A Violinist S Handbook

Carrying the torch of the Russian violin school that was handed down by towering performers like Jascha Heifetz and Nathan Milstein, Jay Zhong records his pedegogical findings on violin performance in A Violinist's Handbook, A Simpler Manual to Learn the Instrument. Mr. Zhong was a disciple of the celebrated violin master Elmar Oliveira and the noted Russian teacher Raphael Bronstein, an pupil of the great Leopold Auer. Mr. Zhong's talent was discovered and recognized by Nathan Milstein at age 14, and subsequently promoted by concert manager Harold Shaw. Mr. Zhong has performed as a solo violinist and chamber musician on four continents of the globe. He has held violin professorship at California State University, Los Angeles, Western Illinois University, and taught master-classes at Southern Methodist University, University of Delaware, University of Kansas at Lawrence, Beijing Central Conservatory of Music in China, among other music institutions.

This book is the only complete and up-to-date annotated bibliography available on women's activities and contributions in the creation and performance of music through the ages. Encompassing major books, articles and recordings published over the past five decades, the book examines a broad cross-section of contemporary thought, with each entry - with over 500 devoted to resources from countries outside the US - including annotation along with a critical description of content.

What are the key topics that define Romantic violin playing?

Despite the many books that have been published about violin techniques, there is a need for a book which gives specific mechanical instruction in how to avoid the many physical ills which heretofore have been considered occupational hazards of violinists. The purpose of this book is to present daily routines to the teacher, student, and accomplished artist, to follow as a way of life, no less important than the study of music and interpretation for the purpose of a superb performance. My thesis is that the artist may realize his potentialities with security, only as long as he can prevent such conditions as undue tensions, frustrations, headaches, cramped muscles, neck boils, swollen fingers, stiffened joints, and resulting neuroses.

This is a handbook for the daily use of violin teachers and violin students; and it contains explanations of the left hand difficulties and of their solution, and directions as to the systematic acquirement of the various bowings, both firm and bounding. That Kreutzer still holds first place in the violin students' library we must all admit, and with all of the Kreutzer literature it is much to be wondered at that we have had to wait so long for a book like Mr. Cutter's. The young student of Kreutzer reads this book through and exclaims upon the clearness with which difficulties that he has never been able to satisfactorily surmount are explained. The teacher of Kreutzer finds here presented in a masterly manner, though briefly, the philosophy of Kreutzer and probably a clearer insight than he has ever had before of its pedagogic value. Mr. Cutter's book is not a compilation, but on the contrary, the reader feels that the author is writing out of his own thoughtful experience.