AN INVESTIGATION OF THE FOUNDATIONAL COMPONENTS AND SKILLS NECESSARY FOR A SUCCESSFUL FIRST-YEAR STRING CLASS: A MODIFIED DELPHI TECHNIQUE STUDY DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Erika A. Schulte, M.Ed. ***** The Ohio State University 2004 Dissertation Committee: Approved by Dr. Robert A. Gillespie, Adviser Dr. Timothy Gerber _________________________________ Dr. Jacqueline Henninger Adviser School of Music Dr. Thomas M. Archer Copyright by Erika Aune Schulte 2004 ABSTRACT The purpose of this study was to attempt to find out which components and skills experts agree are foundational for a successful, first-year string-instrument, K-8 classroom. Subjects were first-year beginning string students with no previous playing experience. A three-round, modified Delphi Technique, involving a panel of twenty experts, was used to seek consensus on issues. Round 1 consisted of 40 questions/statements on six topics: general satisfaction/dissatisfaction with the state of first-year string education today; teaching location; variables relating to class structure such as age, class size, class frequency, class length, and class grouping (heterogeneous/homogeneous); method books; first-year performances; and, a section of additional topics. At the completion of Round 1, there were nine items for which consensus was reached: 1) community schools provide a positive teaching location; 2) commercial music houses are not suitable for teaching first-year string classes; 3) age 3-5 is too young to start beginning string in a class setting; 4) 45 minutes is an ideal class length; 5) a beginning string class should meet 2-3 times a week; 6) 25 or more students is too large a class size; 7) there should be minimum standards and requirements established at the university level for future teachers of beginning string classes; 8) it is wrong not to have a performance by the first-year, K-8 string class; and, 9) ASTA should be the ii primary tool for disseminating information to string professionals. These items were excluded from Round 2 because consensus had been attained. Round 2 was a refinement of Round 1. The comments made by the panelists in Round 1 and the items that had not reached consensus in Round 1, formed the basis for new questions/statements in Round 2. In Round 3, consensus was reached on most items. Consensus was not reached on two topics: 1) whether the panelists perceive that there is more ear training in first-year string class than 10-15 years ago; and, 2) whether having an ability to pace a lesson appropriately and having a sense of humor are among the two most important attributes for a teacher of first-year string class to have. iii ACKNOWLEDGEMENTS I have many people to thank for helping me in this endeavor. To my advisor, Dr. Robert Gillespie: I appreciate your being a fellow wordsmith and your insistence on striving for excellence. And, as you are so fond of saying, two heads are better than one! To Michael Davis: You helped me experience the truth that music fills in where words fail. I thank you for the whole package – words and music. You are one of the best men and teachers I have ever worked with. And, a fabulous violinist, too! To Dr. Thomas M. Archer: You were always patient, prompt to respond, and willing to help when I needed you for technical help with the survey program (and I did, a lot!) and for general, all-around advice. Thank you for everything. To the staff of Sullivant Music Library: You were always patient, helpful, kind, and truly wonderful. I loved the hours spent in your space. Thank you so much. To Dr. Gerber and Dr. Henninger: Thank you for your time, your words of advice, your encouragement, and for the white-gloved approach you took with my dissertation! To the 20 wonderful string experts who served as panelists for all three rounds of my survey: Bravo! And thanks. iv To Melissa Allen, Beth Braun, Michael Davis, Dr. Adelson, Dr. Conable, and Dr. Robinson: Thanks for being able pilot and validity panel members. This could not have happened without you. To Joy Ollen: Your truly listening heart and mind turned me to the Delphi Technique, which was exactly the right tool for this work. Thanks! To Kim Councill: Thanks for the support only those going through it can give. I wish you the best in life. To Jeni Squiric and Cheryl Dingus, of Statistical Counseling Services: Thanks for your time, patience, and friendly advice when I needed it the most! To Professors Blatti, Flowers, Frego, Huron, and Woods: My horizon was widened and deepened because I was privileged to study with you. I will always feel much gratitude for the time spent in your classes. To Jim Broadhurst, Tom Cook, Ray Spillman, Pete Tender, and the many others who were important to my general well being throughout this period. You are the salt of the earth! Thank you. To the members of the Riverside Ward who gave me a shoulder to cry on when the going got rough and tough: Many, eternal thanks. And finally, to my sons, Paul, Chris, and Jamie: My deepest gratitude for your loving encouragement and kind and gentle support. I love you. v VITA May 4, 1942 Born – Auburn, Alabama 1964 B.A. Music, Miami University, Ohio 2000 M.A. Education, Southern Utah University 2001-2004 Graduate Teaching Assistant The Ohio State University 1964-1966 Cincinnati Public Schools 1964-present Violin Instructor 1984-1994 D.C. Youth Orchestra Program 1994-1997 New Mexico Public Schools 1997-2001 Utah Public Schools FIELDS OF STUDY Major Field: Music Music Education Education Violin vi TABLE OF CONTENTS Abstract ii Acknowledgements v Vita vii Chapters: 1. Introduction 1 Background 1 Objectives of the Study 7 Value of the Study 7 Need for the Study 8 Statement of the Problem 9 Limitations of the Study 9 Definition of Terms 10 2. Review of the Literature 13 Literature of Pedagogues and Practitioners 13 Literature of Research on String Instrument Instruction 29 Literature on the Delphi Technique 30 3. Procedures 39 Introduction 39 Round 1 42 Round 2 46 Round 3 48 4. Results 51 Introduction 51 Round 1 Survey Procedures 52 Round 1 Survey Numerical Results 53 Round 1 Summary of Results 65 Round 2 Survey Procedures 67 Round 2 Survey Numerical Results 69 Round 2 Summary of Results 88 vii Round 3 Survey Procedures 93 Round 3 Survey Numerical Results 94 Round 3 Summary of Results 100 Chapter Summary 103 5. Summary, Discussion/Implications, and Recommendations 108 Summary of the Study 108 Discussion and Implications of the Findings 111 Chapter Summary 134 Recommendations for Further Research 137 Appendices 139 Appendix A Expert Panel Members 139 Appendix B E-mail Invitation to Panel Members 140 Appendix C E-mail Letter to State Supervisors 141 Appendix D State Music Supervisors Nomination Form 142 Appendix E E-mail Invitation to Practitioners 143 Appendix F E-mail Instructions to Survey Panelists 145 Appendix G Instructions to Pilot Study Members 147 Appendix H Invitation to Validity Panel Members 149 Appendix I Round 1 Survey Greeting 150 Appendix J Round 1 Survey Thank You 151 Appendix K Survey Instructions to Hard Copy Users 152 Appendix L Round 2 Survey Greeting 154 Appendix M Round 2 Survey Thank You 155 Appendix N Round 3 Survey Greeting 156 Appendix O Round 3 Survey Thank You 157 Appendix P Round 1 Survey Instrument Written Results 158 Appendix Q Round 2 Survey Instrument Written Results 204 Appendix R Round 3 Survey Instrument Written Results 241 List of References 272 viii CHAPTER 1 INTRODUCTION The first year of study is a crucial period in the development of the beginning string player. It is a time during which the young player must learn many skills – some obvious, others more subtle. If the beginner learns these skills well, the foundation is set for future development, and subsequent progress with the instrument is more likely to occur (Lowe, 1980, p. 509). Background The present study is directed to the first year of a young string student’s experience in a public or private school setting. The formal teaching of string instruments in public school classes in the United States is less than 100 years old. Allen (1993) writes that, Public school string class teaching began in Boston in 1911 with Albert Gore Mitchell. The idea of teaching strings in classes was inspired by a phenomenon…that came to be known as the Maidstone Movement. In Maidstone, England, the Murdock Music Co. pioneered the idea of making stringed instruments available to poor students on a rental basis. As a result of this idea, large numbers of students were able to study strings. The first Annual Festival in Maidstone occurred in 1904 with 700 string players, and by 1914, there were 6,800 participants (p. 65). In a thorough overview of a history of string programs in the United States, Turner (2001) informs the reader that, As Albert Mitchell reported from his own experience with the early violin classes he established in the Boston schools, adjustments needed to be made to 1 accommodate group instruction: “During the first two years of violin class teaching in Boston, mechanical difficulties were encountered of which the private teacher has no conception”…Duane H. Haskell, the first president of the American String Teachers Association, stated in a 1954 AST article: “Many violin teachers did not realize that violin class teaching required entirely new methods and procedures. Conventional private teaching methods were generally unsuccessful when applied to the class situation” (pp.