656 - Teaching Strings: Current Issues, Techniques, and Strategies
(3 credits) (90 PA Act 48 hours)
July 7-11, 2014
Dr. Andrew H. Dabczynski, Ph.D. – Instructor
Professor of Music Education
HFAC – E554, Brigham Young University
Provo, UT 84602
801-422-2317; adab@byu.edu
Course Description – American string teachers today are faced with a variety of challenges – but also many
opportunities. In this week-long course, participants will review a wide variety of string teaching approaches and
materials – some tried-and-true, others very new. Topics will include: overview of pedagogical methodologies;
curriculum scope and sequence; string teaching and literacy; effective approaches to teaching note reading;
incorporating fiddle styles and eclectic strings; Smartmusic and other technologies; assessment; introduction to
music psychology; and more. The participants’ individual concerns and topic ideas also will be addressed. Daily
reading sessions and guest faculty will help make this a fulfilling and inspiring week. Please bring your primary
string instrument and one more. A few basses will be on hand.
SYLLABUS
Major Course Outcomes and Specific Course Objectives
The purpose of this course is to provide practicing teachers of string instruments with adequate context and ideas to
construct an effective scope and sequence, as well as effective instructional strategies for application to their own
string teaching situation. Upon completion of the course, students will:
 Identify important movement/trends in past and current string education;
 Recognize and describe the contributions of important leaders and pedagogues in string education;
 Outline a curriculum appropriate for beginning and intermediate string instruction, including
scope/sequence, technical demands, musicality, note reading, literacy, comprehensive musicianship, and
creative strategies for approaching each
 Demonstrate basic repertoire and techniques for teaching a variety of fiddle/alternative styles and art music
styles
 Identify, describe, and create examples of effective string arranging
 Organize a series of effective assessment strategies appropriate to string education
Required Text


Dabczynski, A.H, R. Meyer and R. Phillips, String Explorer: A Journey Into the Wonders of String Playing, Book 1
Teachers Manual, Van Nuys, CA: Highland/Etling Publishing Co., Inc., 2003.
Other individual readings will be made available via email and/or Dropbox
Assessment
Student grades will be determined as follows (see rubrics below):
1. Participation in and contributions to classroom discussions
2. Classroom musical participation and performance
3. Pre-Course Readings
4. Essay
5. Internet Search
6. Arranging Project
30% - 150 points
30% - 150 points
5% - 25 points
5% - 25 points
5% - 25 points
25% - 125 points
Course Assignments
Note: Dates are listed for each assignment; early submissions are permitted and encouraged!
Pre-Course Preparation
Readings (25 points total):
1. Read the three “Pre-Course Reading Selections” that have been emailed to you. For each reading, compile
a brief list of at least 5 “bullet point items” drawn from the what you have read (that is, those pertinent
points, important statements, questions, etc., that you find key to each articles’ premises). Be prepared to
discuss your points in class.
a. “Strong Arts, Strong Schools” – Charles Fowler – a powerful article about the role of the arts in the
school curriculum
b. “The Teaching of Action in String Playing, Chapter 1” – Paul Rolland – introductory chapter from a
classic in string pedagogy that broadly outlines Rolland’s approach
c. “The Suzuki Violinist: The Mother Tongue Method of Education…” – Shinichi Suzuki – a chapter
from William Starr’s classic guide, in Suzuki’s own words
2. Email your bullet lists to Dr. Dabczynski (adab@byu.edu) – as a MS Word attachment only. Due: by 1:00
PM on Monday, July 7.
Essay (25 points total):
Choose a question from those provided below and write a brief essay in response. Email your essay to Dr.
Dabczynski (adab@byu.edu) – as a MS Word attachment only. Due: by 1:00 PM on Tuesday, July 8.
1. Paul Rolland is one of the most influential string pedagogues of the late 20 th century. Briefly describe what
you think are the critical components of Rolland’s teaching philosophy and practice. Be sure to cite
examples, discuss the context in which Rolland developed his ideas, and discuss how his methodology
could impact your teaching. Use any resources you wish (readings, articles, class discussion, internet,
etc.) in preparing your response.
2. Shinichi Suzuki is one of the most influential string pedagogues of the late 20th century. Briefly describe
what you think are the critical components of Suzuki’s teaching philosophy and practice. Be sure to cite
examples, and discuss how his methodology could impact your teaching. Use any resources you wish
(readings, articles class discussion, internet, etc.) in preparing your response.
3. The process of teaching string instruments in a heterogeneous group setting can be challenging, but
arguably, this process also reflects features that can make the enterprise somewhat easier than teaching
band instruments or other musical ensembles. Based on your experiences, discuss this statement (feel free
to agree or disagree) being sure to offer specific examples and illustrations to support your perspective.
4. Imagine (if imagining is necessary!) that you are about to prepare a 20-minute Spring performance with
your second-year string orchestra. The orchestra has the following instrumentation:
 14 violins (2 excellent players, 9 average players, 3 weak players)
 4 violas (1 excellent player, 3 average players)
 4 cellos (3 average players, 1 weak player)
 2 basses (1 average player, 1 weak player)
Describe the criteria by which you will select orchestra music. Be sure to include description of keys,
meters, rhythms, skills, orchestration, tempi, ranges, and other factors that will determine the music you will
choose. Citing 1 or 2 specific pieces that would fit these criteria would be looked upon with much favor (!).
(Assignments, continued)
(Assignments, continued)
Internet Search (25 points total):
Choose a pedagogical issue, problem, or topic that directly affects your own string teaching (i.e., intonation,
posture, Irish fiddling, cello bow hold, etc.). State the issue/problem/topic. Then conduct an Internet and/or YouTube
search, and find two sites that address the issue/topic. Be sure that at least one of the two sites includes videos or
other materials that you could show directly to your students to illustrate or help teach the issue/problem/topic. Cite
each website and its creator (or sponsor), and very briefly describe why you think the websites are valuable (such
as: its content, what features it contains, ease of access, quality of information, target audience, etc.). Compile your
results and email them to Dr. Dabczynski (adab@byu.edu) – as a MS Word attachment only. Due: by 1:00 PM on
Wednesday, July 8.
“Post-Assignment” Project
Arrangement Project (125 points):
Using the internet, tune books, or other resources of your choice, identify a fiddle tune that is NOT contained in any
of the Fiddlers Philharmonic materials. Then:
1. Arrange your fiddle tune for string orchestra (violin 1, violin 2, viola, cello, bass – other instruments
optional). Use Finale or other music writing software. The arrangement must be at least 16 measures long,
make pedagogical and musical sense, and be playable by your own students. Be sure to include correct
bowings, articulations, dynamics, fingerings, and any other information pertinent to accurate performance
by students.
2. For your composition, (a.) cite the source of the fiddle tune, and (b.) list pedagogical/musical highlights or
issues you addressed in your arrangement .
3. Print a score and enough parts to be playable by the class on Friday, July 11. Email the score (score
only!) as a PDF file attachment ONLY to Dr. Dabczynski by 1:00 PM on Friday, July 11.
4. You will direct the performance of your arrangement in class on Friday (plan on 8 minutes, maximum).
When leading, be sure to introduce your arrangement to the class, briefly summarizing key elements of the
your essay (above).
Course Outline and Schedule
Monday 7/7, 8:00AM-12:00Noon
Introductions and overview, review of syllabus
Where do we come from? A brief history and overview of string pedagogical methodologies:
 Early 20th century approaches
 Mid-century methods
 Suzuki, Rolland, Applebaum
 Turn of the new century and beyond
 Resource overview
Monday 7/7, 1:00-4:30PM
**Assignment due: Pre-course Reading bullet points
What is expected of us? What are we supposed to teach?
Current curriculum scope and sequence
 Beginning level
 Intermediate
Realities and constraints
Hot Topic #1 - Alternative/eclectic styles
Introduction to teaching basic fiddling
Reading Session #1 – Old Time and Celtic fiddle tunes
Tuesday 7/8, 8:00AM-12:00Noon
Discussion: literacy and the string teacher
Hot Topic #2 - Teaching note reading
Introduction to comprehensive musicianship
Tuesday 7/8, 1:00-4:30PM
**Assignment due: Pre-course Essays
Special Guest – (fiddler)
Introduction to teaching intermediate fiddling
Teaching beginning improvisation
Reading Session #2 – Irish, Scottish, Swedish fiddle tunes and more
Wednesday 7/9, 8:00AM-12:00Noon
Introduction to music psychology
 The ear
 Psychoacoustic principles
 Hearing and perception
Hot Topic #3 – Expression
Arranging for Strings and School Orchestras
Wednesday 7/9, 1:00-4:30PM
**Assignment due: Internet Search
Special Guest – (SmartMusic?)
Merging the studio with school instruction
Orchestra Reading Session #3– New publications
Thursday 7/10, 8:00AM-12:00Noon
Assessment and the String Teacher
Hot Topic #4 – Intonation
Introduction to and Applications of Smartmusic
(Course Outline and Schedule, continued)
(Course Outline and Schedule, continued)
Thursday 7/10, 1:00-4:30PM
Teaching the Baroque
Alternative Styles -- Mariachi, Jazz, Swing
Orchestra Reading Session #4– Alternative Styles and the Orchestra
Friday 7/11, 8:00AM-12:00Noon
**Assignment due: “Post-Assignment” Arranging Project - Fiddle Tune Arrangement
Hot Topic #5 – Student suggestions and concerns
Teaching Musical Independence
Chamber Music and Ensemble Skills
Friday 7/11, 1:00-4:30PM
Telling Stories – The Interdisciplinary String Teacher
Reading Session #5 – Multimedia Presentations
Assignment Scoring Rubrics
Readings (25 points total)
20-25.
The bullet points are well-articulated, and logically stated, providing plentiful evidence of thorough comprehension of and
reflection on the readings. All salient elements of the reading have been represented.
15-19.
The bullet points are complete, clearly communicated, and contain ample evidence of basic comprehension of and reflection on
the readings. Most salient elements of the readings are represented.
10-14.
The bullet points are incomplete, include flaws in presentation and communication, contain incomplete evidence of basic
comprehension of and reflection on the readings. Salient elements of the readings are unidentified.
05-09.
The bullet points are unclear and poorly organized, with scant evidence of basic comprehension of and reflection on the
readings. Most salient elements of the readings remain unidentified.
00-04.
There is inadequate evidence for judging the quality of the bullet points and if the readings have been completed.
Essay Question (25 points)
20-25.
The accompanying essay is thorough, well-articulated, and logically stated, with evidence of careful planning, and critical selfanalysis.
15-19.
The accompanying essay is complete, clearly communicated, contains ample examples and illustrations, as well as evidence of
self-analysis.
10-14.
The essay reflects flaws in its presentation and communication, contains few illustrations or examples, and minimal evidence of
self-analysis.
05-09.
The essay is unclear and poorly organized, with few – if any – illustrations, examples, and/or evidence of self-analysis.
00-04.
There is inadequate evidence for judging the quality of the essay.
Internet Search (25 points)
20-25.
An appropriate issue/problem/topic has been chosen, and thoroughly described and articulated, 2 internet resources have been
chosen that fully address these, and citations are complete. One citation of the issue/problem/topic is an effective tool for student
viewing and instruction. The work shows ample evidence of careful planning and thoughtful selection of material.
15-19.
An appropriate issue/problem/topic has been chosen, and adequately described and articulated, 2 internet resources have been
chosen that adequately address these, and citations allow access. One citation for the issue/problem/topic is an adequate tool
for student viewing and instruction. The work shows adequate evidence of planning and selection of material.
10-14.
An appropriate issue/problem/topic has been chosen, with inadequate description and articulation, fewer than 2 internet
resources have been chosen that inadequately address the topic, and citations are incomplete. Fewer than two citations for the
issue/problem/topic exist and are inadequate tools for student viewing and instruction. The work shows inadequate evidence of
planning with careless selection of material.
05-09.
The issue/problem/topic chosen, but is inappropriate for students, with meager description and lack of articulation, and most
internet resources are missing. Those that have been chosen inadequately address the concepts, and citations are incomplete or
missing. No citation of the issue/problem/topic exists and is an inadequate or inappropriate tool for student viewing and
instruction. The work shows little if any evidence of planning with minimal selection of material.
00-04.
There is inadequate evidence for judging the quality of the student response.
Arranging Exercise (125 points)
99-125. An appropriate fiddle tune has been chosen, the arrangement is musical, developmentally- and audience-appropriate, and
constructed with originality; it contains all (or virtually all) objectives as stated, and equals the caliber of published exercises.
75-98.
An appropriate fiddle tune has been chosen, the arrangement has elements of musicality, is developmentally appropriate, and
pedagogically well-constructed; it contains most of the stated objectives.
50-74.
An less-than appropriate fiddle tune has been chosen, the arrangement contains flaws, and/or is lacking in musicality. The
arrangement is missing some of the stated objectives.
25-49.
An inappropriate fiddle tune has been chosen, the arrangement contains flaws and/or makes little musical or pedagogical sense;
it contains few of the stated objectives.
00-48.
There is inadequate evidence for judging the quality of the arrangement.
Classroom Musical Participation and Performance (150 points)
131-150. The student is always attentive and always performs as directed. Posture/instrument set-up is correct, proper left and right
hand/arm position is consistently maintained, all notes are played correctly (with correct fingerings and bowings), notes are in
tune (95% accuracy), tone production is clear and full, musical elements (tempo, dynamics, articulations, etc.) are produced
throughout the performance. The performances are not interrupted.
111-130. The student is usually attentive and usually performs as directed. Posture/instrument set-up is correct, proper left and right
hand/arm position is maintained (80% accuracy), 90% of notes are played correctly (with correct fingerings and bowings), notes
are in tune (80% accuracy), tone production is not unpleasant, 80% of the musical elements (tempo, dynamics, articulations,
etc.) are attempted in the performance. The performances are rarely interrupted.
91-110. The student is frequently inattentive and often does not perform as directed. Posture/instrument set-up is sometimes incorrect
(60% accuracy), proper left and right hand/arm position is not maintained (60% accuracy), no more than 75% of notes are played
correctly (often with incorrect fingerings and bowings), notes are frequently out of tune (no more than 60% accuracy), tone
production is often poor, musical elements (tempo, dynamics, articulations, etc.) are rarely or unconvincingly attempted in the
performance. The performances are interrupted 1-3 times.
71-90.
The student is usually inattentive and usually does not perform as directed. Posture/instrument set-up is usually incorrect, proper
left and right hand/arm position is rarely demonstrated, most notes are played incorrectly (often with incorrect fingerings and
bowings), notes are frequently out of tune (no more than 60% accuracy), tone production is often poor, musical elements (tempo,
dynamics, articulations, etc.) are rarely or unconvincingly attempted in the performance. The performances are interrupted more
than 3 times.
00-70.
The student is usually inattentive and usually does not perform as directed, or there is inadequate evidence for judging the
quality of the performance. Posture, set-up, right/left hand/arm position are incorrect, most notes are played incorrectly (usually
with incorrect fingerings and bowings), notes are usually out of tune (no more than 40% accuracy), tone production is poor,
musical elements (tempo, dynamics, articulations, etc.) are not attempted in the performance. The performances are interrupted
frequently, far more than 3 times.
Participation in and Contributions to Classroom Discussions (150 points)
131-150. The student is always respectful, and engaged in all class activities and discussions on a daily basis, provides thorough evidence
of a positive attitude, and is not critical of other persons or their contributions. The student routinely and frequently provides
useful ideas when participating in classroom discussion, and demonstrates leadership by contributing positively and being
supportive of others. The student consistently stays focused on the given topics and classroom activities, is never disruptive, and
is timely in attendance and participation.
111-130. The student is usually respectful, and engaged in all class activities and discussions on a daily basis, provides ample evidence of
a positive attitude, and is not critical of other persons or their contributions. The student usually provides useful ideas when
participating in classroom discussion, and contributes positively by being supportive of others. The student generally stays
focused on the given topics and classroom activities, is never disruptive, and is usually timely in attendance and participation.
91-110. The student is not always respectful, not always engaged in class activities and discussions, provides inadequate evidence of a
positive attitude, and is sometimes critical of other persons or their contributions. The student does not always provide useful
ideas when participating in classroom discussion, and is not always supportive of others. The student sometimes is not focused
on the given topics and classroom activities, is sometimes disruptive, and is sometimes not timely in attendance and
participation.
71-90.
The student is not always respectful, often disengaged in class activities and discussions, does not have a positive attitude, and
is frequently critical of other persons or their contributions. The student often does not provide useful ideas when participating in
classroom discussion, and is often unsupportive of others. The student often is not focused on the given topics and classroom
activities, is often disruptive, and is often not timely in attendance and participation.
00-70.
The student often is disrespectful, rarely engaged in class activities and discussions, does not have a positive attitude, and is
usually critical of other persons or their contributions. The student usually does not provide useful ideas when participating in
classroom discussion, and is usually unsupportive of others. The student usually is not focused on the given topics and
classroom activities, is usually disruptive, and is usually not timely in attendance and participation, or there is inadequate
evidence for judging the quality of classroom participation.
.