Welcome to the International Journal of Music

Arthur Zanin, Editor in Chief
Eric Anderson, Editor

We are so excited to present you with this new, fully online publication. All my life, I’ve participated in the time-honored tradition of music education, sharing my knowledge with my students just as my professors shared their knowledge with me. The IJM widens the pedagogical circle for any musician willing to learn, publishing academic and performance-based insights by seasoned musicians, educators and ambitious students. You will find articles for different instruments in their respective magazines, such as this one. You are able to access, submit, and review articles on our IJM website (https://ijm.education).

Sincerely,

Arthur Zanin, Editor in Chief

Philipp Broch Jewish Violinist Czech

Philipp Broch, 1812-1864, Notable Jewish Violinist and Composer

Traces the career of Philipp Broch (1812-1864), a Jewish violinist and composer born in Prossnitz/Prostějov, Moravia, and part of the first full generation of Jews able to take advantage of religious toleration in order to have careers in the arts and professions within the Austro-Hungarian Empire. Broch received his early training in Moravia, then advanced training at the Conservatory in Vienna. After an important position as professor of Violin for the Musikverein in Lemberg (now Lviv, Ukraine), and concert tours in the East, he became orchestra director at the Theater an der Wien, a position which he held until his death in 1864.
competition tips

Preparing for a Competition: Mental and Technical Tips

Preparing for a major competition can be stressful and overwhelming. In this article, I discuss some tips for staying mentally and physically in shape during the months leading up to such nerve-racking events. Some topics include practice routines, self-recording, the efficacy of run-throughs, and ways to manage performance anxiety. In particular, I suggest productive methods of handling large amounts of repertoire in a limited amount of time, two kinds of recordings techniques to monitor progress, psychophysical productivity of run-throughs, and the benefits of a positive and open-hearted disposition during a competition. I encourage readers to interpret studies in performance anxiety with a critical eye, especially because “success” is difficult to measure in classical music. Achieving balance is a constant theme in all aspects of preparation. The value of patience, self-trust, mentors and friends, and enjoyment is stressed. I also advocate for having interests outside of music and prioritizing personal growth rather than competitive result. Finally, I offer some personal thoughts on my experience in the 2019 Queen Elisabeth Competition. The mental and technical process of preparing for a competition can vary widely from person to person — here I offer a few universally applicable suggestions.
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