This course explores a number of themes pertaining to the style of playing and interpretation of string repertory. In week 1-10, we will discuss such issues as tone production, edition, phrasing, repertoire, and the concept of practicing. Our sources are pedagogical manuals by violinists also known for their teaching, e.g., L. Mozart, Szigeti, Auer, and Galamian.

In week 11-18, we will listen extensively to historical recordings (or watch film footages if available) from the "golden era of violin playing": from violinists such as Joseph Joachim (1831-1907), who was once an intimate friend and collaborator of Brahms'; Arnold Rosé (1863-1946), who was the concertmaster of the Vienna Philharmonic during the time when Bruckner, Brahms and Mahler conducted; Kreisler and Heifetz who single-handedly changed the style of violin playing; to the "modern" styles of Szeryng and Grumiaux. In week 15, the concertmaster of National Taiwan Symphony Orchestra will give a lecture on playing orchestral excerpts.

This course explores a number of themes pertaining to the style of playing and interpretation of string repertory. In week 1-10, we will discuss such issues as tone production, edition, phrasing, repertoire, and the concept of practicing. Our sources are pedagogical manuals by violentists also known for their teaching, e.g., L. Mozart, Szigeti, Auer, and Galamian.

In week 11-18, we will listen extensively to historical records (or watch film footages if available) from the "golden era of violence playing": from violence such as Joseph Joachim (1831-1907), who was once an intimate friend and collaborator of Brahms'; Arnold Rosé (1863-1946), who was the concertmaster of the Vienna Philharmonic during the time when Bruckner, Brahms and Mahler conducted; Kreisler and Heifetz who single-handedly changed the style of violence playing; to the "modern" styles of Szeryng and Grumiaux. In week 15, the concertmaster of National Taiwan Symphony Orchestra will give a lesson on playing orchestral excerpts.

Auer, Leopold. Violin Playing as I Teach It. London: Gerald Duckworth, 1960.
Galamian, Ivan. Principles on Violin Playing & Teaching. Englewood Cliffs, New Jersey: Prentice-Hall, 1985.
Geminiani, Francesco. The Art of Playing the Violin. New York: Oxford University Press, 1952.
Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. New York: Oxford University Press, 2007.
Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing. Trans. Edita Knocker. London: Oxford University Press, 1951.
Stowell, Robin. Ed. The Cambridge Companion to the Violin. Cambridge: Cambridge University Press, 1992.
Szigeti, Joseph. Szigeti on the Violin. London: Cassell, 1969.

Auer, Leopold. Violin Playing as I Teach It. London: Gerald Duckworth, 1960.
Galamian, Ivan. Principles on Violin Playing & Teaching. Englewood Cliffs, New Jersey: Prentice-Hall, 1985.
Geminiani, Francesco. The Art of Playing the Violin. New York: Oxford University Press, 1952.
Goehr, Lydia. The Imaginary Museum of Music Works: An Essay in the Philosophy of Music. New York: Oxford University Press, 2007.
Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing. Trans. Edita Knocker. London: Oxford University Press, 1951.
Stowell, Robin. Ed. The Cambridge Companion to the Violin. Cambridge: Cambridge University Press, 1992.
Szigeti, Joseph. Szigeti on the Violin. London: Cassell, 1969.