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FAVORED SOUND PRODUCTION EXERCISES of SELECTED VIOLIN, VIOLA, CELLO, and DOUBLE BASS PEDAGOGUES: an ANALYSIS and ADAPTATION By

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FAVORED SOUND PRODUCTION EXERCISES of SELECTED VIOLIN, VIOLA, CELLO, and DOUBLE BASS PEDAGOGUES: an ANALYSIS and ADAPTATION By FAVORED SOUND PRODUCTION EXERCISES OF SELECTED VIOLIN, VIOLA, CELLO, AND DOUBLE BASS PEDAGOGUES: AN ANALYSIS AND ADAPTATION By KIRK D. MOSS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2006 Copyright 2006 by Kirk D. Moss Trust in the LORD with all your heart and lean not on your own understanding; in all your ways acknowledge him, and he will make your paths straight. Proverbs 3:5-6 (New International Version––UK) ACKNOWLEDGMENTS I am grateful to each member of my committee: Drs. Raymond Chobaz, Russell Robinson, Charles Hoffer, Phillip Clark, and Timothy Brophy, chair. The courses taught and mentorship offered by these individuals have shaped my thinking and influenced my career. I count it a privilege to earn my doctorate from the University of Florida (Gainesville). I am indebted to the nine studio pedagogues who freely contributed their expertise and time to participate in this study: Brian Lewis, Stephen Shipps, Shi-Hwa Wang, Kathryn Plummer, Marilyn Seelman, Tanya Lesinsky Carey, Jeffrey Solow, Lawrence Hurst, and William Ritchie. Likewise, I wish to thank the nine school orchestra teachers for field-testing the exercises with their students: Michael Certalic, Natalie Colbert, Brian Cole, Beth Gilbert, Cathie Hudnall, Ray Ostwald, Steven Reed, Bill Robinson, and Greg Rochford. Finally, I acknowledge the unfailing support and encouragement of my wife, Deb, and our three children: Bethany, Luke, and Lydia. They share the intangible rewards of this project only indirectly and have for too long shared me with my books and laptop computer. Their prayers have sustained me throughout my doctoral coursework and the writing of this paper. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS ..............................................................................................iv LIST OF TABLES .......................................................................................................viii LIST OF FIGURES........................................................................................................ix ABSTRACT....................................................................................................................x CHAPTER 1 INTRODUCTION....................................................................................................1 The Problem.............................................................................................................5 Purpose of the Study.................................................................................................6 Delimitations............................................................................................................6 Definitions................................................................................................................7 2 LITERATURE REVIEW .........................................................................................8 Philosophical Rationales...........................................................................................8 Theoretical Rationales ............................................................................................11 Research.................................................................................................................14 School Technique Books .................................................................................14 Adaptations of String Methods ........................................................................22 Studio Pedagogues Known for Prescriptive Teaching Exercises.......................25 Periodicals.......................................................................................................34 3 METHODOLOGY AND PROCEDURES..............................................................37 Methodological Rationale.......................................................................................37 Phase I: Selection of and Communication with Master Violin, Viola, Cello, and Double Bass Studio Pedagogues...................................................................37 Phase II: Creation of Right-hand Sound Production Exercises Emanating from the Pedagogical Dialogue.............................................................................38 Phase III: Selection of School String Programs to Field Test the Exercises Using a (1) Written Questionnaire and (2) Follow-up Telephone Interview to Assess the Need for the Exercises and Determine Their Potential Effectiveness.......40 Written Questionnaire...............................................................................40 Follow-up Interview .................................................................................41 v Research Model......................................................................................................42 Application......................................................................................................45 Trustworthiness ...............................................................................................48 4 RESULTS ..............................................................................................................50 Analysis of Studio Pedagogue Transcripts ..............................................................50 Beliefs about Tone Production.........................................................................53 Favored Sound Production Concepts ...............................................................54 Books and Materials ........................................................................................54 Sound Production Exercises ...................................................................................58 Developing Right-hand Finger Flexibility........................................................58 Focusing the Tone ...........................................................................................60 Varying the Bow’s Speed ................................................................................70 Initial Survey Results..............................................................................................75 Follow-up Interview Results...................................................................................78 Interview Question 1: Student Use of Exercises............................................... 81 Interview Question 3: Teacher Use of Exercises.............................................. 82 Interview Question 4: Type or Level of Student...............................................83 Interview Question 5: Most Useful Exercises...................................................84 Interview Question 7: Used Similar Exercises..................................................86 Remaining Interview Questions........................................................................87 Summary................................................................................................................ 87 5 DISCUSSION AND CONCLUSIONS...................................................................90 Summary................................................................................................................90 Findings .................................................................................................................91 What Are the Favored Sound Production Exercises of Selected Violin, Viola, Cello, and Double Bass Studio Pedagogues? ................................................92 Can the Ideas of These Studio Pedagogues Be Adapted for a Heterogeneous School String Class? If Yes, to What Extent?...............................................93 How Useful Did School Orchestra Directors Find Such Exercises?..................93 Comparative Findings.............................................................................................95 Issues .....................................................................................................................96 Implications for Music Education...........................................................................97 Conclusions............................................................................................................98 Suggestions for Further Research ...........................................................................99 vi APPENDIX A FIRST COVER LETTER AND INFORMED CONSENT FORM ........................100 B SECOND COVER LETTER AND INFORMED CONSENT FORM ...................104 C STUDIO PEDAGOGUE BIOGRAPHIES AND INTERVIEW TRANSCRIPTS..108 D SORTED STUDIO PEDAGOGUE TRANSCRIPTS............................................129 E ORCHESTRA PROGRAMS................................................................................140 F QUESTIONNAIRE..............................................................................................148 G FOLLOW-UP INTERVIEW TRANSCRIPTS......................................................151 H RESEARCHER’S VITA ......................................................................................163 LIST OF REFERENCES.............................................................................................174 School String Technique Books............................................................................174 Dissertations.........................................................................................................175 Books ...................................................................................................................176
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