String Academy & Workshop
To become fluent and artistic on the violin requires many hours of practice and Ms Jenson has never experienced pain or physical discomfort during practice or performance. She attribute this to a natural physical stance that has prevented spinal twisting and left arm problems.
A combination of careful attention to technical details and inspiring musical freedom is paramount to her approach.
Dylana Jenson's work with Manuel Compinsky, Nathan Milstein and Josef Gingold, and her friendship with Dorothy Delay inspired her approach with students.
Tendonitis has become a rampant problem all over the world for violinists. Through her Masterclasses and private teaching, Ms Jenson has established herself as a pain relief specialist.
Nathan Milstein, Jasha Heifetz, Henryk Szeryng, Pinchas Zuckerman, Itzak Perlman, Isaac Stern and David Oistrakh are all examples of great artists who did not use a shoulder rest.
Ms Jenson performs and teaches without the use of a shoulder rest. She believes this apparatus can cause an unnatural and unnecessary lift of the instrument. It can also put the violin too far over the left shoulder. This may cause the bow arm to compensate by having to pull excessively to the front of the body. The left arm in most persons using a shoulder rest will twist too much and cause the thumb to be under the neck of the violin. This may ultimately cause stress to the elbow and shoulder of the left arm as well as make wide wrist vibrato difficult. The lack of relationship of the left hand to the ribs of the violin in third position can cause insecurity in shifting. This can also create problems with intonation.
Ms Jenson’s initial work with a student isolates the importance of rhythmic integrity. When this is established Ms Jenson can then lead the student to understand and feel emotional improvisation in the music.
Learning by Example
Ms Jenson uses DVDs to expose her students to the art of the great violinists. Josef Gingold, one of Dylana Jenson’s teachers, often played records for his students during lessons. This exposure is important for young violinists. Ms Jenson believes that students need to “know their history so they can repeat it”.
"She is a consummate musician and violinist, with an artistry only found at the highest standards of the profession. She possesses a flawless technique, a brilliantly powerful and rich tone, great conviction in her musical ideas, and a commanding stage presence that beautifully matches her wonderful music-making."
– Javier A. Pinell
DM Violin Faculty Director of String Studies Sam Houston State University
"Ms. Jenson has the rare combination of being a demanding teacher, a world-class artist and at the same time, having a genuine care for her students. When studying with her, Ms. Jenson’s training with some of the most important violinists and pedagogues of the 20th century makes her a direct line to the artistry and greatness of these old masters. She has found her very own modern musical voice that combines the richness of tone and virtuoso technique of her mentors with an unparalleled understanding of the human body and its relation to violin playing. She transmits her knowledge and skills to her students with true joy, and inspires everyone around her to become better artists. "
– Raul Gomez
Louisiana State University , D.M.A. in orchestral conducting and M.M. in violin performance
Conducting Fellow with the Allentown Symphony OrchestraArtistic Director of Kids’ Orchestra, a year round program designed to foster social change and nurture promising futures for youth in Baton Rouge.