[unknown-user]

I agree with you, Esmeralda, that taking a break from the harp is actually a good thing.

[unknown-user]

Interesting how you said that a month away from the harp made you feel so awful…. my mind works the other way round actually…. Twice a year, generally when I really feel that I’v reached my physical and mental limit, I take two whole weeks away from the harp, even if I’m at home, I just tune it in the morning, and that’s it…. And when I return, somehow everything seems to be better… Same goes with piano…

Kay I don’t really agree with you on the idea of half an hour each… There used to be a time where I used to divide a work in 8 sections, and then study an hour on each section.

[unknown-user]

By the way… I still have to use the stool to tune the 6th octave and lower : )… and don’t try to imagine all the comments I get from my friends at orchestras, or home. : )

[unknown-user]

Regarding my post… I was talking of the coloured stuff you attach to the pegs.

[unknown-user]

I’m wondering on this peg thing…. cause its quite a new idea to me…

When you’ve got pedal harps, you mean you attach them to the back side of the pin, on the right hand side of the harp that is?

[unknown-user]

For my male teachers, its generally always a Bottle of Scoth Whisky or some fine wine.

[unknown-user]

Patricia,

I have been curious about this as well!

[unknown-user]

From any major musicstore, especially the ones specilising in Violin Music.

[unknown-user]

Eh… and Spohr has something like four sonatas I think not just the Cminor…

If you don’t mind transcriptions (I hate them) there’s also The Swan by Saint-Seans (very easy) and works like Devil’s Trill by Tartini (which gets the devil out the violinist for sure, quite very advanced for the violin, for the harp, maybe just the 2nd movment that might create some trouble with speeds, but I studied it when was considered an intermediate, and handled it quite well after some studying.)

[unknown-user]

Two other works might be the Theme and Remembrances from Schindler’s list the violin and piano version.

[unknown-user]

Interesting how many people enjoy working with transcriptions mainly…

Harp and Violin… well… the works I studied (mainly original for the duo)

1. Albersteotler – Romance

2. Badings – Cavatina

3. Boieldieu – Sonata

4. Damase – Sonate (well Damase is Damase as always)

5. Galais – Nocturne

6. Kikta – Sonata

7. Natra – Music for vln and hp

8. Paganini – Six sonatas

9. Roth – Nocturne

10. Saint-Seans – Fantasie (requires a great violinist, or advanced, for the runs in rehearsal no.4)

11. Spohr – Sonata in C minor (requires an advanced harpist I would say)

12. Tournier – Deux Preludes Romantique

13. Verdalle – Reverie

[unknown-user]

Prob, you got mixed up between minor or major cause the third mvmt sets off on Cmajor, and I think ends so too if I remember so.

[unknown-user]

I don’t see the reason why so many people are making all this noise regarding hbarpists trying to attract students over this forum, and calling it unethical.

[unknown-user]

Here are ten steps used for exploring ethical dilemmas in the helping professions. This could apply to teaching as well because it is at its heart a helping profession. The purpose of these steps is to expand one’s sense of ethics beyond instinct and intuition. This process is intended to remove personal bias and increase objectivity in determining the best course of action for all involved.

Step 1: Develop ethical
sensitivity. This is our natural instincts and intuition based on values we were raised with. It is that sense that something is not right and needs to be explored.

Step 2: Clarify facts and
sociocultural context of the case. It is important to respect the different boundaries inherent to each cultlure and context in which an ethical dilemma is presented.

Step 3: Define the central issues
and the available options. This includes identifying the ethical principle in question: autonomy, non-maleficence, beneficence. Also, exploring every course of action available to the individual.

Step 4: Refer to professional
standards and relevant laws/regulations. Such literature is not as readily available for artists, but there is information for educators and guidelines in the musicians union.

Step 5: Search ethics scholarship. This could easily go outside the field of music specifically and into the ethics scholarship itself.

Step 6: Apply ethical principles to
the situation. Once relevant principles are defined, then how do these apply in the specific context at hand?

Step 7: Consult with supervisor and
respected colleagues. This step is in part being covered by exploring hypothetical, but representative, issues here on this forum. In some cases this is best done with confidentiality. This is why a network of trusted professionals is so valuable to making good choices.

Step 8: Deliberate and decide.

Step 9: Inform supervisor and
implement and document actions. This will be relevent in certain contexts only. There are more contexts in which documenting actions is of value.

Step 10: Reflect on the experience. This step is especially important because hindsight tends to be 20/20. We can also learn from mistakes as well as from successes. Keeping a journal that recounts how dilemmas are resolved is of great benefit to look back on and analyze in the future. It is also a resource for what decisions proved to be the best course in past situations.

[unknown-user]

It could be worth starting a new thread to explore the ethics of advertising online and in other scenarios. It is especially important to demonstrate through reason what types of harm are caused by a particular action, since that is how ethics are determined. This way readers will not just be told that something is unethical, but gain an understanding of the principles behind it. Maybe I’ll venture. :o)

[Author]

Posts