­di­ate­ly when they appeared.

6. The pre­cise loca­tion and source of each error was iden­ti­fied accu­rate­ly, rehearsed, and cor­rect­ed.

7. Tem­po of indi­vid­ual per­for­mance tri­als was var­ied sys­tem­at­i­cal­ly; log­i­cal­ly under­stand­able changes in tem­po occurred between tri­als (e.g. slowed things down to get tricky sec­tions cor­rect).

8. Tar­get pas­sages were repeat­ed until the error was cor­rect­ed and the pas­sage was sta­bi­lized, as evi­denced by the error’s absence in sub­se­quent tri­als.
The top 3 strate­gies
Of the eight strate­gies above, there were three that were used by all three top pianists, but rarely uti­lized by the oth­ers. In fact, only two oth­er pianists (ranked #4 and #6) used more than one:

6. The pre­cise loca­tion and source of each error was iden­ti­fied accu­rate­ly, rehearsed, and cor­rect­ed.

7. Tem­po of indi­vid­ual per­for­mance tri­als was var­ied sys­tem­at­i­cal­ly; log­i­cal­ly under­stand­able changes in tem­po occurred between tri­als (e.g. slowed things down to get tricky sec­tions cor­rect; or speed­ed things up to test them­selves, but not too much).

8. Tar­get pas­sages were repeat­ed until the error was cor­rect­ed and the pas­sage was sta­bi­lized, as evi­denced by the error’s absence in sub­se­quent tri­als.
What’s the com­mon thread that ties these togeth­er?

The researchers note that the most strik­ing dif­fer­ence between the top three pianists and the rest, was how they han­dled mis­takes. It’s not that the top pianists made few­er mis­takes in the begin­ning and sim­ply had an eas­i­er time learn­ing the pas­sage.

The top pianists made mis­takes too, but they man­aged to cor­rect their errors in such a way that helped them avoid mak­ing the same mis­takes over and over, lead­ing to a high­er pro­por­tion of cor­rect tri­als over­all.

And one to rule them all
The top per­form­ers uti­lized a vari­ety of error-cor­rec­tion meth­ods, such as play­ing with one hand alone, or play­ing just part of the excerpt, but there was one strat­e­gy that seemed to be the most impact­ful.

Strate­gi­cal­ly slow­ing things down.

After mak­ing a mis­take, the top per­form­ers would play the pas­sage again, but slow down or hes­i­tate – with­out stop­ping – right before the place where they made a mis­take the pre­vi­ous time.

This seemed to allow them to play the chal­leng­ing sec­tion more accu­rate­ly, and pre­sum­ably coor­di­nate the cor­rect motor move­ments at a tem­po they could han­dle, rather than con­tin­u­ing to make mis­takes and fail­ing to iden­ti­fy the pre­cise nature of the mis­take, the under­ly­ing tech­ni­cal prob­lem, and what they ought to do dif­fer­ent­ly in the next tri­al.

The one-sen­tence sum­ma­ry
“Suc­cess does not con­sist in nev­er mak­ing mis­takes but in nev­er mak­ing the same one a sec­ond time.” -George Bernard Shaw

- See more at: http://www.creativitypost.com/psychology/8_things_top_practicers_do_differently#sthash.v5UnTtsh.dpuf

Inspiring Films about the Violin

Inspiring films about the violin

Have you ever looked for some sources of moti­va­tion for your chil­dren to start prac­tice? Some nice music to lis­ten or, to vis­it a con­cert or even to watch inspir­ing films about vio­lin?

Vio­lin has always been inspi­ra­tion source for film mak­ers who often based their films on biogra­phies of great vio­lin­ists or musicians.Here are some sug­gest­ed films.

Inspiring violin films
The Red vio­lin

The red violin

A per­fect red-col­ored vio­lin inspires pas­sion, mak­ing its way through three cen­turies over sev­er­al own­ers and coun­tries, even­tu­al­ly end­ing up at an auc­tion where it may find a new own­er.

Direc­tor:
François Girard

Writ­ers:
Don McKel­lar, François Girard

Stars:
Car­lo Cec­chi, Jean-Luc Bideau,

 

 

 

 

kinskis paganini violin Film
Pagani­ni

Paganini  (Klaus Kinski)

Ital­ian vio­lin­ist Nico­lo Pagani­ni (Klaus Kin­s­ki) lives with his wife (Deb­o­ra Kin­s­ki) and son (Niko­lai Kin­s­ki), and dri­ves women wild with his music.   Ini­tial release: May 25, 1990 (Italy

Direc­tor: Klaus Kin­s­ki

Run­ning time: 95 min­utes

Screen­play: Klaus Kin­s­ki

Music com­posed by: Sal­va­tore Accar­do, Nic­colò Pagani­ni

 

 

violin paganini film
Devil’s Vio­lin­ist

Devil’s Violinist

The life sto­ry of Ital­ian vio­lin­ist and com­pos­er, Nic­colò Pagani­ni, who rose to fame as a vir­tu­oso in the ear­ly 19th Cen­tu­ry.

Direc­tor:
Bernard Rose

Writer:
Bernard Rose

Stars:
David Gar­rett, Jared Har­ris, Joe­ly Richard­son |See full cast and crew »

 

 

 

violin films, J.S. Bach, ein musikalisches Opfer,  Organ teacher
Mein Name ist Bach

Mein Name ist Bach.

Bach vis­its his famous Son in Vien­na where he meets the men­tal­ly dis­turbed prince who devel­ops a pas­sion for father Bach’s genius and music.

Mein Name ist Bach is a 2003 Swiss film direct­ed by Dominique de Rivaz. It was Switzerland’s sub­mis­sion to the 77th Acad­e­my Awards for the Acad­e­my Award for Best For­eign Lan­guage Film, but was not accept­ed as a nom­i­nee.

(Wikipedia)
Ini­tial release: April 8, 2004
Direc­tor: Dominique de Rivaz
Run­ning time: 99 min­utes
Gen­res: Bio­graph­i­cal film, Dra­ma

 

 

Violin, Beethoven, Music, teacher, score
Copy­ing Beethoven

Copying Beethoven

Anna Holtz (Diane Kruger), a stu­dent at the Vien­na Music Con­ser­va­to­ry, eager­ly accepts an assign­ment to work as a copy­ist for com­pos­er Lud­wig van Beethoven (Ed Har­ris). The tem­pera­men­tal mae­stro devel­ops a grow­ing affec­tion for his new com­pan­ion, but she has plans to mar­ry her long­time beau.

Ini­tial release: Octo­ber 19, 2006 (Israel)
Direc­tor: Agniesz­ka Hol­land
Run­ning time: 105 min­utes
Ini­tial DVD release: April 3, 2007
Bud­get: 11 mil­lion USD

The oldest surviving Italian violin

Tak­en from cmuse.org

 

The vio­lin first emerged in north­ern Italy in the ear­ly 16th cen­tu­ry espe­cial­ly from the Bres­cia area. Many archive doc­u­ments tes­ti­fy that from 1485–95 Bres­cia was the cra­dle of a mag­nif­i­cent school of string play­ers and mak­ers, all called with the title of “mae­stro” of all the dif­fer­ent sort of strings instru­ments of the Renais­sance: vio­la da gam­ba (vio­ls), vio­lone, lyra, lyrone, vio­let­ta and vio­la da braz­zo. While no instru­ments from the first decades of the cen­tu­ry sur­vive, there are sev­er­al rep­re­sen­ta­tions in paint­ings; some of the ear­ly instru­ments have only three strings and were of the vio­let­ta type.
Because doc­u­ments show that the Bres­cia school start­ed half a cen­tu­ry before Cre­mona, it is debat­ed whether the first real vio­lin was built by Andrea Amati, one of the famous luthiers, or lute-builders, in the first half of the 16th cen­tu­ry by order of the Medici fam­i­ly.
The old­est sur­viv­ing vio­lin, dat­ed inside, is the “Charles IX” by Andrea Amati, made in Cre­mona in 1564, but the label is very doubt­ful. The Met­ro­pol­i­tan Muse­um of Art has an Amati vio­lin that may be even old­er, pos­si­bly dat­ing to 1558 but also this date is very doubt­ful. One of the most famous and cer­tain­ly the most pris­tine is the Mes­si­ah Stradi­var­ius (also known as the ‘Sal­abue’) made by Anto­nio Stradi­vari in 1716 and very lit­tle played, per­haps almost nev­er and in an as new state. It is now locat­ed in the Ash­molean Muse­um of Oxford

Amati violin
Amati Cre­mona 1564
Different sizes of violins

Finding the right size of violin

Got your first violin…? But the right size?

Find­ing the right size of vio­lin for their child is always a mat­ter that pre­oc­cu­pies par­ents once they meet the deci­sion to start vio­lin lessons. In the major­i­ty of the cas­es of par­ents usu­al­ly buy the instru­ment ahead the first meet­ing with the teacher and usu­al­ly 2 sizes big­ger than the appro­pri­ate (the log­ic behind that is obvi­ous). Why to buy four of five vio­lins with small­er sizes instead of buy­ing just one in the end size. The truth how­ev­er is that an instru­ment which is too small or large is dif­fi­cult to play and more dif­fi­cult to lis­ten to for par­ents. Ill-fit­ting instru­ments can­not be played in tune and can harm the young player’s grow­ing mus­cles and ten­dons. More­over chil­dren avoid instinc­tive­ly tir­ing activ­i­ties that push­es their mus­cu­lar sys­tem into its lim­its. As result they avoid to prac­tice quit­ting the music lessons.
It is thus essen­tial from the very begin­ning to have the nec­es­sary infor­ma­tion in mind to make the right deci­sion about the vio­lin size. The fol­low­ing table will give a gen­er­al idea about the appro­pri­ate size in regard to age and arm length with­out though being “panacea”.

A table comparing the size of violin in relation to age and arm length:

Age of play­er Player’s arm length Vio­lin Size Vio­lin mea­sure­ments (Length: body & Total)
11 to adult 23 “ 4/4 or full size 14 – 23, 5 “
9 – 12 years 21,5 – 22, 00 “ 3/4 13 – 21 “
7 – 9 years 20” 2/4 or 1/2 12, 5 – 20, 5 “
5 — 7 years 18 – 18, 5” 1/4 11 – 19 “
4 — 6 years 16, 5” 1/8 10 – 17 “
4 – 5 years 15 “ 1/10 9 – 16 “
3 – 5 years 14 “ 1/16 8 – 14, 5

 

Alter­na­tive­ly you can always size a vio­lin against the play­er. Have the young child  hold the vio­lin up on the left shoul­der and extend­ing out 45 degrees from their side (not in the front, not to the side.) Next, ask the play­er to reach from under the vio­lin to the scroll (curly end) of the vio­lin with their out­stretched left hand, curv­ing the fin­gers around the scroll from below. If the scroll ends up in the wrist (begin­ning of the palm) then you have the appro­pri­ate size (see the pho­to below).

 

When the scroll end on the wrist ( beginning of the palm) then you have the right size.
When the scroll end on the wrist ( begin­ning of the palm) then you have the right size.

 

 

How to hold the violin bow

Simple Violin lessons :

The bow­ing tech­nique (and hold) has gone through many evo­lu­tion­ary stages over the cen­turies. The way in which the bow was hold was depend­ing on the posi­tion of the main body of the instru­ments the weight of the bow and the curve of the bow, and final­ly on each indi­vid­ual play­er and his tech­ni­cal abilities.The last cen­tu­ry the vio­lin bow hold has been man­i­fes­tat­ed into a spe­cif­ic hold, accept­ed by all mod­ern vio­lin schools, that allows a wide spec­trum bow­ing tech­nicks and sound colours

How to hold the violin bow, demonstrated in pictures.

Step 1

Hold pen­cil in you left hand. Place pen­cil on the first crease (knuck­le) of the mid­dle and ring fin­gers on the right hand

holding the violin bow 8
Step 1

 

 

Step 2

Touch the tip of the thump to the pen­cil oppo­site the the mid­dle and ring fin­gers.

Holding the violin bow 1thump and to fingers
step 2

 

Step 3

Turn had over and make sure that the thump stays bent.

step 3
Step 3

 

Step 4

Rest the point­er fin­ger on its side, between the first and sec­ond knuck­le.

holding the violin bow 2
Step 4

 

Step 5

Touch the tip of the last fin­ger on the top of the pen­cil

holding the violin bow last
Step 5

 Step 6

Always remem­ber NEVER bent the thump in the oppo­site direc­tion.

step 5
How to hold the vio­lin bow. step 6

What player or parent should know to buy the right Violin

violin- tips on buying a violin

9 Tips for a player or parent to buy the right Violin.

1) Determine the appropriate quality and the budget range for the instrument.

Dis­cuss with the teacher about what lev­el of instru­ment would be appro­pri­ate for the musi­cal and tech­ni­cal lev­el and the progress-pace of your child. Note that a good or bad instru­ment can cer­tain­ly have pos­i­tive or neg­a­tive effect on the learn­ing process. The teacher may also be aware about what lev­el of qual­i­ty cor­re­sponds to cer­tain price range

 2) Plan ahead

Have a cer­tain price range in mind when you go to any shop so that they can pro­vide you instru­ments in that spe­cif­ic range from which you can choose the right one for you. Try­ing instru­ments from dif­fer­ent price ranges can be dis­ori­en­tat­ing and time con­sum­ing

3) Spend some time for research

Allow 1 or 2 hours in a week for the process of look­ing at instru­ments and/or bows. The process will be more enjoy­able and edu­ca­tion­al with­out time pres­sure. The process has three ele­ments: 1) Dis­cov­ery — involves learn­ing how a bet­ter vio­lin can enable you to devel­op your sound — its qual­i­ty, tone colours, expres­sion and response; 2) Defin­ing your taste and needs — requires you to ask your­self sev­er­al ques­tions: what kind of instru­ment suits your needs best, whether it be for play­ing in orches­tra, doing solos or play­ing for your own enjoy­ment? 3) Learn­ing to com­mu­ni­cate what you hear to the pro­fes­sion­als so they can deter­mine whether changes can be made that will help in find­ing the “right” vio­lin. Sound will be affect­ed by a change in strings or bridge and a sound­post adjust­ment. If you like cer­tain things about an instru­ment or bow, but not oth­ers, talk about this with whomev­er is help­ing you. It will help you get what you want in the most effi­cient way.

4) Verify and compare prices.

When buy­ing vio­lins which are made in com­mer­cial mod­el ( in large num­bers hav­ing a spe­cif­ic brand) you can always com­pare their prices with those of for­eign or online shops. Being aware of the diver­gence you can always ask for the rea­sons or even bar­gain for a price reduc­tion. With­out of course exclud­ing the pos­si­bil­i­ty of order­ing it from abroad since you have tried it and match­es your needs.

5) Ask about trade-in Policy of the shop.

Make also sure that you ask about the trade in pol­i­cy of the shop. If your child should by a bet­ter or larg­er vio­lin (click here for use­ful guide for find­ing the appro­pri­ate size) then you should know from the begin­ning, what val­ue will your present pur­chase be giv­en in a trade sit­u­a­tion? Also try to deter­mine what selec­tion the shop has avail­able in the range or size that might be the next step-up if trad­ing is impor­tant to you.

6) Build a long-term relationship with the seller.

Buy­ing a vio­lin is not like buy­ing a pair of shoes. You don’t make your pur­chase, use it until it wears out and then get a new one. Fine stringed instru­ments are designed to last hun­dreds of years and, in a sense, you are just a cus­to­di­an of that instru­ment for a num­ber of years. Dur­ing that time, you will need a repair­per­son to make cer­tain your instru­ment is healthy and sound­ing its best. It is in your best inter­est if the sell­er pro­vides this ser­vice, espe­cial­ly if the sell­er offers 100% trade in val­ue. In that way the sell­er will have an inter­est in the upkeep of your instru­ment and will keep you advised of what­ev­er is nec­es­sary to main­tain its val­ue.

7) Buy a good Value.

Buy a fine vio­lin from some­one who has some­thing at stake in being hon­est and pro­vid­ing good val­ue, such as a good rep­u­ta­tion in the com­mu­ni­ty, a busi­ness rela­tion­ship with your teacher or a per­son­al rela­tion­ship. Val­ue of fine instru­ments is based on four things: ori­gin, qual­i­ty of crafts­man­ship, con­di­tion and sound. In most instances, the buy­er is quite depen­dent on the seller’s exper­tise and per­spec­tive on the mar­ket place to price instru­ments and bows accord­ing­ly. Unfor­tu­nate­ly, there is no Blue Book or Consumer’s Report for vio­lin val­ues.

8) Take advice from different person who may give an opinion.

Dis­cuss with the sell­er the pos­si­bil­i­ty of bor­row­ing the instru­ment. If you can do so play your­self the vio­lin for a week, bring oth­er vio­lin­ists to play on it. Lis­ten to it from a cer­tain dis­tance; at best in a large hall the good instru­ments are usu­al­ly man­i­fest­ed. And trust your intu­ition. If it feels good play­ing it most prob­a­bly sounds also good

9) Expensive doesn’t mean necessarily good.

Expen­sive instru­ments are not nec­es­sar­i­ly bet­ter than inex­pen­sive. The price of instru­ments in many instances is inde­pen­dent of the qual­i­ty due sev­er­al fac­tors (brand, age,country, his­to­ry etc.).

Motivate children to practice violin

Violin - Modivation and Practice
Learn­ing is easy if you are modi­vat­ed

 

How to motivate your children to practice violin?

Have you ever heart the vio­lin teacher (or music teacher) telling you that vio­lin play­ing is not so much about tal­ent but moti­va­tion and prac­tice. The answer in the ques­tion of how to moti­vate chil­dren to prac­tice vio­lin  lies on you, par­ents. Check the fol­low­ing tips that will help you to encour­age the child in the long and chal­leng­ing way of learn­ing music.

- Attain with the child as many music con­certs as pos­si­ble!
— Lis­ten to music at home or in the car. With the tech­no­log­i­cal devel­op­ment the access to beau­ti­ful music is eas­i­er than ever. Vis­it Youtube or any oth­er video providers and watch togeth­er the mon­u­men­tal con­certs by the great­est musi­cians in the world.
— Lis­ten to your child prac­tice or par­tic­i­pate your­self. Start also learn­ing an instru­ment. Chil­dren that have par­ents play­ing or learn­ing an instru­ment are usu­al­ly more moti­vat­ed
— Try to sign the child into the region­al orches­tra or chore or cham­ber music ensem­ble. The feel­ing of a com­mon goal and estab­lish­ment as well as the feel­ing of belong­ing into a music com­mu­ni­ty is always a great moti­va­tion for the chil­dren.
— Attain Solfe­gio class­es in an ear­ly stage. Increased aware­ness on music cre­ates stronger need to express it.
— Encour­age the child to play for friends, rel­a­tives, neigh­bors etc.
— Set a prac­tice sched­ule for the week. If pos­si­ble cre­ate a chart where you can take notes about the time, goals, achieve­ments

Always keep in mind…Do not expect the chil­dren to start prac­tice alone by their own ini­tia­tive from the very begin­ning. Its very easy to resign just by say­ing that your child has now affin­i­ty to music (or tal­ent). Always remem­ber that the envi­ron­ment in which receives his influ­ences is one of the cru­cial fac­tors for its musi­cal devel­op­ment.

Σημασία των μαθημάτων μουσικής (και συνεπώς του Βιολιού) στην ανάπτυξη του παιδιού — Μέθοδοι Suzuki και Kodaly

 

The importance of learning music in children's development
Young Athe­ni­ans learn­ing music

 

 

It occurred to me by intu­ition and music

was the dri­ving force behind that intu­ition.

My dis­cov­ery was the result of musi­cal per­cep­tion.”

(When asked about his the­o­ry of rel­a­tiv­i­ty)

 

If I were not a physi­cist, I would prob­a­bly be a musi­cian.

I often think in music. I live my day­dreams in music.

I see my life in terms of music.

 

Albert Ein­stein

 

 

 

Η σημασία της μουσικής στην ανάπτυξη του παιδιού

 

  • Επιστημονικές έρευνες (βλέπε Dr. Rausch­er, Shaw, Levine, Wright, Den­nis and New­comb Dr. James Catterall,et al) έχουν επισημάνει τον καταλυτικό ρόλο της μουσικής στην ανάπτυξη του χώρο-χρονικού συλλογισμού και αντίληψης(spatial-temporal rea­son­ing) ειδικά στα παιδιά προσχολικής ηλικίας. Έχουν επίσης αναδείξει τον συσχετισμό της μουσικής εκπαίδευσης με την βελτίωση του δείκτη ευφυΐας-IQ (Mozart effect) και των επιδόσεων σε άλλα γνωσιολογικά πεδία.(στα μαθηματικά, στις ξένες γλώσσες κτλ.)
  • Η θετική επίδραση της μουσικής στην ανάπτυξη των κινητικών-μοτορικών ικανοτήτων των παιδιών έχει αναγνωριστεί από την επιστημονική κοινότητα η οποία την χρησιμοποιεί και σαν θεραπευτικό μέσο για παιδιά με κινητικά προβλήματα. Παράλληλα, επιστημονικές έρευνες έχουν επισημάνει το καθοριστικό ρόλο που μπορεί να παίξει η ενασχόληση με την μουσική στη βελτίωση του συντονισμός, της συγκέντρωση και της μνήμης (Muel­er 1984, Dr.Wilson 1989, Sina­tra, 1986, Whitwell 1977).
  • Η μουσική εξασφαλίζει την ψυχική υγεία και κοινωνικοποίηση των παιδιών ενώ ταυτόχρονα ενδυναμώνει τις επικοινωνιακές τους ικανότητες και αυτοπεποίθηση. (Nor­we­gian Research Coun­cil for Sci­ence and the Human­i­ties)
    (Για περαιτέρω ενημέρωση γύρω από το θέμα παρατίθεται η σχετική βιβλιογραφία στο τέλος.)

 

 

 

Η Μέθοδος Suzuki.

 

Η μέθοδος Suzu­ki αποτελεί ένα από τα πιο επιτυχημένα παιδαγωγικά προγράμματα παγκοσμίως. Βασίζεται στην παιδαγωγική αρχή ότι κάθε παιδί έχει απεριόριστες δυνατότητες αρκεί να βρεθεί στο κατάλληλο περιβάλλον που θα το ενθαρρύνει και θα το βοηθήσει να τις αναπτύξει. Όλα τα παιδιά μαθαίνουν την μητρική τους γλώσσα με πρωτοφανή ευκολία και φυσικότητα. Η μέθοδος Suzu­ki στοχεύει ακριβώς στο να βοηθήσει τα παιδιά να αναπτύξουν το μουσικό τους ταλέντο με τον ίδιο αβίαστο τρόπο που μαθαίνουν την μητρική τους γλώσσα.

 

Συστατικά στοιχεία της προσέγγισης Suzuki  στην εκμάθηση ενός οργάνου είναι:

  1. Η επαφή του παιδιού με το όργανο σε πολύ νεαρή ηλικία (3–4 χρόνια είναι η συνήθης ηλικία στις περισσότερες χώρες)
  2. Η σημασία του να ακούει πολλή καλή μουσική.
  3. Το να μάθει να παίζει πριν να διαβάζει μουσική.
  4. Η δημιουργία του κατάλληλου μαθησιακού περιβάλλοντος.
  5. Η διδασκαλία από ικανούς και εκπαιδευμένους παιδαγωγούς
  6. Η ενεργώς συμμετοχή των γονιών στη διαδικασία μάθησης
  7. Το επιλεγμένο ρεπερτόριο
  8. Η βαρύτητα που δίνεται στο να αποκτήσει το παιδί ισορροπημένο παίξιμο και καλό ήχο
  9. Η ενθάρρυνση της κοινωνικοποίησης των παιδιών μέσω της μουσικής, και η χρησιμοποίηση της αλληλεπίδρασης των παιδιών σαν εκπαιδευτικό εργαλείο
  10. Μαθήματα παραδίδονται ατομικά ή σε μικρές ομάδες 4–6 παιδιώ
  11. Οι στόχοι της μεθόδου Suzu­ki δεν εστιάζονται αποκλειστικά στην εκμάθηση ενός οργάνου, παρόλο που έδωσε την δυνατότητα σε παρά πολλά παιδιά να παίξουν σε πολύ ψηλό επίπεδο(πολλοί αναγνωρισμένοι επαγγελματίες έχουν κάνει τα πρώτα τους βήματα με την μέθοδο Suzu­ki). Ιδιαίτερη βαρύτητα δίνεται στην παιδεία που μπορεί να δοθεί μέσω της μουσικής και συμβάλλει στην συνολική ανάπτυξη και ολοκλήρωση του παιδιού.

 

 

Μέθοδος Kodaly

Η Μέθοδος Kodaly είναι γέννημα του ίδιου Ούγγρου συνθέτη (Kodaly) ο οποίος σαν καθηγητής της ακαδημίας F.Liszt στην Βουδαπέστη διαπίστωσε τις ελλείψεις του μουσικού παιδαγωγικού συστήματος της χώρας και τον αρνητικό τους αντίκτυπο στην μουσική παιδεία των νέων. Θέλοντας να συμβάλει στην βελτίωση του συστήματος δημιούργησε την Μέθοδο Ζ.Kodaly η οποία βασίζεται στις ακόλουθες αρχές:

  • Τα παιδιά μαθαίνουν με την άμεση εμπειρία και όχι με διανοητική αφαίρεση. Οι μουσικές δομές αφομοιώνονται αρχικά ασυνείδητα για μεταβληθούν σταδιακά με την εξάσκηση σε συνειδητή γνώση.
  • Παρόλο που η μέθοδος μπορεί να χρησιμοποιηθεί για όλες τις ηλικίες, το ηλικιακό διάστημα των 3–7 χρόνων θεωρείται ιδιαίτερα σημαντικό.
  • Το πρωταρχικό μουσικό όργανο είναι η ίδια η φωνή. Είναι αδύνατο να τραγουδηθεί κάτι προτού να αφομοιωθεί από το εσωτερικό «αφτί». Σημαντικό εργαλείο στη μέθοδο είναι το σχετικό σολφέζ , που επιτρέπει την ανάπτυξη της τονικής αντίληψης.
  • Σήματα με τα χέρια βοηθούν που αντιστοιχούν στο σολφέζ χρησιμοποιούνται σαν συνδετικός κρίκος μεταξύ ήχων και γραμμένων φθόγγων.
  • Στη μέθοδο Kodaly δίνεται σημαντική βαρύτητα στην ποιότητα της μουσικής που διδάσκονται τα παιδιά έτσι ώστε να αναπτύξουν από νωρίς κριτήριο για την καλή μουσική.
  • Η πεντατονική μουσική που αποτελεί μια από τις πιο αρχέγονες μουσικές δομές εισάγεται από πολύ νωρίς.
  • Μεγάλη έμφαση δίνεται στην ανάπτυξη της αίσθησης της τονικότητας και της «εσωτερικής ακοής»[1]. Ένα από τα πιο σημαντικά εργαλεία  για το σκοπό αυτό είναι η ίδια η φωνή.
  • Ο ρυθμός της μουσικής ενός έθνους γεννιέται από τους ρυθμούς του γλωσσικού του ιδιώματος. Η διασύνδεση των δύο, του μουσικού δηλαδή ρυθμού και της ομιλίας, αποτελεί μια αποτελεσματική μέθοδο καλύτερης αφομοίωσης των διάφορων δομών της μουσικής.
    [1] Η ικανότητα να ακούς εσωτερικά ότι διαβάζεις και να γράφεις ότι ακούς.