“This is fun!” A typical response when we play duets in the studio. As soon as she entered the room, the student asked if we could commence with the assigned duet. And from that moment on, I could tell she was tuned in to what was happening and had an intrinsic desire to work on the piece.
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References
1.
Rounds, 76–80.
2.
Murnighan and Conlon.
3.
Steinhardt, 89–101.
4.
Ibid., 173–175.
5.
Ibid., 101.
6.
Ibid., 110–11.
7.
Ibid., 110–11, 168-71, 247-50.
8.
See also David Blum and the Guarneri Quartet, 15ff.
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Sand, 660–62.
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Murninhan and Colon, 178.
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RosenbergThomas, email interview with author, February 2000.
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SimonBenjamin, email interview with author, February 2000,
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Smith, 52–54.
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Jennifer Smith, telephone interviews with author, February and March 2000.
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Rounds, 78–79.
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Ann Elliot-Goldschmid, telephone and email interviews with author, February and March 2000.
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Loft, 31.
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Simon, 20.
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Harbaugh, 81–83.
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Steinhardt, 18–24
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Simon interview.
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Harbaugh, 83.
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Simon, 20.
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Smith interview.
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Rosenberg interview.
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Eilliot-Goldschmid interview.
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Simon interview.
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KoskoffEllen. “Cognitive Strategies in Rehearsal.” Selected Reports in Ethnomusicology1 (1988): 59–68.
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LoftAbram. Introduction to Ensemble! A Rehearsal Guide to Thirty Great Works of Chamber Music.Portland, Ore.: Amadeus Press, 1992.
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MurnighanJ. Keith, and ConlonDonald E., “The Dynamics of Intense Work Groups: A Study of British String Quartets.”Administrative Science Quarterly36 (June 1991): 165–86.
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SandBarbara L.. “Profile—Emerson Quartet: Four Cheers for Democracy.”Strad104 (July 1993): 660–62.
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