Marylin Winkle

APPLIED INSTRUCTION

My purpose for teaching is to empower students of all backgrounds to be creative thinkers and leaders. Rather than requiring all students to adhere to a single preconceived curriculum, I borrow best practices from such methods as Suzuki, Kodaly, Orff, and other cello-specific methods to personalize instruction for each individual student. My student-centered learning strategies encourage students to improvise creative solutions to solve their own technical problems by inventing exercises around challenges in the repertoire. I invite students to make choices in selecting their own repertoire and have often made appropriate arrangements of popular tunes for my students. Examples of cello lesson repertoire include:

Beginning

• Essential Elements

• All For Strings

• Suzuki

Intermediate

• Suzuki continued

• Rick Mooney’s “Double Stops,” “Position Pieces,” and “Thumb Position” books for Cello

• Alwin Schroeder’s technical studies

• Such solo arrangements as Gabriel Faure’s Elegie and Sicilienne, Camille Saint-Saens’ The Swan, Henry Squires’ Tarantella, and others

Advanced

• Popper Etudes

• Piatti Etudes

• Sevcik “Changing the Positions” Op. 8 & Bowing studies

• Sonatas and concerti in accordance with student’s level and interest

I am also proud to announce that I am now offering learning opportunities for small, chamber ensembles through L.A. Kids’ Camerata to promote the performance of works by underrepresented artists from early modern eras. For more information about this opportunity, email me at losangelescamerata@gmail.com.

SCHOLARSHIP

As a scholar, my work centers on analyzing works by early modern women composers. I use musical-rhetorical terminology to closely read not just what women say, but how they say it through sound. Inevitably, some musicological theories that might appear on the page may not hold in actual performance; thus, my research is informed not only by accessible primary and secondary sources, but also by my own experiences performing works as a string player and ensemble/stage director. I am currently in the process of publishing a chapter titled “Sounding Space: Francesca Caccini as Orator in La liberazione di Ruggiero dall’Isola d’Alcina” for Routledge Press. This article has been presented at conferences across the United States and in the United Kingdom. Apart from Caccini, I have also published a critical performance edition of Camilla de Rossi’s secular cantata, Fra Dori e Fileno, complete with a reference recording by L.A. Camerata. I am currently using archival records to reconstruct this composer’s biography and professional network. Another edition I have authored is a piece attributed to Sor. Juana Ines de la Cruz titled Madre la de los primores. Both editions, by de Rossi and de la Cruz, were published by Dulcamara Press and are available for purchase through their online catalogue.

As an instructor, I believe all students, regardless of cultural or academic background, mainly want to communicate and to be heard. I work to help my students identify meaningful research problems and avoid the simplest answers to those problems, instead offering fresh perspectives informed by their personal identities and qualified sources. My students and I workshop arguments just as we would a difficult passage of a concerto: turning an idea around backwards or inside-out, eliminating superfluous language, and making informed decisions about the shape of the phrase. I remind my writing and music performance students alike that there are as many exceptions as there are rules, and that grammar is just a tool—rather than an obstacle—meant to empower us with choices for expression.