The Maryland ASTA String Pedagogy Conference

1989 ◽  
Vol 39 (4) ◽  
pp. 53-53
Keyword(s):  
String Pedagogy

Flow Pedagogy for Strings Education

2020 ◽  
pp. 71-95
Keyword(s):  
Teaching And Learning ◽  
Learning Activities ◽  
Flow Experience ◽  
Pedagogical Practice ◽  
String Pedagogy ◽  
String Instruments ◽  
Older Learners ◽  
String Playing ◽  
Alternative Idea ◽  
The U.S

Chapter 4 addresses practical approaches of teaching and learning for string instruments to facilitate learners' flow experience throughout the learning activities. Contemporary string pedagogy is heavily reliant on traditional methods. In this chapter, the author proposes an alternative idea for teaching the basics of string playing (e.g., violin) by providing musical and teaching examples, environment, and episodes. The practice is constructed based upon observable flow experience of strings learners derived from the author's pedagogical practice both in the U.S. and in Japan. This chapter describes appropriate strings learning activities, content, and repertoire for children from ages 0 to 12 and can be easily adapted to suit older learners.

scholarly journals Bridging the divide: embedding voice-leading analysis in string pedagogy and performance

1999 ◽  
Vol 16 (2) ◽  
pp. 179-195 ◽  
Author(s):  
Deborah Mawer
Keyword(s):  
Music Analysis ◽  
Further Education ◽  
Voice Leading ◽  
Symbiotic Relationship ◽  
String Pedagogy ◽  
Technical Issues ◽  
And Performance

Experience as a music lecturer in higher/further education and as an instrumental teacher suggests that instrumental pedagogy – focused on strings – and music analysis could usefully be brought closer together to enhance performance. The benefits of linkage include stimulating intellectual enquiry and creative interpretation, as well as honing improvisatory skills; voice-leading analysis, particularly, may even aid technical issues of pitching, fingering, shifting and bowing. This article details an experimental curriculum, entitled ‘Voice-leading for Strings’, which combines voice-leading principles with approaches to string teaching developed from Nelson, Rolland and Suzuki, supplemented by Kodály's hand-signs. Findings from informal trials at Lancaster University (1995–7), which also adapted material for other melody instruments and keyboard, strongly support this perceived symbiotic relationship.

scholarly journals Third Position as a Home Position Alternative: A Survey of Views and Approaches of Violin/Viola Instructors

SAGE Open ◽  
2021 ◽  
Vol 11 (2) ◽  
pp. 215824402110151
Author(s):  
Eylem Arıca
Keyword(s):  
Music Education ◽  
Method Books ◽  
String Pedagogy ◽  
Home Position ◽  
Left Hand ◽  
The Third ◽  
Music Associations ◽  
Positive Experiences ◽  
Level Training ◽  
School Curricula

Although violin/viola pedagogues who use the third position as the home position in beginning-level teaching have reported positive experiences, school curricula and most pedagogues’ repertoires remain limited to method books that use the first position. The reasons for this preference have not been adequately addressed in string pedagogy and music education research. This study therefore aimed to examine the opinions of violin/viola trainers on the use of the third position as home position through a survey. A questionnaire sent to various music associations, schools, and violin/viola educators internationally yielded a sampling of 160. The results showed that 73.1% of the participants hold the opinion that the third position is not widely used in beginning-level training, and 63.5% think that method books that employ the technique are insufficient. However, 53.1% of the participants believe that using the third position as the home position may have benefits; 61.1% think that the left hand takes the ideal shape in the third position; and 68.3% think that a wider availability of method books would increase the number of trainers who use the technique to teach. The study found that further research of the technique is necessary, especially for educators who are interested in using it.

For Skills and Spirits—the Magic Treatment

1986 ◽  
Vol 36 (1) ◽  
pp. 34-35
Keyword(s):  
String Pedagogy ◽  
University Of Texas ◽  
Service Award ◽  
Young Recipient ◽  
The University

Phyllis Young, recipient of ASTA's 1984 Distinguished Service Award, is professor of cello and string pedagogy at the University of Texas at Austin. She served as national president of ASTA in 1978-80.

In Conjunction with the Texas Music Educators Association Convention February 8-11 Hilton Palacio Del Rio • San Antonio, Texas

1989 ◽  
Vol 39 (1) ◽  
pp. 6-7
Keyword(s):  
San Antonio ◽  
Music Educators ◽  
String Pedagogy ◽  
Information Contact ◽  
Saturday Night ◽  
Del Rio ◽  
Registration Area ◽  
Wednesday Evening ◽  
Association Convention

ASTA is pleased to present a most extensive array of string pedagogy sessions. Teachers will want to be on hand from the beginning reception Wednesday evening through the final concert Saturday night. Concerts and rehearsals will be ongoing throughout the convention and are not listed in the abbreviated schedule. A registration fee of $35 must be paid: a special line at the general registration area will accommodate ASTA members. TMEA membership is required only for Texas residents. Cutoff for purchase of Awards Luncheon tickets is Thursday noon. Tickets are $15 and can be purchased at registration or at the ASTA information table in the ASTA sessions room (Salon Del Rey). Note this is a very brief time to secure tickets. For further luncheon information, contact Mrs. Jan Garverick, (512) 655-8362.

String Pedagogy for Non-String Players

2020 ◽  
pp. 361-369
Author(s):  
Evan Feldman ◽  
Ari Contzius
Keyword(s):  
String Pedagogy
Sign in / Sign up

Export Citation Format

Share Document