Course Syllabus
STRING PEDAGOGY Syllabus win13.2.docx
MUSIC 425C01 STRING PEDAGOGY
Professor Michel, 963-2116
Professor Rehkopf, 963-1240
Office Hours: Music 114 (times to be posted on my office door)
michelj@cwu.edu
Catalog Teaching methods and materials.
Description:
Course Develop working knowledge of basic string techniques on two different
Objectives: instruments
Develop advanced problem solving on own instrument
Develop creative problem solving and critical thinking skills as they relate to string pedagogy
Develop a working knowledge of reference and scholarly research materials on string teaching
Learning Upon satisfactory completion of this course, a student will be able to:
Outcomes: Set up basic fundamentals on the violin and cello
Address advanced topics on their own instrument
Recognize major pedagogical ideas
Class Attendance of all classes is required. Be ready to take notes
Requirements: during class! Besides regular class discussions, class activities will include trying out teaching ideas on all the string instruments, observing different
private lessons group lessons of the Preparatory Program.
A notebook outlining and explaining the teaching methods presented in class is required. It should contain material for string instruction to
which you can refer in your future teaching. The notebook should be mostly
typed, well organized for easy use, and complete. Notebooks will be turned in the last day of class, March 7th. Your notebook should not be a mere
assortment of class notes but should be well organized under these suggested
subject headings.
Posture
Alexander Technique
Right Arm and Hand
Tone Production
Bow Strokes
Left Arm and Hand
Shifting
Intonation
Ear Training
Vibrato
Mapping
Stages of Development
Scale Systems
Stage Fright & Recital Preparatory
Diagnostics & Teaching Etiquette
Philosophy & Psychology of Teaching
Teaching Strategies & Principles of Playing
Supplements & Other Info.
Tests will cover materials from the reading and class lectures. You will be
asked to turn in your notebook progress as part of each test.
Teaching Observations will be due at the beginning of every other Thursday class time. Ask music professors if you can sit in on a lesson. You may also observe teachers off campus. Do no more than three observations of the same teacher. You are encouraged to observe Prep. Program teachers, but may write no more than two of these. Write a legible one-page observation of the lesson addressing such topics as --did the teacher model? What was the focus of the lesson? How was the pacing? What were some of the teaching strategies employed? How was the lesson organized? What was the ratio of positive vs. negative reinforcement?
Be ready to discuss your observation.
Class Presentations For part of the quarter you will be asked to give a 7-15 minute presentation of a set of technical exercises from the book Basics to the class. You will be asked to write a brief summary of each exercise and post this to our Blackboard site. Pick three to six exercises that are particularly helpful to you. Because no duplicates are allowed, once you have picked your exercises, notify us.
You may also be asked to drag someone into class to be your student to teach them a certain technique.
Final-Presentations will be given during the final exam time. Each presentation should be 15 minutes long. Presentations should be based mainly on research done through the music library. A written version of the presentation, bibliography and a presentation outline will accompany your lecture presentation. The written version should be 5-10 pages double-spaced, of publishing quality and in article form. Be sure to cite all sources. Topic can be on any subject of string pedagogy. You can investigate the ideas of a particular pedagogue or research a particular technical aspect of string playing. Anything goes, as long as it is pertinent to the on-going study of string pedagogy. This is your chance to satisfy your curiosity in a particular facet of the string teaching or your instrument. Your grade will reflect the quality of your presentation and the care and timeliness in which you complete the following steps (each step is 10% of project grade). See grading rubric on Blackboard for more information:
Jan 17 Presentation Topic due
Jan 24 Refined topic and abstract
Jan 31 List of resources to be used
Feb 7 Research progress report
Feb 21 Notes from research
Feb 28 First draft with thesis statement (electronically as a Word doc)
Mar 7 Final Papers Due
Mar 13 2-4pm Final Exam
Project Outline to pass out to class & Verbal Presentation
Materials: Fischer, Simon. Basics: 300 Exercises and Practice Routines for the Violin.
London: Edition Peters, 1997. Print.MT265 F565 1997
Suzuki, Shinʼichi. Ability Development from Age Zero. Athens, OH: Ability Development Associates, 1981. Print.MT1 S9313 1981
Activities and Exercises Coursepack
Strongly recommended:
Lamb Guide to Teach Strings
Young, Playing the String Game
Suzuki, Nurtured by Love
Grading Criteria: Attendance & Participation 10% of grade
Class Basics Exercises Presentation 10% of grade.
Tests, Daily Assignments 20% of grade.
Teaching Observations 20% of grade.
Notebook 20% of grade.
Final-Research Presentation 20% of grade.
Class Schedule:
This schedule is subject to revision as necessary. All due assignments must be turned in at the beginning of class for full credit. See rubrics on Blackboard for grading info.
Jan 3 Syllabus, Instruments, Notebook (coaching opportunity)
Teaching Strategies & Principles of Playing
Jan 8 Notebook-Cello (Posture, Playing Position)
Alexander Technique
Reading #1 Due
Jan 10 Notebook-Cello (Left and Right Hand Position)
Stages of Development
Jan 15 CBR Notebook-Upper String
Ear-training
Diagnostics & Teaching Etiquette
Reading #2 Due
Jan 17 CBR Notebook-Upper String
Presentation Topic Due (always at the beginning of class)
Teaching Observation #1 Due
Jan 22 CBR Notebook-Upper String
Reading #3 Due
Jan 24 CBR Notebook-Upper String
Teaching Observation #2 Due
Refined topic and abstract Due
Jan 29 Test #1 on Notebook, Readings & Class Lecture
Notebook-Cello
Philosophy & Psychology of Teaching
Reading #4 Due
Jan 31 Notebook-Cello
List of resources Due
Feb 5 Notebook-Bass
Select Basics exercises Due
Reading #5 Due
Feb 7 Sound production and refinement (Basics)
Teaching Observation #3 Due
Research progress report Due
Feb 12,14 No class because of Orchestra Tour
Reading #6 Due
Feb 19 Bow Strokes (Basics)
Test #2 on Notebook, Readings & Class Lecture
Reading #7 Due
Feb 21 Vibrato (Basics)
Teaching Observation #4 Due
Notes from Research Due
Feb 26 CBR Scale Systems, Sermon, SEED
Reading #8 Due
Feb 28 Shifting (Basics)
First draft with thesis statement Due (please send this as Word doc)
Mar 5 (Basics)
Reading #9 Due
Mar 7 (Basics)
Test #3 on Readings & Class Lecture
Teaching Observation #5 Due
Final Papers Due
Mar 13 2-4pm Final Exam: Project Presentations
Project Outline to pass out to class & Verbal Presentation
READING ASSIGNMENTS
The following readings are assigned to introduce you to a variety of scholarly resources on string pedagogy and to prepare for class discussion. You need not turn any notes in but again note-taking may help you stay more actively engaged in the readings. Some questions are provided to think about while you are reading and thereafter. We may or may not cover these questions in class.
Reading:
#1 For Wed 4/4, READ: Galamian, Ivan. Principles of Violin Playing and Teaching. Englewood Cliffs, NJ: Prentice-Hall, 1962. Print. MT260 G34 pp. xi-23
- How does Galamian define principles? What is his first principle? What are some rule caveats?
- How does Galamian describe the factors that go into performance?
- What are some relative and absolute values?
- How does he define interpretive technique, versus virtuoso technique?
- What is meant by correlation? How does he develop this?
- What is the raison d'être? What is Galamian seek in interpretation?
- What are some convictions that Galamian has about developing creative interpretation? Do you agree with these?
- How do acoustics affect performance approach?
- What are the principles of posture, holding the instrument, and left hand position?
- What are the steps to developing secure intonation?
#2 Young, Phyllis. Playing the String Game: Strategies for Teaching Cello and Strings. Austin: University of Texas, 1978. Print. MT259 Y69 pp. forward-9, then read any ten games
- Be able to write a short description of five of the games you read about.
- Come up with a problem that you might be having on a piece, and try to create your own ‘string game’!
- What does Phyllis Young mean by ‘the Inner Game’ and ‘the Outer Game’?
- What are the five ‘Immediate Goals’ that Phyllis Young identifies as having the highest priority to serve as guidelines for each lesson?
- According to Phyllis Young, what are some of the advantages of using the mini-game tactic?
- Describe the inner and outer games the five activities you selected in your reading of “Playing the String Game”.
#3 The Art of Possibility by Rosamund Stone and Benjamin Zander, pgs. ix-39
- What is meant by the title?
- What is meant by “giving the A” (besides the obvious)?
- Write me a letter dated a decade from now on how your “pedagogy notebook” came in handy?
#4 Bourne, Patricia. Inside the Music Classroom: Teaching the Art with Heart. Dayton, OH:
Heritage Music, 2007. Print. Read the preface and pgs 1-25.
- What does Bourne have to say about the fifteen points of “Patty’s List of Precious P’s for Effective Pedagogical Practices”?
- In addition, describe one of the five “Tips for Going Inside the Music Class”.
- What are the three stages identified by Jean Piaget in K-6 children?
#5 Optional reading and possible research project subjects:
Lamb, Norman. A Guide to Teaching Strings. 7th ed. Dubuque, IA: W.C. Brown, 1990.
Print.5th Ed is MT259 L27 1990. Read Chapter on 20thC Developments in Teaching Strings and be prepared to discuss some of the contributions of the pedagogues besides Sinichi Suzuki. There is a complete study guide at the end of the chapter.
#6 Stowell, Robin. "The Development of Cello Teaching in the Twentieth Century." The
Cambridge Companion to the Cello. Cambridge: Cambridge UP, 1999. 195-210. OR
Hodgson, Percival. Motion Study and Violin Bowing. Urbana: American String Teachers
Association, IL. Print. OR
Sazer, Victor, and Paul Katz. New Directions in Cello Playing: How to Make Cello Playing
Easier and Play without Pain. Los Angeles: Ofnote, 1995. Print.MT785 S29 2003
#7 Suzuki, Shinʼichi. Ability Development from Age Zero. Athens, OH: Ability Development
Associates, 1981. Print.MT1 S9313 1981 Whole book!
#8 Blum, David Casals and the Art of Interpretation. pgs xi-23, 69-73, 101-109
- What is the first principle as described in this book? How was this revealed in Casals?
- How do ‘rainbows’ relate to the art of interpretation? What are the musical elements that are used to express the ‘rainbows’? Is this interpretive concept unique to Casals?
- How does Casals describe the written notes to music? What is one way Casals alters the interpretation from the written rhythms?
- What is ‘expressive intonation’? How would a major scale and half steps in general be played differently than in equal temperament?
- How does Casals tune his lower strings? How does he tune in performance?
- Write down and memorize your favorite Casals quote.
#9 Lieberman, Julie Lyonn. Alternative Strings: The New Curriculum. Pompton Plains, NJ:
Amadeus, 2004. Print.MT259 L54 2004. Read pgs. 1-18, 25-31.
- What is meant by “Alternative”?
- How does culture, notation and technology contribute to censoring or encouraging change?
- Who decided what we should play?
- Why should we integrate other styles into our curriculum?
- According to Lieberman, is it too late to learn other styles and improvisation? Why?
- What are four approaches to whole-brain learning?
STRING PEDAGOGY BIBLIOGRAPHY
Blake, John, and Jody Harmon. "Beginning to Improvise": [for Violinists Who Want to Learn to Improvise!]. Westford, MA: J. Harmon, J. Blake, P. Harmon, 1993. Print.
Blum, David. Casals and the Art of Interpretation. New York: Holmes & Meier, 1977. Print.
Bourne, Patricia. Inside the Music Classroom: Teaching the Art with Heart. Dayton, OH: Heritage Music, 2007. Print.
The Complete String Guide: Standards, Programs, Purchase, and Maintenance. Reston, VA: Music Educators National Conference, 1988. Print. MT730 C72 1988
Edwards, Arthur C. Beginning String Class Method for Violin, Viola, Cello and Bass. Dubuque: Wm. C. Brown, 1985. Print. MT259 E4 1985
Fischer, Simon. Basics: 300 Exercises and Practice Routines for the Violin. London: Edition Peters, 1997. Print. MT265 F565 1997
Fischer, Simon. Practice: 250 Step-by-step Practice Methods for the Violin. London: Edition Peters, 2004. Print. MT262 F54 P73 2004
Flesch, Carl F. The Art of Violin Playing. New York: Carl Fischer, 1930. Print. MT262 F56 M2
Galamian, Ivan. Principles of Violin Playing and Teaching. Englewood Cliffs, NJ: Prentice-Hall, 1962. Print. MT260 G34
Gattiker, Irvin. Complete Book of Rehearsal Techniques for the High School Orchestra. West Nyack, NY: Parker Pub., 1977. Print. MT730 G35
Geminiani, Francesco. An Abstract of Geminiani's Art of Playing the Violin, and of Another Book of Instructions for Playing in a True Taste on the Violin, German Flute, Violoncello, and the Thorough Bass on the Harpsichord, with Some Additions Containing the Most Necessary Rules to Attain to a Perfection on Those Instruments. Boston, New-England: Printed by John Boyles, 1769. Print. MT262 G332 1751b
Gigante, Charles. Manual of Orchestral Bowing. [S.l.]: American String Teachers Association, 1986. Print. MT259 G5 1986
Green, Barry, and W. Timothy. Gallwey. The Inner Game of Music. Garden City, NY: Anchor/Doubleday, 1986. Print. ML850 G73 1986
Green, Elizabeth A. H. Musicianship and Repertoire for the High School Orchestra. Byrn Mawr, PA: Theodoreer, 1962. Print. MT730 G74 1962
Green, Elizabeth A. H. Teaching Stringed Instruments in Classes. Englewood Cliffs, NJ: Prentice-Hall, 1966. Print. MT259 G733 1987
Havas, Kató. Stage Fright: Its Causes and Cures, with Special Reference to Violin Playing. London: Bosworth, 1973. Print. ML850 H35
Heiles, Anne Mischakoff. Sforzando!: Music Medicine for String Players : Selected Proceedings from the Illinois-ASTA Conference, June 22-24, 1984. [Bloomington, Ind.?]: American String Teachers Association, 1985. Print. ML3795 I44 1984
Hodgson, Percival. Motion Study and Violin Bowing. Urbana: American String Teachers Association, IL. Print.
Lamb, Norman. A Guide to Teaching Strings. 7th ed. Dubuque, IA: W.C. Brown, 1990. Print. 5th Ed is MT259 L27 1990
Lieberman, Julie Lyonn. Alternative Strings: The New Curriculum. Pompton Plains, NJ: Amadeus, 2004. Print. MT259 L54 2004
Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing. London: Oxford UP, 1951. Print. MT262 M93 1985
Quantz, Johann Joachim, and Hans-Peter Schmitz. Versuch Einer Anweisung Die Flute Traversi£ere Zu Spielen. Kassel: Bärenreiter, 1953. Print. MT342 A2 Q2 1953
Sazer, Victor, and Paul Katz. New Directions in Cello Playing: How to Make Cello Playing Easier and Play without Pain. Los Angeles: Ofnote, 1995. Print. MT785 S29 2003
Schroeder, Carl. Handbook of Violoncello Playing. Translated by J. Matthews. London: Augener, 1893. Print. MT300 S382
Seagrave, Barbara Anne Garvey., and Joel Berman. The A.S.T.A. Dictionary of Bowing Terms for String Instruments,. Urbana, IL: American String Teachers Association, 1987. Print. ML108 J33 1987
Stowell, Robin. "The Development of Cello Teaching in the Twentieth Century." The Cambridge Companion to the Cello. Cambridge: Cambridge UP, 1999. 195-210. Print. ML910 C36 1999
String Syllabus (revised 1986) : Violin, Viola, Violoncello, Double Bass. [Urbana, Ill.]: Association, 1986. Print. ML132 V4 S8 1986
String Syllabus: Violin, Viola, Cello, Double Bass, Ensembles. United States: Association, 2003. Print.
Suzuki, Shinʼichi. Ability Development from Age Zero. Athens, OH: Ability Development Associates, 1981. Print. MT1 S9313 1981
Suzuki, Shinʼichi, and Waltraud Suzuki. Nurtured by Love: The Classic Approach to Talent Education. Mattituck, NY: Amereon House, 1983. Print. MT1 S92 1984
Suzuki, Shinʼichi, and Waltraud Suzuki. Nurtured by Love: The Classic Approach to Talent Education. Mattituck, NY: Amereon House, 1984. Print. MT1 S92 1984
Young, Phyllis. Playing the String Game: Strategies for Teaching Cello and Strings. Austin: University of Texas, 1978. Print. MT259 Y69
FOR INSTRUMENT SPECIFIC SOURCES SEARCH CWU LIBRARY BY SUBJECT:
Violin – Instruction and study 32 sources
Violin – Methods 6 sources
Violin -- Studies and exercises 31 sources
Viola – Instruction and study 7 sources
Double bass -- Instruction and study 4 sources
Etc..
CELLO PEDAGOGY BIBLIOGRAPHY
Alexanian, Diran. Complete Cello Technique: The Classic Treatise on Cello Theory and Practice. Mineola: Dover, 2002. Print. MT302 A44 2003
Blum, David. Casals and the Art of Interpretation. New York: Holmes & Meier, 1977. Print.
Bunting, Christopher. Essay on the Craft of 'cello-playing. Cambridge, [Cambridgeshire: Cambridge UP, 1982. Print. MT302 B95 v.2
Carey, Tanya Lesinsky. Cello Playing Is Easy. [Chicago?]: CareyWorks, 2007. Print. MT300 C37 2007
Chakalov, Nikola. The Art of Cello Fingering. Sofia: Nikola Chakolov, 1997. Print.
Cowling, Elizabeth. The Cello. New York: Scribner, 1975. Print. JM Lib/Summit
Cunningham, Wells. The Art of Scales: A New Approach to Mastering Scales on the Cello. Pacific: Mel Bay, 2008. Print. MT305 C86 2009
De, Rungs Maria. Cello Syllabus. Napa, Cal.: Motty's Olde Colony, 1970. Print. ML128 V53 D44 reference section
Epperson, Gordon. The Art of Cello Teaching. [S.l.]: American String Teachers Association, 1980. Print. MT300 E6 1980
Greenhouse, Bernard, and Laurinel Owen. Bowed Arts: Gedanken Von Bernard Greenhouse über Sein Leben Und Die Musik = Bowed Arts : Reflections of Bernard Greenhouse on His Life and Music. Kronberg: Kronberg Academy Verlagmy Verlag, 2001. Print. JM Lib/Summit
Harmon, Jody. Improvise! For Cello Jody & Paul Harmon, 1998. Print. MT300 H37 1998
Hopkins, John C. Bowing Approach to 'Cello Playing. Ellensburg: Central Washington University, 1949. Print. Graduate Thesis. LD5771.3 H79b c.2
Lamb, Norman. A Guide to Teaching Strings. 7th ed. Dubuque, IA: W.C. Brown, 1990. Print.5th Ed is MT259 L27 1990
Pleeth, William, and Nona Pyron. Cello. New York: Schirmer, 1983. Print. MT300 P5 1983
Sazer, Victor. New Directions in Cello Playing: How to Make Cello Playing Easier-- and Play without Pain. Los Angeles, CA: Ofnote, 2003. Print. MT 785 S29 2003
Schroeder, Carl. Handbook of Violoncello Playing. Translated by J. Matthews. London: Augener, 1893. Print. MT300 S382
Stowell, Robin. The Cambridge Companion to the Cello. Cambridge: Cambridge UP, 1999. Print. ML910 C36 1999
Straeten, E. Van Der. Well-Known Violoncello Solos: How to Play Them With Understanding, Expression and Effect. London: William Reeves Limited. Print. JM Lib/Summit
Szomoru, Arpad. Cello Pedagogy: on Becoming You. Orlando, FL: Performing Arts Institute, 1972. Print. MT785 S96
Watkins, Cornelia. Rosindust: Teaching, Learning and Life from a Cellist's Perspective. Houston, TX: Rosindust, 2008. Print. MT300 W38 R6 2008
White, Chris. Jazz Cello: A Book and CD Method. Ithaca: Chris White /NDCA, 1997. Print. MT302 W45 1997
Winold, Allen. Bach's Cello Suites: Analyses and Explorations. Vol. 2 Vol. Bloomington: Indiana UP, 2007. Print. MT145 B14 W56 2007
GRADUATE STUDENTS: WRITTEN RESEARCH PROJECT
In addition, graduate students will write a research paper on any string pedagogy topic of your choice. This is an opportunity for you to investigate in depth your particular area of interest. In general, grades/scores are assigned based on the quality of your work, how well you follow directions, and whether you turn in the assignments on time.
It should consist of 8-10 pages of text (double-spaced, 10-12 point font, 1” margins), excluding title pages, examples, and lists of citations/bibliography. Appropriate citation of resources used is expected. All topics/pieces must be approved in advance. A First Draft and Re-write are required, turned in on the 5th week and 7th weeks respectively. Samples of topics include:
1. A particular pedagogue or method
2. A pertinent experiment or survey
3. A particular aspect of technique, aesthetics or the business of music
4. An annotated bibliography with cover paper about the process and findings.
5. Extended review of a new pedagogical publication
6. Other type of project subject to approval (submit proposal of project and assessment)
Projects must be submitted by the end of the week in which they are due. All projects must be revised and resubmitted to receive full credit. Interim grades for initial submissions will be assigned and are a part of the project grade. Late submissions will not be accepted (without a really good reason).
GRADING CRITERIA
Letter grade assignments based on total weighted scores for the quarter as follows:
90% and above = A, A-
80% - 89% = B+, B, B-
70% - 79% + C+, C, C-
60% - 69% = D+, D, D-
59% and below = F
Grading Criteria:
Attendance & Participation 10% of grade
Daily Assignments, Quizzes 20% of grade.
Class Presentations 10% of grade.
Teaching Observations 20% of grade.
Notebook 10% of grade.
Graduate Research Project 20% of grade.
Final-Research Presentation 10% of grade.
Course Summary:
| Date | Details | Due |
|---|---|---|