Book Review: String players Dijana Ihas, Miranda Wilson, and Gaelen McCormick Investigate the Evolution of Pedagogy

By Mary Nemet | From the September-October issue of Strings Magazine

This trio of eminent and experienced string teachers has collaborated to produce Teaching Violin, Viola, Cello, and Double Bass, an in-depth study of historical and modern pedagogical practices. Each of them brings not only zeal but zest to the study of their particular instruments. Dijana Ihas, professor of music education at Pacific University, Oregon, introduces the reader to the violin and the viola. Her research reaches back to Geminiani and Leopold Mozart, and she explores the Italian, French, German, Franco-Belgian, Russian, and American violin schools of thought and practice. Her detailed journey through time elucidates how the string world arrived at current teaching and performance standards.

In a topic as vast as this one, omissions are bound to occur. I missed notable violin teachers Alfred Dubois and his illustrious pupil Arthur Grumiaux in Ihas’ chapter on the Franco-Belgian violin school, also violinists Isaac Stern and Eudice Shapiro in her chapter on the rise of the American school.

Ihas then discusses the viola, heading this chapter “Cinderella No More,” inspired by the legendary Lionel Tertis: the first modern teacher-performer. Stigma surrounding the viola as a less-valued instrument persisted well into the 20th century. However, virtuosi of the new solo instrument, including William Primrose, Karen Tuttle, Watson Forbes, Paul Doktor, and Paul Hindemith, all contributed significantly to securing the viola its rightful place in the string family. Today, Bruno Giuranna, Kim Kashkashian, Tabea Zimmermann, and Hong-Mei Xiao continue to highlight the viola’s unique tonal qualities.

Miranda Wilson, professor of cello at the University of Idaho, follows with a fascinating guide to cello playing and teaching. She commences with the Paris Conservatoire pedagogues, then the Dresden School and the first endpin pedagogues, and the influence of physiology. She follows with 20th-century pedagogues, disciples of Casals, mind-body approaches, methods for beginning and intermediate students, Suzuki-based approaches, and applications to modern right- and left-hand teaching. Lastly, and very importantly, her final chapter focuses on practicing. This is so often an overlooked aspect and one which even the best teachers don’t always have time for.

Gaelen McCormick adds her wisdom and knowledge of the double bass. Existing in many forms prior to 1800, Domenico Dragonetti inspired composers like Beethoven, Mozart, and Haydn to write more challenging material for the bass. However, scarcity of training meant technique lagged behind the increasing complexity of bass orchestral parts, with no standard in shape or size for either the instrument or its bow. McCormick examines the various earliest methods, including Bottesini’s bow hold. The left- and right-hand techniques of Simandl and later Cruft and Rabbath along with many other notables are clearly explained, ending with a discussion of Orin O’Brien, the first woman bassist in the New York Philharmonic.

The book contains an abundance of information in exhaustive detail. Summaries, notes, bibliographies, and selected readings follow each topic. There is also an overview of historic national schools for each instrument and an index of names and terms.

Summarizing three centuries of string pedagogy to produce this comprehensive resource was a remarkable undertaking for these three string experts. They have left no stone unturned in bringing readers the fascinating history of string teaching and playing. Even if you have been teaching for decades, remember the adage, “To teach is to learn.” Here is a must-read for every string aficionado.