A COMPARISON OF THREE METHODS USED FOR IMPROVING INTONATION IN STRING EDUCATION

This research aims to determine the effectiveness in practice of traditional methods of playing with piano accompaniment, vocalization and verbal feedback, applied in the solution of intonation problems in string education, by conducting a comparative evaluation of these methods according to the grade level of the participants and their instruments as variables. One hundred twenty-six violin, viola and violoncello students at the 10th, 11th and 12th grades from Ankara, Bolu, Bursa Zeki Müren, İzmir Ümran Baradan and Manisa Fine Arts High Schools served as subjects for this study. Among the types of factorial designs, 3x3x3 between-groups factorial design was used in this research. Subjects were randomly assigned to experimental groups, the effectiveness of which was tested, with an equal number of instrument types and educational levels. In the research, "Intonation Scale-1", "Intonation Scale-2" and "Intonation Evaluation Form" developed by the researcher were used as data collection tools. Sound recordings of the subjects who performed the scales before and after the implementation of the methods were transferred to the computer and the frequency analyses of the samples were conducted through the “Melodyne Studio” software. Kruskal-Wallis H test was used to compare the mean ranks of the pre-test scores obtained in the frequency analysis, the mean ranks of the post-test scores, and the mean ranks of the difference between the post-test and pre-test scores; Mann-Whitney U test was used to determine which group was responsible for the significant difference that arose between the test groups as a result of the Kruskal-Wallis H test; and the Wilcoxon signed-rank test was used to test the difference between the pre-test scores and post-test scores. The findings of the study are that vocalization, verbal feedback and playing with piano accompaniment methods significantly increase the ability to play with correct intonation in all the experimental groups that represent instrument and grade levels. It has been concluded that the most effective method in terms of Intonation Scale-2 for 10th graders and Intonation Scale-1 for 12th graders is verbal feedback, and there is no significant difference in favor of any method in the other groups. Keywords: Intonation, string education, vocalization, verbal feedback, playing with piano accompaniment

Beginning Strings

The purpose of this chapter is to describe current research and practice in beginning string instruction and teacher preparation, to provide an overview of the challenges faced by music teacher educators (MTEs), and to offer suggestions for future directions. First, the chapter provides an overview of the curriculum for beginning string education classes and identifies performance and teaching competencies needed to teach beginning strings. Next, it describes the teacher education coursework and authentic-context learning experiences commonly used to address these performance and teaching competencies. Finally, the chapter challenges and promising practices for string teacher preparation and provides suggestions for future research.

Philosophical Assumptions

The pedagogical ideas of Mimi Zweig, Paul Rolland, and Shinichi Suzuki are provided and explained how they can be applied into a string classroom setting. The chapter discusses the purpose of learning a string instrument, why string education matters, creating an “end goal” for orchestra students, establishing a “healthy foundation” for music learning, developing musicianship, facilitating musical success, treating students as artists, and defining classroom goals. The author’s personal mantras, based on his general philosophy of teaching and playing, provide a personal example of how guiding teaching principles apply to everyday string teaching, and enrich the learning experience for both teachers and students.

The Role of the String Project in Teacher Training and Community Music Education

The National String Project Consortium was designed to encourage string education majors to become string teachers and to stimulate growth of new school orchestra programs. The purpose of this study was to evaluate the extent to which these goals were accomplished across 13 university sites in 2003-2004. Survey data were obtained from project directors, master teachers, student teachers, children, and parents (N = 1,458). Results indicated the majority of student teachers were music education majors who received professional and financial benefit from participation, and were engaged in authentic string teaching in productive and rewarding settings. Children studied string instruments under satisfying and affordable conditions. The String Project seems to have filled a void where school strings programs do not exist, or functioned to supplement strings instruction available in the schools.

You Can Make a Difference: National Foundation to Promote String Teaching and Playing

The mission of the National Foundation to Promote String Teaching and Playing, a division of ASTA with NSOA, is to advance string education and performance throughout our nation and around the world by sponsoring a variety of programs and projects for students, teachers, performers, and string industry professionals.