1
A COMPARISON BETWEEN TWO STRINGS METHODS: ESSENTIAL ELEMENTS FOR STRINGS AND NEW DIRECTIONS FOR STRINGS
By
MIRLYNEZ IGLESIAS-MENDEZ
SUPERVISORY COMMITTEE:
RUSSELL L. ROBINSON, CHAIR SILVIO DOS SANTOS, MEMBER
A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS
OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF MUSIC
UNIVERSITY OF FLORIDA
2011
2
© MIRLYNEZ IGLESIAS-MENDEZ
3
To my grandmother, mother and brother for their love and support
4
ACKNOWLEDGEMENTS
I thank the Music Education faculty at the University of Florida for their hard work and
dedication to seeing this last class of Summer Masters in Music Education accomplish their
goals.
5
TABLEOFCONTENTS page
ACKNOWLEDGEMENTS ......................................................................................................... 4
ABSTRACT................................................................................................................................... 6
INTRODUCTION......................................................................................................................... 8
Problem of the Study ...................................................................................................................... 9 Purpose of the Study ..................................................................................................................... 10 Null Hypothesis ............................................................................................................................ 10 Research Hypothesis ..................................................................................................................... 11 Delimitations................................................................................................................................. 11
REVIEW OF LITERATURE .................................................................................................... 12
Introduction................................................................................................................................... 12 Teaching Beginning String Students ............................................................................................ 12 Teaching Methods......................................................................................................................... 14 Instrumental Techniques............................................................................................................... 16
METHODOLOGY AND PROCEDURES ............................................................................... 21
Introduction................................................................................................................................... 21 Procedures and Research Design .................................................................................................. 21 Data Collection ............................................................................................................................. 22 Data Analysis ................................................................................................................................ 23
DISCUSSION AND CONCLUSION ........................................................................................ 25
APPENDIX A .............................................................................................................................. 27
APPENDIX B .............................................................................................................................. 28
APPENDIX C .............................................................................................................................. 32
REFERENCES............................................................................................................................ 34
BIOGRAPHICAL SKETCH ..................................................................................................... 36
6
Abstract of Project in Lieu of Thesis Presented to the Graduate School of the University of Florida
in Partial Fulfillment of the Requirements for the Degree of Master of Music
A COMPARISON BETWEEN TWO STRINGS METHODS:
ESSENTIAL ELEMENTS FOR STRINGS AND NEW DIRECTIONS FOR STRINGS
By
Mirlynez Iglesias-Mendez
December 2011
Chair: Russell L. Robinson Major: Music Education
This study evaluates the achievement of sight-reading skills in beginning string players,
by comparing two strings methods: Essential Elements for Strings (Allen, Gillespie, & Hayes,
2000) and New Directions for Strings (Erwin, Horvath, McCashin, & Mitchell, 2007). The study
was conducted over the course of the first 9-week grading period of the school year and was
guided by the following two questions: What is the effect of method on sight-reading accuracy?
To what extent does the supporting material provided by the Essential Elements and New
Directions for Strings methods contribute to sight reading accuracy? Two beginning orchestra
classes, from the researcher’s work place, were selected for the purpose of this study. The study
examined a total of 55 participants, boys and girls from the secondary level (grades 6-8) ranging
from 11 to 14 years old with no previous experience in string playing. Students were separated
by sections: violin, viola, violoncello, and double bass. One class, identified as Group A (N =
25), received instructions from the strings method: Essential Elements for Strings as the other
class, Group B (N = 30), received instructions from a second strings method: New Directions for
Strings. All students participated in a pre- and post-test to attain achievement score data. Data
7
was collected through a rubric designed by the researcher stating the note accuracy of the player
at the time of the sight-reading exam. Results revealed statistical significance (p = .02) between
the two groups; therefore, the null hypothesis was rejected. Although, the group using the
Essential Elements reported better gain scores than the other group, data analysis indicated a
measurable improvement in both groups achievement scores from the pre-test to the post-test.
8
INTRODUCTION
Selecting method books for string instruments is a challenging task. String orchestra
directors currently employ in their programs either one or a variety of method books for strings.
I have found that many string instructors around the country find it difficult to find a method
book that covers every single aspect beginning students need to know and learn in one book.
Many times instructors find themselves jotting ideas from diverse sources in order to fulfill the
needs of their young students. Nevertheless, some methods are more in demands than others.
Essential Elements for Strings, for example, is favored over others by many teachers and school
districts. In the Miami Dade County (MDCPS) school district, string orchestra directors have
been using the Essential Elements for Strings as part of their annual curriculum for many years,
even though, there are other string methods available, such as, All for Strings Anderson, & Frost
(1985), Strictly Strings (Dillon, Kjelland, & O’Reilly, 1996) and more recently String Explorer
(Dabczynski, Meyer, & Phillips, 2002) MDCPS string teachers have used the Essential Elements
as part of their annual curriculum.
Recently a new methodology book for strings has been published: New Directions for
Strings. Some string orchestra directors consider this book more attainable for students to
achieve better sight reading than the one currently in use. For the past two years, music
supervisors from MDCPS district have been introducing this new method through professional
development sessions and have encouraged teachers to use it in their classroom. Although, it has
been said, during these professional developments, that the new method book will help students
develop better sight-reading, no studies has been conducted proving this or otherwise.
9
Problem of the Study
Colprit (2000) describes that a number of researchers have examined the effects of
teaching methodologies on student performance achievement in beginning string classes. Other
studies about first versus third position instruction, beginning bow hold at the balance point
versus beginning bow hold at the frog, and homogenous versus heterogonous class instruction
have been published; nevertheless, the results of these studies mentioned above indicate no
significant difference in student performance achievement. To which Colprit asks if teaching
methodologies are not responsible for student performance achievement, then what are the
variables that affect positive change in the performance of string students? In answering to this
question, Colprit mentions that there is not enough research in the area of string teaching toward
student achievement through certain methodologies perhaps because it is difficult describe
precisely the complexity of the teaching-learning process.
Sight-reading in beginning string players depends on various factors. Learning how to
read notes may not be enough for a student to achieve confidence when sight reading music.
Therefore, the method of instruction chosen by the teacher for beginning students is essential in
order to achieve good sight-reading skills overall. Basic string techniques have to be covered
before students are introduced to note reading. Techniques such as bow holding and left-hand
position which are always stated on the first pages of the method book students use in the
classroom.
Therefore, especial attention should be paid to the way each methodology presents these
technical aspects. The two methodologies describe and guide students through the basic
techniques of string playing. Both methods present graphs, pictures, students’ exercises and
others in order to aid teachers and students develop the basic technique requirements for each
10
instrument of the orchestra. Thus, based on the exercises and narrative of the book, the teacher
develops the instructions moving eventually into note reading.
The Essential Elements for Strings presents the notes on the staff with the letter name in
the middle of the note. Later after a series of exercises, the letter names start disappearing until
leaving only the notes on the staff. The New Directions for Strings presents a color code system
along with the letter name in the middle of the note. Each string has its own color code and the
student associates the notes from each string with the color given to each string individually. The
colors are the same for all four instruments; for example, the A string is blue, D string is yellow,
G string green, E string pink, and C string orange. This method provides color codes and letter
names for a longer period of time before disappearing all together.
Purpose of the Study
The purpose of this study was to evaluate the achievement of sight-reading skills in
beginning string players. The study was guided by the following questions:
• What is the effect of method on sight-reading accuracy?
• To what extent does the supporting material (for basic technique skills) provided by the
methods contribute to sight reading accuracy?
Null Hypothesis
There will be no statistically significant difference between beginning string orchestra
students’ sight-reading skills using one method or the other.
11
Research Hypothesis
Students will develop the same sight-reading skills by the end of the study. There will not
be any difference between the sight-reading skills of the students using the Essential Elements
for Strings or New Directions for Strings.
Delimitations
The methods used for the purpose of this study are:
- Essential Elements for Strings 2000
- New Directions for Strings
The following will not be accounted for in this study: Gender, ethnicity, and
socioeconomic background of the students participating in the study.
12
REVIEW OF LITERATURE
Introduction
The strings provide us with the most expressive and appealing medium (with
perhaps the exception of the human voice) that exists in the whole range of music.
A good string orchestra can attain a degree of pianissimo which amounts to little
more than an attenuated whisper, and is also capable of a robust and solid
fortissimo which is almost ‘brassy’ in its effect (Jacob, 1931, p. ).
The purpose of this literature review is to investigate different teaching experiences,
methods, technique, and repertoire choices beginning string teachers utilize. This research aims
to provide a variety of information about what former and current educators have experienced
within this profession in a classroom setting. Teaching beginning string classes is not an easy
task for instrumental instructors. Its main objective is the creation of a solid foundation on the
development of new string skills acquisition. With a solid foundation, students will be able to
acquire the essential skills to participate in great programs that resemble the quote found above.
Therefore, students can have a positive experience in the field of music and continue to play
music for years to come.
Teaching Beginning String Students
The different problems affecting the teaching of beginning string players has been studied
for a long time. In her study about the problems teachers face, Rush (1936) describes that there
are many things to consider when following the proper procedures to train beginning students in
an orchestral or band instrument. The amount of time available to be spent by both teacher and
pupil comes into the problem in no small way. Among the things to be considered are the age of
13
the students to be trained, the amount and kind of equipment to be used, the financial outlay, the
technical and physical equipment of the instructor and many other problems before the actual
start can be made.
Developing an effective string education system should be the goal of string educators.
Hamann (2000) explains that in order to do this educators need to be made aware of how
students learn, what students attitudes affect learning and retention, and how effective programs
address the many issues facing string educators. She also believes that the goal of string
programs should be to improve string instruction in general. Effective string teaching begins with
the involvement of both teacher and learners.
In matters of class organization, Mishra (2000) notes that there are different ways to
organize a beginning string class. Some teachers prefer to teach homogeneous setting while
others prefer to teach in heterogeneous classes. The difference is that while the homogenous
setting will be focusing on techniques and problems presented by one instruments, the
heterogeneous classes offer the ensemble experience. The opinions about this subject are divided
since many people have favored the ensemble setting over the other.
String instructors find themselves teaching not only different age level (middle school)
but also different levels of experience. Block (2011) describes her experience teaching mixed-
experience classes. She decided to have the “old kids” work with the new ones on beginning
skills and getting them through the first few pages in the method book. They did this for a couple
of weeks to catch the beginners up as the rest of the class would work on more complex music.
The experienced students taught things such as posture and the proper way to hold the
instrument.
14
While some teachers face these difficulties when teaching beginning string classes, others
describe the benefits and drawbacks of starting to play a string instrument in sixth grade. Berger
(2004) believes that the benefits of starting string instruction in middle school far outweigh the
drawbacks. Since in middle school student meet their teacher daily, she can closely monitor the
development of matter such as posture, finger position, bowing, and note reading. Also, sixth
graders learn faster since they’re more physically and mentally mature than elementary students.
However, she notes that one of the drawback is students won’t be able to learn the skills they
need to in such a short time.
Teaching Methods
Paper (2006) identifies important points for teachers to keep in mind for a
string/orchestra programs to be successful. She explains that for the middle and high school level
is crucial daily instructions, the teacher must understand the pedagogy for teaching students’
playing skills, the teacher demonstrates the playing skills students should learn, the teacher
should be an excellent musician and should relate to the students successfully (good classroom
management).
String teachers use all kinds of teaching or pedagogical methods in order to accomplish
better results in beginning string students. It serves as an aid in the formation of the correct left-
hand shape. One of these methods is the “finger placement markers” (FPMs). Bergonzi (1997)
describes this approach as a way of providing a visual/kinesthetic reference for finger placement.
In his study, Bergonzi mentions that this pedagogical approach is not actually new. His studies
track back to the pedagogical tutorial of Corrette, Giminiani, and Leopold Mozart. Also,
recommendations to use the FPMs are also evident in contemporary literature on teaching
beginning strings such as Anderson & Frost, Johnson, Kohut, and Matesky & Rusch. He also
15
observed that as part of the Suzuki methodology, the FPMs are implemented. It has not only
served as an aid to develop a proper left-hand position but also as a guide for parents and as
being of secondary importance to the ear in matters of intonation.
Hamann (2000) also agrees that one of the instruction methods most often associated
with beginning string teaching is the Suzuki method. Therefore, several researchers have
conducted a number of studies in regards to Suzuki instruction and its effects on music learning
in young students. Rather to its effect in music learning, Hamann explains that the Suzuki
method has an effect on student achievement and attitude toward music learning. The Suzuki
training not only affects the behavior of students, but it also influences the behavior of the
teacher.
In selecting instructional methods for beginning string ensembles, Rush (1936) explains
that it could be selected from a wealth of teaching methods. This decision is largely up to the
individual instructor as to what text should be used I the classroom. To him, a good teacher can
use almost any method and develop real players. What is important, according to Rush, is that
the instructor understands the instrument being taught and should be able to demonstrate to a fair
degree how to produce tone and what a good tone should sound like. The first mental image of
true tone quality as well as the proper technique should come first from the teacher to later be
sought after by the students.
Applebaum (1979) explains that there is beautiful literature at every age level. However,
beginning string instructors need to know what to look for since works for young string students
should only include quarter notes, half notes, pizzicato, various little rhythmic patterns, open
strings, playing in the back of the bridge, tapping on various parts of the instrument, and a piano
16
accompaniment that could provide effects to make the music interesting. Later, eighth note,
dotted quarters, and so on can be added.
Kapuscinski (1979) had experienced that in addition to materials from eastern and middle
Europe, there were two to other developmental approaches [names not mentioned in the article].
One featuring “tunes” ingeniously created with piano accompaniment and the other, most recent,
[at the time] features the use of a cassette recording coordinated with the book. These two
methods had seemed to capture the imaginations of many beginning and intermediate students as
well as their teachers. Therefore, Kapuscinski concludes that any method that inspires students to
communicate, to create a pleasing sound and a rhythmic organization of those sounds while
holding their [students] attention, pleases him.
Rabin (1979) says that contemporary music is a rich resource of alternative sources of
repertoire for beginning and intermediate string players. He mentions that the natural
involvement of educators and musicians with the music written from the past is crucial to our
maturation and understanding of music, but students’ interest must be generated by an ongoing
involvement with contemporary music. He notes that fiddling music and folk music also
deserves attention and they could be attractive to our students.
Instrumental Techniques
One of the most important aspects of learning how to play an instrument is not only the
acquisition of skills but how to acquire those instrumental skills. The skills or instrumental
techniques enable the students to perform at a high technical level and provides them with the
freedom to express the music. Many string pedagogues have researched and studied the best
approach to teach beginning students. For example, Paul Rolland was an American violinist and
violin instructor who analyzed all aspects of string playing, both physical and psychological. He
17
focused his studies in learning how beginning students acquired these instrumental techniques
and develop them thereafter. According to Kovacs (2011), Rolland’s aim was to reduce tension
in the performer’s body by encouraging tension-free movements. Furthermore, Rolland applied
the principles of Gestalt Theory and incorporated them into his violin pedagogy by taking into
the account the total body involvement for every technical action. Rolland was interested in the
physical movements required for specific techniques and more importantly on how the balance
and movement of the entire body affected the acquisition of the skills. Rolland created different
activities and exercises for teachers and students to develop the basic foundations of string
techniques such as rhythmic activities in which the students would use their physical attributes to
feel and produce rhythmic patterns. In addition, Rolland’s teaching pedagogy included
movement, foundational balances and leverage, and control and regulation of voluntary
movement. The underlying principal was the total body action toward a specific learning of
instrumental techniques for the right or left hand.
Mishra (2000) notes that a number of influential pedagogues have suggested ways of
teaching beginning string students a relaxed bow hold. In her study, she mentions different
methods that seem to be in popular use these days. Working with Suzuki bow technique, the
student is asked to place the right thumb under the frog of the bow. Rolland’s method is more
inclined to start beginning students by holding the bow at the balance point first and gradually
moving the hold towards the frog. Other string teachers favor the traditional method which is
starting the students with the normal bow holding as we know it.
Regarding the left-hand position, Mishra includes three types of technique approaches
string teachers implement. A number of popular method books suggest start beginning violinists
and violists in a transverse (guitar) position before the instruments are moved into place under
18
the chin. Other teachers like to start their violinists with small hands in third position rather than
first position. This procedure aids the development of the left-hand position as well as
intonational accuracy. Whereas other beginning string teachers advocate placing markers on the
fingerboard (FPMs) much like frets on the guitar. Lastly, she mentions that many teachers utilize
piano accompaniment to aid the development of accuracy in intonation and rhythmic
consistency.
Bergonzi (1997) claims that the ability to hear the sound before engaging in the
mechanism of pitch production is essential to development a good intonation. For this reason
acquitting this ability may be more challenging for beginning string players than other beginning
instrumentalists due to the fretless fingerboard these string instruments possess. Thus, the
“unlimitedness” of the fingerboard has led many string teachers to provide students with finger
placement markers for the fingers.
Bresette (2010) advises beginning string instructors who are not string players to seek for
local professional aid if they’re asked to teach beginning string ensembles. Asking professional
string players to supplement the school music director in technical and string-specific issues
helps tremendously in accomplishing orchestral goals. These respected professionals can help
with bowings, string warm-up, fingering, articulation and modeling.
Other professional string performers and music educators as well have been concern with
the fact that many of our school string teachers are violinists without experience in other
instruments such as cello and string bass. Karr (1979) explains that violinists must be aware of
the fact that the bow draw of the lower instruments is considerably slower than that of the violin.
Since the bow is drawn so slowly, every technical maneuver will seem to occur in very slow
motion. All movement will be greatly reduced, including wrist motion, string crossing, the speed
19
of shifting, and bow directional changes. He also advises that beginning string instructors should
know that people with short arms do better with the French bow and long-armed people with the
German. According to Karr, another obvious problem with the double bass is that is not tuned in
fifths. Therefore, since the bass is tuned in fourths, the violinists teaching double bass should
learn to finger the bass intervallically rather than chromatically.
Kempter (1979) continues on the topic of cello-double bass teaching by saying that the
correct left-hand position and bow technique is dependent on many thing such as height, angle,
and slant of the bass, regardless of whether the player is standing or sitting. The correct left-hand
position calls for the same space between the fingers one and two, and two and four, and it can
only be achieved with a correct thumb-two relationship and with the first finger pointing toward
the peg box. He also gives a detailed explanation about the bow technique and the bad habit of
teaching bass students to “use all your bow.”
According to Kempter, the cello section also suffers of misguidance when violinist
teachers are not aware of the correct technique of this instrument. The cello section needs
especial attention to correct position including chair height, length of end-pin, and body posture.
Cellists should sit on the edge of the chair and the lower peg should be approximately even with
the ear. The cello should be held so that the student can see the right knee and not the left with
the instrument slanted slightly to the right. The student should lean into the instrument so that
both hands can easily touch the bridge.
Applebaum (1979) advises violinists as well as violists teaching beginning string
ensemble to learn about other instruments to teach them with authority. To him, a teacher should
use methods developed by or in consultation with cellists and bass players, and attend workshops
given by other instrumentalists. Teachers should also have a cello and bass at home so that they
20
can try out different techniques. He believes that string majors who are teaching these
instruments within school ensembles that undermine these advises are a bit permissive, allowing
students to develop bad habits in the left hand and bow arm.
21
METHODOLOGY AND PROCEDURES
Introduction
This study was based on the comparison of two method books for string orchestra
instructions: Essential Elements for Strings and New Directions for Strings. The data collected
during this study was taken from a researcher-constructed sight-reading test.
Procedures and Research Design
The methodology of selecting the participants was nonrandom convenience and
purposive sampling. Convenience-sampling since the participants for this study were the students
from my beginning orchestra classes. Purposive sampling, to better account for the results of the
study, was more appropriate as the two methods being studied were tested in students who did
not know how to read music.
Two beginning orchestra classes were selected for the purpose of this study in which
Group A (N = 25) received instructions from the Essential Elements for Strings and Group B
(N = 30) from the New Directions for Strings. Students were separated by instrumental sections:
violin, viola, violoncello, and double bass. The two classes consisted of mixed-grades students-
that is, students in 6th, 7th, and 8th grades. The demographics consisted of boys and girls between
the ages of 11 to 14 years old with no previous experience in string orchestra field.
Instructions were planned strictly from the method books. Students meet for orchestra
class every day for 50 minutes. Instructions took place for approximately 40 minutes every day
for each class. The process of learning how to read music took about two months (8 weeks)
22
before the students could take the sight-reading assessment prepared for the purpose of this
project.
Data Collection
During week 1 of class, students in both classes were administered a pre-sight reading
test (See Appendix C) to measure their knowledge in music reading. Later on the semester once
the students had received class instructions and were able to read the notes with no aids (letter
names and color codes); a post-sight reading test, using the same music excerpt as during the
pre-test, was administered in order to measure the students’ sight-reading achievement.
The results from the pre-test/post-test sight-reading assessment (researcher-constructed)
served as the primary source to compare both the students’ sight-reading achievement and the
two methods being studied in this project. The sight-reading test administered to the students
included the same level of difficulty presented in the method books (level 1) such as note range,
string crossings, rhythm, and articulation. Also, the music excerpt used during the sight-reading
assessment did not include letter names or color codes.
As the students performed through the sight-reading assessment, the researcher collected
the data by using a scoring sheet in which the students had 20 possible correct notes
(See Appendix A). Correct notes would receive a plus sign (+) and incorrect ones an X (See
Appendix B).
23
Data Analysis
This study compares two strings methods currently in use for string instructions through
the sight-reading achievement of beginning string students. Data was collected through a pre-
and post- sight-reading test. Since the purpose of this study is to compare the two strings
methods mentioned earlier, the main focus of the analysis of data was on the gain scores of the
post-test for both Group A and B. The two gain scores were analyzed using the unpaired t-Test
for the significance of the difference between both groups using each a different method.
However, the gain scores from the students’ pre-test to the post-test for each group was only
taken into consideration just to observe the students’ achievement in sight-reading skills. The
data was also analyzed using the unpaired t-Test results.
In Table 1, the P value equals 0.6647. By conventional criteria, this difference is
considered to be not statistically significant. The mean of Group A minus Group B equals -0.30.
There was a 95% confidence interval of this difference from -1.68 to 1.08. Immediate values
used in calculations were t = 0.4359, df = 53, and the standard error of difference = 0.688.
In Table 2, the P value equals 0.0983. By conventional criteria, this difference is
considered to be not statistically significant. The mean of Group A minus Group B equals 1.23.
There was a 95% confidence interval of this difference from -0.24 to 2.70. Immediate values
used in calculations were t = 1.6829, df = 53, and the standard error of difference = 0.733.
In Table 3, the P value equals 0.0289. By conventional criteria, the results show statistical
significance. The mean of Group A minus Group B equals 1.533. There was a 95% confidence
interval for the difference from -0.0214 to 3.0874. Immediate values used in calculations were
t = 1.9396, df = 53, and the standard error of difference = 0.775.
24
Table 1: Unpaired Students’ t-Test Results of Pre-Test from Group A and Group B
Test Group A Group B Mean 1.00 1.30SD 2.42 2.64SEM 0.48 0.48N 25 30P-Value = 0.6647 T-Value = 0.4359 Table 2: Unpaired Students’ t-Test Results of Post-Test from Group A and Group B
Test Group A Group B Mean 17.40 16.17SD 2.20 3.06SEM 0.44 0.56N 25 30P-Value = 0.0983 T-Value = 1.6829 Table 3: Unpaired Students’ t-Test Results of the Gain Scores from Group A and Group B
Test Group A Group B Mean 16.40 14.87SD 2.57 3.18SEM 0.51 0.58N 25 30P-Value = 0.0289 T-Value = 1.9396 *Group A: Essential Elements for Strings Group B: New Directions for Strings
25
DISCUSSION AND CONCLUSION
As seen in Table 3 the results suggest that the Essential Elements for Strings method
reveals not only better results in sight-reading achievement but also better gains scores in the
students using the New Directions for Strings. The results have shown a statistical significance
(p = .02) between the two groups. Therefore, the null hypothesis is rejected, i.e., “there will be
no statistically significant difference between beginning string orchestra students’ sight-reading
skills using one method or the other.”
Nevertheless, it is important to mention that both classes showed measurable
improvement from the pre-test to the post-test results regardless of the method being used. All
students showed growth from the beginning of the school year until the time of the assessment
whether they used one method or the other. The supporting material presented in both methods
includes graphs, pictures showing hand positions and postures and exercises to help them
develop the basic technique skills, instructions for the care of the instruments and bow, and
others. Also, the methods provide the instructor with a teacher manual which includes students’
forms, rubrics for assessing the students, the same pictures/graphs/exercises provided to the four
instrumental books (violin, viola, cello, string bass), and an annual sequence of the curriculum to
help the teacher plan for the lessons.
Even though both classes showed measurable improvement on students’ sight-reading
skills during the course of this study, with the Essential Elements students had has had better
gain scores. I personally experienced that students using the New Directions for Strings were
dependable of the colors in order to identify the string in which they had to play the notes.
26
Therefore, once the color codes disappeared, students felt a little disoriented struggling with
sight-reading thereafter.
To conclude, using only one of the methods mentioned in this project should not be the
only teaching/sight-reading source teachers should provide our students with in the classroom.
For music instructors should not be enough to rely on one method to develop sight-reading when
a variety of musical sources should be introduced to our students. Furthermore, students will
develop a greater understanding about the different music styles and instrumental skills required
in the performance of any musical instrument. Also, their sight-reading skills will improve
preparing them for a higher level of performance.
27
APPENDIX A PRE- AND POST-TEST SCORING SHEET
Musical excerpt with 20 notes: every student is playing the same excerpt
Individual Testing
N.1 N.2 N.3 N.4 N.5 N.6 N.7 N.8 N.9 N.10 N.11 N.12 N.13 N.14 N.15 N.16 N.17 N.18 N.19 N.20 *N.1 = Note 1, etc.
+ = Correct Note
x = Incorrect Note
28
APPENDIX B
Table B-1: Pre-Test
Group A: Essential Elements for Strings
ST 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 T 1 0 2 0 3 + + + + 4 4 0 5 0 6 0 7 0 8 0 9 + + + + + + + 7 10 0 11 0 12 0 13 0 14 0 15 0 16 + + + + + + + + 8 17 0 18 + + + + + + 6 19 0 20 0 21 0 22 0 23 0 24 0 25 0 *ST = Student 1 = Note 1, etc. T = Total of Correct Note + = only correct notes
29
Table B-2: Pre-Test
Group B: New Directions for Strings
ST 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 T 1 0 2 0 3 + + 2 4 0 5 0 6 + + + + + + + + 8 7 0 8 0 9 0 10 + + + + 4 11 0 12 0 13 0 14 0 15 0 16 + + + + + 5 17 0 18 0 19 0 20 0 21 + + + + + + + + 8 22 0 23 0 24 0 25 0 26 0 27 + + + + + + + + 8 28 + + + + 4 29 0 30 0 *ST = Student 1 = Note 1, etc. T = Total of Correct Notes + = only correct notes
30
Table B-3: Post-Test
Group A: Essential Elements for Strings
ST 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 T 1 + + + + + x + x + + x + + x + + + + + + 16 2 + + + + + + + + x + + + + x + + + + + + 18 3 + + + + + x x + + + + + x + + + + + x + 16 4 + + + + + + + + + + + x x x x + + + + + 16 5 + + + + + + + + + + + + + + + + + + + + 20 6 + + + x + x + x + + + + x x + + + + + + 15 7 + + + + + + + + + + + + + + + + + + + + 20 8 + + + + + + + + + + + + x x x + + + + + 17 9 + + + + + + + + + + + + + + + + + + + + 20 10 + + + + x + + + + x + + x x x + + + + + 15 11 + + + + + + + + x + + + x x + + + x + + 16 12 + + + + x x + + + x + x + x + + x + + + 14 13 + + + + + + + + + + x x + + + + + + + + 18 14 + + + + + + + + + + + + x + + + + + + + 19 15 + + + + + x + + + x + + + x + + + + + + 17 16 + + + + + + + + + + + + + + + + + + + + 20 17 + x + x x + + x x x + + x x + + + + + + 12 18 + + + + + + + + + + + + + + + + + + + + 20 19 + + + + + + + + + + + + + + + + + + + + 20 20 + + + + + x + x + + + + x x + + + + + + 16 21 + + + + + + + + + + + x x + + + + + x x 16 22 + + + + + + + + x + + + + + + + + x + + 18 23 + + + + + + + + + + + + + + + + + + + + 20 24 + + + + + x + + + + + x + + + + + + + + 18 25 + + + + + + + x x + + + + + + + + + + + 18 *ST = Student 1 = Note 1, etc. T = Total of Correct Notes
31
Table B-4: Post-Test
Group B: New Directions for Strings
ST 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 T 1 + + + + + + + + + + + + + + + + + + + + 20 2 + + + + + x + x x + + + x x x + + + + + 14 3 + + + + + x x + x + + + x x x + + + + + 14 4 + + + + + + + + + + + + x + + + + + + + 19 5 + + + + + + + + + + x x x + + + + + + + 17 6 + + + + + + + + + + + + + + + + + + + + 20 7 + + + + + + + + + x + + + x + + + + + + 18 8 + + + + + x + x + + + + + + x + x + x + 15 9 + + x + x x + x + + + x x x x + + + x + 11 10 + + + + + + + + x + + + x x x + + x + + 15 11 + x + + x x + + + x + + x x x + + x + + 12 12 + x + x + + + + x x x + + + + + + + + + 15 13 + + + + + + + + + + + + + + + + + + + + 20 14 + + + + + x + + x x x x x + + x x + + + 12 15 + + + + + + + + + + + + + + + + + + + + 20 16 + + + + + x + + + + x + + x + + + + + + 17 17 + + + + + x + x x + + + + x + + + + + + 16 18 + + + + + + + + + + + + + x x + + + + + 18 19 + + + + + + + x + + + + x x + x x + + + 15 20 + + + + + + + + + + + + + + + + + + + + 20 21 + + + + + + + + x + + + + + + + + + + + 19 22 + + + + x + + + x + + + x + + x x + + + 15 23 + + + + + + + + + + + + + x + + + + + + 19 24 + + + + x x + x + + x + + x x + x x + + 12 25 + + + + + x x + + x + + + x x + + x + + 14 26 + x x x x + x + + x + + x x x + + x + + 10 27 + + + + + + + + + + + + + + + + + + + + 20 28 + + + + + + + + + + + + + x + + + + + + 19 29 + + + + + x + x + + + x + + + x + + + + 15 30 + + + + x + x + x x + + + x x + + + + + 14 *ST = Student 1 = Note 1, etc. T = Total of Correct Notes
32
APPENDIX C
33
34
References
Allen,M.,Gillespie,R.,&Hayes,P.T.(2000).EssentialElementsforStrings.USA:Hal‐Leonard
Corporation.
Anderson,G.E.,&Frost,R.S.(1985).AllforStrings:ComprehensiveStringMethod.SanDiego,CA:
NeilA.KjosMusicCompany.
Barss, J. E. (1922, March 13). Sight Reading. C.A.A.S: Cavsa Artivm Alit Scientiam, 15(18),
137-140.
Berger, D. (2004, August). Strings in Middle School: And the Surprising Benefits One Teacher
Discovered. Teaching Music, 20.
Bergonzi, L. (1997, summer). Effects of Finger Markers and Harmonic Context on Performance
of Beginning String Students. MENC: The National Association for Music Education,
45(2), 197-211.
Block, D. G. (2011, January). Mixed-Experience Classes Can Work Well With a Little Creative
Thinking. Teaching Music, 18(4), 58.
Bodegraven, P. V. (1949, February-March). Music Reading. MENC: The National Association
for Music Education, 35(4), 71-72.
Bresette, W. (2010, November). Building a High School Symphony Orchestra From a band
Director's Viewpoint. Florida Music Director, 64(4), 14-18.
Colprit, E. J. (2000, autumn). Observation and Analysis of Suzuki String Teaching. MENC: The
National Association for Music Education, 48(3), 206-221.
Dabczynski,A.,Meyer,R.,&Phillips,B.(2002).StringExplorer:AJourneyintotheWondersofString
Playing.USA:Highland/EtlingPublishing,adivisionofAlfredPublishingCo.,Inc.
Dillon,J.,Kjelland,J.,&O'Reilly,J.(1996).StrictlyStrings.USA:Highland/EtlingPublishing,a
divisionofAlfredPublishingCo.,Inc.
35
Erwin,J.,Horvath,K.,McCashin,R.D.,&Mitchell,B.(2007).NewDirectionsforStrings.Fort
Lauderdale,FL:TheFJHMusicCompanyInc.
Hamann, K. L. (2000). Teachers, Learners, and Programs in String Education: A Review of
Research. Journal of String Research.
Jacob, G. (1931). Orchestral Technique: A Manual for Students. London: Oxford University
Press.
Kapuscinski, R. K. (1979, February). A String Teachers Roundtable. MENC: The National
Association for Music Education, 65(6), 30-47.
Kirk, R. E. (1996, October 1). Practical Significance: A Concept Whose Time Has Come.
Educational and Psychological Measurement, 56, 746-759. doi:
10.1177/0013164496056005002
Kovacs, I. (2011, August). The Influence of Gestalt in Paul Rolland's Theory of Pedagogy.
American String Teacher, 61(3), 46-49.
Mishra, J. (2000). Questions and Answers: Research Related to the Teaching of String
Technique. Journal of String Research.
Paper, W. (2006, September). String/Orchestra Instruction in Schools in America. The American
String Teachers Association.
Rush, R. E. (1936, September). The Individual Instrument Class. MENC: The National
Association for Music Education, 23(1), 34.
36
BIOGRAPHICAL SKETCH
Mirlynez Iglesias-Mendez was born on June 27, 1979 in La Habana, Cuba. The older of
two children, she graduated as a professional violinist from the Music Conservatory “Amadeo
Roldan” in 1998. She started her studies in music at the age of seven in the Music Conservatory
“Alejandro G. Caturla” where at the age of eleven was founder of the first Youth Symphony
Orchestra in the island.
In the year 2001, she arrived to the United States of America where she continued her
studies in music receiving her Bachelor’s in Music from the Florida International University in
Music Performance with emphasis in Violin. As a student in FIU, she took several courses in
music education. She is currently employed by Miami Dade County Public Schools system as a
Director of the Strings Program at Glades Middle School. At Glades she is in charge of the guitar
ensembles as well as the string orchestras, beginning and advanced.
Mirlynez was recently working on her Master’s in Music program at the University of
Florida. Upon the completion of her program, she will continue to work in Glades Middle School
and will start working in obtaining the National Board Certification.