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A Review of Beginning Heterogeneous String

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A Review of Beginning Heterogeneous String A REVIEW OF BEGINNING HETEROGENEOUS STRING CLASS METHOD BOOKS FOR COMPATIBILITY WITH THE BASELINE LEARNING TASKS OF THE AMERICAN STRING TEACHERS ASSOCIATION STRING CURRICULUM Amanda M. Hall A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2013 Committee: Elaine Colprit, Advisor Elizabeth Menard © 2013 Amanda Hall All Rights Reserved iii ABSTRACT Elaine Colprit, Advisor The purpose of this study is to review method books for beginning heterogeneous string class in order to assess compatibility with the baseline learning tasks of the American String Teachers Association String Curriculum. The curriculum describes recommendations for string instruction in the areas of executive, musicianship, and artistic skills and knowledge, which are grouped into the content areas of body format, right and left hand skills, tonal and rhythmic aural skills, creative musicianship, music literacy, ensemble skills, expressive elements, historical and cultural elements, and evaluation of music. Each content area is divided into specific learning tasks at the baseline, developing, proficient, and advanced levels, and this study is limited to the baseline level. The teacher manuals of the thirteen string methods that appear on the curriculum resource list of the ASTA String Curriculum were analyzed and reviewed according to the opportunities provided for teaching the baseline learning tasks of each of the eleven content areas described in the curriculum. Each method was also analyzed for additional elements that affect its use in the beginning string classroom including unique features, supplementary materials, sequential books, origin and type of tunes, key signatures and time signatures used or implied, range for each instrument, shifting or extensions, presentation, and cost and availability. The results highlight differences between methods but suggest that a knowledgeable string teacher could effectively use any of the methods to teach the content of the ASTA String Curriculum. iv ACKNOWLEDGMENTS I am deeply grateful to my advisor, Dr. Elaine Colprit. Her guidance, support, and encouragement have been invaluable to me throughout my studies at Bowling Green State University, and especially in the preparation of this document. I appreciate the time she dedicated to assist me in the research process and guide me toward a deeper understanding of string pedagogy while always inspiring me to strive to become a better teacher. I would also like to acknowledge Dr. Elizabeth Menard, whose thoughtful input was extremely beneficial to me in writing this thesis. I am sincerely grateful for her willingness to serve on my committee, read my drafts, and offer constructive feedback. She generously devoted her time and expertise to help me in the research and writing processes. I would like to thank Mr. Paul Brinkerhoff of Mars Hill Academy. He not only patiently taught me fundamental writing skills in high school, but also agreed to edit this entire thesis. Even though it has been several years since I have been his student, I still value and learn from his red pen and attention to detail. Finally, I wish to express my gratitude to my parents and brother for their continual support of my musical and educational endeavors. Their encouragement has been a constant blessing to me throughout my academic career. v TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION ......................................................................................... 1 Statement of the Problem .......................................................................................... 1 Need for Study .......................................................................................................... 1 Purpose of the Study ................................................................................................. 2 CHAPTER II. REVIEW OF LITERATURE ...................................................................... 3 History of String Orchestra Classes in the Public Schools ....................................... 3 Twentieth-Century Developments in String Pedagogy ............................................ 6 George Bornoff ............................................................................................. 6 Samuel Applebaum ....................................................................................... 7 Shinichi Suzuki ............................................................................................ 8 Paul Rolland ................................................................................................. 9 Review of Historical String Methods ........................................................................ 10 String Curricula ......................................................................................................... 14 MENC Curriculum ........................................................................................ 14 ASTA String Curriculum ............................................................................. 14 Summary …... .......................................................................................................... 16 CHAPTER III. PROCEDURE ............................................................................................. 17 Selection of String Class Methods ........................................................................... 17 Selection of Criteria for Evaluation ......................................................................... 18 CHAPTER IV. RESULTS ................................................................................................... 22 Comparative Review of Methods ............................................................................. 22 vi Muller-Rusch String Method ......................................................................... 22 All for Strings ............................................................................................... 25 Strictly Strings ............................................................................................... 31 Spotlight on Strings ...................................................................................... 36 String Explorer .............................................................................................. 40 Artistry in Strings .......................................................................................... 46 Jump Right In ................................................................................................ 52 Do It! Play Strings ......................................................................................... 55 Essential Elements 2000 for Strings .............................................................. 59 Orchestra Expressions .................................................................................. 64 New Directions for Strings ............................................................................ 70 Simply Strings ................................................................................................ 76 Sound Innovations for String Orchestra ...................................................... 80 Summary ...................................................................................................... 85 Additional Topics of Consideration .......................................................................... 85 Unique Features ............................................................................................. 86 Supplementary Materials ............................................................................... 87 Sequential Levels .......................................................................................... 89 Origin and Type of Tunes ............................................................................. 89 Key Signatures Used or Implied ................................................................... 89 Time Signatures Used or Implied .................................................................. 89 Rhythms Used ............................................................................................... 90 Range for Each Instrument ............................................................................ 90 vii Shifting and Extensions ................................................................................. 90 Bowing Styles ............................................................................................... 91 Presentation ................................................................................................... 91 Cost and Availability ..................................................................................... 91 CHAPTER V. DISCUSSION .............................................................................................. 93 Similarities and Differences Among Methods .......................................................... 93 Suggestions for Further Research ............................................................................. 96 REFERENCES .......... ........................................................................................................... 97 viii LIST OF FIGURES/TABLES Table Page 1 List of String Class Method Books ........................................................................... 17 2 Baseline Learning Tasks in the Executive Skills and Knowledge Category ........... 18 3 Baseline Learning Tasks in the Musicianship Skills and Knowledge
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