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• W1559403498 abstract "Violin performance and pedagogy have been a central thread in my life for manyyears. The art of communicating something you love to others, is a very specialoccupation. I became interested in work of Jan Sedivka as a young studentviolinist in Western Australia, where knowledge of existence of a 'great oldmaster' Jiving in _Tasmania was in hack uf my mind. My first enc_ounter withSedivka occurred when I participated in one of his master classes. During thisclass a contemporary of mine performed first movement of MendelssohnViolin Concerto and I heard my first Sedivkaism the worse octaves sound, thecloser they are to being in tune. I found this thought most amusing and hearteningat time! I once again encountered 'the old man' at a Spring Chamber MusicCamp, where three of Perth's leading string teachers, plus Sedivka, were engagedin a heated discussion about use of right-hand fingers in performance ofunaccompanied Bach. At time Sedivka and his former student Peter Extonargued for negative team while Gregory Baron and Alan Bonds worked for theaffirmative. (Readers note; Sedivka would have been just as happy and capable toargue for other side if opportunity had presented itself!) In 1988, Peter Exton became my principal violin teacher and for two years 'theboss' oversaw my lessons with his unsmiling photographic front. In 1996, at thesuggestion of Peter, I travelled to Melbourne to meet Jan Sedivka and againencountered that generous, alternative, argumentative, grey-haired gentleman whowas so dear to string fraternity of Australia. The ideas he presented were new,challenging and seemingly unconventional. I also discovered a teacher whosemethods intrigued me; he did not say what one would necessarily expect or desire.The experiences described above led me to idea that I would like to attempt tounravel truths of this teacher and in 1998 I moved to Tasmania to study with'the master' and to commence my doctorate. My interest in Sedivka's pedagogicalstyle was motivated further by glaring differences in playing style betweenviolinists in Western Australia and in Tasmania. I also could not believe how many players of a high calibre there were in Hobart, in relation to size of thecity, and how these players exhibited a technical and musical ease of playing. Thephrases of Tasmanian string players seemed to breathe and to have a naturalebb and flow. I was also very aware, however, of immense individuality ofeach player in terms of sound, technique and physical set-up. The combination ofthe factors thus described created a set of unanswered questions that becamecatalysJs for my interest_ and doctoral project presented here was born." @default.
• W1559403498 created "2016-06-24" @default.
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• W1559403498 date "2001-01-01" @default.
• W1559403498 modified "2023-09-27" @default.
• W1559403498 title "An assessment of the contribution to Australian string pedagogy and performance of Jan Sedivka" @default.
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