In This Issue: Joshua Bell, Featured Above, and Jeremy Denk Will Perform Denk Will Perform and Jeremy Bell, Featured Above, Joshua Nationalat Conference

www.astaweb.com American String Teachers Association Teachers American String EACHER Institutional Institutional Membership Directory Summer Camps and Conferences T Plus: Plus: TRING S Return to Matsumoto Return It Forward Playing A Lesson in

February 2008 | Volume 58 | Number 1 58 | Number 2008 | Volume February In this Issue: Joshua Bell, featured above, and Jeremy Denk will perform Denk will perform and Jeremy Bell, featured above, Joshua Nationalat Conference. the ASTA MERICAN A

February 2008 1

AMERICAN STRING TEACHER CONTENTS February 2008 | Volume 58 | Number 1 Features and Forums 22 Return to Matsumoto I traveled to Matsumoto, Japan to see if there had been any changes at the Talent Education Institute since Shinichi Suzuki’s death in 1998. by Marianne Murray Perkins On Mentorship: Sharing the Gift of Music – A 32 Perspective from a Teenage Strings Teacher I looked up to her as a teacher, and her words made me feel like I could do it. I told her, “I’ll give it a try.” by Asia Echard 42 A Lesson in Playing It Forward It feels good to help other people feel the wonder you feel when expressing a musical phrase or playing a fast passage with fellow musicians. by Erika Boras Tesi The Art of String Teaching and Performance: 44 Thoughts on Zen in the Art of Archery From the primeval centuries came the sound of a string instrument resonating in the air. The similarities between the archer with the bow and the string player with instrument and bow are striking. by Michael Fanelli

www.astaweb.com | 5 AMERICAN STRING TEACHER CONTENTS February 2008 | Volume 58 | Number 1 Columns Special Inspirations Sections 10 by Donna Sizemore Hale 50 National Conference Member2Member Final Preview 20 Memory and Violin Days 59 Summer Conferences: by John C. Jarboe 2008 Preview 62 2008 Institutional Membership Teaching Tips Directory with Summer Camps 76 Teaching Master Classes: Taking a Lesson from 70 National Orchestra Festival the Performers by Jennifer Mishra 72 2009 Call for Session Proposals and Performances My Turn Mission Statement The American String Teachers Association 99 What Your Adjudicator Really Thinks: Solo and promotes excellence in string and orchestra Ensemble Contests from a Judge’s Perspective teaching and playing. ASTA pursues its mis- by David Littrell sion through: • an open sharing of ideas; • beneÀ ts, services, and activities responsive to the needs of all members; • development of strong state leadership and chapters; Departments • enhancing the image and visibility of string teaching and study; • advocacy for string education; and Association News • an inclusive community of string teachers 14 Message from the President, award and grant and players. announcements, new publications, and other American String Teacher (ISSN: 0003-1313) association-related information is published quarterly by the American String Teachers Association (ASTA). American String Teacher (AST) is available exclusively to Notes ASTA members; the annual subscription price is included in membership dues ($96). Known 78 News of people, places, and events of interest to ofÀ ce of publication is: American String string teachers and players Teachers Association, 4153 Chain Bridge Rd., Fairfax, VA 22030. Periodicals postage paid at Fairfax, Virginia 22030 and additional Showcase mailing ofÀ ces. 88 The latest news from members of the String POLICY: As the primary means of profes- Industry Council sional communication of ASTA, the American String Teacher represents and reÁ ects the mission of the association. It is not the Reviews intention of AST to promote or endorse any 92 Of books, music, software, and videos particular person or commercial product. The ideas and opinions expressed are those of the writers and not necessarily those of ASTA or AST. ASTA reserves the right to refuse advertising for any reason. No article or Every Issue editorial matter in AST may be photocopied or reprinted without written permission from ASTA. Visit www.copyright.com for more 84 ASTA Publications Library information. 86 Membership Application POSTMASTER: Send address changes to Leadership Directory American String Teacher Journal, 4153 Chain 90 Bridge Rd., Fairfax, VA 22030. © 2008 by 100 Advertisers Index American String Teachers Association.

6 | American String Teacher | February 2008

Inspirations by Donna Sizemore Hale

ASTA Board of Directors President • Mary Wagner Understanding Conference 5833 Cove Landing Rd., #204 Burke, VA 22015 Costs [email protected] President-Elect • Jeffrey Solow During the course of the past few years, many members have asked about 7914 Park Ave. Elkins Park, PA 19027-2629 the process for locating conference sites, setting registrations fees, and [email protected] managing overall logistics. Th ere is great truth in the adage, “it is not as Past President • Robert Gillespie School of Music, Ohio State University easy as it seems.” 110 Weigel Hall, 1866 College Rd. Columbus, OH 43010 When ASTA decided to hold national conferences, one of the im- [email protected] portant goals the Board wanted to achieve was to be sure we rotated the Secretary • Denese Odegaard 3033 38 1/2 Ave. S, Fargo, ND 58104 conference throughout various sections of the country. As any of you who [email protected] have attended an ASTA conference knows our space and meeting needs Member-at-Large • Judy W. Bossuat 2913 Hempstead Way, Stockton, CA 95207 are very intensive. Th e national conference is more than just a meeting. It [email protected]

encompasses the National Orchestra Festival as well as in varying years, the Member-at-Large • Beth Gilbert 1928 E Calle De Caballos, Tempe, AZ 85284-2507 National Solo Competition, the National High School Honors Orchestra, [email protected]

and the Alternative Styles Awards. Just as an example, in Kansas City the Member-at-Large • Lynn Harrell 1615 Hermann Drive Unit 1208, Houston, TX 77004 association utilized more than 2,100 room-nights. Last year in Detroit, it [email protected]

was about 2,400. In reserving room blocks, in some cities it is possible to Member-at-Large • Kristin Turner 1708 N Morrison Rd., Muncie, IN 47304 put everyone in the same hotel. In other locations, like Albuquerque and [email protected]

Columbus, we use a number of hotels. What many people do not realize Publications Chair • Barbara F. Eads 9509 Rustic Gate Rd., La Porte, TX 77571-3997 is that when you sign a contract with a hotel you have to agree to use so [email protected]

many room-nights. If you ask for more than you need, you have to pay for String Industry Council President • Neil Lilien the unsold rooms. Th is is called attrition. Room rates vary greatly from Meisel Stringed Instruments 32 Commerce St., P.O. Box 90, SpringÀ eld, NJ 07081 one city to the next and from one part of the country to the next. It is [email protected] truly a challenge to negotiate rates that members can aﬀ ord in places that Executive Director • Donna Sizemore Hale ASTA National OfÀ ce have enough space to meet our very intense needs. Rates in top tier cities 4153 Chain Bridge Rd., Fairfax, VA 22030 [email protected] like San Diego, Phoenix, and New York exceed $225 a night. American String Teacher Because of the way the industry works, to get aﬀ ordable meeting space, Editor • Mary Jane Dye you not only have to take huge blocks of rooms but you must spend money Articles Editor • Kristin Mortenson Reviews Editor • Marg Schmidt on catering, as well. Th e meetings industry has this down to a science and Design and Layout • Sky Henderson Production • Corporate Press in some places there is truly little negotiation. As many of you already Advertising Representative • Steve DiLauro

know, hotel food is expensive, and there are service charges attached to ev- • Correspondence Subscriptions, change of address (send mailing label), individual issues, ery meal. Hotels prohibit conferences from bringing in and serving outside billing, membership, and other business matters should be directed to the ASTA National OfÀ ce, food and drink. And you can’t compare a hotel’s restaurant prices to their 4153 Chain Bridge Rd., Fairfax, VA 22030; tel. 703-279-2113; FAX 703-279-2114; Email: catering prices, catering is always higher. So if you ever wonder why there is [email protected]. • Advertising Deadlines are: August issue—June no orange juice, remember that in some places it costs us $3 a glass plus the 5; November issue—September 5; February issue—December 5; May issue—March 5. Inqui- services fees! But also remember that if we had no catering, the room rates ries should be directed to ASTA National OfÀ ce, 4153 Chain Bridge Rd., Fairfax, VA 22030; tel. 703-279-2113; FAX 703-279-2114; would be higher—as would the meeting expenses. Email: [email protected]. In areas where we have to use a convention center and/or a perform- • Editorial AST welcomes letters and articles from its readers. Query letters are preferred over ing hall, the costs of running the conference are even more expensive. unsolicited manuscripts. For a copy of the AST Au- thor Guidelines, visit www.astaweb.com. Inquiries and articles should be submitted to ASTarticles@ Many cities are union so the labor costs are non-negotiable. Running a astaweb.com. national conference with the magnitude of ours is also staff intensive. Two • Reviews Review materials should be sent to Marg Schmidt, School of Music, ASU, 40 Gammage of our staff members work year-round exclusively on the conferences, Parkway, PO Box 870405, Tempe, AZ 85287- 0405. Requests to become a reviewer should be addressed to Marg Schmidt, tel. 480-965-8277; competitions, and meetings and a third person spends a large portion Email: [email protected]. of her time on this. Of course, all of the staff works on some aspect of • Submission Deadlines For material to be considered for publication in the Departments the conferences. Th e month before the conference virtually everyone in and Association News sections (including Letters to the Editor), it must be received by: February issue—November 10; May issue—February 10; the offi ce spends a signifi cant portion of time on it and during the week August issue—May 10; November issue—August 10.

10 | American String Teacher | February 2008 that it runs each logs in about 100 hours of work. Many volunteers also donate time to make these events a success. Infl ation also plays a role, not only in the cost of running meetings, but in the total cost of running ASTA. Just as an example, gas prices aff ect the cost of the paper on which we print the conference program and the journal. Postage continues to rise, which aff ects the cost of brochure mail- ings. And we also have other administrative costs, such as rent and utilities, which are distributed throughout each program ASTA manages—and now there are more than 45 such programs! Th ese costs, like everything in our daily lives, go up each year. All of these factors determine the rates for the conference, NOF, NHSHO, and other events. We work very hard to keep our rates in line with other national music associations. We also spend a great deal of time researching venues, negotiating hotel rates, and working with banquet offi ces to do what we can to lower food expenses. We have been able to get some incredible room rates at fi rst class hotels in Reno, Kansas City, and Detroit. However, cities in certain parts of the country—the west, the northeast and, in some cases, the south—are more expensive. In order to make the conference convenient for our members in all the diff erent parts of the country, we have to make multifaceted choices and accept trade-off s. For example, Atlanta, while a fabulous location for 2009, is more expensive than Albuquerque. In the world of conference and meeting planning, that old adage is truly true.

www.astaweb.com | 11 AST Editorial Committee

Gregory Barnes Sharan Leventhal Columbia, South Carolina Bowling Green, Ohio

Sean Beavers Greg Sarchet Huntington, West Virginia Chicago, Illinois

Margaret Berg Laurie Scott Boulder, Colorado Austin, Texas

Chelcy Bowles David Starkweather Madison, Wisconsin Athens, Georgia

William Dick Benjamin Whitcomb Austin, Texas Fort Atkinson, Wisconsin

Emanuel Garcia, M.D. Members of the ASTA Boulcott, Lower Hutt, National Executive Board New Zealand AST Forum Editors Violin Forum, James Przygocki Viola Forum, Helen Callus Cello Forum, Benjamin Whitcomb Bass Forum, Michael Fanelli Guitar Forum, Jonathan Leathwood Harp Forum, Saul Davis-Zlatkovsky ASTA National OfÀ ce 4153 Chain Bridge Road • Fairfax, VA 22030 Phone: 703/279-2113 • Fax: 703/279-2114 www.astaweb.com

Donna Sizemore Hale, Executive Director [email protected] ext. 13

Beth Danner-Knight, Deputy Director, Conferences and Member Services [email protected] ext. 11

Jody McNamara, Deputy Director, Finance and Administration [email protected] ext. 15

Deanna Tompkins, Director of Meetings and Events [email protected] ext. 24

Mary Jane Dye, Director of Communications [email protected] ext. 12

Elizabeth Bookwalter, Development Manager [email protected] ext. 26

Sky Henderson, Manager of Publications and Graphic Design/Webmaster [email protected] ext. 10

Kari Hahn, Director of Membership [email protected] ext. 14

Libby Dietrich, Meetings and Events Manager [email protected] ext. 28

Erin Gallagher, Membership and Conference Coordinator [email protected] ext. 16

OfÀ ce Manager/Advocacy Assistant, vacant [email protected] ext. 25

12 | American String Teacher | February 2008 www.astaweb.com | 13 from the president Making a Difference Helps You and the String Profession Welcome to 2008! Holiday concerts are over, and everyone is busy preparing for upcoming state and national conferences, orchestra festivals, Certifi cate Program exams, and new university semesters; the list goes on. String performers and teachers are extremely busy people. Many of us do our “day job” and then come home, teach in the studio, attend various rehearsals and then need to practice. It becomes a balancing act between music, family, and friends. With so many obligations and commitments, we all need to ask ourselves, “Are we making a diff erence in string education, and what can we do to improve the profession?” During my teaching career, I always felt that I was making a diff erence because I was teaching an art form that is beautiful, creative, and demanding. And, I knew that it indirectly taught students perseverance, cooperation, listening, and discipline, to name a few. Somehow though, I knew that I could do more. To balance my school teaching, I mentored new teachers in my school system and became involved with ASTA. I did this because I am committed to string education. I know what a positive infl uence it has been in my life, and there is still work to be done to ensure its future. Th e theme of this quarter’s AST is “mentoring.” Some school systems and states have mentoring programs in place though many times these programs are not geared to music teachers and are not useful. Some state MEAs run mentoring programs including Minnesota where the ASTA chapter was asked to help with string teacher mentoring. Th is was an excellent collaboration between two associations. ASTA state chapters often talk about wanting to start mentoring programs and this would be a great enhancement and a great project. Mentoring becomes even more important for teachers in small school districts where they may be the only orchestra director. It’s hard enough when you are the only string teacher in a building. Isolation and loneliness for a fi rst year teacher can be devastating. If state chapters did start mentoring teachers, studio teacher mentoring could be included as well. Mentoring can also take place with students as demonstrated in the article written by Asia Echard. Asia’s viola teacher, Lynne Denig, received an ASTA state project grant, and she ran a program in the summer that taught high school students the basics so they could do some private teaching. Th e beauty of Denig’s program in Virginia was that some of those students became interested in teaching as a career, became better players, and helped alleviate a shortage of studio teachers. Talk about a win-win! Even if your state does not get a mentoring program started, can you do something by yourself? Absolutely! Find a new teacher and ask what you can do to help. Be a good listener, email, phone, meet for coff ee, and provide lots of support! It is very rewarding – I don’t know where I would have been if an experienced teacher hadn’t taken me under her wing and showed me the ropes. Volunteering for ASTA is another way to aid and improve string education. State chapters are always looking for event chairs, board members, and newsletter editors. Th ey are always happy to fi nd new “blood” to invigorate their chapter. In talking to state presidents, many lament the fact that our younger teachers are not stepping forward. Trust me – you are needed! If you don’t know how to reach your state president to volunteer, go to astaweb.com and under state services, you will fi nd a link to your state president. At the national level, there are also opportunities to volunteer. A new program, Discovering Strings and Orchestra needs volunteer clinicians to visit interested community groups to demonstrate the wonders of the string family. Th e program, which was funded by NAMM, has materials including a coloring and activity book and an introductory DVD to help with the demonstration. Th e program is fl exible and can be tweaked to fi t the needs of the clinician and the participating group. Advocacy materials are available for communities where there are no string orchestra programs. Not only is this program fl exible but it is an excellent way to involve student chapters and string project students. Other national opportunities include presiding at national conferences, writing journal articles, and volunteering for committees. So, yes! You and I can make a diff erence in the classroom, the studio, the community, and to our association. Mentoring and volunteering takes time but it helps someone else and it also helps you, the volunteer, to know that you made a diff erence. You can only know that feeling of satisfaction if you make that call or click that send button on your computer to get started! I look forward to meeting many of you at the end of the month in the “Land of Enchantment,” Albuquerque!

14 | American String Teacher | February 2008 Senior Editor and Assistant Editor Positions Open

In our continuing eﬀ orts to better serve the membership and advance the string teaching profession, the ASTA Board of Directors is committed to enhancing the quality of scholarly articles for the American String Teacher and renewing our focus on quality string teaching. A Search Committee comprised of ASTA members and associates will review applications and conduct interviews at the ASTA National Conference for a “Senior Articles Editor” and an “Assistant Editor.” Th e senior editor must possess knowledge of both studio and K-12 teaching at all levels and be a long-time ASTA member with myriad connections in the ﬁ eld. Th e senior editor works with the managing editor, instrument forum editors, editorial committee, and authors to ensure that appropriate content is solicited for AST. Th e person must be pro-active in securing articles and ensuring that the AST continues to meet the diverse needs of a diverse membership. He or she is responsible for editing articles for content, grammar and punctuation, and adherence to style guidelines. Th e senior editor will also work closely with authors to incorporate edits and editorial committee comments. May also conduct interviews with prominent string pedagogues and prepare articles for AST. Th e senior editor is responsible for the overall scholarly content of AST. Th ey in turn will supervise an assistant editor. Th e assistant editor will secure articles for Member2Member, Teaching Tips, My Turn, and other areas as determined by the editorial committee or the senior editor. Th ey will also serve as the reviews editor and in this capacity will solicit reviewers for the many books and educational materials that are sent to AST for review. Th e assistant editor will also edit the reviews for consistency and style. String music knowledge and attention to detail are essential for both positions as are excellent editorial skills and ability to meet deadlines. Must be organized, diplomatic, and adept at planning in advance. Familiarity with Chicago Manual of Style is preferred. Email resume to [email protected], fax to M.J. Dye at (703) 279-2114, or mail to AST Positions, 4153 Chain Bridge Rd., Fairfax, VA 22030. Please specify which position you are applying for. Th e senior editor has a yearly $10,000 stipend. Th e assistant editor has a yearly $5,000 stipend. Both are expected to attend the ASTA National Conference. Th e Search Committee will review each candidate’s experience, and interviews will be set up during the national conference in Albuquerque, New Mexico.

www.astaweb.com | 15 Association News

• Pirastro GmbH 2008 National Conference • Th e Potter Violin Company • Shar Products Company Silent Auction Donors • Skip Maisel’s Indian Jewelry Arts & Crafts • Soﬁ a Violins Th ank you to all of the companies, individuals, and state • Soundwaves Recording chapters who have donated to the 2008 Silent Auction (as of • Southwest Strings December 2007.) • String Letter Publishing • Albuquerque Convention & Visitors Bureau • Strings Music and More, LLC. • Anne Cole Violinmaker • Texas Chapter of ASTA • ASTA, Georgia Chapter Inc. • TouchArt Ltd. • Joshua Bell • Utah ASTA • Bobelock Case Company • Vardi Art • BowStopper Enterprises, LLC • Mary Wagner • Donald and Kathleen Brungard • Wingﬁ eld Audio • C.F. Peters Corporation • Wood Violins • Charles Jablow Photography • Yamaha Corporation of America • Christin Wolf Gallery • Claire Givens Violins, Inc. Th ank you to our gift bag sponsors as well. • Anne Clark • Connolly & Co. Inc. • CodaBow International, Ltd. • D’Addario & Co., Inc. • Colorado, ASTA Inc. • Th e Enterprising Rabbit • Connecticut Chapter of ASTA • Otto Musica • Connolly & Co. Inc. • Cruelty Free Brand Skin Care • D’Addario & Co., Inc. Th e Potter Violin Company • David Kaemmer’s Fiddle Tune of the Month • Barbara Eads Awards Th ree Violins • Electric Violin Shop • Th e FJH Music Company, Inc. ASTA is pleased to announce that three young • Florida Chapter of ASTA musicians were awarded instruments by Th e • Frederick Harris Music Co., Limited Potter Violin Company, based in Bethesda, • Doris Gazda Maryland. Twice a year, Potter’s Violins donates • Howard Core Company, LLC. three instruments to deserving musicians who • Illinois Chapter of ASTA Gabrielle Mogul and demonstrate particular need and talent. Th e • Indiana ASTA her new Potter violin. recipients of instruments for the 2007 October • KC Strings Violin Shop round of the Potter’s Violins Instrument Awards are: • Kendor Music, Inc. Jessica Velasquez, Englewood, Colo.—violin • La Casita de Kaleidoscopes Gabrielle Mogul, Boca Raton, Fla.—violin • Lisle Violin Shop • Lyra House Music Publications Robert Scott Nickell, Brooklyn Center, Minn.—violin • Maine ASTA • Mark O’Connor Fiddle Camp & Strings Conference • Maryland ASTA Upcoming Foundation • Meisel Stringed Instruments • Mel Bay Publications, Inc. Program Deadlines… • Michigan ASTA • Missouri ASTA CodaBows for America Community Outreach Program • Mona Lisa Sound Postmark Deadline: April 1 • Montana String Teachers Association Each spring, CodaBow International, Ltd., donates approximately • Neil A. Kjos Music Company $5,000 worth of full-size CodaBow Aspire bows to deserving schools • New Jersey ASTA and studios. Violin, viola, and cello bows can be awarded. Details and • New Mexico ASTA application materials are available online at www.astaweb.com. • New York Chapter of ASTA • NJR Music Publications Th e Potter Violin Instrument Awards • Northeastern Music Publications, Inc. Postmark Deadline: April 1 • Rachel Barton Pine Every spring and fall, Th e Potter Violin Company of Bethesda,

16 | American String Teacher | February 2008 Md. donates six Rudolf Doetsch instruments annually to students in need. Th ree instruments — violins, violas, or cellos of any size VASTA Senior Regional are awarded each round. Details and application materials are available online at www.astaweb.com. Orchestra Prep Days

Th e Virginia String Teachers Association (VASTA) was honored New Outreach Program to receive full funding from an ASTA Special Project Grant to support the expansion of their program, Senior Regional Orches- Targets Children in Need tra Audition Prep Days. In 2006, only one of the four Virginia regions held this event, which includes four concurrent master ASTA is proud to announce the newly launched Outreach classes (violin, viola, cello, and string bass) to assist students in Program. Th is grant program supports innovative projects that provide economically disadvantaged school children, through their preparation of the required material for their SRO auditions. grade 12, the opportunity to study stringed instruments. Funds Acceptance and performance in a SRO is required for students are awarded to multi-year projects that oﬀ er group string to be eligible to audition for the Virginia All-State Orchestra, so instruction—within a larger institutional context (for example, the SRO is a very important ﬁ rst step in the audition process. In a youth symphony, ensemble program, summer music camp, September 2007, thanks to the Special Project Grant funding and or community music school.) Please visit www.astaweb.com increased interest, VASTA was able to expand the SRO Audition under Community Initiatives for the guidelines and application. Prep Days to three of the four Virginia regions; the fourth region Applications must be postmarked by April 1, 2008. will be included in the program in 2008. Also, thanks to the popularity of this program, James Madison University in Har- risonburg has committed to jointly sponsor an All-State Audition Th e “$50 for 50 New Prep Day in February 2008, based on the same model for the Programs” Campaign VASTA SRO Audition Prep Days. VASTA thanks the many volunteers, the master class coaches, and especially ASTA for helping ASTA is asking you to make a $50 contribution as a symbolic to make this program possible! investment in new string programs—$1 to represent a new program in each state. Th rough the National Foundation to Promote String Teaching and Playing, your support of this campaign will greatly impact the number of students exposed to string music, the accessibility of quality professional development programs available nationwide, and ASTA’s ability to seed new programs and honor achievements in the string profession. Make a minimum, tax-deductible contribution of $50 to further the quality and quantity of string programs around the country and become a member of the “$50 for 50” Club. We know that with your support, we can continue to enrich the lives of our members, students, and future string professionals. Apply for a Special Project Grant

ASTA Special Project Grants are designed to provide ﬁ nancial assistance to projects planned at the state chapter level. Funding is available for new projects that will advance the ASTA mission and in- crease the strength, visibility, and activities of your state chapter. Only one project per state can be funded but states may submit more than one project for consideration. Grants of up to $850 will be awarded. Th e postmark deadline to apply for a Special Project Grant is June 1, 2008. Special Project Grants will be awarded to ﬁ nance projects or events that are new to a state and are scheduled to take place between July 1, 2008 and June 30, 2009. Guidelines, an application form, and a review of past projects are available at www. astaweb.com in the Community Initiatives section.

www.astaweb.com | 17 ASTA Welcomes New Members Th e following list reﬂ ects individuals and organizations who joined the association between September 1 and November 30, 2007. Welcome to ASTA!

Individual Mark A. Cellini, II Kathleen Ferris Susan Hodgin Jean Lee Scott Nordgren Members David Cerone Sadie Fields Meghan Hoefert Erin Lehman Rictor Noren Vijay Chalasani Chris Finnegan Kurt Hoesly Beth A. Lenz Greg Normandin Kathie Aagaard Trina Chambers Lauren Fischer Hans Hoffer Melissa Lesniak Martha Jane Norrell Aurora Adamson Philip Chan Mark Fish David L. Hoffman Kong Xiang Lester Jessica Nunn Satoko Agari Prescilla Chang James S. Fisher Barbara Hohenberg Ann Letsinger Marilyn O’Boyle Lauren Agnello Elena Chao Brenna Fitzgerald Candice Holcomb Lawrence Leviton Robert O’Brien Peter A. Aguilar Lani Chapman Val Fitzmaurice Megan Mae Holland Rebecca A. Lewis R. Michael O’Hanlan Jenni Aldrich (Vic) Jiaping Che Virginia S. Flores Lisa A. Hollenbeck Jim Lichentenberger Jeffrey Ohmart Anna C. Allen DJ Cheek Erin Foley Jason Hollowed Renie Wong Lindley Nancy Ohnstad Michael L. Allen Pin Chen Ann Fons Jann Holwick Katja LinÀ eld April O’Keefe Mary Taylor Allen Kai-Yuan Cheng Heather Frank Dahlia Horenziak Keith Liuzzi Anna Oksyuk Claire Allen Linda L. Cherniavsky Kristen Franseen Charlotte Howell Sarah Lockwood Carolyn Olcott William Alpert Lisa Chodorowski Lauren Freeman Anne B. Howells Barbara Loechner Victoria Olson Sandra Alvarado Deborah Chrisman Lorrie French Jessica M. Hrehor Renee Luebeck Susannah Onwood Anna Ancheta Chris Cinquini Antoine Frendo Amanda Jane Huber Kevin Lundy Peter Opie Tyler Andal Martha Clark Gary L. Fridley Diane K. Hudson Alexia K. Luscher Noelle C. Osborne Timothy D. Anderson Robin Clay Miranora Frisch Pedro Augusto Huff Jenny Luu Julie Overland Carol S. Anderson Nicole Cleveland Neil Fronheiser Richard Hughey James P. Lyon Britta Overson Emily E. Anderson Katherine Clore Jo Ellen Fuentes Samara M. Humbert Antonio Lysy Roberta F. Palant Wendy Annwe David A. Cobb Kenjo Fujii Sydney Humphreys Elizabeth Mabey Catherin M. Palusci Priscilla Arasaki Peter CofÀ n Lindsay Fulcher Chu-Ying Hung April MacDonald Katherine Pan Arlene Ashe Jan Coleman Thomas Furlough Paul Hurst Leanne K. MacDonald Daniel Z. Panner Brian Ashton Audrey K Coleman Jody Gaedtke Betty Ruth Hutchins Charleen R. Madill Chung Park Aaron Ashton Lisa J. Collins Racheli Galay-Altuman Kristin L. Hutson Alexander Magalong Claire Haesang Park Scott Astey Kristine Colton Katie Garber Daniel Hwang Elizabeth Magill Ann R. Patterson Tara Atkinson Kris Coniway Victor Barrera Garcia J. Amanda Igo Scott Magill Jen Paulson Kelly Aus Jessica Cooper Kari Gardner Frank S. Irvin Theodore Malevris Sylvia A. Payne Corey Averill Lindsey G. Cooper Virginia Gardner Cami Jackson Tom Maples Vikki Payne Nicole E. Avery Adam Paul Cordle Mary Beth Garrett Jeff Jacobsen Darlene Marcolini Philip Pearson Carrie Backman Leah Coshing Susan Gavriel Lara Jacques Katelyn Marino Sarah Peckjian Arlyn Baer Zachary Coudret Gretchen G. Cabrera Charles Glen Jahnke Mark Martin Emily Pellerito Kyle Marie Baker Katie Cousins John M. Geringer James G. Janossy, Jr. Hilary Martin Wesley Peng Sabrina Baugh Benjamin Cownie Ron Gilbert Aaron Janse Bethany Martynowicz Alexander Pershounin Katie Baumgarten Andrew V. Craig Susan Forkner Gill Diane Etsuko Johnson Anne Marxhausen Aurelien Petillot Gail Bauser Anna Cromwell Leonore Sleater Janet Johnson Margarita Maslennikova Jason C. Pfeifer David Bazan Catherine H Crowe Loretta L. Gillespie Kay Kathleen Johnson Michelle Mastin Christine Pham Stephen J Beall Joshua M. Cullen Margaret C. Gilmore A. Johnson Amy Matherly John H. Philligin Karen Bechtel Katie Cummings Brittney M. Gish Catherine B. Johnson Lucia Matos Soma Pierce-Smit Gabriel Becker Jonathan Cushua Brigette Glynn James Johnston Michael F. Mayo Allan Pirtle Leigh Ann Bekemeyer Ashley Darnell Katherine Goethe Felicia B. Johnston Aspen K. McArthur Zachary Pischnotte Thomas Bergamo Lauren Daugherty Eugenia Goldman Edwin S. Johonnott Molly McCallum Christina Placilla Catherine Bessiere Andrew B. Davis Pamela Goldsmith Christine M. Jones Jennifer McConaghie Movses Pogossian Julie Bisaillon Julie Davis Adam Goltry Lisa Juhasz Donita McCoy Sarah Polakovic Elizabeth Blake Susan Davis Julie Gonsman Seung-Hee Kang Loretta C. McCray Melissa Poll Alice E Blankenship Paula DeAngeles Chui Ping Goo Yeon Hee Kang Martha McCrory Andrew Pollard Fred Bledsoe Anthony DeBella Jara S. Goodrich Sigrid Karlstrom Richard McEnaney Anna J. Polunsky Judgy Beth Bloom Jacquelyn DeBella Lynn M. Gorman Molly Kearney Amanda McKay Hoorig Poochikian Lisa M. Bohnert Rose Nicole DeGuire Betty Anne Gottlieb Allison Keller Emily McLoughlin Gloria Popke Michael R Boitz Kevin Dengel Sam Grabow Brian Kellum Marilyn Melanson Joel A. Powell Victoria Borchers Freida Denson Julia Gray Lion Mark Kemner Kathleen A. Melius Juli Powers Brian Boron Cicely DeSalle Laurel Green Emily Kenney Sheila S. Mendel Abigail Pratt Kathleen Bowman Madeline Dexter Arnold Gregorian Carol Kersten Rachel Mertens Andrea ProÀ li Rhennie Jeanne Boyle Adrienne Dickerson Madison E. Gren Linda Kessler Margery H. Metzger Lynndon Qualls David O. Bracher Joan M. Diener Mathew Grenzwer Susan J. Kim Susan J. Meuse Danita Rast Ryan Bradley Barbara Dietz Stacy GrifÀ n In Jung Kim Kate Meyer Ellen Ravnan Pauline V Bradshaw Kristina M. Dill Kimbraly Grimes Natalie Kimbro Richard Meyer William H. Reed Laura Bradshaw Robert A. Dixon III David Grimes Tamara P. King Jeffrey S. Midkiff Felicia Reilly Marilyn Brendel Sarah Djordjevic Alex F. Grimes Ashley King Vance Miller Kathryn W. Reiswig Christopher Brennan Theresa Dobbs Geraldine O. Grine Jordan King Gwendolyn Miller Paula Remzas Louise Brodie Catherine Dobbs Judith Grossman Jody Kinneberg Christopher Minns Sarah Renkema Jessica Brooksby Carrie Dodson Beth Guck Kevin Kinter Laura Mirahver Paolo Reyes Adrienne N Brown Valerie Dopp Ashley Guice Lindsay Klecka Victoria E. Miskolczy Alison Rhodes Frank Brown Liesel Dorrow Mark Gurevich Emily Klein Nina Missildine James Rhodes Natalie Brown Cindy Dougherty Kathleen E. Gurnee Kristen Kline Amanda Mitchell Jennifer Rhodes David Brown Jean Dougherty Vincent Gutwein Elizabeth K. Klinger Kelly Vander Molen Stephanie Rice Jeanne A. Bruhn Laura Doyle Don R. Haines Lillian Klotz Kirsten Monke Cynthia V. Richards Brent D. Buckley Mahala S. Drummond James D. Hainlen Rachel L. Knipfer Nicole Moore Kailyn Rickenbach Abigail Buczynski Ryan Dudder Elaine Mai Haiying Elizabeth K. Knuppel Molly E. Moriarty Rhonda C. Rider Paula Farias Bujes Jayme Dunn Gabrielle M. Halko Daniel Kobialka Courtney P. Morrison Raymond Rigoletto Robert W. Bukofske Ann E Dunn Gwen Hamel Susan Koelle Rebecca Morton John Rihani Greta Ann Burdick Sally Duran Erica Kritzer Han Cordi Koga Shawn Morton Ben C. Riley Teresa Burnard Sandra Dusterdick Heather Harding Patricia S. Koppeis Bill Moss Susan Elizabeth Riley Katharine Burnes Tamara S. Dworetz Sammi Harold Robert Korda Thomas J. Mudd, Jr. Kristian Ring Regan Burns Lisa Easterday Kristen Harris Nancy Koski Dusty Munger Rose Rodgers Michael D. Burris Aaron Edrington Holly Harrison Sophie Kossakowski Lidia E. Munoz Gail Rodin Stacey K. Burwick R. Todd Ehle Erin Harvey Paula Krupiczewicz Branden Muresan Robert Rodine Matthew Busse Donald Emmons Marcia HatÀ eld Kathy Kuntz Bonnie B. Murray Carolyn E .Rogers Brian W. Buterbaugh Jessica Enderle Hope Haug Jeff Kust Timothy Mutschlecner Rachel Rogness Lisa Butts Victoria Enloe George Hayes John LaForge Susan Myers Linda Wood Rollo Erin Byrnes Gyongy Erodi Likai He Emmanuel P. Lalunio John Nardolillo Sarah Rose Victoria Cabungcal Mary C. Eslick Gari Hegedus Michael Lamma Meryl Nash Mary Roseberry-Brown Jennifer Cahill-Clark Catherine Everingham Jill Hendricks Bethany Dee Landa Anahita D. Navab Cindy RoseÀ eld Karina Camacho Shaina Evoniuk Riza Hequibal James Landreau Michael Neal Allison Ross Allison Capano Sakura Ewer Elizabeth R. Hess Charles C. Laux, Jr. David Neely Emily Rosson Lauren Carlton Thaddeus Expose Charlotte Higgins Meghan Laux Annelise Nelson Lois Rotjan Courtney Castaneda Alexander Ezerman Nelson Hill Allison Lavender Stephanie Newberry Nicole Routman Valerie C. Castilla Benjamin T. Fang Terry S. Hill Amanda E. Laws Brian Newnam Lauren K. Roznowski Julia Castor Robert Fauth Heide Hille Frances H. Leblanc Dana Newton Sylvia Rubin Julie Castor Sheila Felder Cynthia B. Hinkelman Roger Lebow Stephanie Nies Laura Rubinstein- Samuel Catanzan Elizabeth Feldpausch Robbie Hobein Joseph Lee Meredith Nisbet Salzedo Kathryn Cavallaro Amanda Fenton Nicholas Hodgen Michelle J. Lee Amy Noble Margaret Ruccolo Charlene A. Feretti Brian Hodges Sydney Lee Lauren Noble Joshua A. Russell

18 | American String Teacher | February 2008 Erin Michelle Ryan Doris Trutna Haley Rydell Samuel Tsugawa Susan W Rydzeski Yakov Tulchinsky Jeong-Min Ryoo Winston Turbeville Annemarie E. Ryu David K. Turner Hannah Salvatore Pamela Ursillo Christine Santos Katie Vail Kim Sator Arlyn Valencia Anna Sayanagi Rosanne Valenzuela Michael J Schaefer Garret Van Gessel Mary Schallert Frances M. Veres Irena Goren Scheer Mundy Vi.ar Gene Schett Edward S. Vigneau Katarina Schmitt Enrique Vilaseco Kristina Schneider Floralba Vivas Yizhak Schotten Suzanna Voigt Cara SchrefÁ er Jennifer Volby Jamie Schreiner Elizabeth A. Voltz Rachel P. Schuldt Nuiko C. Wadden Astrid Schween Erica Wade Stephanie Schweigart Jean M. Waggoner Ashley Scranton Blake Walter Peter Ellis Ginna Watson David Seitzinger Shelly M. Weber June B. Sereque Kiana Weber Renee Serritella Kimberley Wedesky Britt Severson Darlene Weingarten Christine Seymour Nathan A Wesner Clyde T. Shaw Dean Westman Tracy Shealy Joseph White Nicole Sheridan Bethany Wigtil Ellen L. Shertzer Theresa Wilkinson Catherine Shiau Matt Wilkinson Deborah Shields Katherine Williams Hannah Shook Abigail Wilmore Dorothy J. Shorter Pamela Wilson Rebecca Shudak Elise Winters Heather Siegfried Elaine Wisniewski Lenore Siems Shelly Wolf Paul L. Sikes Emily Wolfram Agnes Simkens Smantha Wolinski Sherry Sims Gregory J. Wood Susan Sinnett Taryn Wood Karissa Sipek Stephanie Woolf Darren Siu Kelly Wright Ruth Sivertson Christina Wu Audrey Marie Smit Yi-Hui Wu Kathleen Smith Allyson Wuerschel Rosanne C. Smith Chris Xeros Amanda Smith Jingyan Xiao S. Leigh Sooter Ziline Chen Xiuling Kristy Speraneo William Yeager Larisa Spitzer Karen Yeh Lindsey R. Springer Brian Yip Renee St.Amand Youngho Yoon Dana Staaden Hiroko Yoshida Susan J. Stachelski Naomi Youngstein Timothy Stanley Jimmy Bo Yuan Steven Stenson Kim Zamjahn Jessica Stephens Tiffany Zehel Margaret Stephenson Max Zorin Max Sternglass Marta L Zurad Darrin Stohlberg Patricia T. Stolz Institutional/String David Stoverschlegel Industry Council Anna Strange Members LaVada Studley Norman Stull Johansen International Peter Stumps Competition Janine Sturomski Mountain Crest Sandra Sundstrom Music Stephanie Sussmeier NS Design Nathan John Sutter David A. Sutton Shenandoah Neil Swapp Conservatory Kaitlyn Swift Super Scope Natalie Synhaivsky Technologies Michael Taddei Laura M. Tagawa ASTA Members Invited to Submit Articles for Toru Tagawa Michele Tate American String Teacher Journal Mark H. Tatum Carol T Taylor The award-winning American String Teacher journal provides Gordon Tedeschi an extraordinary beneÀ t to its members. ASTA members are Bonnie Teplik encouraged to submit articles on a broad range of pedagogical Kristi Terauchi Marc Thayer and performance topics. As is the rule with most professional Charles Thompson journals, submission of an article does not guarantee publication, Charissa Thompson but the articles editor is most willing to work with prospective Amanda Thoms authors in order to maintain the highest standards. Karen Thomson Doreen M. Thorusen Author guidelines may be found on our website, www.astaweb. Troy Tinney Megan Titensor com. Articles may be submitted for consideration as feature Meghan Todt articles, forum (instrument-speciÀ c) articles, My Turn, Teaching Tips, Kathryn Tomlin or Member2Member articles. John P. Trainor Katherine Trent Please make an initial inquiry with article idea or send a completed article via e-mail to Sheryl L. Trick Eva C. Trigueros Kristin Mortenson, articles editor, at [email protected]. Kristen Trump

www.astaweb.com | 19 Member2Member by John C. Jarboe

Memory

People will forget what you do. As days go by they’ll tend to other things and forget What you said, when you said it, and why. People will forget your name And not care a bit from where you came. People won’t recall at all What you wore last fall And the color of your eyes will be Equally forgotten, Lost like a ball of Delta cotton In a ﬁ eld that reaches to the afternoon sky. But people won’t forget-- Th ey’ll never forget How the music you played Reached into a place Inside of them and stayed For a while To moisten eyes or make them smile-- To ease a hurt and help it heal. People won’t forget how you made them feel. Violin Days

A day without the violin Is a day standing still. A day at the top Of a snow covered hill, Sitting on a sled Not moving. A day without the violin Is a day you’ve missed Th e chance to move on; Th e chance to persist and keep on, keep on Improving. But a day with the violin Is a wonderful day. A splendid, promising Moving way With the wind on your face Down a snowy hill, Chasing the sun; Not standing still.

John Jarboe was born in Parsons, Kansas, and began violin lessons from his mother at the age of three. He studied with Mark- wood Holmes, Merton Shatzkin, and Paul Carlson at Pittsburg State University (PSU) in Pittsburg, Kansas, and with Henri Temianka at California State College in Long Beach. Jarboe received the bachelor of music education and master of music degrees from PSU. He has served as instructor of string music/orchestra at public schools in Missouri, Kansas and Arkansas, and he is a published Nashville songwriter and former violinist with the Nashville Symphony and Arkansas Symphony Orchestra. Jarboe is conductor of the Preparatory Orchestra in the Arkansas Youth Orchestra program, violist with The Jarboe String Quartet, and serves as the music specialist/program advisor with the Arkansas Department of Education.

20 | American String Teacher | February 2008 www.astaweb.com | 21 ReturnToo Much to Information

Matsumoto

by Marianne Murray Perkins

I traveled to Matsumoto, Japan in July of 2007 to see fi rsthand if there had been any changes at the Talent Education Institute since Shinichi Suzuki’s death in January of 1998. For more than half a century, Matsumoto had been the home of this visionary pedagogue who undoubtedly changed forever the way the violin, and indeed other instruments, is taught. On the personal level, I was also curious to see if the city itself had changed in the intervening years since March of 1985, the date that I had graduated from the institute. Th e other aim of this visit was to collect additional research for a new book that explores how Suzuki taught technique. While doing historical research for this book, I was reminded of the critical role that ASTA played in fi rst bringing Suzuki to the United States for the MENC/ASTA national conference in Philadelphia in 1964.1 I had already returned to Matsumoto twice since graduating. Th e fi rst trip back was in 1987 to interview Suzuki as well as Yuko Mori, one of Suzuki’s key teachers, for my dissertation. Th e second time was in 1989 to attend the International Suzuki Association Conference and the Talent Education Institute’s annual summer school for teachers and students. But my emotions towards returning this time after a 17-year absence were somewhat mixed. How would it feel not to have Suzuki and other familiar faces there to greet me? My visit was set against a backdrop of natural and catastrophic events by James Stern simply beyond my control. First, I had to contend with the looming, pow-

22 | American String Teacher | February 2008 erful Man-Yi typhoon; next, a severe earthquake in the Nagano Prefecture region; and ﬁ nally, the dangerous nuclear power-plant explosion and leak which resulted from the earthquake. Th e typhoon made travel very wet and unpleasant. Th e earthquake, however, had disrupted all of the train service into the mountainous region northwest of Tokyo, where Matsumoto is located. Th is resulted in an extra eight-hour-long, arduous detour. But the seriousness of the nuclear plant leak caused by the earthquake made me pause to consider my options: clearly, this had the potential to be life-threatening. Much to everyone’s relief, the crisis also gradually abated. After those calami- tous initial days of the trip, the sun ﬁ nally made an appearance, the Japanese all breathed a sigh of relief, and I proceeded to enjoy the rest of the visit.

Background My initial visit to Matsumoto was in December of 1983. Th is was purely a three-week “trial bal- loon” to see what the institute had to off er. I had just completed my professional obligations in Saudi Arabia teaching advanced English language skills in a post-graduate program, as well as teaching traditional violin privately to expatriate students of all ages. Th e prospect of studying in Japan did not seem so intimidating after having spent three years living and working in the Middle East! What I discovered during that fi rst trip to Matsumoto was so compelling that upon my return home, I promptly made all of the necessary arrangements to return to Japan without delay. I remained there to study with Suzuki for the next 12 months. In the spring of 2007, I fi rst learned from my preliminary inquiries with Mitsuko Kawakami, the liaison for foreign teachers and visitors, that the Talent Education Research Institute, or TERI for short, had been formally renamed. In April 1997, the school had received full accreditation as an institution of higher learning by the Japanese Ministry of Education. It is now known as Th e In- ternational Academy of the Suzuki Method. Th e students or teacher-trainees who attend the school are now referred to as “academy” students, and upon graduation they receive a diploma in professional music studies. Consequently, the admission requirements, as well as the course of study, have changed dramatically, and there are a host of new faculty members.

Matsumoto Comes of Age Th e city of Matsumoto has been completely transformed during the past 20 years. It is now a very modern metropolis that boasts all of the amenities of other large Japanese cities – an effi cient trans- portation system, upscale hotels, good restaurants, and major cultural events – while still retaining most of its rural charm. But the best news is that this thriving city’s inhabitants are still as warm, friendly, and as hospitable as ever. Th e train ride from Tokyo — the only method of transport into the city besides a diffi cult car drive — has been reduced from fi ve hours down to three. In fact, you can bypass Tokyo altogether and go straight from Narita Airport directly to Matsumoto via the recently added shinkansen. Upon arrival, a brand-new rail station complete with shops, restaurants, and actual elevators and escalators greets you. Th ese conveniences were rarities in my day, making carrying instruments and luggage diffi cult. Along the major thoroughfares, colorful banners featuring doll-like fi gures holding violins hang from the street lamps. Th ey are underscored with the caption written in English, “Welcome to Matsumoto, the music city.” Th e city is now home to a major art museum, but more importantly there is a brand-new, state-of-the-art performing arts center. Th is facility houses two concert halls with impressive seating capacities, as well as a theatre-in-the-round for plays. Th e center attracts such luminaries as Seiji Ozawa and his festival orchestra as well as major artists from around the country and the world. Clearly, Matsumoto has positioned itself as the performing arts Mecca of the Japanese Alps region. Th ey have Suzuki’s success there to thank for that. Th e only drawback to the new performing arts center, however, is that its mammoth scale completely overshadows the (former) Talent Education Research Institute. In order to build the center, the city reclaimed the parkland that used to lie directly in the foreground of the institute,

www.astaweb.comwww.astaweb.com | 23| 23 together with an adjacent, older concert hall. Th e staﬀ at the institute rightfully mourns the loss of their beautiful park with its ﬂ owering cherry blossom trees in the spring and inspiring view of the mountains that surround the city like a string of pearls. One cannot help muse that if Suzuki and his wife Waltraud were still alive they surely would have rallied against the hall being situated in this location. In the mid-1970s, Suzuki had placed a statue of Pablo Casals in this diminutive park to com- memorate Casals’ visit to Matsumoto. He also wanted to show his appreciation for the cellist’s unswerving support for the Talent Education movement. What had happened to that statue, I wondered? I was told to look on the roof ! Oddly enough, the performing arts center has created a surreal-like rooftop garden where all of the artwork from the now defunct park has been relocated. When I ascended to the windy top of the building to investigate, there he was! Casals did seem a bit lonely up there, but he must surely be comforted by his stunning 360° view of the surrounding mountains and the lovely city of Matsumoto below.

A New Director for a New Era Just about a year after the death of Suzuki on January 26, 1998, Koji Toyoda was appointed president of the Talent Education Research Institute and director of the new International Academy. In 2000, he moved to Matsumoto from Germany to assume this dual role full time. Toyoda was one of Suzuki’s fi rst pupils. Born in 1934, he began studying the violin with Su- zuki when he was only three and continued with him for the next fi ve years until events associated with the war separated them. After the war, during which Toyoda lost both of his parents, they resumed their studies for another two years. Toyoda says that Suzuki truly became “like a second father to him.” It is worth noting here that Suzuki and Waltraud never had any children of their own. At the age of 12, Toyoda left Japan to become a student at the French National Conservatory of Music in Paris. He later furthered his violin studies in Europe under Georges Enesco and Ar- thur Grumiaux. Toyoda has had an impressive career. He has won numerous solo playing competitions and distinctions in Europe throughout the years. He was also concertmaster of Rheinischem Kammerorchester in Cologne, and the Radio Symphony Orchestra in Berlin. From 1979 to 2000, he served as professor at the Hochschule der Künste in Berlin, directed several summer music festivals in Germany and Japan, and has made numerous recordings in Japan, Europe, and the United States. Unwittingly, many teachers and students may already be familiar with Toyoda’s playing because he is one of the earliest performers of the Suzuki Method repertoire used for the required listening in the method. Th ese recordings, now on CD, are integral companions to books one through eight of the method. Toyoda recorded them for Suzuki back in the early 1950s. Besides his duties as director, Toyoda also gives weekly private lessons to all of the violin teacher-trainees at the academy. I had the privilege of observing him coach several academy students during my recent visit. He is charming and personable, with a distinct twinkle in his eye when he speaks and teaches, very reminiscent of his fi rst mentor, Suzuki. When he instructs and demonstrates for his private students, he is direct and exacting; it is obvious that he is not just a world-class player but also a highly dedicated master teacher. As of this writing, there are 27 students studying at the academy; 24 are Japanese, two are Korean nationals, and one is an American (fl autist) who just completed her graduation recital. Eighteen students are violin majors (viola may only be chosen as a secondary instrument of study), one is a cello major, two are fl ute majors, and seven are piano majors. Th e program for academy students extends from a minimum of two years to a maximum of fi ve years in length depending on when students fulfi ll the course requirements and upon the recommendation of their primary instrument teacher. In addition to Toyoda, other current academy faculty members include Suzuki’s niece, Sasako Su- zuki as director of Suzuki pedagogy; Hiroko Masaoka, violin instructor; Seizo Azuma, director of piano studies; Mineo Hayashi, director of cello studies; and Toshio Takahashi who serves as vice president of the academy, director of fl ute studies, and formerly head of the International Suzuki Association.

Admission and Graduation Requirements Th en and Now When I studied at the Talent Education Institute back in the early 1980s, the entrance requirements for foreign teachers were somewhat liberal. For all foreign, non-Japanese teachers, if you had the desire and the dedication, regardless of your educational background, teaching experience, or playing level, Suzuki would accept you as a student. Th e entrance requirements for Japanese teacher-trainees, however, were much more formal and rigorous, involving an apprenticeship-like

24 | American String Teacher | February 2008 system. Th ere was also a lengthy mandatory period of study for the Japanese, whereas foreigners had much greater fl exibility, allowing them to work around other professional obligations. For example, it was not unusual for foreign teachers to spend three or more successive summers at the institute and then graduate. Th en, as now, instruction at the academy is only off ered for the violin (with some viola), cello, piano, and fl ute. Although the Suzuki Method has been adapted for other instruments such as the double bass, guitar, and harp, as well as vocal training and preschool in the United States and other countries, throughout Japan instruction for students is limited to the violin, cello, piano, and fl ute. Today, violin students applying for admission to the academy must have graduated from high school and successfully completed all 10 books of the Suzuki Method repertoire. In addition, they must have completed the post-graduate level of the Suzuki repertoire. Th is level includes pieces such as the Vitali Chaconne, the Mendelssohn Violin Concerto in E minor, the Bach Violin Concerto in E Major, and Sicilienne by Paradis. For the entrance audition, violin majors are required to perform the 1st movement of the Mendelssohn; for cello majors, the Brahms Sonata no. 23 in E Minor; for fl ute majors, the Ibert Concerto. Piano majors may choose to perform one selection by Beethoven from the following: the Sonata in F Minor op. 57 (“Appassionata”), Sonata in C Minor op. 13 (“Pathetique”), Sonata in C# Minor op. 27, no. 2 (“Moonlight”), or Sonata in D Minor op. 31, no. 2 (“Tempest”). Regional auditions are arranged through the International Suzuki Association. Prospective students are also required to submit transcripts and letters of recommendation from current teachers and be interviewed. In past years, permission to graduate from the program was at the sole discretion of Suzuki. Th e training was intensive and demanding. Only when Suzuki believed students were suffi ciently prepared to graduate would he authorize them to prepare a graduation recital for the entire faculty, students, and guests of the institute. Suzuki pre- approved the recital program, but it was the responsibility of the aspiring graduate to make all of the other necessary arrangements. For example, candidates would hire an accompanist and chamber orchestra players if needed, schedule rehearsals, prepare programs, and create their own personalized ceremonial graduation shikeshi. Th is was a tall banner painted by the candidate with an appropriate haiku poem inscribed on it in Japanese that refl ected the season of the year. It adorned the stage as a backdrop for the graduation recital. Today, to earn the diploma in professional music studies, each student must complete 950 hours of training per year for a minimum of two years. Courses include private and group lessons, solo recitals, participation in chamber music and orchestral ensembles, Suzuki philosophy and pedagogy, teaching internships and observation, music history and theory, and English as a second language. Upon completing the course of studies, students must also perform a graduation recital. It is professionally recorded and students receive a CD as well as DVD of their performance.

Tuition and Fees Twenty years ago, the tuition for foreign teachers was nominal, about $125 monthly. Today the tuition for all students is considerably higher. As of this writing, there is a modest admissions application fee, but once admitted to the academy, there are additional entrance fees that exceed $1,000. Th e monthly tuition is now $485 for each student. Th e entire $5,812 yearly tuition must be paid at the beginning of each new term. Th is does not include room and board or travel expenses. All fees are payable in Japanese yen, so today’s unfavorable exchange rates contribute to the spiraling costs. Despite the higher cost of living students must contend with in Japan, the tuition seems reasonable compared with the current costs of attending a four year undergraduate music program in the United States. When I fi rst crossed the threshold of the institute last summer, the fi rst thing I noticed was the dearth of foreigners. Back in the 1980s, the school was overfl owing with long-term teacher-trainees, short-term students, and guest visitors who had come to observe from countries all around the world – Canada, the United States, Britain, Australia, France, Germany, to name a few. Th ere was always a palpable hum of excitement in the air. Marianne Perkins and Shinichi Suzuki pose for a photo. Th e strains of violins resonated from every nook and cranny of the building because practice space was usually at a premium. Now the atmosphere is quieter, more subdued. I wondered whether Suzuki’s death was the primary reason that far fewer foreigners were choosing to study there or even visit the institute? Perhaps another important factor was that Haruko Kataoka, the leading Suzuki Method piano pedagogue, had also passed away recently in 2004. She had attracted a large international following and many

www.astaweb.com | 25 foreign piano teachers had come to the institute to study with her or observe her teaching. In past years, most students entered Japan on a three month visitor’s visa. Th is worked especially well for teachers who could return only during summer vacations. For long-term students, Suzuki very obligingly signed all requests for visa extensions. Because of its strict illegal immi- gration policies, in recent years the Japanese government has stringently tightened the rules for foreigners to obtain student visas. Th e required student visa application fee alone is now around $1,800. In addition to this fee, foreigners must pass a special eligibility exam that demonstrates completion of at least a high school level of education. So, the bottom line is, it is no longer easy or cheap to get the necessary type of visa required to spend an extended period studying at the new academy.

Th e Course of Study Th en and Now When I studied at the Talent Education Institute, every weekday morning began with group lessons in the recital hall. Th e focus of these sessions was to strive to produce superior tone on the violin, which Suzuki called “Diamond Tone.” Th e warm-up exercise was always the same – the fi rst eight measures from the “Chorus from Judas Maccabaeus” by Handel. Suzuki used this excerpt in our training as a springboard for introducing new technique in order to improve tone. He was extremely passionate about this subject and it became the central focus of all his teaching. After the group lessons, Suzuki met with the violin students for private lessons in his comfort- able, private studio from late morning until mid-afternoon. Lessons were always given in a master class format with each student receiving individual attention while others observed. Players performed a prepared piece of their own choosing and then Suzuki would critique them. Th e basis of his suggestions invariably centered upon technique and, of course, tone production. Regardless of how well a student performed, for Suzuki it was without merit if the tone was not rich and resonant. On the fi rst afternoon of every week there was a preparatory recital session called “Monday Concert.” Th is class was always rather stressful for students and teachers who were not accus- tomed to being soloists, but it was a necessity when preparing for graduation. To help alleviate the stress, for the hour immediately preceding the concert students could partake of a Japanese calligraphy class at the institute. Rumor had it that Suzuki believed that painting long, fl owing brush strokes just before a performance would not only help focus the mind but also loosen tense fi ngers and arms in preparation for the demands of bowing. To round out the schedule at the institute there were classes in musicology taught by master fl ute teacher Toshio Takahashi. Students also had the option of studying Suzuki pedagogy at that time with Yuko Mori or other high ranking Suzuki Method teachers. Finally, students were encouraged to observe other teachers’ master classes, such as Kataoka’s, and to attend the recitals of fellow students or visiting guest artists. At present, the day also begins in the institute’s recital hall, where an enlarged, beaming photograph of Suzuki playing the violin now graces the center stage’s rear wall. It is here that Toyoda starts his mornings by giving each academy student his or her weekly, individual private lesson. Th ese lessons usually last for about an hour, with students being coached primarily on advanced repertoire. Students who do not have a private lesson scheduled for that day may meet instead with Sasako Suzuki, director of pedagogy, for an extensive review of how to play and teach the Suzuki Method repertoire.

Th e Suzuki Home Museum Th e Suzuki residence, located just a few miles west of the institute, has now been converted into a museum. It is defi nitely worth the visit. Suzuki and Waltraud lived in this house for 41 years, from 1953 through 1994. Since it was very poorly insulated and Matsumoto winters are notoriously cold and snowy, the Suzukis spent their fi nal years in a new house near the institute. Th e domicile museum currently houses all of Suzuki’s accolades which include personal tributes from presidents, numerous international awards of merit, honorary doctoral degrees, photos, original recordings, some of his own paintings, and other memorabilia. A large granite monument dedicated to Suzuki stands in the garden just outside the entrance to the house. As you enter the house, the caretaker greets you and proceeds to conduct an informal guided tour. A row of glass cases in the living room displays preserved photos from Suzuki and Waltraud’s 1929 wedding in Berlin and ensuing special anniversaries. Although several of these same photos can be found reproduced in various publications, viewing the originals in the Suzuki home evokes a sentimental feeling of nostalgia for a bygone era. Of particular interest in the home is Suzuki’s tatami-matted art studio. Th ere you will fi nd

26 | American String Teacher | February 2008 some of his favorite artwork, calligraphy implements, and art supplies. Suzuki was fond of painting scenes of the surrounding mountains underscored with some of his favorite personal quotes such as “Where love is deep, much can be accomplished,” and “Man is a son of his environment.” He often gave out copies of these paintings as gifts to visitors, and students received one upon graduating from the institute. Towards the end of the tour, visitors may be invited to view a recording of the most recent National Suzuki Method grand concert held in Tokyo every spring. Th ese concerts feature more than 3,000 students performing selections from the Suzuki repertoire together.

Should You Go? Is there any real advantage in studying the violin and the Suzuki Method at the Academy in Matsumoto now that Suzuki is deceased? Th e new International Academy of the Suzuki Method does off er a comprehensive program of studies comparable to many fi ne colleges and universities in the United States. I believe the true value lies in learning from the master teachers who worked so closely with Suzuki, which for some exceeds 50 years! Th eir teaching prowess with students of all ages is truly inspiring. As for visiting Matsumoto, it is quite costly for Americans to travel and stay in Japan now, but every string teacher should consider it a once-in-a-lifetime opportunity. Matsumoto truly embodies the spirit of its most illustrious citizen. It will always be known as the city where the revolutionary idea, “every child can learn” was planted in fertile soil and grew into a worldwide movement. For me, returning there despite Suzuki’s absence fi lls me with a renewed sense of purpose. And, it reminds me of how privileged and grateful I feel to have had the opportunity to study with such a great pedagogue in such a nurturing environment. Note: this article is excerpted from the forthcoming book, East Meets West: Fusing the Pedagogies of Paul Rolland and Shinichi Suzuki, used by permission of the authors, Lynne Denig and Marianne Murray Perkins.

1 Klotman, Robert. “Th e Suzuki Revolution,” American String Teacher, Spring 1996, 44-45.

Marianne Murray Perkins has taught strings for 30 years at all levels, at university, in the public schools, and in her private studio. She received her doctorate of musical arts from Catholic University in 1993. She holds a M.S. in education from the University of Pennsylvania, and a B.A. in music education from Temple University. Perkins studied with Shinichi Suzuki at the Talent Education Research Institute in Matsumoto, Japan in the 1980s and was awarded the Suzuki Method Teachers CertiÀ cate upon graduating in 1985. In 1995, ASTA published her book, A Comparison of Violin Playing Techniques: Kato Havas, Paul Rolland, and Shinichi Suzuki. It has remained one of ASTA’s best-selling books since its release. Perkins has given presentations at several ASTA National Conferences and has led workshops at universities in the U.S. and internationally. She currently maintains a large private studio in Fairfax County, Virginia.

www.astaweb.com | 27 www.astaweb.com | 29 30 | American String Teacher | February 2008

On Mentorship: Sharing the Gift of Music A Perspective from a Teenage Strings Teacher

by Asia Echard

When my viola teacher, Lynne Denig, told me that she was teaching a pedagogy class and invited me to attend, I gave her a polite smile and nod, but didn’t really think I would be going. I didn’t know anything about dealing with kids, and I didn’t think I’d make a particularly good teacher. When I fi nally told her that I didn’t think I’d participate, she said that she respected my decision, but thought that I should reconsider. She fl attered me by saying that I had been at the top of her list when she designed the class. I looked up to her as a teacher, and her words made me feel like I could do it. I told her, “I’ll give it a try.” Th at was one of the single best choices I have made in my life. I thought it would be exciting to teach younger musicians, but my schedule was so fi lled with school and sports that I wasn’t sure I could ever become a “real” teacher. Despite my own doubts, things fell miraculously into place. Although I’m still in high school, I own and manage my own strings studio; I’ve developed and run my own weeklong strings camp; and I have learned a great deal about myself, both as a musician and a person. Let me tell you how all this unfolded for me. Mrs. Denig’s weeklong pedagogy class was terrifi c! Th e program, funded through a Special Projects Grant from ASTA, provided me with the tools I needed to begin teaching my own strings students. It covered such techniques as how to teach hand position, body align- ment, holding the bow, note reading, and rhythm. It also included a summary of the Suzuki method, and we learned by watching and discussing the Paul Rolland fi lms. Friends and mentors come into our lives in many ways. Be- sides Mrs. Denig, another mentor helped introduce me to my fi rst student through the Guardian Angel program that my church orga- nizes for confi rmation students. Th e angels pray for the students and occasionally send them anonymous gifts to let them know they are thinking of them. A Guardian Angel from our church decided to give the gift of music to her confi rmand by hiring me to teach her for one year. Th is may be no surprise to readers of AST, but this wonderful Guardian Angel was none other than Mary Wagner, the president of ASTA! For my fi rst student, I cleaned my house and vacuumed for hours before practicing in front of a mirror. I was so nervous, but the lesson went fl awlessly. It felt great to help my new student with her orchestra music. It wasn’t long until I was actually hearing improvement in her playing. I’ll always remember that as one of the most rewarding experiences of my life. What I didn’t anticipate, however, was the improvement that I experienced in my playing. I did not realize how much you must examine your own habits in order to teach them to others.

32 | American String Teacher | February 2008 Since I started teaching, my rewards have come in many ways. Frequently, the parents of my students tell me that their son or daughter was on the brink of quitting music, but after starting lessons with me, they found a renewed enthusi- asm. Th e mothers tell me that their kids relate to me because I’m also a kid. With my small studio, I began thinking of other ways I could make playing fun and interesting for my students. Last December, I held a holiday recital in my house. We squeezed about 30 guests into my living room for the recital. Every student played a holiday tune, and then I played my own 10-page arrangement of the Nutcracker. We celebrated the holidays with desserts, and at the end of the party I surprised all the students with goodie bags that included instrument ornaments that I had fashioned out of clay. My students Asia and her students enjoy a little outdoor music. decided that I will be holding this holiday party every year! At the recital, I raised the idea of holding a summer strings camp. My students were all excited about the idea and before I knew it, parents began asking me for the dates so they could plan their summer vacations around it. In January, I set a date and began planning, eight months in advance, Asia’s Strings Camp. As I developed my camp, I decided that my age would not prevent me from acting, looking, and presenting myself as a professional. My goal was to create a program that was at least as fun, educational, and professional as any camp run by adults. I started by designing a brochure with all the camp information, a registration form, and a statement about what I planned to do at the camp. My hope for the camp was that my elementary level students would have their fi rst opportunity to play chamber music. I wanted them to experience what it would be like to play one part while the person next to them played something different. In the school orchestras, they hadn’t yet had the opportunity to do this and I felt it would be a fabulous prerequisite for high school. Next, I designed personalized camp tee-shirts with my own logo. Since my students sometimes forget their lesson books each week, I decided also to put the logo on tote bags that served as their camp “goodie bags.” Th rough the next months, I spent hours each week planning the activities and thinking about the music we would play by searching the internet for violin and viola accessories to give away as prizes. I also began developing lesson plans. When camp started, I wanted to encourage everyone to participate so I made a chart with each student’s name on it. Students received a sticker each time they participated in the various activities. Whoever had the most at the end of each day got a prize. Th ere were also prizes at the end Enjoying a break with a budding musician! of the week for the overall winner. I ended up buying an end button with a mother of pearl star inlaid into it, red bow hair, blue bow hair, and a set of four crystal acrylic pegs. I also drew a violin on the computer and put it onto a T-shirt for another prize and put together a whole tote bag of prizes for the grand prize. Th e students enjoyed competing so much that I actually ran out of stickers on the fi rst day of camp! My mom had desperately been trying to convince me that fi ve hours per day for an entire week would be too long. She thought that I would run out of things to do and the kids would start getting bored. However, after all those hours of planning, I felt that I could handle it. I did get nervous, though, when one girl raised her hand in the fi rst two hours of camp to ask what time camp was over. Fortunately, I soon learned that she was asking because she didn’t want the day to end! She made me so happy that I almost started tearing up, but before I could, someone else raised her hand. “How many days long is it?” the other girl asked. “Five days long,” I replied. “So it’s one week long?” she confi rmed. I nodded.

Echard was one of the À rst to sign her student’s cast.

www.astaweb.com | 33 “But why can’t it be two weeks?” Th ose girls will probably never understand how happy they made me with their questions. In all, I felt that the camp was a complete success. We had two activities every day, and also studied a key signature, a composer, and a time period each day. Th e students got a taste of chamber music, which they performed for their parents on the last day. I taught them how to record their playing by recording their fi nal rehearsal onto a CD. I tried to keep the learning fun by incorporating music-related crafts into our activities. I heard some talk that camp should be longer next year and was fl attered to learn that they all wanted at least two weeks for next summer. Th en I heard someone suggest a full month, and before I could even comment, I heard someone say, “We should have a sleep away camp!” (I hope they’re not seriously expecting a sleep away camp.) On the last day of camp, my Uncle Bob sponsored a pizza party for my students. During that fi nal lunch, I had a somewhat serious talk with my students. I told them that one day, I’d be going away to college and I wouldn’t be able to be their teacher anymore. Th ey seemed disappointed, so I asked them a question that would help determine the course my future will take. I asked them, “If I can’t be your teacher anymore because I’m away at college, but every year I came back to visit and held a camp like this, would you guys still want to do it?” Th e answer was a resounding “yes.” So the day after camp ended, I got online and found some great prizes for next year. Mrs. Denig called me again this past summer and asked if I would come speak to her new pedagogy class students. I was thrilled to be able to share my experiences with other people who, like me, might need a little extra push to get their teaching career started. Mrs. Denig later emailed my mom to tell her the impact my visit had on one of the students. She wrote: “I asked her what stuck out in her mind about the class, and she said ‘Asia’s talk about teaching.’ She said that she is now really excited about starting her own studio because of Asia. Th e enthusi- asm was very catchy! Asia was such a good salesman, painting all the advantages of having a violin/viola studio as a high school student. Asia’s creativity and sensing what younger students need was really incredible. Th is is a rare ability, and it comes without much formal education. But it upholds my notion that education schools don’t make teachers; people are inborn with the ability and education schools give them work permits!” Th rough word-of-mouth my studio has grown continuously. In the three years since I took Mrs. Denig’s class, I have worked with more than a dozen students. Hearing them play, I know that I am helping them. But it wasn’t until last summer that I realized how much of an impact I had made on their lives. When one of my students fell and broke his arm, the fi rst thing he did when his cast was put on was to knock on my door. He wanted to show me his cast and have me sign it. At that moment I knew I was really an important part in his life. I wasn’t just his teacher; I was his mentor!

Asia Echard is a senior at Robinson Secondary School in Fairfax, Virginia. She studies viola and violin with Lynne Denig and cello with Suk Moon, both in Fairfax, Virginia. She plays the viola with the Robinson Philhar- monic Orchestra under the direction of Anne Rupert. Echard hopes to study engineering and music in college.

40 | American String Teacher | February 2008 www.astaweb.com | 41 A Lesson in

“Playing lt Forward”

by Erika Boras Tesi

42 | American String Teacher | February 2008 Do you recall seeing the movie “Pay It Forward?” It was about a feel that again. I want to feel the goodness in helping the less young boy who gets an assignment from his new social studies fortunate. Th ere are just some things I cannot explain in words teacher. Th e assignment was to think of something to change the like my feeling on this trip. Th is is one of the most meaningful world and put it into action. Th e student conjures the notion of things that I have ever done in my life.” (Nicole S.) paying a favor not back, but forward. His eff orts to make good • “I hope that we do this again…and by Ms. Tesi plan- on his idea bring a revolution to an ever widening circle of people ning this trip, it shows that she really cares. And that she also completely unknown to him. After this movie came out, society wants us to care and help out. I can’t wait to go on more trips suddenly had a rash of people who would (for example) go to the like this.” (Ivana T.) toll booth on the highway and pay for themselves plus the three • “On our way back to school, all I could do was think cars behind them! It feels good to pay it forward, and it feels good about the day. It was a really exciting, happy, and overwhelm- to help other people feel the wonder you feel when expressing a ing experience. It helped me understand just how important musical phrase or playing a fast passage with fellow musicians. music can be to people. I would defi nitely want to do some- Encouraging altruism is great and having the power to move peo- thing like this again!” ( Mariel M.) ple emotionally with music is a wonderful thing. Do our students • “Some of us take health, wealth for granted.….. I felt so know that as musicians they have this power? Do they realize that sad. When I played in the orchestra, I felt something warm they have something wonderful to share with other people? inside me. I had never felt this kind of feeling before. What- How do we help our students to realize that they can have a ever it was it felt very good and made me smile.” (Youngho Y.) meaningful impact on their world by using their musical knowl- • “Th e thought of performing music to people, and mak- edge as a communication tool? How do we teach our students to ing them feel good inside was a whole new feeling. You aren’t care about what they are learning? How do we as music teachers really saying anything, yet you feel connected to them. It’s just help to instill in students the desire to improve with practice? another way of communicating. It made me feel really good How do we impart the knowledge that music is a gift that con- about myself, and about our orchestra.” (Yuma O.) tains much more than melody? • “I was particularly moved when we were done with the Several years ago, I accidentally stumbled on a great way for concert and we went around asking the students the questions. I students to experience the joy of sharing their music with others. practically sensed the room getting happier and happier, and I felt I started to arrange musical community service trips. We went to something that I never felt before — amazement!” (Steven A.) foster homes, hospitals, and senior centers and played with the object of spreading holiday cheer. Th ese were very rewarding trips, Upon reading the refl ections and feelings that my students and I started to see how these holiday tours vastly increased the shared in their papers, I realized that in music education as in all depth of musical and emotional experience my students had with things, the heart should lead and the rest will naturally follow. For their music. Play it forward! Concerts for parents are exciting, but me, “playing it forward” has been a revolutionary experience. We this new audience made the concerts more about “giving” music learn, experience, laugh, and cry together during these times and and less about “receiving” applause. A huge leap in this learning this is one huge factor that helps create caring students. Art forms curve took place when I added personal interviews to the experi- are meant to refl ect life, and doing community service of this kind ence. I would suggest interview questions tailored to the popula- certainly helps students to see the connection between music and life. tion for which we were performing. My main objective was to One fi nal note. Caring is something that cannot be taught, personalize the experience for the kids. Suddenly their audience but we can certainly provide the opportunity for awareness to had names and personalities, and my students realized more the unveil itself. I look forward to these trips every year, as do my stu- need for the service they had just performed. Th e wheels turn and dents. I am always gratifi ed to hear reports of my students taking the realizations about life come tumbling after. the initiative on their own to “rewind” the musical community On November 17, 2006, the Tenafl y, New Jersey Middle service experience. I know the immense personal and musical School Seventh Grade String Orchestra took a trip. Th e itinerary satisfaction of such a trip and it feels good to have played even a for their day was as follows: small role in their continued musical altruism.

• 9:30 a.m. — concert at the Norman A. Bleshman School (a Note: Th is article was revised from an article published in the New Jersey ASTA Newsletter, school for severely handicapped children ages 3- 21), Winter 2007. • 10:30 a.m. — concert at a ward of hospitalized senior citi- zens in Th e Bergen Regional Medical Facility, and Erika Boras Tesi’s studies on the cello started with Nellis • lunch and a movie in their hometown. DeLay and continued with Stephen Geber at the New England Conservatory of Music, followed by David Th e children had prepared a mix of classical and holiday mu- Wells at Manhattan School of Music where she earned sic and were told that they were like a “live holiday greeting card.” her masters degree in performance. Highlights of her Th ey dressed festively with holiday touches to their concert attire career as a cellist include principal cellist for the Bolshoi and each student made two holiday cards to give the students at Ballet’s American Tour performing in Lincoln Center’s the Bleshman School. Part of their assignment was to interview State Theatre, Chicago and Los Angeles. Principal some of the students and write a reﬂ ection paper on their thoughts cellist at the State Theatre for D’Oyle Carte; Berlin Opera Ballet; and and experiences from the tour. Here are some student quotes: principal cellist for Rudolph Nureyev and the Boston Ballet company at the Uris Theatre in New York. She also has performed at Lincoln Center • “Th e trip to the Bleshman School was an experience that with the Joffrey Ballet, The Canadian National Ballet, Radio City Music I will never forget in my entire life. When I was playing my Hall, Rolland Petite, The National Ballet of Marseilles, Makarova and violin, I really felt the music for one of the few times in my life. Company and was a founding member of The All Seasons Chamber Players. Tesi received TenaÁ y Middle School’s Governor’s Award as I played out as hard and as moving as I could because I just Teacher of the Year in 2000. Her chamber groups have performed at wanted to please them. I had this sensation while I was playing the Lincoln Center. At the 2006 ASTA NOF her middle school group took my violin. Th is is an experience that was incredible. I want to À rst place with the only superior rating in its category.

www.astaweb.com | 43 The Art of String Teaching and Performance

Thoughts on Zen in the Art of Archery

by Michael Fanelli

From the primeval centuries came the sound of a string resonating in the air. Th e similarities between the archer with the bow and the string player with instrument and bow are striking. From the dawn of recorded history every civilization has produced some form of chordophone. I have often wondered at what magical moment the inspiration of a string sound as an emotional artistic expression engen- dered itself in someone’s mind. Th e pull and release of the bow on the string is the liberation of energy. Did the sounds made by archers and their bows setting arrows in motion inspire the development of a musical instrument? When I was enrolled in archery class in college, I was intrigued by the sounds my classmates and I made with our bows as we practiced. Th e instructor spent a great amount of time lecturing on the necessity of unity of our posture, mind, and physical actions with the bow. I refl ected on the kinesthetic actions and mental approach common to archery and string playing. Th e words of my esteemed teachers, Warren Benfi eld who stated “the bow is the soul of the string player” and Paul Rol- land who expressed the need for a “holistic Gestalt quality to one’s playing,” often came to me in archery class. Consequently, I began to see parallels in the development of skill with the bow for the archer and the string player. Th e archer’s bow was venerated both as a tool and as an art object. Many bow makers personalized their work with markings and ritualistic hieroglyphics. Certain bow woods such as yew and hickory were favored in Europe, while Native Americans prized the Osage orange tree found in Arkansas and Oklahoma as the most resilient wood. For me the obvious comparison could be made with Brazil- ian pernambuco wood which is esteemed by luthiers. Great care was taken in the construction of a bow, for lives depended upon the trueness and fi delity of crafts- manship. Certain bows were held in such high esteem that they were passed down from one generation to the next. I see the history of the bow for the archer and to the musician as two sides of the same coin, one used in battle and for survival, the other for creativity and culture. Given the central function the bow has played in life and music, it is no surprise that there is an oral and written history in my- thology, poetry, and literature, paying homage to the archer and to the musician. One such text is Zen in the Art of Archery by Eugen Herrigel, which has a message relevant to viewing the roles of both the archer and the string performer. Many of the philosophical concepts found in Herrigel’s book are transferable to the art of string playing or to the art of life itself. Th e archer is not solely preoc- cupied with striking the target, but also with the process of attuning the mind with the unconscious realm. When a perfect balance is obtained, a oneness is achieved. Th e art of Zen is the art of living, for it infuses all daily activity. Th e psychological clutter accumulated over many years interferes with our intuitive development. Th e natural childlike wonder of our youth, as observed and nurtured by Shinichi

44 | American String Teacher | February 2008 Suzuki, needs to be regenerated each day. We are constantly formance was not his ultimate goal. Stern said that this is because evaluating and reﬁ ning the process of learning. Each instructional he liked to explore and take chances, ever striving for a oneness event opens the door to another level of understanding. Whether with the music. We can all identify with and strive for this kind we choose to enter or disregard these portals is up to us. What is of perfection in our playing and teaching. In the ﬁ nal analysis, the apparent is that for many there is an insatiable drive to explore pursuit of music and life remains an exciting mystery. In order to and grow. Th e oneness of mind and body that Herrigel elucidates balance the many variables that enter into the journey of our lives in his discussion requires work and perseverance, and is attainable along with our love of string performance, we must learn the art at any age by those who desire it. of living and giving, the art of Zen.

Th e analogy of archery to music and string playing is obvi- Bibliography ous. Our bows, once set in motion on the string, release energy Bridgewater, W. and Sherwood, E. J. (Eds.). 1956. Th e Columbia Encyclopedia, 2nd edition. Morningside Heights, NY: Columbia University Press. in the form of sound which travels according to our ideal mental Herrigel, E. 1960. Zen in the Art of Archery, translated by H. F. C. Hull. New York: McGraw-Hill. calculations and physical execution. Mental preparation for every Suggested Reading Blum, D. 1977. Casals and the Art of Interpretation. Berkeley, CA: University of California action in performance is crucial. When our desire for technical Press. execution is coupled with the desire for aesthetic expression, we Bruner, J. 1996. Th e Culture of Education. Cambridge, MA: Harvard University Press. Dunkel, S. E. 1989. Th e Audition Process: Anxiety Management and Coping Strategies. begin to comprehend the complexity of our playing actions and Stuyvesant, NY: Pendragon Press. reactions. Th e harmony and equilibrium of body, mind, and soul Eisner, E. 1985. Learning and teaching the ways of knowing. 84th Yearbook of the National Society for Study of Education, Part II. Chicago: National Society for the Study of in performance enable us to strive for musical perfection. Th e Education. constant sorting out of stimuli and adjusting the many facets of Green, B., & Gallwey, T. 1986. Th e Inner Game of Music. Garden City, NY: Anchor Press. Grindea, C. (ed.). 1978. Tensions in the Performance of Music. London: Kahn & Averill. our lives with the task at hand are the basis of the question that Havas, K. 1973. Stage Fright: Its Causes and Cures. London: Bosworth & Co. Mills, E., & Murphy, Sr. T. C. (eds.). 1991. Th e Suzuki Concept: An Introduction to a Suc- Zen in the Art of Archery addresses. Zen is the art of life, and mu- cessful Method for Early Music Education. Berkeley, CA: Diablo Press. sic is the art of the spirit. Mills, E., et al. 1974. In the Suzuki Style. Berkeley, CA: Diablo Press. All musicians are like archers at diﬀ erent stages of development. Th e greatest performers have reached the true level of Zen Michael Fanelli is an educator, professional double bassist, and string specialist. He has presented at national and international conferences, through music. Many cannot fully explain what happens when and has authored numerous articles on double bass pedagogy, history, they perform, since the experience is unique for each person. We string education, Paul Rolland, and educational psychology. Fanelli is have been blessed with great teachers such as Shinichi Suzuki, an assistant professor in the Department of Educational Psychology Ivan Galamian, Dorothy DeLay, Paul Rolland, Carl Flesch, and Foundations at the University of Northern Iowa, adjunct instructor Yehudi Menuhin, and Kato Havas, who are able to penetrate the at Grinnell College in Grinnell, Iowa and Wartburg College in Wa- verly Iowa. He was formerly a bass instructor at the University of Mis- depths of music making to an extent that sheds some light on souri-Columbia, University of Illinois ISYM, and the UNI Suzuki School. its elusive characteristics. Th e pursuit of making music is both exhilarating and challenging. Like the archer’s arrow, its plan of ﬂ ight is only as true and grand as its producer. Th e unity of instrument and persona is a never ending, lifelong journey. Many steps are placed with strength and assured- ness, while others are clouded by doubt and caution. Yet one must realize that striving for perfection for its own sake is futile because we are imperfect. What may be ultimately achieved is the illusion of perfection; for even the double shot arrows of the Zen archery masters are not perfect. We achieve near perfection in life when we begin to realize that the goal is to reach the target and a oneness of self simultaneously. Th is can be achieved with devotion, passion, and hard work. What one must remember is to be aware of one’s own level of Zen while remaining cognizant of and happy about that of others. I once read that the late great virtuoso Isaac Stern said that in all the years he performed, either as a soloist or with others, achieving the perfect per-

Where can you fi nd the most talented string teachers and performers this February? You’ve guessed it, at the ASTA national conference. Some of the most highly regarded string clinicians will be presenting educational sessions during this jam-packed conference. Th ere are seven diff erent categories of sessions to choose from: crossover/general, alternative styles, chamber music, k-12, private studio, university and music industry showcases, not to mention top-notch master classes. Th e ASTA conference is the premier place to enhance your skills and knowledge of string related topics – plus it is a terrifi c opportunity to network, see old friends, and, of course, meet some new ones. Conference Highlights: On Wednesday, February 27, pre-conference sessions will take place. Th ere are six intense workshops for you to choose from: Alternative Styles, Basic String Maintenance, Comprehensive Teaching for the Stu- dio, Conducting Techniques for School Orchestra Conductors, Every Child Can, and Teaching Playing Skills in the String Class. If you have not yet signed up for one of these sessions, please do so today!

After your ﬁ rst day of learning, relax and chat with friends at the $50 for 50 New Programs Recep- tion. Th is invitation-only event recognizes all of you who have made a commitment to support the National Foundation in its eﬀ orts to support music programs in need throughout all 50 states. If you have not yet pledged your support to this program, please contact Liz at [email protected] or 703/279-2113 ext. 26. You may also donate online through ASTA’s website.

Also on Wednesday evening there is a special performance being presented by the Albuquerque Youth Symphony Orchestra. Th e performance begins at 8:00 p.m. in the Kiva Auditorium, located in the Albuquerque Convention Center. Exhibit Hall Grand Opening and Reception Sponsored by Merz-Huber Company In addition to fantastic educational sessions, the conference will once again have a dynamic exhibit hall and plenty of social events. Th ere will be a special theme to the grand opening reception – don’t miss this fun event! Th e exhibit hall will also feature afternoon breaks, dessert reception, morning cof- fee breaks, and more. Th e Grand Opening Reception is sponsored by Merz-Huber Company and the music will be performed by the San Antonio ISD All City Mariachi Group. Evening Performances Albuquerque Youth Symphony ...... Wednesday, February 27 Joshua Bell and Jeremy Denk ...... Th ursday, February 28 National High School Honors Orchestra ...... Friday, February 29 Gala Benefi t Evening featuring Silent Auction and Shanghai Quartet ...... Saturday, March 1 Silent Auction Sponsored by Connolly & Co. Th e Silent Auction kicks off the Gala Benefi t Evening on Saturday, March 1, 2008. If you have not already reserved your ticket for the evening, call today or purchase when you check in at the registration desk. Th is is a festive event where you can bid on a variety of items, including instruments, bows and accessories, travel packages, state baskets, and much more! All proceeds will benefi t the educational programs and activities of the National Foundation to Promote String Teaching and Playing. Visit the ASTA website to view auction items and a listing of our generous donors. Plus, the fi rst 300 Silent Auction attendees will receive a complimentary gift bag. Th e Gala Evening with the silent auction and Shanghai Quartet performance is sponsored by Connolly & Co., Inc.

50 | American String Teacher | February 2008 Conﬁ rmed Master Class Clinicians

Pre-College Level Collegiate Level Multilevel Bass: Jeﬀ Bradetich Bass: Diana Gannett Alt. Styles: Mark Wood Cello: Antonio Lysy Cello: Th omas Landschoot Chamber Music: Members of Viola: Nancy Buck Viola: Pamela Ryan Shanghai Quartet Violin: Katherine McLin Violin: Danwen Jiang Guitar: Brian Head Harp: Carrol McLauglin

Music Industry Showcases • Fingerboard Geography: A Staff -Note-Finger Recognition Th eory, Intonation, Interval, Shifting System - Alfred Publishing Company, Inc. • Exploring the Boosey & Hawkes ”Fiddler Series” - Boosey & Hawkes • Duet Again and Again - Carl Fischer Music LLC. • From Classical to Classic Rock: A YouTube Generation Journey - Connolly & Co., Inc. • New Directions for Strings: Th e Next Chapter - Th e FJH Music Company • Chinrest Innovations: Physical Consequences of Chinrest Choice - Frisch and Denig Custom-fi tted Chinrests • G. Schirmer Instrumental Library for Violin - G. Schirmer Inc. • Mariachi and Musicianship - Neil A. Kjos Music Company • Simply Strings: A New Method - Northeastern Music Publications • Violin Technique: A Lecture-Demonstration Galamian Principles - Shar Products Company • Evaluating and Tracking Student Progress Using SmartMusic - SmartMusic & Finale • A Treasure Chest of Music for Beginning Strings - Strings Music & More, LLC. • Sandra Dackow Editions Reading Session - Tempo Press • Australian Music Is Really Taking Off ! Hear What’s Happening in the String World “Down Under” - Twofold Media/Australian Music Publishers • Plug-in and Play - Yamaha Corporation of America National Orchestra Festival® Sponsored by Yamaha Corporation Th e National Orchestra Festival brings orchestras together from around the country to a single location in order to provide an unparalleled opportunity to receive placement, ratings, comments, and education from leading adjudicators and clinicians. Th e 2008 clinicians include Bob Phillips and James Kjelland, while Kathleen Horvath and John Clinton serve as the adjudicators. All National Orchestra Festival performances take place in the Grand Pavilion Ballroom at the Hyatt Hotel. Th e hotel is adjacent to the Convention Center. Th e complete list of participating orchestras and the schedule of their performances is available on the ASTA website under the National Orchestra Festival section and will also be printed in the conference program book. National High School Honors Orchestra Sponsored by The Potter Violin Company Th e 2008 National High School Honors Orchestra (NHSHO) comprises 110 talented musicians selected competitively from high school orchestras around the country. Th ese musicians will spend three days rehearsing with Maestro Jung-Ho Pak and then showcase their hard work for you. Friday evening, the 2008 NHSHO will perform in the Kiva Auditorium at 8:00 p.m. Th eir program includes the following works: Romeo and Juliet, P.I. Tchaikovsky; Montagues and Capulets, S. Prokofi ev; and Symphonic Dances from West Side Story, L. Bernstein. Th is special performance is open to all conference attendees, family, and friends. Please join us in supporting these young musicians by attending this wonderful event and give them a great experience to share with their schoolmates and peers.

www.astaweb.com | 51 Confi rmed Exhibitors (as of January 1, 2008) ACIS/Encore Tours Kelin Violin Shop Alfred Publishing Company, Inc. Kendor Music, Inc. Amati’s Fine Instruments Knilling String Instruments Anne Cole Violinmaker Last Resort Music Publishing ARCUS USA Latham Music, a Lorenz Company Barenreiter Lemur Music Beckmann Violin Shop/RW Isley Luck’s Music Library Boosey & Hawkes Maison Bernard Brigham Young University Mark O’Connor Fiddle Camp & Strings Conference Carl Fischer Music Masters Music Publications Carriage House Violins of Reuning & Sons Meisel Stringed Instruments C.F. Peters Corporation Mel Bay Publications, Inc. Claire Givens Violins, Inc. Merz-Huber Company Classic Musical Instruments Mona Lisa Sound Clemens Violins, Violas & Violoncellos Music Mart CodaBow International, Ltd. NAMM Conductors Guild Neil A. Kjos Music Company Conn-Selmer, Inc. Northeastern Music Publications, Inc. Connolly & Co. Inc. Northfi eld Press Creative Imperatives Otto Musica D’Addario & Co., Inc. Palm Beach Atlantic University David Kaemmer’s Fiddle Tune of the Month Th e Potter Violin Company Eastman Strings, Inc. Robertson and Sons Violins Electric Violin Shop Roy G. Quade Bowmaker Th e Enterprising Rabbit Rufi no Violins Finale & SmartMusic Shar Products Company Th e FJH Music Company, Inc. Snow Stringed Instruments Frederick Harris Music Co., Limited Southwest Strings Frisch and Denig Custom-fi tted Violin and Viola Chinrests StringWorks, Inc. G. Edward Lutherie, Inc. Strings Magazine G. Schirmer, Inc. Strings Music and More, LLC. Hal Leonard Corporation Super-Sensitive Musical String Co. Happynex Symerge G. Henle USA SYNKROS Howard Core Company LLC Tempo Press Interlochen Center for the Arts Travel Adventures J.W. Pepper & Son, Inc. Twofold Media Jiang Violins United Workshops Corp. Jonathan Cooper Violins William Harris Lee & Co., Inc. Jon Paul Bows Wood Violins JulieLyonn.com Yamaha Corporation of America

Conference Sponsors (as of January 2008) Claire Givens Violins, Inc. Merz-Huber Company

Clemens Violins, Violas, Violoncellos Nebraska ASTA Chapter

CodaBow International Ltd. Shar Products Company

Connolly & Co. Inc. StringWorks, Inc.

D’Addario & Co., Inc. Th e Potter Violin Company

Kay Logan Yamaha Corporation of America

52 | American String Teacher | February 2008 Professional Development Opportunities String Teacher Enrichment Program (STEP) ASTA off ers members a new professional development program! STEP is a 45-hour comprehensive professional development program in topics specifi c to string teaching. STEP is open to any string teacher interested in learning vital topics in string education, nonstring playing teachers such as band directors who are now teaching strings, and private lesson instructors now teaching adjunct in schools. To participate in this program, you will need to pay conference registration fees including the pre-conference session, one- time ASTA enrollment fee of $25*, and if elected, the cost of credit off ered through Shenandoah University. * If you have previously enrolled in ASTA’s Professional Development Program and paid the $25 fee, you need not pay the fee a second time.

College Credit Available from Shenandoah University Shenandoah University will off er undergraduate and graduate credit in conjunction with the ASTA’s national conference. To receive credit, you must complete Shenandoah’s registration form indicating course number and credit level and complete all required assignments. Tuition cost for one credit is $186, plus a $20 special student application fee for all fi rst time Shenandoah University students. Th ese fees are paid directly to Shenandoah. Note: Th is program is administered strictly by Shenandoah University and off ered to ASTA conference attendees as a member service. Exact requirements and fees are determined and executed solely by the university and are paid directly to them. Register at the Conference! Pre-registration via mail and the internet is now closed but you can plan to join us at the conference and register when you arrive. Visit the conference section of the ASTA website for all of the educational sessions and schedule of events at www.astaweb.com. See You In Albuquerque!

www.astaweb.com | 59 2008 Summer Conferences

June Kansas City Cello Clinic June 10 – 21 2008 International Viola Congress UMKC Conservatory of Music and Dance June 4 – 8 Kansas City, Missouri Contact: Carter Enyeart or Mara Gibson Arizona State University 301 E. 51st Street Herberger College of the Arts Room 201 School of Music Kansas City, MO 64112 Contact: Nancy Buck Phone: 816/235-2741 P.O. Box 870405 Fax: 816/235-5998 Tempe, AZ 85287 Email: [email protected] or [email protected] Phone: 480/965-4583 Website: www.umkc.edu/conservatory/cmda Fax: 480/965-2659 Email: [email protected] FACULTY Website: www.violacongress2008.com Cello — Mike Block, Carter Enyeart, Eugene Friesen, Primary Presenters: Douglas Moore, Daniel Saenz

American Viola Society International Viola Societies Green Mountain Chamber Music See our ad on page 55 for more information. Festival June 29 – July 26

University of Vermont ASU String Teachers Workshop Burlington, Vermont Contact: Barbara Lawrence June 23 – 27 4132 Snyder Drive Winston-Salem, NC 27127 Kids Fiddling Workshop Phone: 336/784-5128 Kids Mariachi Workshop Fax: 336/770-3248 Arizona State University School of Music Email: [email protected] Herberger College for Kids Contact: Margaret Schmidt FACULTY P.O. Box 870405 Tempe, AZ 85287-0405 Violin – Kevin Lawrence, Sophie Arbuckle, Arik Phone: 480/965-8277 Braude, Elizabeth Chang, Stephanie Ezer- Fax: 480/965-2659 man, John Gilbert, Chin Kim, Kyung Sun Lee, Email: [email protected] Kathryn Lucktenberg, Carolyn Stuart Website for Teachers Workshop Viola – Sheila Browne, Matthew Daline, Susan HerbergerCollegeAtLarge.asu.edu Dubois, Soung-Hee Park, Karen Ritscher, Website for Kids Workshop: George Taylor herbergercollegeforkids.asu.edu Cello – Alexander Ezerman, Robert Jesselson, Stefan Kartman, Ho-Jung Kim, Minhye FACULTY Clara Kim, Steven Pologe, Rhonda Rider, Brooks Whitehouse Mariachi — Noé Sanchez Master Classes – Violin/Viola — Jaime Johnson Violaine Melancon, Lawrence Dutton, Cello — Carol Matthusen Bernard Greenhouse Bass — TBA Administrative Staff – Reading Orchestra — Doris Gazda Kevin Lawrence, Barbara Lawrence, Children’s Fiddling Workshop — Sara Duce Kathryn Langguth Children’s Mariachi workshop — Raquel Ramos See our ad on page 57 for more information.

60 | American String Teacher | February 2008 July Ithaca College Suzuki Institute July 13 – 25

Ithaca College California Summer Music Ithaca, New York July 5 – 28 Contact: Staci Hall 201 Egbert Hall Stevenson School Ithaca, NY 14850-7071 Pebble Beach, California Phone: 607/274-3702 Contact: Cynthia Mei, administrator Fax: 607/274-1867 236 West Portal #104 Email: [email protected] San Francisco, CA 94127 Website: www.ithaca.edu/suzuki Phone: 415/753-8920 Fax: 415/753-8934 Director: Sanford Reuning Email: [email protected] Website: www.csmusic.org Student Institute, July 13-18 and/or July 20-25 Teacher Training Institute, July 13-18 and/or July 20-25 FACULTY Every Child Can!, July 13, Carrie Reuning-Hummel Violin/Viola Book 1, July 14-24, Carrie Reuning-Hummel Cello — Irene Sharp Violin/Viola Book 2, July 14-18, Ed Kreitman Piano — Hans Boepple Violin Book 3, July 21-25, Ed Kreitman Violin — Wendy Sharp Violin Book 4, July 14-18, Kimberly Meier-Sims Viola — Sheila Browne Violin Book 5, July 21-25, Barbara Barber Viola Book 5, July 21-25, Betsy Stuen-Walker See our ad on page 58 for more information. Cello Book 1, July 14-24, Sally Gross Cello Book 2, July 14-18, Pam Devenport Cello Book 3, July 21-25, Nancy Hair OSU Summer String Teacher Workshop See our ad on page 58 for more information. July 6-12

The Ohio State University Columbus, Ohio Contact: Robert Gillespie Conservatory of Music in the 1866 College Road 110 Weigel Hall Mountains Columbus, OH 43210 July 13– August 3 Phone: 614/292-2336 Fax: 614/292-2336 Fort Lewis College Email: [email protected] Durango, Colorado Website: www.music.osu.edu/stringteacherworkshop Contact: Oneida M. Cramer New Conservatory of Dallas FACULTY P.O. Box 743876 Dallas, TX 75374-3876 Michael Allen – Professor of Music Education, Email: [email protected] Florida State University Website: newconservatory.org David Becker – Director of Orchestra Studies, Phone: 972/503-8486 Lawrence University Conservatory of Fax: 972/239-3606 Music Bob Gillespie – Professor of String Education/ FACULTY Pedagogy, Ohio State University Lynne Latham – leading string music publisher and Violin — Linda Clark, Arkady Fomin, Vadim Gluzman, composer Heidi Itashiki, Ronald Neal, Philippe Quint, Richard Meyer – nationally recognized composer for Kasia Sokol school orchestras and teacher Viola — Valeri Avramenko, Misha Galaganov Bob Phillips – eminent string clinician and composer/ Cello — Jesus Castro-Balbi, Katherine Tischhauser arranger String Bass — Galene McCormick Daryl Silberman – leading alternative styles clinician and performer See our ad on page 69 for more information.

See our ads on pages 55 and 58 for more information.

www.astaweb.com | 61 Institutional Membership Directory with Summer Camp Information

Arcos Brasil Brigham Young University Cleveland State University Vito Vissicaro, Proprietor School of Music Alexandra Vago 2314 S. Rual Rd. E-570 HFAC BYU 2121 Euclid Ave., MU 330. Tempe, AZ 85282 Provo, UT 84602 Cleveland, OH 44115 Phone: 480/967-5227 Phone: 801/422-4824 Phone: 216/687-5039 Fax: 480/967-5117 Fax: 801/378-5973 Fax: 216/687-9279 Email: [email protected] Email: [email protected] Email: [email protected] Web: www.arcosbrasil.com Web: www.byu.edu/music Web: www.csuohio.edu/music Summer Camps: * Summer Camps: * Summer Camps: Music in the Valley Arizona State University Camp Encore/Coda June 15-20 Margaret Schmidt, Assoc. Professor James Saltman, Director Contact: [email protected] or School of Music 32 Grassmere Rd. phone: 216/687-5039 PO Box 870405 Brookline, MA 02467 See our ad on page 47 for more information. Tempe, AZ 85287-0405 Phone: 617/325-1541 Phone: 480/965-8277 Fax: 617/325-7278 College of Santa Fe Contemporary Fax: 480/965-2659 Email: [email protected] Music Department Email: [email protected] Web: www.encore-coda.com Steven Paxton Web: http://herbergercollegeforkids.asu.edu Summer Camps: 1600 St. Michael’s Dr. Summer Camps: Summer Session #1 Santa Fe, NM 87505 ASU String Teachers Workshop-Mariachi June 25-July 20 Phone: 505/473-6196 June 23-25 Contact: [email protected] or Fax: 505/473-6021 Contact: [email protected] or phone: 617/325-1541 Email: [email protected] phone: 480/965-8277 Web: www.csf.edu Summer Session #2 Summer Camps: * Herberger College for Kids Introduction to July 20-August 10 Mariachi Contact: [email protected] or Conductors Guild phone: 617/325-1541 June 23-27 Amanda Winger Contact: [email protected] or 5300 Glenside Dr., Ste. 2207 phone: 480/965-8277 Central Michigan University Richmond, VA 23228 Dawn Saxton, Dir. Music Events Phone: 804/553-1378 Herberger College for Kids Fiddle Workshop 162 Music Bldg. Fax: 804/553-1876 June 23-27 Mount Pleasant, MI 48859-0001 Email: [email protected] Contact: [email protected] or Phone: 989/774-3738 Web: www.conductorsguild.org phone: 480/965-8277 Fax: 989/774-3766 Summer Camps: * Email: [email protected] Ball State University Web Site: www.music.cmich.edu Crooked Tree Arts Center Summer Camps: * Hans Sturm Robert Dudd, Education Dir. c/o OARSP 461 E. Mitchell St. 2000 University Ave. Centrum Petoskey, MI 49770 Muncie, IN 47306-0001 Keven Eliff Phone: 231/347-4337 Phone: 765/285-5403 PO Box 1158 Fax: 231/347-5414 Fax: 765/285-5401 Port Townsend, WA 98368-0958 Email: [email protected] Email: [email protected] Phone: 360/385-3102 ext. 109 Web: www.crookedtree.org Web: www.bsu.edu Email: [email protected] Summer Camp: * Summer Camps: * Web: www.centrum.org See our ad on page 49 for more information. Summer Camps: * Detroit Symphony Civic Ensembles See our ad on page 68 for more information. Emily Kracht, Civic Chamber Music Mgr. Berklee College of Music 3711 Woodward Ave. Matt Glaser, String Dept. Chair Cleveland Institute of Music Detroit, MI 48201-2005 1140 Boylston St. 11021 East Blvd. Phone: 313/576-5167 Boston, MA 02115 Cleveland, OH 44106 Fax: 313/576-5101 Phone: 617/747-2296 Phone: 216/791-5000 Email: [email protected] Fax: 617/747-2199 Fax: 216/791-1530 Web: www.detroitsymphony.com Email: [email protected] Email: [email protected] Summer Camps: * Web: www.berklee.edu Web: www.cim.edu Summer Camp: Summer Camps: Summer String Fling Summer Chamber Music Program - TBD exact dates TBA Contact: [email protected] or Contact: [email protected] or phone: 216/791-5000 ext. 371 phone: 617/747-2296 See our ad on page 41 for more information.

* Not available at time of printing, visit web for more details 62 | American String Teacher | February 2008 DePauw University Florida Southern College Interlochen Center for the Arts Corinna Nash-Wnuk, Asst. Dir. Music Dept. Kelye Modarelli OfÀ ce of Admissions 111 Lake Hollingsworth Dr. 4000 Highway M-137 101 E. Seminary St. Lakeland, FL 33801 Interlochen, MI 49643 Greencastle, IN 46135-1662 Phone: 863-680-4952 Phone: 231/276-7472 Phone: 765/658-4118 Fax: 863-680-4395 Fax: 231/276-7464 Fax: 765/658-4007 Email: apranno@Á southern.edu Email: [email protected] Email: [email protected] Web: www.Á southern.edu Web: www.interlochen.org Web: www.depauw.edu/music Summer Camps: Summer Camps: * Summer Camps: * FSC String Workshop See our ad on page 69 for more information. June 29-July 11 JCC Thurnauer School Contact: fscmusic@Á southern.edu or Dorothy Kaplan Roffman Duquesne University phone: 863/680-4952 411 E. Clinton Ave. Anoush Tchakarian Sciallo TenaÁ y, NJ 07670 Mary Pappert School of Music Hartwick College Summer Phone: 201/569-7900 600 Forbes Ave. Music Festival and Institute Fax: 201/227-1997 Pittsburgh, PA 15282 Kellie M. Place, Festival Admin. Email: [email protected] Phone: 412/396-6082 or 800/934-0159 1 Hartwick Dr. Web: www.jccotp.org Fax: 412/396-5479 Oneonta, NY 13820 Summer Camps: * Email: [email protected] Phone: 607/431-4622 Web: www.music.duq.edu Fax: 607/431-4245 Kansas State University Summer Camps: Email: [email protected] Cora Cooper, Prof. of Music Pittsburgh Jazz & Fiddle Camp Web: www.hartwickmusicfestival.org Music Dept., 109 McCain Auditorium July 14-18 Summer Camps: * Manhattan, KS 66506 Contact: [email protected] or Phone: 785/532-5740 phone: 800/934-0159 Houghton College Fax: 785/532-6899 Greatbatch School of Music Email: [email protected] String Teachers Revitalization and Dr. Ben King, Assoc. Dean Web: www.k-state.edu/music Reinvigoration One Willard Ave. Summer Camps: * July 28-Aug. 1 Houghton, NY 14744 Contact: [email protected] or Phone: 585/567-9400 Longy School of Music phone: 800/934-0159 Fax: 585/567-9517 Robert Shay Email: [email protected] 1 Follen Street Eastman School of Music Web: http://campus.houghton.edu/orgs/music/ Cambridge, MA 02138-3502 Dr. Adrian Daly Summer Camps: * Phone: 617/876-0956 26 Gibbs St. See our ad on page 40 for more information. Fax: 617/876-9326 Rochester, NY 14604 Email: [email protected] Phone: 585/274-1060 Idyllwild Arts Summer Program Web: www.longy.edu Fax: 585/232-8601 Diane Dennis, Registrar Summer Camps: * Email: [email protected] PO Box 38 Web: www.esm.rochester.edu Idyllwild, CA 92549 Luci Toscane Music Festivals Summer Camps: Phone: 951/659-2171 Diana Marie Iorio Viola Technique Workshop Fax: 951/659-4552 PO Box 635 June 29-July 5 Email: [email protected] Kenosha, WI 53141-0635 Contact: [email protected] or Web: www.idyllwildarts.org Phone: 262/654-0635 phone: 585/274-1403 Summer Camps: Email: [email protected] Symphony Orchestra Web: www.musicaclassicatoscana.org Music Horizons July 20-August 2 Summer Camp: July 12- August 2 Contact: [email protected] or Festival 2008 Contact: [email protected] or phone: phone: 951/659-2171 ext. 2365 June 13-24 585/274-1403 Contact: [email protected] or See our ad on page 67 for more information. Chamber Music phone: 262/654-0635 July 20-August 2 Contact: [email protected] or Michigan State University phone: 951/659-2171 ext. 2365 Judy Palac, Assoc. Prof. Music Ed. School of Music Festival Orchestra 102 Music Building, MSU August 3-17 East Lansing, MI 48824-1043 Contact: [email protected] or Phone: 517/355-7665 phone: 951/659-2171 ext. 2365 Fax: 517/432-2880 Email: [email protected] Illinois State University Web: www.msu.edu School of Music Summer Camp: CE 230 School St., Campus Box 5660 Improvisation in the Orchestra: Keeping It Normal, IL 61790-0001 Safe and Simple Phone: 309/438-8959 June 23-27 Fax: 309/438-5833 Contact: [email protected] or Email: [email protected] phone: 517/355-4585 Web: www.ilstu.edu Summer Camps: *

www.astaweb.com | 63 Institutional Membership Directory with Summer Camp Information

Music Center of L.A. Oberlin College Conservatory of Music Point Loma Nazarene University Jeri Gaile David Stull, Dean Dr. Philip Tyler 135 North Grand Ave. 77 West College St. 3900 Lomaland Dr. Los Angeles, CA 90012-3013 Oberlin, OH 44074-1562 San Diego, CA 92106-2810 Phone: 213/972-3345 Phone: 440/775-8200 Phone: 619/849-2325 Fax: 213/972-3399 Fax: 440/775-8942 Fax: 619/849-2668 Email: [email protected] Email: [email protected] Email: [email protected] Web: www.musiccenter.org/education Web: www.oberlin.edu Web: www.pointloma.edu Summer Camps: * Summer Camps: * Summer Camps: * See our ad on page 17 for more information. New Conservatory of Dallas Ohio Northern University Purchase College Conservatory Oneida M. Cramer, Executive Coord. Denise D’Arca of Music, SUNY PO Box 743876 Department of Music Laura Kaminsky Dallas, TX 75374-3876 402 West College Ave. 735 Anderson Hill Rd. Phone: 972/503-8486 Ada, OH 45810-6099 Purchase, NY 10577-1402 Fax: 972/239-3606 Phone: 419/772-2157 Phone: 914/251-6705 Email: [email protected] Fax: 419/772-2488 Fax: 914/251-6739 Web: www.newconservatory.org Email: [email protected] Email: [email protected] Summer Camp: Web: www.onu.edu Web: www.purchase.edu Conservatory Music in the Mountains Summer Camps: * Summer Camps: * July 13-August 3 Contact: [email protected] or The Ohio State University Rocky Ridge Music Center phone: 972/503-8486 Dr. Paul Robinson Constance Cook Glen See our ad on page 69 for more information. School of Music, 110 Weigel Hall 1866 College Rd. 1313 5th St., SE, #224C Columbus, OH 43210-1170 Minneapolis, MN 55414-4504 New Jersey Youth Symphony Phone: 614/292-4649 Tel: 970/586-4031 Linda Onorevole Fax: 614/292-1102 Email: [email protected] 570 Central Ave. Email: [email protected] Web: www.rockyridge.org New Providence, NJ 07974-1564 Web: www.music.osu.edu Summer Camps: * Phone: 908/771-5544 ext. 12 Summer Camps: See our ad on page 31 for more information. Fax: 908/771-9839 OSU String Teacher Workshop Email: [email protected] July 6-12 Contact: [email protected] or San Domenico Music Conservatory Web: www.njys.org phone: 614/292-2336 Robin Creighton Ravazzini, Managing Dir. Summer Camp: 1500 ButterÀ eld Rd. Summer Music Program OSU Texas String Teacher Workshop San Anselmo, CA 94950 June 29-July 5 July 21-24 Phone: 415/258-1921 Contact: ofÀ [email protected] or Contact: [email protected] or Fax: 415/258-1922 phone: 908/771-5544 phone: 614/292-2336 Email: [email protected] See our ads on pages 55 and 58 for more Web: www.sandomenico.org information. New World School of the Arts Summer Camps: * Jeffrey Hodgson, Dean of Music Old Dominion University 300 NE 2nd Ave. Leslie Stewart, Dir of Orchestral Studies San Francisco Conservatory of Music Miami, FL 33132 Diehn Center for Fine and Performing Arts Laura Reynolds, Summer Programs Coord. Phone: 305/237-3539 4810 Elkhorn Ave. 50 Oak St. Fax: 305/237-3512 Norfolk, VA 23529 San Francisco, CA 94102 Email: [email protected] Phone: 757/683-6114 Phone: 800/899-SFCM or 415/503-6254 Web: www.mdc.edu/nwsa Fax: 757/683-5056 Fax: 415/503-6299 Summer Camp: Email: [email protected] Email: [email protected] NWSA Summer Arts Academy at Univ. of Web: www.odu.edu Web: www.sfcm.edu Florida Summer Camps: Summer Camps: July 20-25 High School String Camp SMW Composition Intensive Contact: [email protected] or June 28-July 2 June 23- July 24 phone: 305/237-3609 Contact: [email protected] Contact: [email protected] or See our ad on page 36 for more information. phone: 415/503-6254 Palm Beach Atlantic University North Carolina School of the Arts Patrick Clifford SMW String & Piano Academy Thomas Clark, Dean 901 S. Flagler Dr., Box 24708 July 7-18 1533 S. Main St. West Palm Beach, FL 33416-4708 Contact: [email protected] or Winston-Salem, NC 27127 Phone: 561/803-2407 phone: 415/503-6254 Phone: 336/770-3255 Fax: 561/803-2424 Fax: 336/770-3248 Email: [email protected] SMW Chamber Music Email: [email protected] Web: www.pba.edu July 21- Aug.1 Web: www.ncarts.edu Summer Camps: Contact: [email protected] or Summer Camps: * Stringend School for Strings phone: 415/503-6254 See our ads on pages 49 and 98 for more June 8-July 5 See our ad on page 12 for more information. information. Contact: [email protected] or phone: 561/803-2407 See our ad on page 81 for more information.

64 | American String Teacher | February 2008 Shenandoah Conservatory String Project Los Angeles University of Louisiana at Monroe Clyde Shaw Jacob Szekely Dr. Jason Rinehart, Dir. of Orchestras 1460 University Dr. 620 N. Doheny Dr. 700 University Ave. Winchester, VA 22601 West Hollywood, CA 90069 Monroe, LA 71209 Phone: 540-665-5439 Phone: 310/385-0227 Phone: 318/342-1580 Fax: 540-665-5402 Fax: 310/385-0227 Fax: 318/342-1599 Email: [email protected] Email: [email protected] Email: [email protected] Web: www.su.edu Web: www.stringprojectla.com Web: www.ulm.edu/vapa Summer Camps: Summer Camp: Summer Camps: Performing Arts Camp Summer Alternative String Group LA Cordes July 6-20 See website June 6-9 Contact: [email protected] or Contact: [email protected] or Contact: [email protected] or phone: 540/665-5439 phone: 310/385-0227 phone: 318/342-1580

Vocal Pedagogy Institute Professional Development Workshop University of Michigan, School of Music July 19-28 See website Dody Blackstone, Program Coord. Contact: [email protected] or Contact: [email protected] or 2290 Moore Bldg., 1100 Baits Dr. phone: 540/665-5439 phone: 310/385-0227 Ann Arbor, MI 48109 See our ad on page 57 for more information. Phone: 734/764-2516 or 866/936-2660 Rock Workshop Fax: 734/763-5097 Siena Summer Music Institute (SSMA) See website Email: [email protected] Ann Testa, Secretary Contact: [email protected] or Web: www.music.umich.edu 595 Prospect Rd. phone: 310/385-0227 Summer Camps: * Waterbury, CT 06706 Phone: 203/754-5741 Hip Hop String Workshop University of Nebraska Fax: 203/754-5741 See website Lincoln School of Music Email: [email protected] Contact: [email protected] or Clark Potter, Assoc. Professor of Music Web: www.sienamusic.org phone: 310/385-0227 240 Westbrook, Music Bldg. Summer Camp: Lincoln, NE 68588-0100 Siena Music Org. Phone: 402/472-0222 July 17 - August 18 Strings Association of Serbia Fax: 402/472-8962 Contact: [email protected] or Ljiljana Stepanovic Email: [email protected] phone: 203/754-5741 Jastrebovljeva 14 Web: www.unl.edu/music 11030 Belgrade Summer Camp: South Shore Conservatory Serbia, Europe Chamber Music Inst. with Chiara String Phone: 011 35 56 841 Quartet Kathy Czerny June 14-21 1 Conservatory Dr. Email: [email protected] Contact: [email protected] or Hingham, MA 02043 Summer Camps: * phone: 402/472-6830 Phone: 781/749-7565 See our ad on page 60 for more information. Fax: 540/665-5402 Temple University Email: [email protected] Boyer College of Music and Dance Web: www.southshoreconservatory.org University of North Texas Erice Schweingruber Summer Camps: * James C. Scott 2001 North 13th St. College of Music Southern Methodist University Philadelphia, PA 19122 PO Box 311367 Alan Wagner Phone: 215/204-9792 Denton, TX 76203-1367 PO Box 750356 Fax: 215/204-5528 Phone: 940/565-3704 Dallas, TX 75275 Email: [email protected] Fax: 940/565-2002 Phone: 214/768-3745 Web: www.temple.edu/boyer Email: [email protected] Fax: 214/768-4669 Summer Camps: * Web: www.music.unt.edu Email: [email protected] Summer Camps: * Web: www.meadows.smu.edu Texas Christian University Summer Camps: * Paul Cortese See our ad on page 89 for more information. University of Oklahoma 2800 S. University Dr. Dr. Kenneth Fuchs, Director String Academy of Wisconsin Fort Worth, TX 76129 School of Music Darcy Drexler, Executive Director Phone: 817/257-7098 500 W Boyd, Rm. 138 3223 N. Downer Ave. Fax: 817/257-5818 Norman, OK 73019-0001 FAM, Rm. 139 Email: [email protected] Phone: 405/325-2081 Milwaukee, WI 53211 Web: www.music.tcu.edu Fax: 405/325-7574 Phone: 414/963-4729 Summer Camps: * Email: [email protected] Fax: 414/963-4760 Web: www.music.ou.edu Email: [email protected] University of Illinois of Summer Camps: * Web: www.stringacademyofwisconsin.org Urbana-Champaign Summer Camps: * Champaign School of Music University of South Carolina Teaching the Violin to Children 1114 West Nevada St. School of Music July 10-13 Urbana, IL 61801-3859 813 Assembly St. Contact: [email protected] or Phone: 217/244-7899 Columbia, SC 29208-0001 phone: 414/963-4729 Fax: 217/244-4585 Phone: 803/777-6614 Email: [email protected] Fax: 803/777-6508 Teaching Children the Cello Web: www.music.uiuc.edu Email: [email protected] July 10-13 Summer Camps: * Web: www.music.sc.edu Contact: [email protected] or Summer Camps: * phone: 414/963-4729

www.astaweb.com | 65 Institutional Membership Directory with Summer Camp Information

University of Southern California Willamette University Thornton School of Music John Peel 817 W. 34th St., UUC 218 Department of Music Los Angeles, CA 90089-2991 900 State St. Phone: 213/740-8986 Salem, OR 97307 Fax: 213/740-8995 Phone: 503/370-6255 Email: [email protected] Fax: 503/370-6260 Web: www.usc.edu/music Email: [email protected] Summer Camps: * Web: www.willamette.edu/cla/music Summer Camps: * University of Texas at Arlington Dr. Sergio Espinosa 700 Greek Row Arlington, TX 76019 Phone: 817/272-2445 Fax: 817/272-3434 Email: [email protected] Web: www.uta.edu/music/strings/ Summer Camps: Summer Strings Camp July 12-18 Contact: [email protected] or phone: 817/469-1393 Texas Cello Academy July 12-18 Contact: [email protected] or phone: 817/272-2483

University of Texas at San Antonio Jennifer Cahill Clark, Professor Department of Music One UTSA Circle San Antonio, TX 78249 Phone: 210/458-4354 Fax: 210/458-4381 Email: [email protected] Web: http://music.utsa.edu Summer Camps: UTSA Summer Music Institute for Strings & Piano July 21-26 Contact: [email protected] or phone: 210/458-4869

Valdosta State University David Johnson, Interim Head 1500 N. Patterson St. Valdosta, GA 31698-0001 Phone: 229/259-2087 Fax: 229/259-5578 Email: [email protected] Web: www.valdosta.edu Summer Camps: * Weber State University Michael A. Palumbo, Director Department of Performing Arts 1905 University Cir. Ogden, UT 84408-1905 Phone: 801/626-6991 Fax: 801/626-6811 Email: [email protected] Web: www.weber.edu Summer Camp: WSU Summer Strings June 17-July 22 Contact: [email protected] or phone: 801/626-8169

66 | American String Teacher | February 2008 Summer Conference 2008 Members-Only Calendar Listing June 10 - 21 July 6 – 12 Kansas City Cello Clinic The Ohio State University UMKC Conservatory of Music Summer String Teacher and Dance Workshop Kansas City, Missouri The Ohio State University [email protected] and Columbus, Ohio [email protected] [email protected] http://conservatory.umkc. music.osu.edu/ edu/cmda stringteacherworkshop June 23 - 28 July 8 – 19 Fresno PaciÀ c Summer Music Chamber Music Institute/ Camp Southern California Fresno PaciÀ c University Cerritos, California Fresno, California [email protected] [email protected] www.chambermusicinstitute.com www.fresno.edu/music July 13 - 23 June 28 - July 2 International Music Institute ODU High School String Camp and Festival USA Old Dominion University Mount St. Mary’s University Diehn Fine and Performing Emmitsburg, Maryland Arts Building [email protected] Department of Music www.intermusearts.org/imif Norfolk, Virginia [email protected] July 13 – 19 http://al.odu.edu/cma 15th Annual Oklahoma City University Bass Camp June 29 – July 26 Wanda L. Bass Music Center Green Mountain Chamber Oklahoma City University Music Festival Oklahoma City, Oklahoma University of Vermont [email protected] Burlington, Vermont www.okcu.edu/music [email protected] www.uvm.org/gmcmf July 13 – August 3 Conservatory of Music in the July 5 – 28 Mountains California Summer Music Fort Lewis College Stevenson School Durango, Colorado Pebble Beach, California [email protected] [email protected] www.newconservatory.org www.csmusic.org July 20 – August 9 Prelude Music Academy Bishop O’Connor Center Madison, Wisconsin [email protected] www.preludemusic.org

www.astaweb.com | 67 68 | American String Teacher | February 2008 www.astaweb.com | 69 2009 ASTA National Orchestra Festival® Adjudicators March 18 - March 21, 2009 Atlanta, Georgia

Plan now to attend the National Orchestra Festival® (NOF), the only orchestra festival held in conjunction with the national conference of one of the leading national professional associations. NOF packages are one of the best values in the music festival arena when you consider all that each package includes: • Th e choice to participate in either a competitive or noncompetitive track evaluated by Louis Bergonzi leading adjudicators and clinicians from across the nation (groups receive written and taped comments) • A private, hands-on clinic with one of the profession’s leading orchestra clinicians • Breakfast and lunch according to package selected • Th e choice of single, double, triple, or quad accommodations at the top-rated Atlanta Marriott Marquis Hotel or comparable hotel • Awards Dinner Banquet ticket (a package enhancement for festival only participants) • Participant trophy for each student; trophy for each orchestra • T-shirt for each student (multiple sizes available) • Entrance to one NOF elective master class of student’s choice Pamela Tellejohn Hayes • Times available to visit the ASTA exhibit hall, featuring the latest string and orchestra products and services (Th ursday evening–Saturday afternoon) • National recognition for your group in ASTA eNEWS and the American String Teacher journal, as well as on the ASTA website • A complimentary director’s package (single) • A commemorative banner for each orchestra • Free entrance to all NOF orchestra performances • Attendance of the NOF Grand Champion winner’s concert on Saturday • A group photograph for each orchestra William LaRue Jones • An abundance of educational opportunities Clinicians Th e NOF is an annual festival held in conjunction with the ASTA National Conference. Th e NOF brings together orchestras from around the country to a single location in order to provide an unparalleled opportunity to receive placement, ratings, comments, and education from leading clinicians and adjudicators in the industry. Orchestras are selected to participate in the national festival based on their application and supporting materials. Th e festival encompasses Youth Orchestras, Middle School Orchestras, and High School Orchestras in their choice of Competition, Rating, and/or Comments categories. All festival groups receive feedback from adjudicators Louis Bergonzi, Pamela Tellejohn Hayes, and William LaRue Jones. Each group receives an educational clinic directly after its Robert Gillispie performance from one of our two clinicians, Robert Gillespie and Anthony J. Maiello. Each student will also take part in an elective master class of his/her choice. Past elective classes have included violin, viola, cello, bass, jazz, ﬁ ddle, and orchestral wind. Competitive groups perform for placement within their own division: Youth Orchestra, Middle School, or High School. One orchestra will be selected from all competitive groups and named Grand Champion of the 2009 National Orchestra Festival. Th e Grand Champion orchestra performs a winner’s concert on Saturday, March 21, 2009. All NOF performances are open to other Anthony J. Maiello festival groups and conference attendees.

70 | American String Teacher | February 2008 ASTA National Orchestra Festival® Application March 18 - 21, 2009, Atlanta, Georgia Application Deadline: April 10, 2008

Send NOF materials to: director’s address school address Name of School/Organization ______Street Address ______City, State, Zip ______

Director’s Name ______ASTA Membership ID* ______Director’s Address/Summer Address ______City, State, Zip ______OfÀ ce Phone ______Fax ______Best Time to Call ______Home Phone ______Email ______

* Director must be a current member of ASTA both at the time of application and at the time of the festival. Nonmember applicants will not be considered. Performing Group Demographics Total Participants (estimate) 1. Ensemble Name ______No. of Performers ______No. of Performers + ______

Check one from each column Chaperones/Staff + ______Category Division Director(s) + ______ Competition Youth Orchestra String Full Rating + Comments Middle School Orchestra String Full Total = ______ Comments High School String Orchestra High School Full Orchestra ** Second ensembles from the same school/organization are not eligible for competing within the same division as À rst ensemble. For two groups from the 2. Ensemble Name ______same school/institution to both compete, these two groups must be autonomous No. of Performers ______(that is, with no repeating students) and must be competing in different divisions. For example, a Secondary School may have a High School Full Orchestra and Check one from each column a Middle School Orchestra competing because they do not share students and Category Division are entering different divisions. All second ensembles are eligible for Rating and Competition Youth Orchestra** String Full Comments regardless of division and shared participants. Rating + Comments Middle School Orchestra** String Full Students must be of middle school or high school age and enrolled in your Comments High School String Orchestra** school or organization to perform with your group. Students participating in the NOF Festival may not also participate in the National Solo Competition High School Full Orchestra** or the Alternative Styles Awards Competitions for 2009. Music Educator References Name ______Phone ______

Name ______Phone ______

This application is submitted with the full approval of the school or youth orchestra administration and in compliance with all set forth. The signatures below indicate that the directors and administration understand and agree to all the requirements outlined in the “Application Guidelines and Requirements,” including ASTA’s cancellation policy. Submission of this application indicates that the orchestra, if selected, will perform at the ASTA National Orchestra Festival March 18-21, 2009, in Atlanta, Georgia; select one of the package options; and meet the payment deadlines. We hereby irrevocably grant to ASTA, its agents, licensees, and assigns, the right to use in any and all media and in any and all forms this applicant’s and its members’ name, likeness, photographic prints, and any reproduction of their sounds, performance, or appearance at the ASTA event, for any purpose, including promotion, advertising, or otherwise. With the use of the rights, we hereby release ASTA and its agents, licensees, and assigns from all claims, liabilities, and/or damages, which now or in the future may arise from such use. The non-refundable $75 application fee per ensemble is enclosed.

______Orchestra Director Signature Date ______Administrator Signature Date Application Fee/Requirements There is a non-refundable $75 application fee per ensemble that must accompany this form. Each organization may enroll up to a maximum of two ensembles. Please make checks payable to ASTA. Submit application, payment, two concert programs, two references, and recording (CDs preferred) to: ASTA National Orchestra Festival Questions? Call Libby Dietrich at 703-279-2113 4153 Chain Bridge Road ext. 28, or email [email protected] Fairfax, VA 22030 www.astaweb.com www.astaweb.com | 71 Call for Sessions, Research Poster, 2009 and Performance Proposals nationalconference Atlanta Marriott Marquis Atlanta, Georgia March 18-21, 2009

The ASTA Conference Planning Committee is seeking perfor- to supervisors or administrators speciſ ed on the application mance, research poster, and session proposals from the mem- that a certiſ cate of completion has been reeived. You may also bership to be presented at the 2009 National Conference. We are elect to receive college credits during this program issued by seeking sessions related to any aspect of teaching or performance Shenandoah University, ASTA’s university partner. representing cello, double bass, guitar, harp, viola, violin, and the symphony orchestra. Commercial materials may be incorporated Sample Session Topics within the session but may not be promoted, orders taken or selling The following is a list of sample topics for sessions needed of any nature may not take place (see music industry showcase for the conference. All proposals will be considered and sent section for this type of session). Sessions will fall into the catego- through an evaluation process. ries of general, alternative styles, chamber music, K-12, private studio, and university. Sessions are one hour in length. Administrative Support (K-12) Advocacy Special Notes: Assessment (writing, documenting, reporting) 1. The committee will not accept solo performance proposals Alternative Styles (proposals reviewed by the Alternative or sessions that promote individual commercial products. Styles Committee) 2. Exhibitor Showcase applications (sessions promoting com- Chamber music mercial products) are available through the exhibitor prospec- Classical performance tus and must be reserved by the sponsoring company. Community support 3. Recordings are to be submitted from non-professional per- Conducting formers only. Copyright issues 4. Applications, recordings, and supplemental materials will not Guitar (classical as well as K-12 teaching) be returned to applicants, regardless of acceptance status. Improvisation 5. All applicants for performances and sessions must be cur- Injury prevention rent members of ASTA at the time of application and also Marketing your school or studio program at the time of conference. Motivation 6. IMPORTANT: Session proposals and research post- Choosing appropriate literature and repertoire ers will be submitted through an online submission Practice Techniques process only. No paper applications will be accepted. Recruiting and retention of string students Online software will be available to accept session in- Rehearsal techniques formation until midnight March 17, 2008. No late sub- Research related to pedagogy and performance missions will be accepted. String class pedagogy (elementary, middle level, sr. high) 7. All performance applications must be sent (postmarked) to String maintenance (basic) the national ofſ ce by March 17, 2008. Students with special needs Teaching rhythm Research Poster Sessions Theory and composition (Submission Deadline: October 3, 2008) Traditional pedagogy Research Poster sessions differ from the regular education ses- Training future string educators and performers sions. A research poster session is a great place for students or Viola, violin, cello, double bass, harp professionals to present their research ſ ndings. There will be Working with the full orchestra one day dedicated to research posters sessions, where you can leave your information on display all day for the conference at- Online Submission Process tendees. There will be two dedicated one-hour time slots during To submit your proposal for an education session or research this day, during which you are encouraged to be available to poster, please visit the conference section of the ASTA website answer questions. ASTA will provide you with one skirted table (www.astaweb.com) and click on the 2009 Call for Sessions. and one easel to present your ſ ndings. You will access the online submission process from this link. The online submission process will be available to accept your Music Industry Showcases session proposals from November through March 17, 2008. These sessions are for promotion of commercial products and Research Poster session applications will be accepted until services. These sessions give you the opportunity to launch October 3, 2008. new products, market directly to a focused group for a one-hour All session presenters, research poster presenters and block, and provide increased visibility for your product or service. ensemble directors must be current ASTA members when Showcases are available for purchase on a ſ rst come, ſ rst served basis and available to members of the String Industry Council. submitting the proposal and at the time of the presentation. Members: please contact your company representative to have All applications must be complete and include the correct items them reserve the showcase slot. Company representatives: and in the quantities denoted on the application form to receive please contact Beth Danner-Knight at [email protected] or full consideration. Applications not meeting the guidelines will use the exhibitor prospects contract to reserve your slot. be rejected. Note: Application materials are not returned to String Teacher Enrichment Program (STEP) applicants, regardless of acceptance status. STEP is a 45-hour comprehensive professional development Mail Completed Performance Application Packages: program with topics speciſ c to string teaching. This program ASTA 2009 National Conference is to be completed within the timeframe of two conferences 4153 Chain Bridge Road, Fairfax, VA 22030 over a four year period. STEP is open to any string teacher interested in learning about vital topics in string education, Performance applications must be postmarked by nonstring playing teachers such as band diretors who are now March 17, 2008. teaching strings, and private lesson instructors now teaching in an adjunct position in schools. STEP ſ lls in gaps in course- For additional information, contact: work, introduces new concepts in education, and reinforces Karen Higdon, Chair knowledge areas. Once you have completed the program, a 2009 Conference Committee STEP certiſ cate will be awarded and notiſ cation will be made Email: [email protected]

72 | American String Teacher | February 2008 2009 Call for Invited Performing Groups— Application Form 2009 Submission Deadline: March 17, 2008 nationalconference

Requirements Type of Performing Group (please check): REQUIREMENTS: Submissions must include FIVE (5) copies of these items: Alternative Styles Ensemble (1) a completed application form (see below); Chamber Ensemble (2) a recent recording (CD’s preferred – see recording College/University (Circle: Full String) instructions below); (3) a conductor’s bio; and Elementary School Orchestra (4) a list of the group’s most signiſ cant performance/accomplish- Junior High or Middle School Orchestra ment for each of the past three years: 2005, 2006, 2007 High School Orchestra (Circle: Full String)

Your proposal MUST include the correct material, the re- Suzuki quired number of copies, and be submitted in paper form to Youth Orchestra be considered. Proposals missing information or submitted Other (describe): ______not in accordance with the guidelines will not be considered. Number of performers: ______Age range of performers: ______IMPORTANT NOTES ABOUT YOUR APPLICATION: 1. This opportunity is for nonprofessional performers only. If you are willing to serve as a demo group during the conference, Professional and Solo performers will not be considered. please check here. 2. A group may perform only once every four years at an Recording Instructions ASTA conference as an invited performance group. If your group has applied previously but not been se- 1. Submit 5 copies of a recording of a performance from the current school year. lected you may apply, or if your group has participated in the National Orchestra Festival, you may still apply. 2. CD’s are preferred, although cassette tapes will be accepted. 3. A group may wish to apply for more than one per- 3. The recording should include only three pieces - in contrasting formance opportunity per conference, as an Invited styles. Recordings may contain only one piece by any one arranger or composer. Performing Group and a National Orchestra Festival Group. If each of the selection committees offers the 4. Label each recording with both your name and the name of the group a performance opportunity in each of these performing group. categories, the group may accept only one invitation 5. List the three pieces included in your recording - Include both the and must decline the other. The one major performance title and composer/arranger. opportunity per conference rule does not include serv- ______ing as a demo group for sessions or playing at special conference events, such as receptions. ______4. Applications, recordings, and any materials submitted ______to support your application will not be returned, regard- You may submit additional materials, such as concert programs, to help less of acceptance status. the committee with its deliberations. Applications, recordings and any 5. You must be a current ASTA member when submitting additional materials submitted to support your application will not be your application AND at the time of the conference. returned, regardless of acceptance status.

Please complete this application form and return by March 17, 2008 to: Performance Terms Agreement: ASTA Performance Applications Attn: Deanna Tompkins I am aware that in order to submit a performance proposal I must hold 4153 Chain Bridge Road current membership in ASTA. I understand that performing groups re- Fairfax, VA 22030 ceive no honoraria and are responsible for their own expenses. I understand that members of the performing group may visit the exhibit hall and NAME OF PERFORMING GROUP:______other invited performing groups during the conference, but that all other conference activities including sessions, ticketed evening performances Director’s Name: ______and activities require registration/tickets which is an additional expense. Address: ______ASTA will not be responsible for instrument rental or storage. Home Telephone: ______REQUIRED SIGNATURES: Work Telephone: ______Signature of Director: ______Fax Number: ______ASTA Member ID Number: ______Email Address: ______You will be notiſ ed of the committee’s decision by July 10, 2008. Institutional Afſ liation (if any): ______The Performance Selection Committee will remain anonymous.

73 | American String Teacher | February 2008 www.astaweb.com | 73 Watch for ASTA’s Newest Promotional Item at the POWER CAN National Conference Bookstore BE YOURS! Th is year’s national conference bookstore off ers a wide variety of With Peter Zaret’s patented bass bar industry specifi c publications with special discount pricing on selected As reviewed in the May 2003 issue of pieces. We also have a “surprise” Strad Magazine and the March 2004 promotional item available for issue of Strings Magazine, Dr. Zaret’s purchase. We can tell you that it is very amazing bass bar releases the power, “timely.” Stop by the bookstore on depth, and brilliance of stringed instru- Th ursday, February 28 from 5 to ments while allowing for an easier 7:30 p.m., Friday, February 29 from 10 response. The bass bar can be retrofitted a.m. to 6:30 p.m., or Saturday, March into existing instruments. 1 from 10 a.m. to 3:30 p.m. Th e following publications will be Fine selection of violins, violas and cellos in all price ranges with and 20 percent off the standard price: without the new bass bar. • Playing and Teaching the Viola, $43.95 (nonmember $56.95) Exceptional sounding smaller size instruments Conference Price: $35.16 and for young string players $45.56, respectively • 25 Years Experience • Th e School Symphony Orchestra • Exceptional Quality Experience, $13.95 • Satisfaction Guaranteed (nonmember $15.95) • Personalized Service by Peter Zaret, Graduate Conference Price: $11.16 and of Juilliard, Doctor of Musical Arts $12.76 respectively • Expert Repairs • National Rental/Purchase Program • String Teaching in America: • Orders Shipped Promptly Anywhere in US Strategies for a Diverse Society, $17.95 For more information (nonmember $22.95) please visit our website at Conference Price: $14.36 and www.zaretandsonsviolins.com $17.95 respectively PETER ZARET & SONS VIOLINS, INC. • A Harp in the School, $17.95 1-888-VIOLIN2 (846-5462) (nonmember $22.95) Conference Price: $14.36 and 5767 Mayfield Rd., Cleveland, OH 44124 $18.26 respectively email: [email protected] • Applying Research to Teaching and Playing Stringed Instruments, $32.95 (nonmember $42.85) Conference Price: $26.36 and $34.28 respectively At various times during the conference, our special guests at the bookstore will be Barbara Eads, ASTA publications chair and Joanne May, project director for Th e String Teacher’s Cookbook: Creative Recipes for a Successful Program. May will be on hand to sell and answer questions about Th e String Teachers Cookbook… that is distributed by Hal Leonard with royalties donated to ASTA.

74 | American String Teacher | February 2008 “The Teaching of in String Playing”

Paul Rolland’s legendary film series video set $295 (USA/VHS postpaid) PAL/overseas add S&H A monumental series of timeless value!!! Every string teacher should own a set. The series of 21 topics by one of the pre-eminent string pedagogues of our time effectively demonstrates all phases of string playing essential to establishing good playing form. It is a wonderful teaching tool for classroom, private studio, & individual student use. Endorsed by Yehudi Menuhin, Eduard Melkus, Marvin Rabin, Max Rostal and others. Paul Rolland (1911-1978) is a leader in string education. Send PO a/o check or money order payable to: His innovative string teaching Rolland String Research Associates method is acclaimed 1616 West Mountain View, Mesa, AZ 85201 worldwide for its effectiveness. (480) 969-9744; e-mail: [email protected]

www.astaweb.com | 75 Teaching Tips by Jennifer Mishra Teaching Master Classes: Taking a Lesson from the Performers Performers have a long tradition of seeking a music class. Many performers cannot out the best and brightest master teachers Extending Teacher Training verbalize how the beauty of their perfor- respected not only for their performance Undergraduate, preservice teachers teach mance is achieved, just as many teachers ability, but also for their ability to edu- fi rst in protected settings such as a univer- cannot describe how they are able to ef- cate fellow performers. With a spirit of sity classroom, teaching their peers. Th ese fectively lead a classroom. lifelong learning, many performers, from practice teaching scenarios emphasize lesson Master teacher-trainers, however, the aspiring to the professional, travel to preparation and presentation and allow a often work solely with undergraduate, these master performer-teachers for lessons, teacher-trainer to provide feedback, guiding preservice teachers, and despite experience workshops, or master classes, always search- the preservice teacher towards improved in teacher-training, may rarely be asked by ing for improvement in technique, a new teaching skills. Th is mentorship continues an experienced teacher for feedback. Th is interpretation, or a deeper understanding into student teaching, which more closely omission may lie more in the compart- of who they are as musicians. Th ese op- resembles the real classroom setting. Th e mentalization of teaching disciplines, portunities for continuing education may site-based teacher, as well as a university where university professors are often be formal, such as workshops organized by observer, continues to guide the student equated with the teaching of research and the Conductors Guild, festivals such as the teacher, discussing lesson successes and theory rather than practical teacher-train- Aspen Music Festival or Interlochen Center failures, often emphasizing teaching tech- ing, or the reluctance of teachers to seek for the Arts, and at conferences such as the niques that require improvement. opportunities for teaching growth. Teach- ASTA national conference or individually Recently, a movement towards mentoring may be perceived as a talent, leading arranged lessons with a teacher over the ship programs has highlighted the need teachers with limited success to accept course of an afternoon or weekend. Th is to continue working with young teachers poor situations as unchangeable or to leave continual exploration encourages a healthy providing support. In the best situations, the profession. Teachers may also conceal dialogue between equals and a willingness a mentor who is a master teacher in the real or perceived failures in the classroom to off er assistance to fellow performers in a young teacher’s discipline, is able to observe from a false assumption that a teaching noncompetitive environment. and review teaching skills and provide certifi cate implies teaching mastery, un- While the atmosphere of encourage- practical advice for improvement. For many aware that teaching mastery develops over ment and improvement is prevalent in teachers, however, the mentorship program an extended period of time and is earned training musical performers and conduc- is insuffi cient or does not extend past the through trials and triumphs. tors, which may continue long after a fi rst year or two of teaching. Teachers must performer has left formalized education, self-critique and correct or seek guidance A Teaching Master Class a similar attitude does not permeate the and may only receive feedback after formal- Th e primary aim of most graduate pro- teaching profession. Th is is not to say that ized evaluations by superiors. grams is not to remediate or assist teaching; teachers do not seek out new knowledge, thus, there is a great need for teaching mas- teaching techniques, and materials at Teacher, Teach Th yself ter classes aimed not at gaining educational venues such as conferences or clinics or Master teacher-trainers, whether employed knowledge, but at practicing teaching skills. through the participation in a graduate de- by universities or functioning as site based Just as an eff ective master class involves the gree program, but the knowledge is often teacher-trainers, have honed their skills in active performance of a piece of music for a decontextualized and individual teachers educating teachers. Th is is a fundamentally master performer-teacher, a teaching master must apply the ideas to their own teaching diff erent task from teaching the content class involves active teaching within an and assess the outcome. of music. A master teacher-trainer may authentic context. While a teaching context Th e act of teaching, like performing, observe, for instance, a classroom man- may be recreated during a master class with has fundamental techniques that suc- agement problem and be able to unearth children or peers functioning as the class, a ceed or fail based on the personality and the underlying problem and most direct more authentic context involves an observa- experience of the teacher and the specifi c solution, which may not be obvious. Just tion of teaching in situ. Video recordings classroom context. Teaching skills include as there are performers who are valued provide a means to observe teachers inter- the use of verbal and nonverbal behaviors, for their ability to communicate musi- acting within their normal classroom envi- timing and pacing, and the organization of cal structure and interpretation, there are ronment and in a unique group dynamic. the lesson. Teaching techniques may work teacher-trainers who are valued for their Th e aim is always to improve teaching skills in one context or with one teacher, but ability to communicate eff ective teaching with an honest, though constructive discus- may not work in a diff erent situation. strategies and skills. For the performers, sion of the strengths and weaknesses of the Only when teachers receive direct this ability is in addition to and indepen- teaching performance, leading to practical feedback based on their teaching in dent of the ability to perform, and for the and specifi c suggestions for improvement. context will teaching improve. Th is is the teacher-trainers, this ability is in addition In the spring of 2008, a teaching premise behind student teaching. to and independent of the ability to teach master class will take place at the ASTA

76 | American String Teacher | February 2008 national conference in Albuquerque. Th e panel of master teacher-trainers reﬂ ects diversity in teaching background and years of experience. Th ese master classes are for teachers of all ages, specializations, and experience levels designed for any teachers interested in improving their teaching performance and honing the craft of teaching. Teaching master classes are for teachers who are always searching for improvement in technique or a deeper understanding of who they are as educators. A teaching master class extends the student teaching experience, allowing for feedback without evaluation, and cultivates a culture of lifelong learning within the teaching profession. If you are interested in participating in this workshop, please contact Jennifer Mishra at [email protected].

Jennifer Mishra is an associate professor and coordinator of music education at the University of Houston. She holds degrees from the University of Northern Colorado and Kent State University. An active clinician and author, Mishra has presented on topics in string education, distance education, and world music at numerous state and national conferences of the Music Educators National Conference, the American String Teachers Association, and the International Society of Music Education. She has published pedagogical articles in Teaching Music, General Music Today, American String Teacher, and Flute Talk. She has served as a technology consultant for Glencoe/McGraw-Hill and her arrangements for string orchestra are published by Alfred Publishing.

www.astaweb.com | 77 Notes

David Littrell Has Spent players’ varying skills. But the group’s annual October trip to the a Career on the Alert for Rock Springs 4-H Camp demonstrates one advantage of diversity. “I’m the only adult out there, or one of two, with 40 to 60 to Teaching Opportunities 75 kids,” Littrell said, “and I never have any discipline problems. Never. No one ever beats up anybody else. Th e younger kids feel David Littrell, the Carnegie Foundation’s safe, the older students take the younger students under their 2007 Kansas professor of the year, is always wing and nurture them. ready to learn, especially when he’s teach- “It’s just an incredible experience, and of course the growth ing. they make musically is very rewarding, too.” “Just this morning, with a new student Th ough innovative use of technology was among the criteria who’s just beginning on the bass, I got used to select the Carnegie winners, the laser pointer is about as all excited once again,” Littrell said while tech-minded as Littrell gets. taking a rare break in his offi ce at McCain “When I was teaching theory I used just a chalkboard and chalk,” Auditorium on the Kansas State University he said. “And I just didn’t want to bother with the smart classrooms campus. Th e student was struggling to keep and so forth. I’m not against them. I just have so many other things his bow at a right angle to the string. “It David Littrell I’m learning about I couldn’t deal with taking on things like that. looks like it ought to be easy, but everyone “You can be dull as all get-out with every technical advantage has trouble with it. in the world. But it still boils down to being able to communicate “So somehow I got the idea during the lesson of getting my la- with the students, to get to know them as best you can, and to take ser pointer out, and I took masking tape and taped it to the bow and a personal interest in them. Th at trumps technology any day.” depressed the ‘on’ button so it would shine a red point on a certain Th at’s not to say Littrell doesn’t have a drawer full of gadgets, part of the wall.” Th e student then could concentrate on keeping the but they’re notably analog: a trigger-operated jaw on a stick to laser dot stationary while moving the bow back and forth. grab errant fi ngers; a front-desk bell, pinged when a bow heads in “Th is just really made him come alive; made me come alive, the wrong direction; a carpenter’s wide-jaw clamp to confi ne bow- too,” Littrell said. “In fact, I thought, ‘Wow, this is a great idea ing to the appropriate area. He’s even been known to fl ing a pair that started out as an ordinary lesson with a beginner.’” of pink, lace-trimmed socks when playing gets “wimpy.” Being on the lookout for such opportunities is part of what “Th at’s mostly for the boys,” Littrell said. Occasionally, that makes a good teacher, Littrell believes. His youngest student is sense of humor backfi res. fi ve, but most are undergraduates. Regardless of age, “Th ey all “I don’t try to be cruel by any means, but sometimes students have the same problems,” he said. “Th ey just have them at diff er- take what I have to say perhaps the wrong way, or too literally, and I ent times.” Bowing, intonation, left-hand technique; these com- have to backtrack and make amends with the student, or the parent. mon concerns complicate students’ pursuit of musicality. “So it’s kind of a humbling experience, too, teaching is. It Littrell’s success with a wide range of students helped him makes me grow as a person.” earn this annual distinction from the Carnegie Foundation for the As a Manhattan boy toting a cello onto the school bus 50 Advancement of Teaching and the Council for the Advancement years ago, Littrell shrugged off the inevitable teasing. He liked and Support of Education. He and other honorees from across the being “diff erent from everybody else.” United States gathered Th ursday, November 15, in Washington, “Th ey nicknamed me ‘Beethoven.’ It was probably the only D.C., for an awards luncheon and an evening reception. composer they had ever heard of.” Th is is not the fi rst recognition of Littrell’s teaching skill. He He stayed with the instrument because he’d fallen in love is a University Distinguished Professor of music at K-State, where with its warm, human voice and because of his teacher (and he has twice received the Stamey Undergraduate Teaching Award. predecessor at K-State), the late Warren Walker, “who was almost In 1994 the Kansas chapter of the American String Teachers As- a second father to me.” sociation awarded him the certifi cate of merit. His own father, the late K-State professor of education J. He conducts the University Orchestra and teaches or plays Harvey Littrell, was another mentor and role model. So it’s no the cello, baroque cello, fi ve-string violoncello, piccolo, double surprise that by eighth grade the younger Littrell had decided he bass, viola da gamba and electric cello. was bound for academia. His interest in the education of young people is evident in Nonetheless, he tells his students that whatever their desires String Fling, an annual event he directs for about 750 students from and goals are, they’ll likely end up doing something they never across Kansas. He also conducts the Gold Orchestra, which includes dreamed of. Littrell never planned to conduct, but he spends most more than 70 Manhattan-area string students in grades 5-12. of his time on the podium these days. After the group’s fi rst national recognition in 1992 at the “Th at’s what young teachers need to know: Once you get out Midwest Band and Orchestra Clinic in Chicago, the Gold Orches- of school, it’s just the very beginning.” tra toured England (1997), Seattle and British Columbia (1999) This article was reprinted with permission from and performed at Carnegie Hall in 2001 and 2006. In 2008 Littrell Newswise, Charlottesville, Virginia. plans a concert-and-rafting trip to Estes Park in Colorado. Th e Gold Orchestra’s wide range of ages presents challenges, Littrell said, among them the selection of music to accommodate

78 | American String Teacher | February 2008 The Legacy of Harvey Shapiro the demands at hand. Over his life, Harvey dealt with two diff erent kinds of cancer, two broken hips, failing eyesight to the point (1911-2007): Master Cellist and of blindness—overcoming them all. His ear and mind remained Teacher clear as a bell until his fi nal days. Harvey Shapiro, of Russian parentage, was born on June 22, By James Kreger 1911, in New York City. He was a generous man who enjoyed I fi rst met Harvey Shapiro in 1970, when he came to Juilliard to whiskey, fi ne wine, and smoked the best Havana cigars through- teach Leonard Rose’s students while Rose took a year’s sabbati- out most of his life. (He said he drank whiskey and smoked cigars cal to tour with the Istomin-Stern-Rose Trio. Harvey, who died because his teacher, Willem Willeke, did.) Harvey would regularly on October 25, was then 59, a year younger than I am now, and take groups of students out to fi ne restaurants. As a child of the already had an illustrious career as a solo, chamber, and orchestral Great Depression, he knew what it was like to not have a good cellist, but he had only recently begun teaching. Word spread cello—and lent me his magnifi cent Gofriller cello for my New fast—and word had it that Harvey was the best cello teacher York recital debut in 1971, though I had only been studying with anywhere, a kind of “cello doctor,” as he him for a year. Th is was the fi rst time of many. was termed by many in the early years. Harvey’s nearly 1,000 students—orchestral players, cham- His incredible ear, absolute mastery of ber musicians, soloists, and teachers all over the world—kept the instrument, and knowledge of human in regular contact with him over the years, and with each other. psychology was amplifi ed by something He always said that no one is indispensable. I think many of us all the greatest teachers have: the gift of believed him … until the day he died. He wanted no obituary, being able to inhabit the psyche of the no funeral, no memorial—but no matter where people are, they student, thereby fi nding a way to light the all want to come to New York for a farewell. So sometime in the spark that begins the road to improvement future, we’ll all probably be having dinner together, with whiskey and ultimate mastery. Perhaps it was this … and cigars. And Harvey will be smiling down on us. gift that prompted the late great cellist Cellist James Kreger was Harvey Shapiro’s student and his assistant at James Kreger and Harvey Mstislav Rostropovich to call Shapiro “the Juilliard for more than 25 years. Reprinted with permission from The Juil- Shapiro following Shapiro’s greatest cello teacher in the world!” January 1991 Juilliard liard Journal and The Juilliard Journal online (www.juilliard.edu/journal/). recital. His students were not only cellists. Violinists, violists, bass players would all be Memorial Concert Held to regulars in the Shapiro studio, camping out to watch and listen as he taught. Once, during one of my lessons, the entire Quartetto Celebrate Renowned Cellist Italiano showed up. I was intimidated, but eventually learned how Eleonore Schoenfeld better to focus when “the vibes” didn’t feel right. Afterward, I would go home and immediately take out my cello just to see if my playing still sounded as good as it had by the end of the lesson. It felt like magic! Of course, not everything would stick—but in time, more and more of Harvey’s wisdom would become part of me. Harvey was not an easy teacher, and was not for everyone. A student who could not take criticism in the spirit it was intended did not stay with Shapiro very long. If he sensed a student was stubbornly ignoring his suggestions, he would tell them to go study with someone else. But as long as he felt the student wanted to listen and improve, Harvey would not give up. While he had a reputation for screaming, irascibility, and foul language that could make men who thought they’d seen and heard it all blush, Th e USC Th ornton School of Music held a memorial concert on this was always done with love. He would give praise when he felt September 9, 2007 to celebrate the life and works of cellist and it was due, and praise from Shapiro really meant something! Of teacher Eleonore Schoenfeld, featuring performances by former course it was brief, because Harvey had already begun pushing up students, faculty and professional colleagues. Th e concert was to the next plateau, constantly raising the bar. prepared and planned with Alice Schoenfeld, Eleonore’s sister and Th e challenges of adversity seemed to keep him healthy and performing partner in the Schoenfeld Duo. In addition, a one the juices fl owing. He had three diff erent kinds of arthritis for hour documentary was produced on the impact of Schoenfeld’s much of his life, but it never deterred him. If he couldn’t play teaching on the cello profession. Excerpts from a television with a certain fi nger, no matter; he would always fi nd a way out. documentary were aired during the concert as well. In a state- And he never wanted you glued to the same fi ngering or bowing ment, Dean Robert Cutietta said, “Rarely has any one person had for life, either. His students became all the more secure in their such a dynamic eff ect on an institution, a profession, and a city. technique by learning to change bowings and fi ngerings based on Eleonore’s legacy is one that is shared by all.”

Pricing Guide: Improvise! by Jody Harmon, includes CD String Syllabus Volume Two for Harp M= Member NM=Nonmember $25.95 M $33.75 NM and Guitar ed. David Littrell $19.95 M $25.95 NM Jazz Improvisation Made Easy by Jody Music Medicine New Books Harmon and John Blake, includes CD A Harp in the School: A Guide for $25.95 M $33.75 NM Sforzando! Music Medicine for String School Ensemble Directors and Harpists Available for violin, viola, and cello. Players ed. Anne Mischakoff Heiles ed. Chelcy Bowles Specify which of the three JIME! books $8.75 M $11.40 NM $17.95 M $22.95 NM you want on the order form. Stretching for Strings by Jack Winberg, M.D., and Merle F. Salus, M.S.T. String Teaching in America: Strategies Manual of Orchestral Bowing by for a Diverse Society ed. Jane Aten $19.95 M $25.95 NM $17.95 M $22.95 NM Charles Gigante $21.95 M $28.55 NM Miscellaneous Pedagogy Advocating for Strings DVD Orchestral Bowings and Routines by free M, $9.95 NM General Elizabeth A.H. Green The Teaching of Action in String Alternative Styles In the Classroom DVD $16.50 M $21.45 NM Playing by Paul Rolland $20.00 M, $26.00 NM $37.50 M $48.75 NM The School Symphony Orchestra Discovering Strings and Orchestra DVD Violin Experience: A Guide to Establishing a (program-speciÀ c, please visit www. Basic Principles of Violin Playing by Full Orchestra in the Schools ed. Pamela astweb.com for more details) Paul Rolland $10.50 M $13.65 NM Tellejohn Hayes Ultimate Strings, Vol. 1: Alternative Styles CD $13.95 M $15.95 NM $9.95 each (M and NM price same) A Comparison of Violin Playing Techniques: Kato Havas, Paul Rolland, Teaching Stringed Instruments in Ultimate Strings, Vol. 2: and Shinichi Suzuki by Marianne Classes by Elizabeth A.H. Green Classical Virtuosity CD Murray Perkins $21.75 M $28.30 NM $9.95 each (M and NM price same) $31.95 M $41.55 NM Resource Cello Drones CD The Violin Guide by Stefan Krayk $10.00 M $12.00 NM $10.00 M $13.00 NM Basic String Maintenance: A Teacher’s Award CertiÀ cates Guide by Harold TurbyÀ ll $12.95 M $14.95 NM (per pack) A Violinist’s Guide for Exquisite $17.95 M $22.95 NM Intonation by Barry Ross, second edition Each pack includes 25 certiÀ cates. Please $19.95 M $25.95 NM specify which award you want when Dictionary of Bowing and Pizzicato ordering: Achievement Award, Spirit Award, Terms ed. Joel Berman, Viola Director Award, Student Leadership Award, Barbara G. Jackson, Kenneth Sarch Most Improved Playing and Teaching the Viola ed. $16.50 M $21.45 NM Greg Barnes Director’s Awards Pack $43.95 M $56.95 NM Research $27.95 M $32.95 NM Contains 10 of each certiÀ cate. A Violist’s Guide for Exquisite Applying Research to the Teaching and Intonation by Barry Ross Playing of Stringed Instruments Director’s PLATINUM Awards Pack $19.95 M $25.95 NM ed. Gail V. Barnes $54.95 M $59.95 NM $32.95 M $42.85 NM Cello Contains 25 of each certiÀ cate. The Art of Cello Teaching by Gordon The Bach Chaconne for Solo Violin ed. ASTA Pin* Epperson $7.00 each $11.95 M $15.95 NM Jon F. Eiche $12.95 M $16.85 NM ASTA Keychain* Cellist’s Guide to the Core Technique by $4.75 each G. Jean Smith The Ten Beethoven Sonatas by Joseph $14.50 M $18.85 NM Szigeti I Ɔ Strings Bumper Stickers* $12.00 per pack of 10 Classroom and $4.00 M $5.20 NM Orchestra Compendiums CareersInStringTeaching.Com Bumper Stickers** Getting It Right from the Start ed. String Syllabus Volume One, 2003 Free giveaway, min. order, pack of 25! Kathlene Goodrich and Mary Wagner, Edition for Violin, Viola, Cello, Bass, second ed. and Ensembles ed. Gregory Hurley *Shipping included in price. $19.95 M and NM $24.95 M $32.45 NM **Shipping/handling fee of $2.50 per pack **Shipping is only included on individual purchase of bumper stickers, keychains, and/or membership pins. If ordering books or CDs along with either of these, you MUST add shipping according to the chart on order form. 84 | American String Teacher | February 2008 Publications Order Form Order online at www.astaweb.com. Item # Title Price Quantity Total ______

Allow 4 to 6 weeks for delivery. NO RETURNS will be accepted unless order Name ______was damaged or incorrectly À lled. Prices subject to change without notice. Call 703/279-2113, ext.10, about special discount pricing for large orders. ASTA Member ID #______Subtotal ______Full Address ______VA RESIDENTS ADD 5% SALES TAX ______SHIPPING* ______Phone Number ______Total ______

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www.astaweb.com | 85 ASTA Membership Application Your Personal Information Please complete all of the sections below. To help reduce errors, please print clearly. New Member Renewing Member (ASTA ID) ______Referral Source ______Full Name ______Address ______City, State, Zip ______Home Telephone ______Work Telephone ______Fax ______Email ______Professional Title ______Professional Institution ______Date of Birth ______Anticipated Graduation Date______Your Profession Your Instrument Other Memberships Check only 1 primary profession Check only 1 primary instrument AHS ISB CMA Check any secondaries that apply Check any secondaries that apply MENC MTNA IAJE Primary Secondary Primary Secondary SAA Other: ______ Higher Education Violin High School Viola Contribution to Foundation Middle/Jr. High School Cello Make a tax-deductible charitable contribution. Elementary School Double Bass $5 – $25 $26 –$49 School (Multilevel) Guitar $50 – $100 More than $100 Private Studio Harp Performer Brass Choose from the following Conductor Keyboard those directories you wish to Retired Percussion be excluded from: Music Administrator Woodwind Online Membership Directory String Enthusiast Other (please list) ASTA Email Announcements Student ______ Mailing Labels

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Library Subscription ...... $75 Payment Information For information on institutional membership, call 703-279-2113, ext. 16. Check made payable to ASTA Check # ______Dues are for individual membership only. Dues are nontransferable and VISA MasterCard nonrefundable. There is a $27 charge on items returned from the bank. Card # ______IMPORTANT ALERT! RESPONSE NEEDED! ASTA can now deliver messages and conduct association business Exp. Date ______Sig. ______online. By completing my email address below, I hereby give my con- sent to the electronic transmission of member materials and electronic Membership applications should be returned to: voting regarding ASTA matters via the Internet at the following email ASTA Membership Department address:______4153 Chain Bridge Road; Fairfax, VA 22030 Or use your credit card to join online at www.astaweb.com.

86 | American String Teacher | February 2008 If your chapter is not listed, it is considered inactive. To receive a registration packet for re-establishing a student chapter, please contact the National ofÀ ce at 703/279-2113 or send email to Kari Hahn at [email protected]. ASTA Student Chapters

Augustana College Kelly Helmich, President James Madison University University of Arizona [email protected] Kristin Pope Toru Tagawa, President Janina Ehrlich, Advisor [email protected] [email protected] [email protected] Robert McCashin, Advisor Donald Hamann, Advisor Luvliga Srtangar Chapter [email protected] [email protected] 639 38th Street JMU School of Music PO Box 210004 Rock Island, IL 61201-2210 Harrisonburg, VA 22807 1017 N. Olive Rd. Music Bldg. Rm 109 Baldwin-Wallace College Kansas State University Tucson, AZ 85721-0004 Adam Paul Cordle, President Laura Bradshaw, Cora Cooper, Advisor University of Nebraska - Lincoln [email protected] [email protected] Muriel Huckins Julian Ross, Advisor Department of Music [email protected] [email protected] 109 McCain Auditorium David Neely, Advisor 275 Eastland Rd. Manhattan, KS 66506-4700 [email protected] Berea, OH 44017 120 Westbrook Music Bldg, UNL MansÀ eld University Lincoln, NE 68588 Ball State University Stephanie Swart, President Christine Jones, President [email protected]À eld.edu University of North Carolina at Greensboro [email protected] Kenneth Sarch, Advisor Annalisa Chang, President Kristin Turner, Advisor ksarch@mansÀ eld.edu [email protected] [email protected] Butler Music Center 106 Rebecca MacLeod, Advisor 2000 University Avenue MansÀ eld, PA 16933 [email protected] Muncie, IN 47306-0001 Gate City ASTA Minnesota State University - Moorhead PO Box 26167, School of Music Central Washington University Haley Rydell, President Greensboro, NC 27402 Carrie Rehkopf Michel, Advisor [email protected] [email protected] Kirk Moss, Advisor University of Northern Colorado 400 E University Way [email protected] Juliet White-Smith, Advisor Ellensburg, WA 98926-7502 1104 Seventh Avenue South [email protected] Moorhead, MN 56563-0001 501 20th Street Converse College Greeley, CO 80639 Michele Tate, President Northwestern University [email protected] Lindsay Klecka University of South Carolina Sarah Johnson, Advisor [email protected] Stacy Wiley, President [email protected] James Kjelland, Advisor [email protected] 580 East Main Street [email protected] William Terwilliger, Advisor Spartanburg, SC 29302-1931 60 Arts Circle Dr. [email protected] Regenstein Hall, Rm. 202A 234 Russell House, SG 189 Duquesne University Evanston, IL 60208 Columbia, SC 29208 Alexis Kitchen [email protected] Ohio University University of Tennessee Stephen Benham, Advisor Morissa R. Freiberg, President Katie Middleton, President [email protected] [email protected] [email protected] 600 Forbes Avenue Marjorie Bagley, Advisor Wesley Baldwin, Advisor Pittsburgh, PA 15219-3016 [email protected] [email protected] 440 Robert Glidden Hall UT School of Music East Carolina University Athens, OH 45701 Knoxville, TN 37996 Kathryn York, President [email protected] Pennsylvania State University University of Texas - San Antonio Greg Hurley, Advisor Matthew Haydt, President Jennifer L. Cahill Clark, Advisor [email protected] [email protected] [email protected] Fletcher Music Center, 307 B Robert D. Gardner, Advisor One UTSA Circle Greenville, NC 27858 [email protected] San Antonio, TX 78249 231 Music Building I Florida State University University Park, PA 16802-1901 University of Wisconsin - Whitewater Julia Castor, President Nicole James [email protected] Sacramento State University [email protected] Michael Allen, Advisor Emily Wolfram, President Benjamin Whitcomb, Advisor [email protected] [email protected] [email protected] College of Music Judy Weigert-Bossuat, Advisor 800 W Main St. Tallahassee, FL 32306 [email protected] Center of the Arts, Room 2038 6000 J Street Whitewater, WI 53190-1705 Grand Valley State University Sacramento, CA 95819 Amanda Thoms, President West Virginia University [email protected] SUNY Potsdam Elyse Brandt, President John Blakemore, Advisor Shawn DePalma, President [email protected] [email protected] [email protected] Mikylah Myers McTeer, Advisor 1300 Performing Arts Center Sarah Hersh, Advisor [email protected] Music Department [email protected] Division of Music 1 Campus Drive 44 Pierre Port Avenue PO Box 6111 Allendale, MI 49401-9403 Potsdam, NY 13676-2200 Morgantown, WV 26506-6111 Indiana University of Pennsylvania Tennessee Tech Western Michigan University Liesel Dorrow, President Michael Neal, President Emily Kenney, President [email protected] [email protected] [email protected] Linda Jenkins, Advisor Dan Allcott, Advisor Bruce Uchimura, Advisor [email protected] [email protected] [email protected] 103 Cogswell Hall Department of Music and Art 1903 W Michigan Ave. Indiana, PA 15705 Tennessee Tech Box 5045 School of Music Cookeville, TN 38505 Kalamazoo, MI 49008-5200

ASTA K–12 Student Chapters

Chamber Music Connection Etowah Youth Orchestras McEachern High School Emily ButterÀ eld Michael Gagliardo Dr. Tim Mooney ebutterÀ [email protected] [email protected] [email protected] 977 Pennsylvania Avenue 501 Broad Street 2400 New Macland Road Columbus, OH 43201-3334 Gadsdenm, AL 35901-3719 Powder Springs, GA 30127 Chancellor High School James River High School North Allegheny Senior High School Michelle Sweeten Beth Almore Sarah Lavelle [email protected] [email protected] [email protected] 6300 Harrison Road 3700 James River Rd 10375 Perry Highway Fredericksburg, VA 22407-6363 Midlothian, VA 23113 Wexford, PA 15090

www.astaweb.com | 87 Showcase

A New Service from Shar just Th e Keystroke Publishing series’ Comprehensive Ear Training, for Private Teachers Vocal Ear Training, and Sight Singing Solution are now available from Frederick Harris Music. Bow trials have always been available for advanced bows, now “Comprehensive Ear Training, Vocal Ear Training, and Sight SHAR off ers a trial service for bows $25-$100! Singing Solution will be welcome additions to the Frederick Harris Shopping by mail can save trips to the violin shop - a real Music catalog,” said Ron Kelly, president and ceo. “Studio music hardship for musicians in out-of-the-way areas - but trying to mail teachers and their students have used these excellent resources for order bows without playing them in person, often results in repeat years, and we are proud to off er them to teacher in conjunction trips to the post offi ce. In an eff ort to make this process more with our other publications,” said Kelly. convenient and accessible, we have developed the 30-day Studio Comprehensive Ear Training helps students fulfi ll their musi- Bow Trial, enabling a teacher’s entire studio to try out and buy cal potential by building a solid aural foundation. Comprehensive bows during normal lesson time. Th e Studio Bow Trial includes a Ear Training is available in two series: the Professional Series is selection of student bows in any combination of instruments and ideal for use by both student and teacher, and the Student Series is sizes, and attractive display, “Ask the Maestro” brochures featuring designed for home use by the student. answers to frequently asked questions about bows, a how-to guide Vocal Ear Training is a graded series for soloists and choris- for hosting a bow trial in your studio, and a prepaid UPS label for ters and is easy to use in lessons or self study. Each level includes return shipping. Now we can simulate the kind of selection and practice session on one or two CDs and an answer booklet. service normally available in a shop or at higher price ranges. Sight Singing Solution is ideal for soloists and choristers pre- Th e Studio Bow Trial is available only to members of the paring for voice examination ors simly look to improve their sight ASTA or the Suzuki Association. For more information please singing. Each level includes more than 90 practice sessions on CD contact Michael at 866/742-7270 x382. and an answer booklet with notated music examples. All three series will also eff ectively prepare students for ear- Teen Strings Magazine Debuts training and sight-singing components of RCM examinations and New Book Series for Young the National Music Certifi cate Program examinations. Go to www.frederickharrismusic.com for more information. Players String Letter Publishing off ers up a brand-new series of books for Alfred Releases New Easy emerging musicians with the release of Succeed as a String Player! Fiddle Collection Hip Tips from the Readers and Experts at Teen Strings Magazine. Th is unique anthology off ers practical, inspiring, and entertaining Th e newest addition to the incredibly tips on practicing and improving tone, developing self discipline, successful Philharmonic series has acing a music school audition, conquering stage fright, fi nding arrived! Basic Fiddlers Philharmonic: Old- summer music camps, and more. Packed with advice from the Time Fiddle Tunes is absolutely perfect biggest names in the string world including Joshua Bell, Itzhak for introducing fi ddling to the youngest Perlman, and Hilary Hahn this book is sure to motivate and string players. Eleven tunes from the old- engage its readers, becoming a valuable tool for players, their time American fi ddling tradition are parents, and teachers. presented fi rst in a simplifi ed, “basic” Th e Teen Strings Shows You How series is the fi rst of its kind version of the tune printed with note from the publisher. “If I’d had this book when I was a teen, my names in the note heads. Following the whole life might have been diff erent!” said David Lusterman, Philharmonic format, the tune is then String Letter Publishing founder and president. presented in an “advanced,” but still Additional titles are in development for the Teen Strings accessible version. Several options for simple back-ups and very Shows You How series. For more information, please visit basic improvisation tips are provided for each instrument. Basic www.teenstrings.com/books. Fiddlers Philharmonic keeps each version on its own staff to avoid confusing young readers and lyrics are included where applicable. Frederick Harris Music Th e accompaniment CD features recordings of both versions, as well as a back-up track for play-along at home or in class. Announces Acquisition For more information contact Marina Terteryan, marketing of Keystroke Publishing coordinator, at [email protected] or visit www.alfred.com. Publications Frederick Harris Music is pleased to announce the acquisition of publications for ear training and sight singing from Keystroke Publishing.

88 | American String Teacher | February 2008 Shar Announces the World’s Lightest Hard Shell Cello Case: The New Super Light Carbon Fiber Cello Case Th e Shar SL Super-Light case brand has always stood for high quality, light weight construction and sleek, smart, innovative design. Until now it was only available for violinist and violists, but now the Shar SL Super Light is available for cellists. Th e Anthra- cite gray exterior is made from the same extremely strong woven carbon-cloth used on advanced aircraft! In addition to great strength it actually only weighs 6.6 pounds, (7.1 pounds with straps) making it the world’s lightest hard shell cello case. Th e carbon cloth was so attractive, we left it exposed, protected only with a clear, hard resin fi nish. Th e simple, well-engineered latches combine with a precise clamshell design to off er ultimate rigidity when the case is closed. To save even more weight, the simple but elegant interior is left un- adorned, with black cloth used only at the contact points. Elegant black straps with high quality clasps make for easy back packing. Th is full size compact case is ideal for all cello patterns. Contact Shar Products Company for more information at 800/248-SHAR (7427) or visit www. sharmusic.com for this and other innovative products. Shar off ers a one-year limited warranty on all products covering defects of workmanship or materials, and a 30-Day No Hassle Return Policy.

www.astaweb.com | 89 Volunteer Leadership Directory State Presidents As with the National Board, the following state chapter presidents have been elected to serve a two-year term (2006–2008).

Alabama: Anne C. Witt; School of Music, Box Louisiana: Michael Buckles, 413 West Claude St., Oklahoma: Charlene Dell; 4100 Glasgow Dr, Nor- 870366, 810 2nd Ave, Tuscaloosa, AL 35487- Lake Charles, LA 70605-3405; man, OK 73072; h (405) 573-2951; 0001; h (205) 344-4032; w (205) 348-1460; w (337)-475-5034; [email protected]. w (405) 325-0168; [email protected]. [email protected]. Maine: Lauren Rioux; 50 Winnocks Neck Rd, Scar- Oregon: Marshall Tuttle; Mt. Hood Community Col- Alaska: Sandra Shoulders; P.O. Box 236, borough, ME 04074-8548; lege, 26000 SE Stark St, Gresham, OR 97030- Talkeetna, AK 99676-0236; h (907) 733-3050; h (207) 883-4968; [email protected]. 3300; h (503) 618-8655; [email protected]. Maryland/DC: Cynthia Swiss; 4403 Falls Rd, Balti- w (503) 491-7010; [email protected]. Arizona: Ann Elana Williams; 5370 N Salida Del more, MD 21211; h (410) 889-8325; Pennsylvania/Delaware: Robert Gardner; 210 Sol Dr, Tucson, AZ 85718-5419; h (520) 529- w (410) 363-0600 x270; [email protected]. Music Bldg, 1 Penn State University, University 7435; w (520) 529-5400; Massachusetts: Jane E. Ezbicki; 60 Bellefontaine Park, PA 16802-1901; h (814) 235-9729; [email protected]. Ave, Framingham, MA 01701-4263; w (814) 863-2367; [email protected]. Arkansas: Steven Bird; College Hill Middle School, h (508) 877-7195; w (508) 358-3724; Rhode Island: Christine Harrington; 151 Olearos 1600 Forest, Texarkana, AR 71854-7401; h [email protected] Hill Rd, Moosup, CT 06354-1816; (501) 513-9439; w (501) 450-5761; steven- Michigan: Steve Reed; 1610 Sun Prairie Dr, St. h (860) 564-1601; w (401) 451-0680; [email protected]. Joseph, MI 49085; h (269) 429-8120; [email protected]. California: Gayane Korkmazian; 289 S. Armstrong, w (269) 926-3344; [email protected]. South Carolina: Kathy Robinson; 300 Bright Water Fresno, CA 93727 h 559-255-5803 Minnesota: Lorie Hippen; 2360 Hillview Rd, Ln, Greenville, SC 29609; h (864) 232-0175; Colorado: Andrea L. Meyers; 4881 E Greenwich Mounds View, MN 55112; h (763) 785-9528; w [email protected]. Dr, Highlands Ranch, CO 80130-5205; (612) 668-4341; [email protected]. South Dakota: Robert Vodnoy; 815 South State St, h (303) 470-7730; w (303) 387-3055; Mississippi: Xie Song; 2113 Pinehaven Dr., Jack- Apt 18, Aberdeen, SD 57401-6248; [email protected]. son, MS 39232; W (601) 992-4209; songx- h (602) 626-0596; w (605) 626-2519; Connecticut: Janet Farrar-Royce; 30 Holly Mar Hill [email protected]. [email protected]. Rd, Northford, CT 06472-1119; Missouri: James E. Richards; 3015 Durwood Dr, Tennessee: Gary Wilkes; Chattanooga School for h (203) 484-2235; w (203) 272-3249; Florissant, MO 63033; h (314) 831-1760; the Arts and Science, 865 East Third St, Chat- [email protected]. w (314) 516-5936; [email protected]. tanooga, TN 37403-1304; Florida: Jessica Talbot; 5907 Turnbull Dr., Orlando, FL Montana: Jennifer Smith; 1306 3rd Ave N, Great h (706) 866-9644; w (423) 209-5837; 32822; h (407) 207-4474; [email protected]. Falls, MT 59401; h (406) 452-9072; [email protected]. Georgia: David Starkweather; 115 Richard Way, w (406) 452-9072; [email protected]. Texas: Margaret Johnson; 804 Stags Leap Dr, Athens, GA 30605-4420; h (706) 354-0802; w Nebraska: Patricia Ritchie; 13905 Pierce St., Omaha, McKinney, TX 75071-2980; h (469) 396-0260; (706) 542-2780; [email protected]. NE 68144; w (402) 894-6024; [email protected]. w (469) 742-4955; [email protected]. Hawaii: Duane Padilla; 1535 Pensacola St, #PH2, Nevada: Charles Cushinery; 5826 W. Viking Rd, Utah: Deanne Helquist; 575 North 400 East, Honolulu, HI 96822; h (808) 566-6659; w (203) Las Vegas, NV 89103-2336; Lindon, UT 84042-1551; h (801) 785-2671; 496-3678; [email protected]. h (702) 876-8768; w (702) 799-5800 4063; [email protected]. Idaho: Erika Schulte; 1135 East Benton St., Pocatello, [email protected]. Vermont: Michael Hopkins; 230 College St, Unit 1, ID 83201-4843; [email protected] New Hampshire: This position is currently vacant. Burlington, VT 05401; h (802) 864-2483; Illinois: Joanne T. May; 1 S 640 Brook Ct, Glen New Jersey: Mary Ann Mumm; 49 Crest Rd, Ridge- w (802) 656-7767; [email protected]. Ellyn, IL 60137; w (630) 424-6752; wood, NJ 07450; h (201) 612-8513; Virginia: Helen F. Fall; 4318 Argonne Dr, Fairfax, [email protected]. w (201) 390-5325; [email protected]. VA 22032-1405; h (703) 425-9279; Indiana: Kathy Schemine; 7693 Willow Ridge, Fishers, New Mexico: Anne M. Karlstrom; 501 Solano Dr w (703) 425-9279; [email protected]. IN 46038; h (317) 845-7477; w (317) 594-4190 SE, Albuquerque, NM 87108-2668; Washington: Charles Schooler; 2408 South Bay Rd, x12521; [email protected]. h (505) 265-5474; [email protected]. Olympia, WA 98506; h (360) 943-2317; Iowa: Julia K. Trahan; 703 W Main St, Steamboat New York: Tony Pinelli; 34 Wyoming Dr, Huntington w (360) 596-7000; [email protected] Rock, IA 50672-1006; h (641) 920-7021; Station, NY 11746; h (631) 271-3138; West Virginia: Ian A. Jessee; 1581 Lee St E, Apt B, w (319) 273-3074; [email protected]. w (516) 767-5910; [email protected]. Charleston, WV 25311-2403; Kansas: Rebecca G. Meis; 9311 W 150th St, Over- North Carolina: Nancy E. Bargerstock; 321 Delmar h (304) 345-1845; [email protected]. land Park, KS 66221; h (913) 402-7319; St, Boone, NC 28607; h (828) 265-1233; Wisconsin: Geraldine O. Grine; 1229 Merritt Ave, w (913) 780-7140; w (828) 262-6457; [email protected]. Oshkosh, WI 54901-5347; [email protected]. North Dakota: Kari Moen; 202 22nd St., NW, Minot, h (414) 231-0176; w (920) 424-4020 x624; Kentucky: Nancy J. Campbell; 2012 St Stephens ND 58703; w (701) 240-9993; [email protected]. [email protected]. Green, Lexington, KY 40503; Ohio: Elizabeth A. Hankins; 12963 Emerson Ave, Wyoming: Sherry Sinift; 157 Corthell Rd, h (859) 338-7866; w (859) 381-3332; Cleveland, OH 44107-2809; Laramie, WY 82070-4825; h (307) 745-8662; [email protected]. h (216) 534-4121; w (216) 529-4051 x3; [email protected] [email protected]

90 | American String Teacher | February 2008 2008 Alternative Styles Advisory Committee on Studio Instruction (COSI) String Industry Council Executive Committee Cornelia Watkins, Chair, [email protected] Committee Robert Gardner, Chair, [email protected] Stella Anderson Neil Lilien, President, Meisel Stringed Instruments, Renata Bratt Elizabeth Blakeslee [email protected] Andrew H. Dabczynski Lynne Denig David Luce, Secretary, J.D’Addario & Company, Inc. Steven Muise Petar Kodzas Donna Sizemore Hale, ASTA Executive Director Jed Fritzemeier David Murray Mary Wagner, ASTA President Beth Danner-Knight, Staff Associate Jeffrey Solow, ASTA President-Elect Council of Past Presidents Beth Danner-Knight, Staff Associate 2008 National Orchestra Festival David Littrell, Chair, [email protected] Committee Student Chapters Committee Jim Palmer, Chair, [email protected] National Foundation to Promote String Marjorie Bagley, Chair, [email protected] Mary Wagner Teaching and Playing Committees: Denese Odegaard Libby Dietrich, Staff Associate Kari Hahn, Staff Associate CodaBows for America Community 2008 National Conference Planning Outreach Program Committee ASTA with NSOA Past Presidents Committee Debra Myers, Chair, [email protected] Robert Gillespie 2004-2006 Charlotte Eads, Chair, [email protected] Kathy Fishburn David Littrell 2002-2004 Robert Jesselson 2000-2002 Michael Alexander Jeff Van Fossen Karen Higdon Louis Bergonzi 1998-2000 Pam Phillips Merle J. Isaac Composition Contest ASTA Past Presidents Stanley Chepaitis Committee Edward H. Adelson 1996-1998 Penny Meitz Robert McCashin, Chair, [email protected] Jacquelyn Dillon-Krass 1994-1996 Deanna Tompkins, Staff Associate Anne Witt 1992-1994 Robert Culver 1990-1992 2008 Alternative Styles Conference Potter’s Violins Instrument Awards Gerald Doan 1988-1990 Planning Committee Committee Anne Mischakoff 1986-1988 Stanley Chepaitis, Chair Gerald Fischbach 1984-1986 Laura Kobayashi, Chair Lucas Drew 1982-1984 Renata Bratt Marian Dura LeRoy Bauer 1980-1982 Jody Harmon Amy Feldkamp Phyllis Young 1978-1980 Munikanthe Kulasinghe Jerry Kupchynsky 1976-1978 Katherine Mason Special Project Grants Committee Richard Sieber 1974-1976 Beth Danner-Knight, Staff Associate Jeffrey Solow, Chair, [email protected] Robert Oppelt 1972-1974 Marilyn Seelman Ralph Matesky 1970-1972 Harry Lantz 1968-1970 2008 National High School Honors Benjamin Whitcomb Orchestra Committee Howard Van Sickle 1966-1968 Paul Rolland 1964-1966 Brian Cole, Chair, [email protected] Outreach Grants Committee Robert Klotman 1962-1964 Gwen Armwood Beth Gilbert, Chair, [email protected] Gerald Doty 1958-1962 William Bitter Elizabeth Bookwalter, Staff Associate Frank Hill 1954-1958 Shelly Burger Ernest Harris 1952-1954 Chuck Cushinery Development Committee Rex Underwood 1950-1952 David Eyler Kirk Moss, Chair, [email protected] Duane Haskell 1947-1950 Doug Neill Leslie Adams Wimsatt Clark Sheldon NSOA Past Presidents Elizabeth Bookwalter, Staff Associate Doris Gazda 1997-1998 Sheldon Schlesinger Donna Hale, Staff Associate Peter A. Miller 1995-1997 Libby Dietrich, Staff Associate Robert J. Greenwood 1993-1995 Instrument SpeciÀ cations Brochure Arlene G. Witte 1991-1993 Advocacy Committee Jacquelyn Dillon-Krass, Chair, [email protected] Pamela Tellejohn (Hayes) 1989-1991 Robert Gillespie, Chair, [email protected] Sharon Anderson Robert S. Frost 1987-1989 John Benham Terry Shade Jerry N. Kupchynsky 1985-1987 James H. Godfrey 1984-1985 Donna Sizemore Hale Judy Evans Bob Phillips G. Jean Smith 1983-1984 Erin Gallagher, Staff Associate C. Gary Iams 1981-1983 New Music Reading Folders James H. Godfrey 1979-1981 Kari Hahn, Coordinator John R. Bright 1977-1979 Collegiate String Education Roundtable [email protected] Robert A. Ritsema 1975-1977 Gail Barnes, Chair, [email protected] Lois Hobbs 1973-1975 Research Committee James H. Godfrey 1971-1973 Committee on School Orchestras and Michael Allen, Chair, [email protected] Malvin N. Artley 1969-1971 H. Wayne Pyle 1967-1969 Strings (CSOS) Michael Alexander Orville “Cy” Dally 1963-1967 Ruth Kurtis, Co-Chair, [email protected] Gail Barnes Denese Odegaard, Co-Chair, [email protected] Forest A. Etling 1961-1963 Elanine Colprit Traugott Rohner, Founder 1958-1961 Karen Higdon Rebecca MacLeod Elizabeth VanBenthuysen Jane Palmquist David Sogin

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Class Methods as both appear in duplicates STRING TOWN TUNES. and viola books include parts of Units II, III, and IV. Doris Gazda. Carl Fischer, one and two; cello and bass INTRODUCTION TO ART- The music in this method 2003, parts $9.95; pno include parts one and three. ISTRY IN STRINGS. Robert includes classical, ſ ddle-style, accomp. $12.95; Score & Both books are world music, and original S. Frost & Gerald Fischbach, Teacher’s Guide $25.95. progressively arranged with Wendy Barden. Neil A. selections—all of which and each tune addresses are very well suited for MORE STRING TOWN TUNES. Kjos, 2005, vn, va, vc $7.95; a particular pedagogical elementary level students. Doris Gazda. Carl Fischer, challenge designed to guide db, pno $8.95; Teacher’s Music theory exercises are 2006, parts $7.95, Score & the young musician toward Score & Manual $24.95. sprinkled throughout the Teacher’s Guide $25.95. the goal of mastering his This primer-level method is book, along with echo games Gazda has the knack for or her string instrument, specially designed for younger to enhance listening skills and writing appealing and fresh emphasizing bowing, tone, beginning students or the improvisation games suggested material for young string intonation, and musicianship. string class that meets on a throughout the teacher’s players, as these collections Instructions for each are limited or infrequent schedule. manual. An accompaniment again prove. String Town clearly presented in the The part books are only 32 CD comes with every Tunes is a wonderful collection Teacher’s Guide. Some of pages long and the overall student book, featuring piano that includes familiar folk the concepts introduced in design enables students to turn accompaniments for 57 of the songs, classical themes, String Town Tunes include pages frequently, feeling a 121 exercises (marked in the seasonal carols, and original left hand pizzicato, rhythm sense of progress and success. book with the track number). tunes–16 selections in all. fundamentals, bow lifts, string A larger staff size, shorter Each song is played twice, Each part book and the crossing slurs, syncopated songs, excellent action photos, with the student part on a score include a CD with a rhythms, dynamics, and wonderful colors, and lots of selected string instrument, demonstration orchestral various bowing styles such repetition and reinforcement followed by accompaniment performance and a play-along as legato, hooked bowing, will energize the younger only. Open string tuning track for each piece. The piano martelé, and spiccato. More learners, even those students notes played on a piano (A, accompaniment is not too String Town Tunes includes we don’t see often. Unit D, G, C, E) are provided difſ cult, allowing the teacher dynamic changes, martelé I introduces note reading on tracks three through to accompany the students. bowing, minor keys, pick- immediately, focusing on open seven to assist the student in The ſ rst ſ ve pieces are in D up beats, spiccato, backward string music throughout the tuning. The Teacher’s Score or G, and use the traditional extensions to E-ƀ at and B-ƀ at, ſ rst 10 pages, allowing ample & Manual also includes a ſ nger pattern with F-sharp. key changes, syncopated time for posture and bow CD, along with helpful tips The next three tunes use the F- rhythms, sixteenth notes, development. The bow hold is and other “extras” to round natural hand shape and notes and triple meter. These introduced on page six, with out the learning experience, on the G string. Although collections are a great way wonderful explanations and including 35 pages of theory, this is a repertoire collection, to supplement any method pictures of string and bow arm rhythm, and assessment emphasis is placed throughout book, and provide wonderful levels. Counting and rhythm worksheets (in treble, alto and on acquiring the best habits performance opportunities for patterns are presented with bass clefs), award certiſ cates, in the fundamentals of good the beginning students—either creative word associations and classroom games. The string playing: proper posture, alone, with a few friends, or along with traditional piano accompaniments tone, intonation and control with the entire ensemble. N.C. counting of one and two can be played by most of the bow. More String and. Unit II introduces the teachers, and enhance, not Town Tunes is an exciting String Orchestra traditional four-note ſ nger duplicate, the student parts. collection of 21 favorite folk pattern using F-sharp on the The performance centered melodies, patriotic songs, HANDEL AT THE HOP (Gr. D string, and two pages later approach, supplemental theory classical themes, and original 1+). Frank J. Halferty. the F-natural ſ nger pattern is worksheets, aural skills games, tunes by Gazda, including Kendor, 2006, $42. taught. Wonderful repertoire multi-cultural informational classic favorites such as This collection of famous reinforces these patterns. tidbits and more provided “PawPaw Patch,” “Sweet Handel themes, set in classic Left hand pizzicato is also in this string method allow Betsy from Pike,” “America, 50s rock style, includes “Hail learned. Unit III introduces for a successful introduction the Beautiful,” “We Shall the Conquering Hero,” from the same two ſ nger patterns to string playing for any Overcome,” and “Auld Lang Judas Maccabaeus; “Minuet” on the A string, along with student, especially younger Syne.” The last three pieces and “Rejouissance” from fun tunes including duets, or infrequently taught are rounds. Printed piano Music for the Royal Fireworks, rounds, and introduction of beginners. This introductory accompaniments, which and “Joy to the World” and natural harmonics. Unit IV method also serves as a superb mostly double the string “Hallelujah Chorus” from reinforces all prior learning, enhancement or transition to parts, are available as a free Messiah. No percussion part is with a one-page solo at the end any Book 1 method. N.C. pdf download from the Carl included, but a note indicates of the book to provide superb Fischer website. All the pieces that a set drummer would be performance opportunities. in both books can be played as a welcome addition. Written The double bass book is melody alone, and almost half in G, all parts use a lot of unique in that it allows the are also arranged as three-part naturals, with some position teacher to choose the low ensemble pieces, which could work for bass and forward position approach or the also be played as duets. Violin extensions for cellos. Upper middle position approach,

92 | American String Teacher | February 2008 strings include some hooked syncopated sections. The RONDINO GIOVIALE LAY PUCCINI, 10 Arias Tran- bowings and four-note slurs, writing is appropriate for (Easy). Mary Alice Rich. scribed for Intermediate Cello with pizzicato in bass, second groups that have worked Kjos, 2006, $40. and Piano. Trans., ed. Paolo violin and viola. A caesura consistently on bow control, This little rondo in D is Toscano. Ricordi/Hal Leonard, near the end provides an ideal placement, and sensitivity to very happy and jovial. It 2003, parts/CD $16.95. opportunity to teach students dynamics. Lewis and Clark has a two-octave range with to watch the conductor. Tribute could also be used for Almost exclusively written in some third position in the bass clef, with the exception This arrangement might be teaching composition in large ſ rst violin. Optional Es are useful in a spring concert ensembles. A teacher asking of eight bars in “Recondita provided for students unable Tosca with an experienced piano probing questions about armonia” from , this to play C-sharp on the G collection is very suitable accompanist, or to feature how Sharp manipulated the string. Written for a middle a talented percussionist musical elements for successful for intermediate cellists school in Amarillo, Texas, who are ready to explore on drum set. M.D. programmatic effects could it has some syncopation and be of value. Furthermore, more expressive possibilities a slight Spanish ƀ avor. The with regard to emotional LEWIS AND CLARK TRIBUTE. the teacher committed to addition of some percussion student composition could drama, dynamics, vibrato, (Gr. 3). Thom Sharp. Thom such as maracas might be and overall musicianship. It Sharp Music, 2004, $80. invite students to create their fun. Lively mixed rhythms own programmatic works also is a wonderful way to Sharp’s programmatic work, and some independence of using Sharp’s delightful piece introduce students to some of Lewis and Clark Tribute parts are featured. P.M.H. as a springboard. V.C. the best loved Puccini arias. is a ſ ve-movement suite Included are famous arias commissioned by the Fargo Cello from La Bohème, La Fanciulla Public School Summer String POPSICLE POLKA. (Easy). Vir- Del West, Gianni Schicchi, Camp. A string orchestra with ginia Croft. Carl Fischer, $38. CHOPIN: FAMOUS TRAN- Madama Butterƀ y, Manon balanced instrumentation and This is an up-beat piece that SCRIPTIONS (vc, pno). Trans., Lescaut, Suor Angelica, and relative uniformity in ability would make a great addition ed. Kazimierz Michalik. Polskie Tosca. A biography of Puccini level will enjoy this piece to a ſ nal concert. The catchy Wydawnictwo Muzycane/ is included in the piano score, melody is mostly in the ſ rst while reſ ning necessary skills. Theodore Presser, 2005. along with synopses of the All sections of the orchestra violin. Fast moving scale I enjoyed perusing this operas. The CD, played by are highlighted throughout passages require practice collection of transcriptions for Dennis McCafferty and Paolo this piece. In particular, the and dexterity to perform cello and piano by Chopin. A Toscano, is also very beautiful viola section fulſ lls melodic, the piece at a bright tempo. variety of pieces for different and inspiring. I only wish that contrapuntal and supportive The other sections provide levels of cellists is included. the editor had also transcribed roles. A melody played twice the simple harmonies and For the intermediate student, versions that use more of the in “The Commission” is rhythmic drive. The scale I suggest the Michalik/ cello’s extensive range for scored for viola while the passages provide an excellent Paderewski transcription more advanced players. A.C.F. movement concludes with opportunity for students to of the Prelude in B Minor, a short violin solo. The practice C-sharps on the G op. 28, no. 6, the Davidov POLONAISE BRILLIANTE OPUS end of “The Great Divide” string, and make these fun transcription of the Waltz 3 AND DUO CONCERTANTE features a short viola solo. and relatively easy to master. in A Minor, op. 34, no. 2, Cellos and basses are included The piece begins in D Major (vc, pno). Frederick Chopin, or the Krein transcription in reinforcing roles and in and modulates midway to G ed. Ernst-Günter Heine- of the Mazurka in A Minor, melodic passages that require Major, adding extra interest mann; pno À ngering Andreas op. 67, no. 4. The Mazurka shifting, precise intonation, and great teaching points. Groethuysen; cello À ngering/ in C Major, op. 33, no. and solid tone production. There are also excellent 3, transcribed by August bowing Claus Kangiesser. G. The introductory melody in opportunities for dynamic Franchomme, the cellist for Henle Verlag, 2006, $31.95. “Open Frontier” is written contrasts, accents, slurs as well whom the Chopin Sonata was According to Heinemann’s for the cello section with an as staccato and legato bowing. written, would be another preface, the Polonaise Brilliante accompanying eighth-note The piano accompaniment good choice for intermediate was dedicated to Joseph Merk, passage in the violins set utilizes simple chords and players. Other transcriptions “the ſ rst cellist that Chopin against an eighth-note triplet helps to maintain the bouncy of Nocturnes, Etudes, and admired up close.” Even ostinato in the violas. The character of the piece. My Waltzes by Popper, Glazunov, though Chopin supposedly primary melodic material in students commented that Davidov and Greutzmacher wrote the piece to help teach “Missouri River” is scored Popsicle Polka reminds them are included, but many are a certain Princess Wanda in octaves for both cello of music that is used with for more advanced players. If how to play the cello, it was and bass. The key signatures television cartoons. C.J.N. you are looking for a shorter Merk, the cellist of the Vienna are accessible, lying in and piece for yourself or your Court Opera, who captured around the no ƀ ats and no students, you might consider his attention. The piece has sharps area of the circle of purchasing this compilation. since appeared in many forms. ſ fths. Sharp achieved greatest It is a worthy addition to Chopin’s friend and cellist contrast within movements one’s library. A.C.F. August Franchomme, for by mixing homophonic whom he wrote the Cello sections with homorhythmic Sonata, revised the Polonaise;

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many cellists thereafter have Double Bass sixth position, and thumb performers, and a glossary altered the original work to position (using Petracchi’s are included as well. I found make the cello part more NUOVA DIDATTICA DEL helpful distinction between the DVD to be an essential virtuosic. Of course, Henle CONTRABBASSO: A NEW chromatic, semi-chromatic part of this project. It is well has published the original DIDACTIC APPROACH TO and diatonic spacing). The recorded and illustrates the version. The Duo Concertante THE DOUBLE BASS (solo study material includes useful techniques at a slow enough was supposedly co-written by db). Piermaria Murelli, trans. etudes revived from earlier tempo for the apprentice Franchomme and Chopin, Anna Herklotz. Ricordi/Hal methods by Tullio Battioni to follow. The notation although it is mainly Chopin’s and Billè. The second part Leonard, 2005, $17.95. scrolls on the video screen writing. It is interesting to of the book includes scales during performance. This At a time when bassists are note that Franchomme also with 63 suggested rhythms/ is a wonderful resource for increasingly turning from anonymously helped Chopin articulation plus études anyone interested in exploring method books, Ricordi has with the cello part of the revived from Bottesini’s the world of ƀ amenco. It is expressed its continuing Cello Sonata. As one would method. Conspicuous by their also a great primer for the conſ dence by publishing its expect from an urtext edition, absence are any mention of studio teacher who may not ſ rst new bass method since the parts are beautifully pivots, extensions, pizzicato, have much background in that of Isaia Billè (seven printed and bound and would and 20th applications. This this popular style. M.C. make a handsome addition volumes, 1922). This compact, method is a valuable tool for to any library. A.C.F. orderly, authoritative guide a traditional private teacher to mastery is an interesting MUSIC OF DOMENICO SCAR- open to selected newer LATTI FOR TWO GUITARS, SONATA IN A MINOR OPUS synthesis of old and new. pedagogical ideas. A.K. The ſ rst part of the book Edition Gray/Pearl duo, 36 AND OTHER WORKS alternates between new Vol. 1. Mel Bay, $17.95. FOR PIANO AND VIOLON- positions and new techniques, Guitar The unspeakable beauty of CELLO. Edvard Grieg. Ed. a commendable approach. FLAMENCO GUITAR METHOD, music reveals itself with the Ernst-Günter Heinemann and Also particularly praiseworthy VOL. 1. Gerhard Graf-Mar- astonishment one cannot is the careful teaching of a help but feel when the cold, Einar Steen-Nökleberg; piano tinez. Hal Leonard, 2006, À ngering Einar Steen-Nökle- speciſ c shifting technique mechanical collection of using what Galamian book/CD/DVD $44.95. berg; cello À ngering and notes and rhythms on a score called “guide notes.” The The ƀ amenco tradition is are given life by a profound bowing David Geringas. G. international embrace of historically an oral one passed performance. Julian Gray Henle Verlag, 2005, $25.95. this method is clear not only down through the master/ and Ronald Pearl have spent The cello sonata was written through its bilingual text but apprentice relationship. their creative lives revealing between 1882 and 1883, also through its introductory Classical composers the music “behind the score.” during a time of personal remarks on both French occasionally use ƀ amenco Now they are revealing the marital strife for Grieg. It and German bows, 1-3-4 techniques, and the study of scores behind the music. This was dedicated to his older and 1-2-4 ſ ngering systems, rasgueado is now accepted as edition presents guitar duo brother, John, who played sitting and standing, and an essential part of the training scores of nine of Scarlatti’s the cello, and later given to very generally applicable of the extensor muscles. To sonatas, with individual parts his wife as a birthday present. physical principles of playing. the best of my knowledge, a ſ ngered by each performer. Grieg premiered the sonata After the traditional but formal method for the study I am struck by the simplicity often, ſ rst in Dresden with regrettable initial presentation of ƀ amenco by an experienced and idiomatic nature of cellist Friedrich Grützmacher of long bows on open and accomplished teacher the music, which is not to in 1883, then later in Leipzig strings, the initial hand has not been attempted. This say that the music looks or with cellist Julius Klengel. position introduced is that publication addresses this feels easy to perform. It is According to the preface, the of fourth (using Simandl’s vacuum in a comprehensive instructive to see how parts last performance was given nomenclature), as done by and loving way. The are divided between the “with the young Pablo Casals other modern methods (Karr, fundamental physical performers. Slurs, ſ ngerings in Amsterdam on 2 May, Suzuki, Vance). Then follows aspects of performance are and position markings 1906.” Also included for the (in order) string crossings, thoroughly introduced are intelligently applied. ſ rst time in print is Grieg’s shorter note values, ſ rst in standard notation and Rasgueado is effectively own transcription of the position, slurs, slurred string tab, and illustrated with employed in passages that second movement of his Violin crossings, third position, numerous exercises and are particularly suggestive Sonata, op. 45, also dedicated harmonics, hooked bowings, falsetas for various dance of the sound of the guitar to his brother, John. The II½ position (Simandl assumed patterns, augmented on that Scarlatti often imitated ſ nal piece of this collection is the highest note in a whole- the accompanying CD and in his writing. Although an Intermezzo, presumably number position would be DVD. Graf-Martinez is Scarlatti is one of the most “the opening movement of diatonic in C Major; Murelli careful not to isolate the distinctive composers, his a suite for cello and piano” assumes D Major), variable performance of ƀ amenco personal history remains dating from 1866. True to bow speed, V½ position, music from what he calls the elusive. Perhaps, as Julian Henle’s urtext printings, this shifting (cannily saved until “ƀ amenco attitude.” Much Gray suggests in his notes in copy has facilitated page turns positions are secure), half information about the history this edition, Scarlatti the man for the performers and is position, III½ position, of ƀ amenco, biographies is revealed in his legacy of beautifully printed. A.C.F. second position, ſ fth position, of inƀ uential ƀ amenco sonatas for harpsichord: “The

94 | American String Teacher | February 2008 sonatas are a diary and an not diminish the overall brackets, rolled and large Chamber Music encyclopedia, a sacred text and usefulness of this for the chords and harmonics. Lever a street corner observation, a student and teacher wishing changes and grace notes are CHAMBER MUSIC FOR VIO- record of an experiment and a to explore this style. M.C. also discussed. The appendix LONCELLOS, Vol. 6 (3 vc). Ed. plea for understanding.” This includes practicing tips and Árpád Pejtsik. Editio Musica discussions on tuning your is good, clean fun and is a great Harp Budapest/Hal Leonard, 2005, resource for any guitar duo. I harp and on changing a string. Tunes and exercises score and parts $17.95. would deſ nitely recommend HAVE A HARP, 12 Folk This collection is sixth in the purchase of the companion Songs from the British Isles applying the instruction are included throughout the a series of cello trios by recordings (Scarlatti 15: (pedal and lever). Lois this editor and publisher. Sonatas for Two Guitars book. Promoted as “a self- Colin. www.colinharpmu- teaching book,” this volume It includes a Haydn Trio, and Baroque Inventions, Telemann Trietto Scherzo, on the Dorian label) to sic.com, 2007, $25. will also be helpful as a Includes “Barbara Allen,” teaching supplement. D.G.V. Schubert Wiener Deutsche, assist in the preparation Menuett, and Dotzauer of the works. M.C. “Eleanor Plunkett,” “Gallagher’s Frolics,” “Morgan TWO’S COMPANY. Celtic Pastorale. The parts are well balanced and all are in bass Magan,” “My Luve Is Like Harp Duets, Music from SOLO JAZZ GUITAR: THE clef. Rhythmically most of a Red, Red Rose,” “Annie the Colorado Celtic Harp COMPLETE CHORD MELODY Laurie,” “Huree Hurroo,” the parts are very readable. METHOD. Billy Hart. Hal “All Through the Night,” and Orchestra. www.star- It would be suitable for a Leonard, book/CD $19.95. “Auld Lang Syne.” Designed harp.com, 2000, $13. beginning or intermediate This book begins with a for the late beginner/early Includes “Christmas In cello ensemble. It is a summary of some techniques intermediate player, this Killarney,” “Christmas welcome addition to the cello that one could use to construct collection includes “The Day Ida Moarnin’,” “Eileen chamber repertoire. A.C.F. solo guitar arrangements from Ash Grove” arranged for Aroon,” “Eleanor Plunkett,” the melody/chord symbol three difſ culty levels and “Gentle Maiden,” “Mo Ghile FANTASY VARIATIONS ON format found in a typical lead “Greensleeves” for two Mear,” “Taladh Chriosta,” “SCARBOROUGH FAIR” (6 sheet. Some of the concepts difſ culty levels. These could and “Thugamar Fein an vc). Steve D. Matchett. Gulf Samhradh Linn.” Arranged in involve chord substitution be played together to create Wind Music Press, 2006, ideas, while others relate an ensemble arrangement. score format, these technically score and parts $28. broader ideas that would help Colin provides helpful chord accessible arrangements are ƀ esh out an arrangement. It symbols, useful ſ ngerings mainly suitable for later This is a fun and very would be helpful if the student and placing brackets. Smaller beginners. Some selections accessible work to add to is familiar with typical seventh harps can play the written have triplets and dotted- your cello ensemble library, and extended chord voicings, notes an octave higher. Words eighth-sixteenth rhythms composed by a tuba player as there is no discussion are included in a section at and a few are in compound married to a cellist. Total of different chord voicing the back of the book. This meter. The notation is large length of the performed work methods, (eg. drop two and is a good collection of folk and easy to read. Page turns is less than 12 minutes. The drop three voicings), in the tunes, and useful for students are a challenge in some parts; parts are well balanced for a book. This is not absolutely as well as for performances the left hand will have to variety of playing levels. The necessary, as all material and programs. D.G.V. drop a beat or two to turn variations are rhythmically is presented in standard the page. No ſ ngerings or interesting, following the style notation and tab. I think chord symbols are provided. of Old English folk tunes. PLAY THE HARP–BEAUTIFULLY! Students will enjoy playing a the primary strength of the A SELF-TEACHING BOOK, There are a couple of minor notation issues: a few rests more popular tune, and many publication is the exposition Level 2. Pamela Bruner. www. and exercise material at the were not written in by the technical ideas such as upper beginning of the book. This afghanpress.com, 2006, $20. music writing program, position intonation, shifting summarizes a lot of techniques Bruner continues the excellent mostly when a piece begins and general ensemble playing that guitarists use to sustain instruction begun in level one. with only one clef playing a can be addressed in the process motion in an arrangement Following some harp basics pick-up note. This can easily of learning this piece. A.C.F. and offers a number of ways (brackets, hand position, and quickly be corrected by of embellishing the familiar seating), she continues with writing in the missing rests SCRIPT FOR STRING QUAR- iim7, V7, I progression. The chapters on intervals, cross by hand. This is a useful TET (Gr. 4-5). William arrangements and performance overs and cross unders, as book, providing ensemble Sheller. Alphonse Leduc, well as left hand patterns. of the 20 jazz tunes were a bit opportunities for players of all Paris, 2003, $35.95. stiff for my taste. They seem Her chapter on glissandos ages. Comb bound. D.G.V. helps with technique, as well Are you shopping for to be somewhere between something fresh for an effective solo arrangements as showing the notation for various types of glissandos; advanced string quartet? and arrangements that Sheller, born in 1946 in Paris, should be played with a bass it includes useful instruction on thumb and fourth ſ nger is a typesetter and song writer, player or small ensemble. whose compositions include This may reƀ ect a personal sliding. Chapters follow on ſ ngering and placing rock songs. This composition preference and should is seven minutes, 17 seconds.

www.astaweb.com | 95 Reviews

There are no sharps or ƀ ats ISABELLE PERRIN, HARPE. TAPESTRY: THE JOURNEY. what you can do so you can in the key signature, and the Isabelle Perrin, harp. In- Michael Grupp-Verbon, have a great conversation tonal centers change. Many tegral/www.integral- guitar; Denise Grupp-Verbon, making music. She carefully accidentals will challenge the music.fr, 2007, 17€. and clearly explains how harp. Viewpoint Produc- to play a vamp or groove, reading process, but the music This recording features tions/www.queenofharps. in very accessible. Dotted- signiſ cant early 20th century blues, bossanova, comping, com, 2007, $15. eighth-sixteenth-note rhythm French repertoire by Caplet, improvising, and pedaling patterns give the melodic line Fauré, Grandjany, Pierné, Tapestry’s second recording with suggestions and exercises on how to practice and a swinging twist. Mostly in Roussel, and Tournier features Celtic, folk, and improve these techniques. 2/4, there is an occasional 3/4 performed on a 2007 Camac popular music. This time, Atlantide Prestige harp. the duo blends the timbres Pomeranz is on the faculty at measure for spice; the tempo the Berklee College of Music is quarter note equals 120. All Perrin, who teaches at the of a Timothy lever harp with École Normale de Musique acoustic Takamine guitars, and the Boston Conservatory, four parts are interesting and and the ſ rst harpist to receive challenging. This composition in Paris, is one of the most percussion, mandolin, and industrious and intrepid a jazz degree from the New should interest advanced bouzouki. Twelve songs harpists in the world today. England Conservatory. players of all ages. P.C. include Sting’s “Fields of She performs each work with Gold,” Green Day’s “Good The Felice Pomeranz conviction and particular Riddance (The Time of Jazz Quartet has toured CDs attention to articulations Your Life), The Doors’ throughout the U.S., Europe, and mufƀ ing. As a former and the Caribbean. A.Y. HARPA BRASILEIRA. Cristina “Riders on the Storm,” student of Elizabeth Fontan- Michael’s own composition Braga, electro-acoustic pedal Binoche, one of the last pupils “The Journey” using altered MEL BAY PRESENTS FIVE harp; with Ricardo Medeiros, of Marcel Tournier (who tuning, and a fusion of FINGER TECHNIQUE FOR bass; Marcos Zama, percus- was a winner of the Prix Turlough O’Carolan’s THE RIGHT HAND. Charles sion; Joca Moraes, drums; de Rome and taught harp “Carolan’s Dream” with at the Paris Conservatory), Postlewate. Mel Bay, $24.95. Led Zepplin’s “Stairway Mestre Paulão, percussion. Perrin’s interpretation of the This comprehensive DVD www.cristinabraga.com/Kua- Tournier Sonatine is richly to Heaven.” Certainly a is a companion to and visual rup Brasil, 2005, $20. textured and nuanced. A.Y. combination of sounds and summary of Postlewate’s Braga, one of the foremost music to check out. A.Y. homage to Villa-Lobos and harpists from Brazil, brings Other Compositions and LOVE IS COME AGAIN. Right Hand Studies for Five the music of her country to Bridget Kibbey, harp. www. DVDs life through her passionate Fingers, published separately performances, supple cdbaby.com, 2006, $15. JAZZY BEGINNINGS: AN IN- by Mel Bay. It represents the technique, and the round An excellent collection of TRODUCTION TO JAZZ HARP. culmination of his exploration tone of her Camac Blue harp. standards by Britten, Caplet, Felice Pomeranz, harp; Matt of the beneſ ts of employing the little ſ nger of the right Eleven songs on her debut and Tailleferre with scintillating Marvuglio, Á ute; Barry Smith, performances of Elliot Carter’s hand (the c ſ nger) in the album showcase the sensuality bass; Yoron Israel, drums. and vibrancy of Brazilian “Bariolage” and the premiere performance of traditional popular music. Braga often recording of Kati Agócs’ “Every 2005, $19.95. Download- classical guitar literature, plays slippery melodies, Lover is a Warrior.” Kibbey able PDF workbook from: and the development of sometimes singing along, is only the second harpist to www.gildedharps.com/jazzy. new exercises and repertoire that support this objective. with just a few chords played receive an Avery Fisher Career If you have ever wondered Material is presented in here and there for emphasis Grant. The CD showcases how to play jazz on the harp, English and Spanish. Some while bassist Medeiros’ her interpretations of great but didn’t know how to start, of the traditional material harmonic support and lines energy and thoughtfulness, and this DVD is just for you. It performed includes Sor’s creates enchanting chromatic has an introduction and ſ ve her performances of Carter Study in E Minor, op. 6, harmonies that slide in and out lessons divided into chapters. and Agócs are particularly no. 11 (where Postlewate of the texture. Other times, Pomeranz demonstrates while convincing. Agócs’ work in primarily substitutes the c Braga displays her powerful explaining, and then puts the three movements combines ſ nger for the a ſ nger, which, tone and virtuosity with the demonstration into practice American bluegrass and in turn, has evolved from the driving dance rhythms and with her stellar colleagues Hungarian folk melodies, m ſ nger favored by Sor!), chords with exuberant motives from the Berklee College of including the Provençal carol Sor’s Study in A Major, op. conjuring up sonic visions Music. Pomeranz always starts “Love is Come Again.” It 31, no. 19, and Barrios’ “Una of carnival time. Mixing with the basics and builds is a captivating new work, limosna por el amor de Dios.” of modes creates an always your knowledge up from easy to listen to, yet full of Of these works, I think that interesting and harmonically there so the material is very virtuosity and moments the c ſ nger technique was satisfying listening experience. accessible. Basic knowledge of haunting simplicity and particularly effective on Two selections by Villa-Lobos of harmony is helpful. But the A Major study where also standout, highlighting colors. Kibbey champions most importantly, Pomeranz Postlewate uses the ſ ngering the Brazilian composer’s this work with authority impresses that you’ve got c, a, m, i, p for the repeated inventive fusion of folkloric and gives it the chance to to unglue yourself from the notes. Ending with the p elements and modalities. A.Y. also become a standard in page and trust and challenge ſ nger seemed to create an the harp’s repertoire. A.Y. your harping skills through effective and appropriate listening and understanding

96 | American String Teacher | February 2008 emphasis on the downbeat. conductors but by all music relations and public prisoners. Out of fear and The Barrios work is used to students, concert managers speaking, education and insecurity, Keller is himself illustrate a traditional tremolo and presenters, music school community outreach) part of the experiment and is with an added c ſ nger on the and festival administrators. • Ongoing personal and not strong enough to resist the downbeat. This maintains Nonconducting (no pun artistic development, horrors of war. One cannot a continuous melodic line, intended) readers may not burnout, and knowing help but wonder how each of which is what an effective need to know all of the things when to move on us would react and perform tremolo aspires to do. she discusses but pretty Appendices provide 123 in the same situation. This is I believe that the merits of this much anyone professionally pages of speciſ c information an unusual and illuminating project are greatly enhanced including music organizations, character study of a violinist by Postlewate’s compositions connected to or interested in music will learn something directories, summer festivals, and his Stradivarius in a and arrangements. He cites workshops, competitions, and very grim setting. P.M.H. Villa Lobos as his inspiration here. For conductors, each managers; music publishers and performs an original chapter is full of useful and collections; thematic composition in three information and practical Reviewers programming suggestions movements that is clearly advice. Scattered throughout Nola Campbell (N.C.) is assistant inƀ uenced by the Brazilian are relevant portions of and encores with timings; professor of music education/ composer. The closing Danza interviews with three other instrumental audition strings at the Hartt School for employs rapid four-note successful conductors— repertoire suggestions; sample the University of Hartford in chords over an active bass Leonard Slatkin, JoAnn resumes and contracts; Conn., and director of the Hartt line and presents a compelling Falletta and Robert Spano. and suggestions for further String Project. She performs on reading organized into helpful either violin or viola with the New case for the use of the c ſ nger. Among the many important Britain Symphony Orchestra, Other highlights of this DVD aspects of conducting and categories. Much of the and many other orchestras in the include the performance being a music director content of Wittry’s book is greater Hartford area, and is of his arrangement of two that Wittry covers are: not covered in school and an active music education clini- attractive works by Debussy– • Career planning (what many of these things are cian, lecturer, studio teacher, and the ornamentation in “La to study, personal and never learned by musicians or orchestra conductor. Puerta de vino” is beautifully character development, come only through mistakes, rendered with the use of the bitter experience, or lucky Michael Carenbauer (M.C.) is kinds of posts—assistant professor of guitar and director c ſ nger–and an extensive conductor, types of avoidance of pitfalls. It is an of guitar studies at the University set of original variations orchestras including absorbing read and many of of Arkansas at Little Rock, Ark. on a theme of Prokoſ ev. university and the things she discusses can He is the recipient of numerous In the tradition of many community orchestras) be put to immediate use by awards for performance, teach- guitarists who preceded him • Leadership (philosophies musicians at any level. I highly ing and composition and has in developing pedagogically recently released a CD of works of leadership, artistic recommend this book. J.S. inspired literature, Postlewate for guitar, string quartet and the has created substantive works vision, organizational Chinese zheng entitled Music for that deserve a closer look. The development and change) THE SAVIOR: A NOVEL. Guitar and Strings. • Jobs (resumes and Eugene Drucker. Simon & DVD also includes a variety Vincent Cee (V.C.) is currently a of exercises that will help promotional materials, Schuster, 2007, $23. managers, applying for doctoral student in music educa- accelerate the development of This magnetic novel is by tion at the University of Mas- the c ſ nger. It may be difſ cult jobs, personal appearance, the founder of the Grammy sachusetts, Amherst. He taught to persuade developed players interviews and auditions, award-winning Emerson strings for À ve years in the Mesa to rethink their technical contracts and negotiation, String Quartet. Drucker public schools in Mesa, Ariz. approach to playing the guitar, time management, ſ rst draws from his own music and continues to spend part of but there is really no reason year do’s and don’ts background and that of his summer in Fairbanks, Alaska for teachers and students not and guest-conducting) his father, Ernst Drucker, teaching bass and jazz at the • Programming, concert violinist, for the music content University of Alaska, Fairbanks to consider incorporating Summer Music Academy. this approach into the early formats and content of this novel. AST readers stages of study. M.C. (general, thematic, pops, will enjoy and beneſ t from Patricia Cox (P.C.) is associate educational and family) reading this novel. Included professor of music at Harding Books • People (orchestral relations are composers such as Ysäye, University in Searcy, Ark., where including motivation, Hindemith, and Bach. The she teaches strings and coaches the BEYOND THE BATON: setting musical standards Chaconne and St. Matthew university string quartet. She directs Passion are covered in depth. the White County Youth Orchestra WHAT EVERY CONDUCTOR and dealing with conƀ icts, and the Searcy String Quartet. staff relations including Set in Germany during the NEEDS TO KNOW. Diane ſ nal months of World War Wittry. Oxford Univer- the personnel manager and Marilyn P. Daggett (M.D.) is a librarian and committees, II, The Savior is the story of violist, who has retired from teach- sity Press, 2007, $35. board, union, community Gottfried Keller, a young ing string orchestras in Virginia’s German violinist, who Wittry, music director of the relations, networking, Fairfax County public school system is ordered to play for the Allentown, Pennsylvania, auditions and rehearsal and Chandler uniÀ ed school district and Norwalk, Connecticut, inmates of a concentration in Ariz. She is currently teaching dos and don’ts) camp by an SS ofſ cer privately at a small studio in the Symphonies, has written a • Finances (budgeting, fund book that should be read not conducting an experiment in Phoenix, Ariz.metropolitan area. raising and the music resurrecting hope in Jewish She maintains her membership in only by young or aspiring director’s role, media

www.astaweb.com | 97 Reviews

ASTA and MENC and is currently Catherine J. Nichols. (C.J.N.) serving as project chairman of is director of orchestras at two string grants for Sigma Alpha Iota elementary schools in Mesa, Ariz. Philanthropies, Inc. She is the former director of the Amy Catron Flores (A.C.F.) is Santa Fe, N. Mex., Talent Education co-principal cellist with the Il- program, where she taught Suzuki linois Symphony, principal cello violin for 14 years. Her teaching in Millikin Decatur Symphony career spans 36 years in À ve school Orchestra, and as well as other districts in four different states. local orchestras. She is the cellist for the Kirkland Piano Trio in resi- Jeffrey Solow (J.S.) Cellist Jeffrey dence at Millikin University. Solow has toured throughout North America, Europe, Latin America, Denise Grupp-Verbon (D.G.V.) is and the Far East as recitalist, soloist, an active professional performer chamber musician, and teacher. He who teaches privately and at has been guest artist at many nation- Owens State Community College. al and international chamber music She was formerly a member of festivals and two of his numerous the Civic Orchestra of Chicago recordings have been nominated for and has a master of music de- Grammy Awards. Solow is professor gree in harp performance from Northwestern University. of cello at Temple University in Phila- delphia, president-elect of ASTA, Priscilla Howard (P.M.H.) is an and president of the Violoncello instrumental music teacher, with a Society, Inc. in New York. specialty in strings and orchestra, in the Montgomery County Schools Ann Yeung (A.Y.) is associate in Maryland. She is a violinist with professor of harp and chair of the the Harrisburg, Pa., Symphony. String Division at the University of Illinois at Urbana-Champaign. Andrew Kohn (A.K.) teaches string Active as a performer, teacher bass and music theory at West and author throughout the U.S. Virginia University and is a member and abroad, she is editor of the of the Pittsburgh Ballet Theatre and Opera orchestras. World Harp Congress Review.

98 | American String Teacher | February 2008 My Turn by David Littrell What Your Adjudicator Really Thinks: Solo and Ensemble Contests from a Judge’s Perspective

Many students will have opportunities to great literary merit. Much of what we 08. Teachers should not tune a student’s perform at Solo & Ensemble Festivals each write is critical in nature because we instrument at high school contests, at spring during middle and high school. I want the student to think about these least not in front of the judge. Also, I hope that orchestra directors and studio comments and carry that knowledge often see the pianist point up or down teachers will make these tips available to to the next piece. I always try to to tell the student which way to tune their students who are going to play at write positive comments, too but the the string. Th is does not give me much these contests, or to their orchestras as they demands of the short time span lead confi dence in how the student will play, prepare for festival performances. us toward writing positive criticism for and my fears are usually well-founded. the student’s benefi t. Judges’ comments Again, tune somewhere outside the 01. Dress nicely. Do not wear jeans, are not attacks on you as a person. room, especially if you are a student with minimal performing experience. and tuck in your shirts. Girls can 04. It really is the teacher’s responsibility wear either dresses, skirts, or dress to choose repertoire that is appropriate 09. Tune using open strings only. Do not pants. Boys should wear at least a to the student’s technical and musical pizzicato the strings after you have shirt and tie with their dress pants. level. I’ve felt sorry for several students played them arco and before you move Not many boys seem to have sport through the years as they attempted to the peg or fi ne tuner. Th at does abso- coats nowadays, and that’s fi ne. As an play repertoire far beyond their techni- lutely nothing to aid in tuning, and it adjudicator, I never mark down for cal and emotional grasp. is very annoying to the audience. Do what I deem inappropriate dress, nor not use harmonics to tune unless you 05. Ninth graders in high school contests: are adjudicators allowed to do so. You are a double bass player. should realize that the way one dresses We judges can usually discern that you aff ects one’s behavior. Dressing up says, are in ninth grade and take that lack 10. Play long bows or at least half a bow “Th is is a special event set apart from of experience into account. We don’t length, at medium speed and only the ordinary events of life.” expect you to play as well as seniors; mezzo forte, on each open string however, we do expect you to prepare double stop. Too many students play 02. Adjudicators put in long hours on your piece to the best of your ability. fast, short bows fortissimo and crush contest day, so they may not appear the string, distorting the pitch. particularly friendly. Th ey truly do, 06. I strongly recommend that you however, want you to do your best perform your piece by memory at 11. Th e worst tuning procedure in a nut- and to have a fi ne performance. Good both the regional and state contests. shell: harsh tone, fast bow, fortissimo, judges aren’t there in an adversarial Taking the time to memorize the alternating both open double stops relationship, but as an objective listener piece demonstrates that you’ve put in and then alternating harmonics on to give you encouragement and musi- a lot more practice time. Ideally, have two strings, pizzicato ff after having cal help to raise you to the next level your piece memorized two weeks in just played arco, then adjusting the of performance. Adjudicators have advance, which means that you need peg or fi ne tuner. Th ere is no need sent many of their own students to to plan ahead. You can then let the to pizzicato after you’ve played the contests, too and participated in them memorized piece gel so you’ll feel strings arco. I’ve seen this procedure, when they were adolescents. more assured at the contest. You can sometimes wrapped up in one player, check to see that you have memorized and found it quite annoying. 03. Sometimes I worry that my written far beyond just “muscular memory” 12. I can often tell how well students will remarks may come across as blunt to a by playing the piece very slowly, such perform, and with what kind of mu- student and teacher. On the trip home, as at half tempo. I often agonize over some things I may sicality and sensitivity they’ll display, have written during the day. Please try 07. Use a tuner in the hallway or practice by how they tune. Additionally, and to see this from the judge’s perspective. room before you enter the performance not surprisingly, whether students can We have usually only seven minutes area. Students are nervous, of course, tune with discernment often refl ects to hear you tune and perform. We are about having to perform, and they how their intonation will be during writing the entire time, or thinking often do not tune carefully under stress. the performance. I’ve heard many students perform with about what to write, all while follow- 13. Announce your name, the title of your their instruments sadly out of tune. ing the score and making evaluative piece and movement, and the compos- Imagine their intonation problems! Of judgments. Seven minutes later we are er. Th is helps the judge to check for the course, you should check your “A” with listening to the next performer. Judges correct adjudication sheet with your the room piano before playing. do not have time to craft sentences of label on it. Do not mumble, but rather

99 | American String Teacher | February 2008 Advertisers Index

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I recorded an allegro passage of University of Hartford ...... 46 president of the American String Teachers University of Memphis ...... 36 dotted-eighth/sixteenth notes. In my Association in 2002-2004 and planned ASTA’s University of Missouri-Kansas City ...... 75 digital recording software, I could mea- À rst stand-alone conference in March 2003. He University of Nebraska/Lincoln ...... 82 University of Wisconsin-Madison ...... 66 sure the lengths of notes in thousandths was named Kansas Professor of the Year in Violin House of Weaver ...... 29 of a second. A dotted-eighth/sixteenth 2007 by the Carnegie Foundation for the William Harris Lee & Co...... 49 Advancement of Teaching. William Moennig & Son, Ltd...... 40 is not really a 75/25 ratio, but more like Wood Violins ...... 39 an 80/20 or 82/18 ratio. Imagine using Yamaha Corporation of America ...... double-dotting in these allegro dotted ...... inside front cover rhythms. Slow tempos do indeed use

100 | American String Teacher | February 2008