Aspects of European influences on violin playing and teaching in Australia

Australia has not only a highly interesting - and surprisingly rich - violinistic past, but has recently succeeded in gaining an enviable position in the field of instrumental pedagogy and performance. Australian artists and musicians play an important part in cultural life, both in their own country and on the international scene. The present dissertation, which has involved a wide-ranging investigation from private sources as well as teaching and performing organisations, aims at defining the essential factors which have contributed to the formation and development of what may be called the Australian school of violin playing and teaching. Starting from a general and historical standpoint, the research moves towards more specific aspects including concrete data derived from personal experience. Chapter I investigates the historical background of violin playing and defines the sources from which the overseas schools have evolved. From the formation of the early schools of Corelli and Tartini in Italy, this research brings to light the remarkable continuity of the violinistic tradition down to the present time. Teacher-pupil genealogical studies demonstrate the possibility of tracing unbroken lines leading from Corelli and Tartini through Viotti and his disciples, to the present-day Australian violinists. Chapter II constitutes an attempt at a systematic comparative study of the great European schools of violin playing and of their Australian ramifications. The procedure adopted consists of a detailed examination of individual schools, first by presenting an outline of their history, key representatives, methodology and other characteristics. This is followed by the identification of the links gradually appearing in Australia and finally established at the present time. Finally, Chapters III and IV focus on two noted Australian violinists and pedagogues and investigate the varying as well as the common background of their early instrumental training. This study offers the possibility of considering different elements in the European tradition which are reflected in their highly individualized approach to playing and teaching. One can find here some of their many original ideas and striking pedagogical concepts