In this groundbreaking look into the world of "classical" music, David Jacobson interweaves his educative experiences at the Curtis Institute of Music with his quest to understand how performers such as Jascha Heifetz, Nathan Milstein, Vladimir Horowitz, and Glenn Gould achieved such unsurpassed levels of musical expression and technical skill. What were their "secret" techniques and musical insights? Can students learn the principles of musical expression the greatest players used?

Jacobson has spent many years analyzing the approach of these and other master players uncovering their "secrets" (including how note grouping, "laws of phrasing" and alignment with the meta-pattern of music--MPM-- affect the technique and musical expression of playing) which he explains in clear, precise, non-technical language, supplemented by color diagrams, photographs and annotated musical examples.

His conclusion: the methods, paradigmatic shifts and musical approach of these masters are essentially the same, yet, fundamentally different and often opposite to what is taught by contemporary music teachers and accepted methods--such as those of Ivan Galamian and the Suzuki method (which are both critically examined)--for string playing, orchestral instruments, piano and voice.

Jacobson's dissatisfaction with contemporary pedagogical methods, which tend to be based on the personal beliefs of particular teachers, led him to search for a more rigorously researched pedagogical platform (by studying the methods of great masters) that could serve as a fundamental paradigmatic model for the teaching of all instruments and voice applicable to any genre of music.

The rediscovery of these techniques and concepts will:

Provide a paradigmatic pedagogical model for the teaching of all instruments and voice
Make playing easier and more expressive
Improve the effectiveness of teaching; the principles of expert playing are clear
Develop talent naturally, without impediment
Create many more outstanding performers and composers
End the need for a conductor's presence in orchestral performance
Change our ideas about the nature of genius, talent and our own potential.

In an unfinished treatise, the great cellist, Emanuel Feuermann, wrote:

"It is surprising how few rules and principles there are and still more surprising how completely they change the entire style of playing…the really outstanding string players, whether Kreisler, Casals, or Heifetz, are similar to each other in the way they use their muscular systems and handle their instruments and bows. The main difference lies in their different personalities, talents and ideas, and only to a very small extent in their techniques..."

Lost Secrets of Master Musicians argues that:

Music has a meta-pattern (MPM).
This pattern is discoverable.
Great players' technique and musical expression emerge from this meta-pattern (the ones studied in the book).
This may or may not have been a conscious alignment, but represents a gestalt shift in perception.
The field, and educational organs of classical music, as a whole, derive their teaching of technique and musical expression from analysis of the printed music.
Printed music is an abstraction of music. It's patterns are fundamentally opposite and incommensurable with the meta-pattern of music.
Fundamental mental (conceptual)/physical settings determine potential, both individually and systemically.
The great players studied in this book learned to play from printed music.
Yet, the mental/physical settings of these master musicians (the ones studied in this book) were aligned to the meta-pattern of music. Physically, mentally and expressively they were in congruent relationship with their medium.

Pr�sentation de l'�diteur

Can Talent be Explained? The "Secret" Techniques of Great Musicians

The rediscovery of these techniques and concepts will:

Provide a paradigmatic pedagogical model for the teaching of all instruments and voice
Make playing easier and more expressive
Improve the effectiveness of teaching; the principles of expert playing are clear
Develop talent naturally, without impediment
Create many more outstanding performers and composers
End the need for a conductor's presence in orchestral performance
Change our ideas about the nature of genius, talent and our own potential.

In an unfinished treatise, the great cellist, Emanuel Feuermann, wrote:

"It is surprising how few rules and principles there are and still more surprising how completely they change the entire style of playing...the really outstanding string players, whether Kreisler, Casals, or Heifetz, are similar to each other in the way they use their muscular systems and handle their instruments and bows. The main difference lies in their different personalities, talents and ideas, and only to a very small extent in their techniques..."

Lost Secrets of Master Musicians argues that:

Music has a meta-pattern (MPM).
This pattern is discoverable.
Great players' technique and musical expression emerge from this meta-pattern (the ones studied in the book).
This may or may not have been a conscious alignment, but represents a gestalt shift in perception.
The field, and educational organs of classical music, as a whole, derive their teaching of technique and musical expression from analysis of the printed music.
Printed music is an abstraction of music. It's patterns are fundamentally opposite and incommensurable with the meta-pattern of music.
Fundamental mental (conceptual)/physical settings determine potential, both individually and systemically.
The great players studied in this book learned to play from printed music.
Yet, the mental/physical settings of these master musicians (the ones studied in this book) were aligned to the meta-pattern of music. Physically, mentally and expressively they were in congruent relationship with their medium.

Les informations fournies dans la section � A propos du livre � peuvent faire r�f�rence � une autre �dition de ce titre.

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