Editorís letter
ANGELA LYONS
S ince Japanese violinist and pedagogue Shinichi Suzuki first launched his revolutionary string method in 1945, it has enjoyed unparalleled popularity around the globe. Not without its controversies – accused by some of producing robotic, massed performances and neglecting fundamental skills such as sightreading – it is generally now accepted as a legitimate and successful teaching system, more the victim of misapprehension than any real deficiencies in its philosophy. What has never been in doubt is the love of music making at the heart of Suzuki, its inclusion of parents and family in the learning process, and the core egalitarian belief that every child is capable of being talented.