The new approach to violin

315 Pages·2007·1.27 MB·English

COORDINATING MIND AND MOVEMENT

EXPLORING PARALLELS BETWEEN THE F.M. ALEXANDER
TECHNIQUE AND ‘THE NEW APPROACH TO VIOLIN PLAYING’

by

Maria Christina Louw

Thesis presented in partial fulfilment of the requirements
for the degree of Master of Music (Performing Arts)
at the University of Stellenbosch

Supervisors: Dr Maria Smit
Ms Magdalena Roux

Submitted
December 2004
I, the undersigned, hereby declare that the work contained in this thesis is
my own original work and that I have not previously in its entirety or in
part submitted it at any university for a degree.

MC Louw
6 December 2004
Abstract

The purpose of this study is to explore parallels between ‘The New Approach to
violin playing’, which was developed by the Hungarian violinist Kató Havas, and the
Alexander Technique, a method known for promoting kinaesthetic awareness and
mind-body coordination. The specific objectives of the study are to identify the
parallels between the two methods, and to obtain a deeper understanding of the New
Approach, by using the Alexander Technique as a construct through which to
examine the method. The study aims to illuminate some of the reasons for the
reported efficacy of the New Approach, and to point the way towards achieving unity
of mind and body in an expressive violin technique.

Although the Alexander Technique is widely used and applied by musicians in order
to improve their performance, problems are sometimes encountered in applying the
Technique to the finer aspects of instrumental technique. A method of violin tuition
that incorporates principles and procedures similar to those found in the Alexander
Technique could bridge this gap and prove to be a very powerful tool in coordinating
mind and movement in violin playing. It is the purpose of this study to show that ‘The
New Approach to violin playing’ is such a method, and as such deserves to be more
widely known.

The research was conducted within a qualitative paradigm, using a multi-
methodological approach. An extensive comparative literature study of the two
methods was combined with practical experience gained through regular Alexander
lessons, and participation in New Approach lessons with Kató Havas and her personal
representative, Gloria Bakhshayesh.

The New Approach, like the Alexander Technique, is essentially a search for
awareness, especially in the relationship between the player and the instrument. The
particular value of the New Approach lies in the fact that Havas combines her expert
knowledge of violin technique with an intuitive understanding of the conditions
necessary for the optimal psychophysical functioning of the violinist. Through
organising these principles into a systematised method, Havas makes the acquisition
of an expressive technique more accessible to all.
Opsomming

Die doel van hierdie studie is om ooreenkomste te ondersoek tussen ‘The New
Approach to violin playing’ van die Hongaarse violiste, Kató Havas, en die
Alexander-tegniek, ’n metode bekend daarvoor om kinestetiese bewustheid en
geestelik-liggaamlike koordinasie te verhoog. Die spesifieke doel van die studie is om
ooreenkomste tussen bogenoemde werkwyses te identifiseer, en om ’n beter begrip
van die ‘New Approach’ te vekry, deur die Alexander-tegniek as ’n raamwerk te
gebruik waardeur die metode bestudeer word. Die studie poog om sekere motiverings
vir die effektiwiteit van die ‘New Approach’ uit te lig, en om die weg te wys na die
verwesenliking van geestelik-fisieke eenheid in ’n ekspressiewe viooltegniek.

Alhoewel die Alexander-tegniek dikwels deur uitvoerende musici gebruik word om
hul spelvermoë te verbeter, word probleme soms ondervind in die toepassing van die
tegniek op die fyner aspekte van instrumentale spel. ’n Metode van vioolonderrig wat
beginsels en prosesse soortgelyk aan díé van die Alexander-tegniek insluit, sou
hierdie probleem kon oorkom en as kragtige middel kon dien vir die koördinasie van
denke en ligaamlike beweging in vioolspel. Hierdie studie poog om te illustreer dat
die ‘New Approach’ hierdie kwaliteite het, en as sulks meer blootstelling aan
vioolonderwysers verdien.

In hierdie ondersoek is gebruik gemaak van ’n multi-metodologiese benadering binne
’n kwalitatiewe navorsingsparadigma. ’n Vergelykende literatuurstudie van die
Alexander-tegniek en ‘The New Approach to violin playing’ is gekombineer met
praktiese ervaring wat vekry is deur middel van gereelde Alexander lesse, asook
deelname aan ‘New Approach’ lesse met Kató Havas en haar persoonlike
verteenwoordiger, Gloria Bakhshayesh.

Die ‘New Approach’ – net soos die Alexander-tegniek – is in wese ’n soeke na
bewustheid, veral in die interaksie tussen die violis en die instrument. Die besondere
waarde van die ‘New Approach’ is dat Havas haar gesaghebbende kennis van
viooltegniek gekombineer het met ’n intuïtiewe begrip vir die optimale psigofisiese
funksionering van die violis. Deur hierdie beginsels in ’n sistematiese metode te
orden, skep Havas die moontlikheid om ’n ekspressiewe viooltegniek aan almal
beskikbaar te stel.
Acknowledgements

Dr Maria Smit – Thank you for your efficient guidance and supervision, despite a
very busy schedule. While your words were few, they were well chosen and catalytic
in structuring the study.

Dalena Roux -Your enthusiasm for and belief in this project was a great inspiration to
me. Thank you for introducing the Alexander Technique to me, which not only led to
the idea for this study, but also profoundly influenced my own playing and teaching.

Yvonne Becker - Thank you for teaching me a new way of being, with such
gentleness and humour in the Alexander lessons, and for so patiently and
meticulously reading through the endless pages of manuscript. I dedicate all the
apostrophes in this report to you!

Kató Havas - I don’t think anyone can ever thank you enough for designing ‘The
New Approach to violin playing’ and thereby opening up the way to musical self-
expression for so many people. Thank you for so generously giving of your time and
energy, and for the interest you took in my work. I am deeply indebted to you for
taking on the burden of reading through this manuscript.

Gloria Bakhshayesh – Thank you for sharing your wisdom in the New Approach
lessons, and for your support in the arrangements for the trip to the UK. Thank you
also for giving of your time to read through this paper.

The Beau Soleil Music Centre - Thank you for giving me the time that I needed to
undertake this study, and for the financial support for the New Approach lessons.

The City Vineyard Church - A special word of thanks to my anonymous
benefactor(s), who made it possible for me to have more lessons with Kató Havas.

Lorna Baker - Your listening ear and wise counsel played a significant part in
helping me to complete this study – thank you.

My parents and family – Thank you for always being there for me.

A sincere word of thanks to the Harry Crossley Foundation for the very generous
scholarship grant, which made a significant contribution towards the costs incurred in
undertaking this study.

Through the Lord’s mercies we are not consumed, because His compassions fail not.
They are new every morning; great is Your faithfulness.
- Lamentations 3: 22, 23 -
CONTENTS

PART I: RESEARCH PROBLEM AND DESIGN

1. INTRODUCTION
1.1 Research Problem and objectives 1
1.2 Background 2
1.3 Literature review 3
1.4 Chapter outline 17

2. RESEARCH DESIGN AND METHODOLOGY
2.1 Research design 18
2.2 Methodology 19
2.2.1 Measurement 21
2.2.2 Comparative literature study 22
2.2.3 Participatory action research (PAR) 25
2.3 Validity 30

PART II: A COMPARATIVE LITERATURE STUDY

3. THE FM ALEXANDER TECHNIQUE
3.1 Introduction 34
3.2 Background 34
3.2.1 Biographical details 34
3.2.2 The evolution of the Technique 37
3.3 The method 40
3.3.1 Summary 40
3.3.2 Use 42
3.3.3 Primary control 45
3.3.4 Sensory awareness 49
3.3.5 Guided movement 53
3.3.6 Direction 55
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3.3.7 Inhibition 59
3.3.8 The kinaesthetic effect 64
3.3.9 Postural balance 66
3.3.10 Attention and awareness 69
3.3.11 Control and freedom 71
3.4 Other considerations 73
3.4.1 Teaching 73
3.4.2 Words 75
3.5 Conclusion 77
3.5.1 Framework of key concepts 78
3.5.2 Individual frames 80

4. THE NEW APPROACH TO VIOLIN PLAYING
4.1 Introduction 93
4.2 Background 93
4.2.1 Early influences 93
4.2.2 The Hungarian gypsy violinist 95
4.2.3 Controversy and debate 96
4.2.4 Books 99
4.3 The New Approach 101
4.3.1 A new perspective 101
4.3.2 Stage fright: causes and cures 102
4.4 The method 105
4.4.1 Easy or impossible 106
4.4.2 Inside-outward playing 106
4.4.3 Mind over movement 109
4.4.4 The fundamental balances 112
4.4.5 Touch 117
4.4.6 The inner ear 120
4.4.7 Automation of technique 122

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4.5 The scientific base of the New Approach 124
4.5.1 Gestalt 124
4.5.2 Hellebrandt articles 127
4.5.3 Flow 131
4.6 Summary and conclusion 137

5. A COMPARATIVE STUDY
5.1 Introduction 139
5.2 Framework of Key Concepts 139
5.2.1 The background 140
5.2.1.1 Use 140
5.2.1.2 Primary control 148
5.2.1.3 Sensory awareness 155
5.2.2 The intervention 159
5.2.2.1 Guided movement 159
5.2.2.2 Inhibition 165
5.2.2.3 Direction 172
5.2.3 Improved use 183
5.2.3.1 The kinaesthetic effect 183
5.2.3.2 Postural balance 188
5.2.3.3 Attention and awareness 192
5.2.3.4 Control and freedom 196
5.3 Other considerations 201
5.3.1 Teaching 201
5.3.2 Words 205
5.4 Conclusion 209
5.4.1 Summary 209
5.4.2 Influence 211

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PART III: PARTICIPATORY ACTION RESEARCH

6. PARTICIPATORY ACTION RESEARCH
6.1 Introduction 215
6.2 The lessons 216
6.2.1 The rhythmic pulse and the stance 216
6.2.2 Winging 221
6.2.3 Integrating the body and the instrument 225
6.2.3.1 Flying fiddles 226
6.2.3.2 The no violin-hold 229
6.2.4 Bowing 234
6.2.5 Touch 238
6.2.6 Directing 243
6.2.7 The inner ear 248
6.3 Conclusion 253
6.3.1 Framework of key concepts 254
6.3.2 Participatory action research 256
6.4 Triangulation: the KHANA newsletters 257
6.4.1 Hilary Foxwell 258
6.4.2 Wade Alexander 260
6.4.3 Postlude 261

7. CONCLUSION
7.1 Summary: The New Approach 263
7.2 Concluding comparisons 264
7.3 Final perspectives 270
7.4 Methodological issues 272
7.5 Further recommendations 273
7.6 Aims accomplished 274

References 276
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APPENDICES:

A. Feedback 284
A.1. The Alexander Technique: Becker 284
A.2. The New Approach: Havas 285
A.3. The New Approach: Bakhshayesh 286
B. Codes 287
C. Havas: Words 288
D. Interview Transcript 289
E. Correspondence 294
E.1 Havas 294
E.2 Perkins 296
E.3 Davy 299
F. The KHANA newsletters 301
F.1 Whitfield: hemispheric dominance 301
F.2 Individual observations 301
F.3 References 304

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