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Posts Tagged ‘violin’

Photo: North Wind Picture Archives/Alamy.
A monk writing by hand.

When I mentioned that string teachers have found that beginning students no longer have the finger strength for pressing down strings, Erik wondered what they had been doing in the old days that made their fingers stronger.

One thing they had been doing was writing by hand, not just swiping. Turns out we’ve lost something important.

Additionally, as Christine Rosen says at the Guardian, “In the process we are in danger of losing cognitive skills, sensory experience – and a connection to history.”

She beings by citing the autopen, “a device that stores a person’s signature, replicating it as needed using a mechanical arm that holds a real pen.

“Like many technologies, this rudimentary robotic signature-maker has always provoked ambivalence. We invest signatures with meaning, particularly when the signer is well known. … Fans of singer Bob Dylan expressed ire when they discovered that the limited edition of his book The Philosophy of Modern Song, which cost nearly $600 and came with an official certificate ‘attesting to its having been individually signed by Dylan,’ in fact had made unlimited use of an autopen. Dylan … acknowledged that: ‘using a machine was an error in judgment and I want to rectify it immediately.’

“Our mixed feelings about machine-made signatures make plain our broader relationship to handwriting: it offers a glimpse of individuality. Any time spent doing archival research is a humbling lesson in the challenges and rewards of deciphering the handwritten word. You come to know your long-dead subjects through the quirks of their handwriting; one man’s script becomes spidery and small when he writes something emotionally charged, while another’s pristine pages suggest the diligence of a medieval monk. The calligraphist Bernard Maisner argues that calligraphy, and handwriting more broadly, is ‘not meant to reproduce something over and over again. It’s meant to show the humanity, the responsiveness and variation within.’

“But handwriting is disappearing. A high-school student who took the preliminary SAT used for college admittance in the US confessed to the Wall Street Journal that ‘audible gasps broke out in the room’ when students learned they would have to write a one-sentence statement that all the work is the student’s own, in cursive, or joined-up handwriting. …

“The Common Core State Standards for education in the US, which outline the skills students are expected to achieve at each grade level, no longer require students to learn cursive writing. Finland removed cursive writing from its schools in 2016, and Switzerland, among other countries, has also reduced instruction in cursive handwriting. One assessment claimed that more than 33% of students struggle to achieve competency in basic handwriting, meaning the ability to write legibly the letters of the alphabet (in both upper and lower case). …

“Schoolchildren are not the only ones who can no longer write or read cursive. Fewer and fewer of us put pen to paper to record our thoughts, correspond with friends, or even to jot down a grocery list. Instead of begging a celebrity for an autograph, we request a selfie. Many people no longer have the skill to do more than scrawl their name in an illegible script, and those who do will see that skill atrophy as they rely more on computers and smartphones.

“A newspaper in Toronto recorded the lament of a pastry instructor who realized that many of his culinary students couldn’t properly pipe an inscription in icing on a cake – their cursive writing was too shaky and indistinct to begin with. …

“The skill has deteriorated gradually, and many of us don’t notice our own loss until we’re asked to handwrite something and find ourselves bumbling as we put pen to paper.

“Some people still write in script for special occasions (a condolence letter, an elaborately calligraphed wedding invitation) or dash off a bastardized cursive on the rare occasions when they write a cheque, but apart from teachers, few people insist on a continued place for handwriting in everyday life.

“But we lose something when handwriting disappears. We lose measurable cognitive skills, and we also lose the pleasure of using our hands and a writing implement in a process that for thousands of years has allowed humans to make our thoughts visible to one another. We lose the sensory experience of ink and paper and the visual pleasure of the handwritten word. We lose the ability to read the words of the dead.

“We are far more likely to use our hands to type or swipe. We communicate more but with less physical effort. …

“In 2000, physicians at Cedars-Sinai hospital in Los Angeles took a remedial handwriting course. ‘Many of our physicians don’t write legibly,’ the chief of the medical staff explained to Science Daily. And unlike many professions, doctors’ bad writing can have serious consequences, including medical errors and even death; a woman in Texas won a $450,000 award after her husband took the wrong prescription medicine and died. The pharmacist had misread the doctor’s poorly handwritten instructions. Even though many medical records are now stored on computers, physicians still spend a lot of their time writing notes on charts or writing prescriptions by hand.

“Clarity in handwriting isn’t merely an aid to communication. In some significant way, writing by hand, unlike tracing a letter or typing it, primes the brain for learning to read. Psychologists Pam Mueller and Daniel Oppenheimer compared students taking class notes by hand or on a laptop computer to test whether the medium mattered for student performance. Earlier studies of laptop use in the classroom had focused on how distracting computer use was for students. Not surprisingly, the answer was very distracting, and not just for the notetaker but for nearby peers as well.

“Mueller and Oppenheimer instead studied how laptop use affected the learning process for students who used them. They found that ‘even when laptops are used solely to take notes, they may still be impairing learning because their use results in shallower processing.’ In three different experiments, their research concluded that students who used laptop computers performed worse on conceptual questions in comparison with students who took notes by hand. … We retain information better when we write by hand because the slower pace of writing forces us to summarize as we write, as opposed to the greater speed of transcribing on a keyboard. …

“Researchers worry that abandoning the pen for the keyboard will lead to any number of unforeseen negative consequences. ‘The digitization of writing entails radical transformations of the very act of writing at a sensorimotor, physical level and the (potentially far-reaching) implications of such transformations are far from properly understood,’ notes Anne Mangen, who studies how technology transforms literacy. …

“It is popular to assume that we have replaced one old-fashioned, inefficient tool (handwriting) with a more convenient and efficient alternative (keyboarding). But like the decline of face-to-face interactions, we are not accounting for what we lose in this tradeoff for efficiency, and for the unrecoverable ways of learning and knowing, particularly for children. A child who has mastered the keyboard but grows into an adult who still struggles to sign his own name is not an example of progress.

As a physical act, writing requires dexterity in the hands and fingers as well as the forearms.

“The labor of writing by hand is also part of the pleasure of the experience, argues the novelist Mary Gordon. ‘I believe that the labor has virtue, because of its very physicality.’ “

Very interesting piece. Read more at the Guardian, here.

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Photo:Sasha Arutyunova/New York Times.
South Korean violin maker Ayoung An at her studio in Cremona, Italy. 

It’s a mystery how some children get a passion for an activity at a very young age and never let it go. You can probably think of someone you know who was like that.

At the New York Times, Valeriya Safronova writes about a little girl in Korea who slept with her violin and who later learned to make violins in the Italian tradition.

When Ayoung An was 8,” Safronova writes, “her parents bought her a violin. She slept with the instrument on the pillow next to her every night. Two years later, a shop selling musical instruments opened in Pyeongtaek, South Korea, her hometown, and An became a fixture there, pelting the owner with questions. ‘I think I bothered him a lot,’ An, now 32, said.

“As a teenager, she decided she would become a violin maker. Eventually, a journey with twists and turns took her to Cremona in northern Italy — a famed hub for violin makers, including masters like Antonio Stradivari, since the 16th century. There, An, a rising star in the violin-making world with international awards under her belt, runs her own workshop. …

“On a recent Monday, An was hunched over a thick 20-inch piece of wood held in place by two metal clamps. Pressing her body down for leverage, she scraped the wood with a gouge, removing layers, her hands steady and firm. She was forming a curving neck called a ‘scroll,’ one of the later steps of making a violin or cello. On this day, the violin maker was immersed on a commission for a cello, which shares a similar crafting process.

“Violins like An’s, made in the tradition of Stradivari and Giuseppe Guarneri, require about two months of work and sell for about 16,000 to 17,000 euros, or $17,500 to $18,500. …

“An was 17 when she hatched her plan to learn the craft: She would move in with an American family in a Chicago suburb so that she could attend a local high school, master English and eventually study at the Chicago School of Violin Making. There were no such schools in Korea at the time. Her parents, distraught about her moving so far away to pursue an uncertain career path, tried to stop her. …

“ ‘When I said goodbye to my parents at the airport, they were crying,’ she said. ‘I wasn’t. I was too excited.’

“Two years after moving to Illinois, she discovered that one of the best known schools for violin makers, the International School of Violin Making, was actually in Cremona. So in 2011, at age 20, she moved to a new country again.

“Cremona was home to some of history’s most famous luthiers, makers of stringed instruments: Stradivari; Andrea Amati, considered ‘the father of the violin’; and the Guarneri family. For the 160 to 200 violin makers in Cremona today, the sound quality of the masters remains the ultimate goal. …

“Around the studio, small pots of pigment, for varnishing, sat on shelves and tables alongside jars of powders — ground glass and minerals — for polishing. On a wall were dozens of knives, chisels and saws. Also present: dentist’s tools to scratch the instrument for a more antique look.

“An is the youngest member of a consortium in Cremona dedicated to upholding violin-making traditions. She is so immersed in the Cremonese method of violin making that, at the suggestion of a mentor, she created an artist’s name, Anna Arietti, to better fit in with Italian culture.

“An important moment is when luthiers place their label inside the instrument, called a ‘baptism.’ To make her label, An stamps her ink signature onto a small piece of paper — a browned page from a secondhand book, giving the impression of age. Then, using a traditional homemade mixture of melted bovine skin and rabbit skin as a long-lasting adhesive, she glues the label inside one half of the instrument. She also burns the signature of her Korean name into the instrument with a tiny heated brand.

“Afterward, the two halves are sealed together, completing the main body of the instrument. Her Italian artist’s name remains inside, intact as long as the violin is.”

More at the Times, here.

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Photo: Twitter | @latifnaseer.
Ali Esmahilzada, an Afghan violinist, fled Kabul in 2022 amid the Taliban takeover. He arrived in Los Angeles without a violin. Latif Nasser delivered an antique violin from Jeremy Bloom and found a friend for life.

There are few positive stories about the aftermath of the abrupt 2022 US departure from Afghanistan. So, in sharing today’s article, I don’t want to minimize the suffering that continues there. For example, my friend Shagufa, the youngest of 11 children in a Herat family, was faced with getting her mother and all her sisters out, working with Marilyn Mosley Gordanier at Educate Girls Now. One of Shagufa’s sisters really had a target on her back, having trained as a police officer for the deposed government.

But at the Washington Post, we do find a nice story by Sydney Page about an Afghan who made it to the US.

“On a work trip in Upstate New York last May, Latif Nasser got an unexpected request from a colleague: ‘Can you hand-deliver an antique violin across the country?’ …

“The violin was going to an Afghan violinist who fled Kabul amid the Taliban takeover, and settled in Los Angeles with almost nothing but the clothes on his back. He left his violin behind.

“Nasser, [science journalist and co-host of Radiolab from] Los Angeles, agreed to help. The request came from Jeremy Bloom, a sound designer based in Brooklyn, who had heard about the struggling musician from a friend.

“Bloom happened to have a 110-year-old German-made violin collecting dust in his closet. He decided to offer it to the Afghan musician, who he knew would put it to good use.

“ ‘I was very lucky to be able to play that violin for a while, but I also felt guilty that it was sitting in a closet,’ said Bloom, adding that older violins are sometimes seen as more desirable than newer instruments. …

“The problem was, Bloom had no way of getting the violin to Los Angeles. ‘You do not want to ship an antique violin in the mail,’ he said, because he feared it would get damaged. …

“It took several weeks to get the instrument to the Afghan violinist, Ali Esmahilzada. ‘It felt like it took forever for us to coordinate,’ said Nasser, who — after several failed delivery attempts — became irritated when Esmahilzada asked if he could bring it to a mall. The musician didn’t seem eager to get the instrument, and Nasser began to wonder whether he even really wanted it.

“ ‘In a way, I was being protective of my friend Jeremy. … ‘This is the most beautiful gesture, giving someone this priceless violin for free.’

“After the mall plan didn’t work out, Nasser and Esmahilzada finally found a time to meet, and … it was immediately clear that ‘he wanted this violin so bad,’ Nasser said.

“Esmahilzada said he did not take his treasured violin with him when he left Afghanistan because he feared if the Taliban found his instrument at armed checkpoints throughout the city, they would ‘hurt me.’ …

“The Taliban has prohibited playing music in Afghanistan, and possessing an instrument is considered a crime. Esmahilzada, who has been playing the violin since he was 13, felt he had no choice but to flee his home country — and leave his family behind. ‘I was so scared.’ … He came to the United States on a Special Immigrant Visa with only a few belongings. …

“He was living in a small house with four Spanish-speaking roommates who he had trouble communicating with. He worked in the stockroom of a clothing store — which is why he asked Nasser to meet him at the mall. He ate eggs for every meal because it was the only thing he knew how to cook. …

“Nasser — whose parents immigrated to Canada in the early 1970s from Tanzania — empathized with Esmahilzada.

“ ‘It was so hard for my parents,’ said Nasser, explaining that kind strangers helped them get settled, and likewise, they went on to assist other immigrants.

“ ‘The more I heard his story and how deeply alone he was, I decided I could be that person for him,’ Nasser continued. … He invited Esmahilzada over to have dinner with his wife and two small children — which soon became a weekly invitation.

“ ‘It clearly meant a lot to him. He both needed it and was grateful for it,’ Nasser said. ‘It seemed like it was a gulp of water to a thirsty guy.’

“Nasser’s family started to feel like his own. … Life in America [had been so] difficult. He worked tirelessly to make a meager living, most of which he sent back to his family in Kabul. …

“Nasser and his wife helped him find an immigration lawyer, a laptop, some clothing and groceries. They also supported him as he sought a more stable job, and got himself a car. …

“For the first time in a long while, Esmahilzada said, he is hopeful about the future.

“ ‘I started from zero when I came to the United States,’ he said. ‘Now I’m happy. I have support from people who care about me. We have really kind people in the world.’ ”

More at the Post, here. To read without a firewall, click on Upworthy.

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I saw these fiddlers a couple times while waiting for the evening train to Porter Square. For weeks there were tweets: “Who are those guys?”

Steve Annear at Boston magazine got the scoop. “Two former Berklee College of Music students have made a full-time job out of playing contemporary music on their violins for the swarms of passengers that crowd the platforms of the MBTA each day.

“After meeting in 2009 outside of the school, violinists Rhett Price and Josh Knowles got together and decided to form a two-piece ensemble and perform songs while standing on the Boston Common. But when winter got too cold and their fingers ‘started to get stiff,’ Price says the pair turned to the T for a busker’s permit so they could share their songs with riders traveling on the underground transit system.

“ ‘It’s been amazing. I was really nervous at first—we were nervous about playing on the T in general, and we didn’t think any one would give us any money. But there are people who come up and [request songs],’ says Price. ‘This is what we do right now to pay bills.’ …

“Price says he and Knowles play at three stops throughout the week, including North and South Stations, and at the Harvard Square stop. In a few weeks, they’re kicking the public transportation appearance up a notch, and will travel to New York City to play for riders there.”

Um. Forget about New York. Spend more time at South Station, please.

More.

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The Facebook page of my friend Alden, the oboist, linked to an article on Benoit Rolland, winner of a 2012 MacArthur Award.  Alden said Roland reminded him of the sushi genius in “Jiro Dreams of Sushi,”  a film about a very intense and innovative perfectionist.

The story that Kathleen Burge wrote for the Boston Globe suggests just how inventive Rolland is. “For his entire professional life, Benoît Rolland has been making bows for stringed instruments with one goal: making music easier to play.

“ ‘If a musician is not comfortable with the bow, the bow becomes an obstacle, and he or she cannot be free to play,’ Rolland said. …

“This fall, Rolland, who lives in Watertown with his wife, was rewarded for his innovations and artistry over a career that has included making about 1,800 bows. He was named one of 23 MacArthur Foundation fellows, and given an unrestricted grant of $500,000. …

“Over the years Rolland has made bows for some of the world’s most famous musicians, including violinists Yehudi Menuhin and Anne-Sophie Mutter.

“Kim Kashkashian, a violist who teaches at New England Conservatory, has asked Rolland to make two bows for her.

“ ‘He actually will listen to you play and watch you play and instinctively understand the style of your playing, the particular sensuality of your bow and string relationship,’ said Kashkashian, also a leader with the local Music for Food program.

“Each of the bows Holland made for her has distinctive qualities. One works especially well if she is playing chamber music with a piano, Kashkashian said. ‘The second bow he made for me, which has a really deep chocolatey sound, I would tend to use if I were playing completely alone.’ ”

Read the Globe article here.

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