Publication Cover
Stanislavski Studies
Practice, Legacy, and Contemporary Theater
Volume 12, 2024 - Issue 1
576
Views
0
CrossRef citations to date
0
Altmetric
Research Articles

Enhancing Young Violinists’ Musical Identities Using a Dialectical Approach Drawn from the Stanislavsky System

& ORCID Icon

Bibliography

  • Bach, C.P.E. Versuch über die wahre Art das Clavier zu spielen (Berlin, 1753/R, 2/1787 Eng. trans., 1949/R as Essay on the True Art of Playing Keyboard Instruments)
  • Barenboim, L. A. Voprosy fortepiannoĭ Pedagogiki I Ispolnitelʹstva [Problems of Piano Pedagogy and Performance]. Leningrad: Musika, 1937.
  • Bauman, Z. Liquid Modernity. Cambridge: Polity, 2000.
  • Benedetti, J. Stanislavski: A Biography. Abingdon & New York: Routledge, 1988.
  • Bernacka, B. “l’Interprétation De La Musique: En Movement Dans Le Contexte Des Méthodes De Konstantin Stanislavski Et De Mikhail Chekhov.” Le Rythme: L’interprétation Corporelle (2017): 4–9.
  • Bowman, W. D. Philosophical Perspectives on Music. Oxford: Oxford Univiversity Press, 1998.
  • Boyden, D., P. Walls, P. Holman, K. Moens, R. Stowell, A. Barnett, M. Glaser, A. Shipton, P. Cooke, A. Dick, & C. Goertzen. “Violin.” Grove Music Online (2001). https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000041161.
  • Bronfenbrenner, U. The Ecology of Human Development: Experiments by Nature and Design. Massachusetts: Harvard University Press, 1979.
  • Carnicke, S. Stanislavski in Focus: An Acting Master for the Twenty-First Century. 2nd ed. Abingdon & New York: Routledge, 2009.
  • Carnicke, S. “Stanislavski’s System: Pathways for the Actor.” In Actor Training, edited by A. Hodge, 1–25. 2nd ed. Abingdon and New York: Routledge, 2010.
  • Collier-Slone, K. “The Psychology of Humanistic Life Education: A longitudinal Study.” Ph.D. Diss., Union Institute, 1991.
  • Dale, M. “American Modern Dance, Music Visualizations and Plastique Animée.” Le Rythme: L’interprétation Corporelle (2017): 10–21.
  • Davidson, A. “Konstantin Stanislavski and Emile Jaques-Dalcroze: Historical and Pedagogical Connections Between Actor Training and Music Education.” Stanislavski Studies 9, no. 2 (2021): 185–203. doi:10.1080/20567790.2021.1945811.
  • Davidson, J. W. “The Solo performer’s Identity.” In Musical Identities, edited by R. A. R. MacDonald, D. J. Hargreaves, and D. Miell, 99–113. Oxford: Oxford University Press, 2002.
  • D. Deutsch, A. Gabrielsson, J. Sloboda, I. Cross, C. Drake, R. Parncutt, S. McAdams, E. F. Clarke, S. E. Trehub, S. O’Neill, D. Hargreaves, A. Kemp, A. North, and R. J. Zatorre. “Psychology of Music.” Grove Music Online. 2001; Accessed Feb 19, 2024. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000042574.
  • Dunsby, J. “Performance.” Grove Music Online (2022). https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000043819.
  • Erikson, E. H. Identity: Youth and Crisis. New York: W. W. Norton, 1968.
  • Evans, P. and G. E. McPherson. “Identity and Practice: The Motivational Benefits of a Long-Term Musical Identity.” Psychology of Music 43, no. 3 (2015): 407–422. doi:10.1177/0305735613514471.
  • Gray, P. “Stanislavski and America: A Critical Chronology.” The Tulane Drama Review 9, no. 2 (1964): 21–60. doi:10.2307/1125101.
  • Hargreaves, D. J., D. Miell, and R. A. MacDonald. “What are Musical Identities and Why are They Important?” In Musical Identities, edited by R. A. R. MacDonald, D. J. Hargreaves, and D. Miell, 1–20. Oxford: Oxford University Press, 2002.
  • Harter, S. “The Development of Self-Representations During Childhood and Adolescence.” In Handbook of Self and Identity, edited by M. R. Leary and J. P. Tangney, 610–642. New York: Guilford Press, 2003.
  • Hinkley, J. S. “A Clarinetist Acts: A Study of Constantin Stanislavski’s Acting Techniques as Applied to Clarinet Performance and Pedagogy.” DM diss., Florida: Florida State University, 2002.
  • Iwazumi, R. “Tracing the Artistic Lineage of Vieuxtemps and Ysaÿe Through Ysaÿe’s Version of Vieuxtemps’ “Cadenza No. 1” in Concerto No. 5 in a Minor, Op. 37.” Revue De La Société Liégeoise De Musicologie 37–38 (2018–2019): 73–98.
  • Jaques-Dalcroze, E. Souvenirs: Notes Et Critiques. Neuchâtel: Victor Attinger, 1942.
  • Johnson, A. “The Acting System of Konstantin Stanislavski as Applied to Piano Performance.” DMA diss., Oklahoma University, 2019.
  • Kroger, J. Identity in Adolescence: The Balance Between Self and Other. London and New York: Routledge, 1993.
  • Lee, J. W. “Dalcroze by Any Other Name: Eurhythmics in Early Modern Theatre and Dance.” PhD diss., Texas Tech University, 2003.
  • MacDonald, R. A. R., D. J. Hargreaves, & D. E. Miell. “The changing identity of musical identities.” In Handbook of Musical Identities, 3–23. Oxford University Press, 2017.
  • Marcia, J. E. “The Empirical Study of Ego Identity.” In Identity and Development: An Interdisciplinary Approach, edited by H. A. Bosma, T. L. G. Graafsma, H. D. Grotevant, and D. J. de Levita, 67–80. California: Sage Publications, Inc, 1994.
  • Marcia, J. E. “Adolescence, Identity, and the Bernardone Family.” Identity an International Journal of Theory and Research 2, no. 3 (2002): 199–209. doi:10.1207/S1532706XID0203_01.
  • McAlvin, B. “Creating an Unbroken Line of Becoming in Live Musical Performance.” DMP diss., New York: The City University of New York, 2017.
  • Minut, B. A. “Applying Constantin Stanislavski’s Acting ‘System’ to Choral Rehearsals.” DA diss., Ball State University, 2009.
  • Moore, S. The Stanislavski System: The Professional Training of an Actor; Digested from the Teachings of Konstantin S. Stanislavski. Second revised ed. London: Penguin Books, 1984.
  • Moran, S., and V. John-Steiner. “Creativity in the Making: Vygotsky’s Contemporary Contribution to the Dialectic of Development and Creativity.” In Creativity and Development, edited by R. K. Sawyer, V. John-Steiner, S. Moran, R. J. Sternberg, D. H. Feldman, J. Nakamura, and M. Csikszentmihalyi, 61–90. Oxford: Oxford University Press, 2003.
  • Narmour, E. “On the Relationship of Analytical Theory to Performance and Interpretation.” Explorations in Music, the Arts, and Ideas Essays in Honor of Leonard B Meyer no. 7 (1988): 317–340.
  • Neuhaus, H. The Art of Piano Playing. London: Kahn & Averill, 1993.
  • Norvelle, L. “Stanislavski Revisited.” Educational Theater Journal 14, no. 1 (March 1962): 29–37. doi:10.2307/3204712.
  • Oakland, J., and R. MacDonald. “Identity and the Performing Musician.” In The Oxford Handbook of Music Performance, Vol. 1, edited by G. EMacPherson, 651–69. Oxford: Oxford University Press, 2022.
  • O’Neill, S. A. “Positive Youth Musical Engagement.” In The Child as Musician: A Handbook of Musical Development, edited by G. E. McPherson, 461–474. Oxford: Oxford University Press, 2007.
  • Papazachariou-Christoforou, M. “Incorporation of Informal Music Learning Practices in a Primary Classroom in Cyprus.” International Journal of Music Education 41, no. 2 (2023): 330–41. doi:10.1177/02557614221096149.
  • Pecen, E., D. Collins, and A. MacNamara. “Music of the Night: Performance Practitioner Considerations for Enhancement Work in Music.” Sport, Exercise, & Performance Psychology 5, no. 4 (2016): 377–395. doi:10.1037/spy0000067.
  • Shevtsova, M. Rediscovering Stanislavsky. Cambridge, UK: Cambridge University Press, 2019.
  • Stamou, L. A Humanistic Approach to the Teaching of Music: The Philosophy and Practice of the Suzuki Method. Salonika: Macedonian University, 2012.
  • Stanislavski, K. An Actor Prepares, translated by Elizabeth Reynolds Hapgood. New York: Theatre Arts Books, 1936.
  • Stanislavsky, K. Stanislavski on the Art of the Stage, translated by David Magarshack. London: Faber and Faber Limited, 1950.
  • Stanislavsky, K. My Life in Art, translated by J. Benedetti. Abingdon & New York: Routledge, 2008.
  • Starr, W., and C. Starr. To Learn with Love: A Companion for Suzuki Partners. Miami, FL: Summy-Birchard Inc, 1983.
  • Suinn, R. J. Psychology in Sports. Minneapolis: Burgess, 1980.
  • Suzuki, S. Ability Development from Age Zero. Secaucus, NJ: Summy Birch, 1981.
  • Suzuki, S. Nurtured by Love 2nd edition, translated by W. Suzuki Smithtown, New York: Exposition Press, 1983.
  • Taylor, C. Sources of Self: The Making of Modern Identity. Cambridge, MA: Harvard University Press, 1989.
  • Vygotsky, L. S. Thought and Language, translated E. Hanfmann and G. Vakar. Cambridge, MA: MIT Press, 1962 [1934].
  • Whitehead, C. “Creating Musical ‘Truth’: an Interdisciplinary Application of Selected Elements from Konstantin Stanislavski’s Acting ‘System’ to the Classical Pianist’s Selection, Preparation and Performance of Music for Solo Recital.” PhD diss., Texas: Texas Tech University, 2019.
  • Wilson, G., and R. MacDonald. “The Ear of the Beholder: Improvisation, Ambiguity, and Social Contexts in the Constructions of Musical Identities.” In The Handbook of Musical Identities, edited by R. A. R. MacDonald, D. J. Hargreaves, and D. E. Miell, 105–122. Oxford: Oxford University Press, 2017.
  • Zikos, N., and T. Michailidis. “Interdisciplinarity as an Epistemological Issue: An Ongoing Stake in Research and Contemporary Education.” Chemica Chronica 7, no. 78 (2016): 14–18.