Lesson 3 Workbook

Ross, Claudia; He, Baozhang; Chen, Pei-Chia; Yeh, Meng

doi:10.4324/9780203717776-3

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“…("New works do not succeed in Leipzig," a critic said of the premiere of Brahms's First Piano Concerto in 1859.)" 192 Yet with the Parisonatina we have a serialist work, by a relatively unknown composer, using the cellist's name as a theme. It is not melodic and is technically incredibly difficult, stretching the boundaries of what is possible on the instrument.…”

Section: Working With Composersmentioning

confidence: 99%

The Teaching Methods of Aldo Parisot. Nurturing Artistry

Megiddo

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<p>Aldo Parisot has a track record of over six decades of teaching at major institutions such as Yale, Juilliard, and Peabody, among others. His former students are soloists, principals in major orchestras, and teachers at institutions around the world. His former students also follow less conventional paths, finding success in rock, blues, and other musical genres. The success of Parisot’s students suggests that his methods are effective. Yet there is no documentation of his art of teaching, and no study has been done about his concepts of sound, technique, and interpretation.</p> <p>My research examines the teaching methods of Aldo Parisot. Through observation and analysis of his teaching, and interviews with Parisot and former students, I explore what is going on in his lessons, what is contributing to the artistic development of the student, and whether his approach is distinctive. This research contributes to the discussion on effective teaching and is an important addition to the field of cellopedagogy and instrumental teaching. </p>

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Section: Working With Composersmentioning

confidence: 99%

The Teaching Methods of Aldo Parisot. Nurturing Artistry

Megiddo

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Lesson 3 Workbook

Cited by 1 publication

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The Teaching Methods of Aldo Parisot. Nurturing Artistry

The Teaching Methods of Aldo Parisot. Nurturing Artistry

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