Sessions offered at the 2015 conference
Thursday 9:45 a.m.-10:45 a.m.
Beginner Class 101
Room: 255A
Get your beginner class off to a flying start with the unique combination of teaching strategies this
session presents. Get students engaged from the first moment of the first class, and teach them more in
the first hour than you ever thought possible. Learn strategic ways to get the instrument in place, the
fingers playing, and the bow balance set -- all on day one. Incorporate background music with
movement, flashcards, call and response, improvisation, drills of all sorts, scales and whatever beginner
book you are using and learn how it speeds and enhances learning and student engagement.
Presenter: Jerry Henry, Orchestra Triage Inc.
Being Resourceful: Finding the Perfect Supplemental Materials
Room: 155 C
Success comes to the resourceful string teacher who can find just the right tool in his or her toolbox! In
addition to their many superb string method series, Alfred Music includes among their publications a
huge variety of valuable materials to supplement instruction. Bring an instrument and discover the
perfect resources to strengthen string instruction and increase student achievement.
Presenter: Andrew Dabczynski
Sponsored by: Alfred Music Publishing Company
The Faculty-Student String Ensemble: Everyone Doing It Together!
Room: 155 A
The small faculty/student string ensemble, modeled after Orpheus, Plus a Conductor, serves as an
effective teaching environment with faculty and students being in action TOGETHER: playing, breathing,
feeling the beats in a unified way. Despite varying skill levels, backgrounds and training, the goal is to
feel and play the music together. Warm up techniques and rehearsal approaches will be explored and
demonstrated to bring everyone in action to the first step on common ground.
Presenters: Wanchi Huang, James Madison University; Carl Donakowski, James Madison University;
Amadi Akiziwe, James Madison University
From Wiggles to Artistry: Vibrato Tips for Violin, Viola, Cello and Bass
Room: 155 D
This session will explore similarities and differences in vibrato between the violin, viola, cello and
bass. It will be useful for school and youth orchestra directors, as well as for private studio teachers.
We will address technical issues regarding vibrato (speed and width), physical issues (finger, knuckle,
wrist, arm vibrato and rotational vs. longitudinal vibratos), and musical issues, including practical
exercises to address these issues.
Presenters: Robert Jesselson, University of South Carolina; Craig Butterfield, University of South
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Carolina; Daniel Sweaney, University of South Carolina; William Terwilliger, University of South
Carolina
Help Me! Neural Processing and Music Reading
Room: 252 D
Should access to music be ruled out if reading presents problems? Bossuat-Gallic answers “no,”
resoundingly, with examples of how to recognize neural processing differences and, more
importantly, how to help these students. She will demonstrate typical “tripping-spots” and suggest
easy modifications that facilitate participation in lessons and ensembles for children with challenges.
Take this information home and begin using it right away.
Presenter: Judy Bossuat-Gallic, California State University, Sacramento
The Holistic String Player: Approaches to Sight Reading and Articulating Rhythms and Idiomatic
Techniques Found in Jazz, Pop, Theater and Commercial Music
Room 251 A/D
So, you've become a great classical musician and get hired to play for a theatre production, concert
with a pop artist or commercial studio jingle. You are immediately confronted with rhythms and
articulations not included in the traditional classical repertoire. How do you sight read the music with
confidence and be assured that you will be placed on the "first call" list? Be prepared for the wide
array of opportunities now available to the professional string player.
Presenter: Diane Delin, Columbia College Chicago
Live Electronics in Performance
Room: 251 C/F
A tutorial and demonstration of using live electronic processes and effects in performance.
Presenter: Benjamin Cline, Fort Hays State University
It’s Not Just a Big violin! A Karen Tuttle Coordination-inspired approach to violin-to-viola basics.
Room: 250 C/F
Many violinists teach viola, but do they approach the viola as an oversized violin? Or do they know
the many subtle technique differences between the instruments? If not, this session is designed
specifically for them. Based on Karen Tuttle’s Coordination approach as learned from master viola
pedagogues, this session will teach violinists the basic differences that will take their viola students’
playing to the next level. Techniques discussed will include: proper stance; resonant, deep sound
production; bow hold; savvy bow distribution; left finger placement; and left pinky support. Violinists
who also play viola are encouraged to attend. Bring your instrument!
Presenter: Katrin Meidell, Ball State University
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Music Learning=Life Learning
Room: 255 C
There is no substitute or replacement for music making as it relates to the positive growth and
development of the human mind, body, and spirit. Participation in music avails the musician to the
infinite journey of creative expression connecting to a language (music) that is understood,
communicated, and appreciated by all of mankind around the globe. More importantly, MUSIC IS A
PLACE FOR EVERYONE.
Presenter: Tim Lautzenheiser
Sponsored by: Hal Leonard Corporation
Rhythm, Composition and the Common Core
Room: 250 A/D
Scaffold rhythm-learning and musical-thinking all the way to the “core.” Together we’ll create several
ways for students to practice and demonstrate understanding of rhythms in your own repertoire,
then explore ways to teach compositional techniques through rhythm, including unity/contrast,
cadence and variation. These skills/concepts come together in a sample composition project that
addresses the new Common Core standards for Artistic Process, creating and multiple Common Core
literacy standards. Practical, student-tested ideas!
Presenter: Wendy Barden, Segue Consulting Partners
Taking Your Advanced Orchestra to the Next Level: Warm Ups and Exercises for Improving the
Accuracy and Artistry in Your Upper Level String Orchestras, With Focus on Tone and Intonation
Room: 155 F
Come and learn how to incorporate warm-ups and skill study into your daily orchestra rehearsal to
improve student accuracy and artistry in their concert music. Attendees will learn a variety of warmup strategies to improve an ensemble’s tone through bowing and articulation exercises; they will
learn the inherent problems that cause intonation problems in school orchestras and also how to use
finger pattern studies, velocity etudes, canons and chorales to teach students how to listen and
finely tune their notes the way professionals do.
Presenter: Christopher Selby, Charleston School of the Arts
Thursday 11:00 a.m.-12:00 p.m.
Master Class with Lynn Harrell
Room: 155 D
Beyond the Family Concert
Room: 255 C
Join the Serafin String quartet as they guide you through the creation of sophisticated outreach
concert programs. To reach more mature audiences who nevertheless may be unfamiliar with
classical music, the Serafins make use of authentic primary documents to create authentic
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emotional, psychological and historic experiences. Literary sources are intertwined with portions of
music using techniques of excerpting, chordal reduction, suspended meter and dynamic adjustment
to elucidate various "entry points" into the music, in keeping with the teaching artist philosophy. Tips
on research, stage logistics and venue co-operation also will be offered.
Presenter: Esme Allen-Creighton, Serafin String Quartet
Drumming Circles and Paradiddles
Room: 155 F
Bring your instrument, two chopsticks or two spoons to participate in a series of warm-ups and
techniques utilizing rhythmic patterns from world styles. This session will be presented with an
emphasis on how to stimulate ensemble interaction and cross-string coordination while flexing the
rhythm muscle.
Presenter: Julie Lyonn Lieberman, Julie Lyonn Music LLC
From First-Year String Specialist to Full Symphony Conductor: A Journey Through the Artistic
Development of String Players
Room: 255 F
With an emphasis and goal on developing a full orchestra that performs with skill and nuance,
getting past open strings into 4th fingers and entry level shifting is possible in the first years. This
leads to the artistic shifting skills needed in mature full orchestra settings. Solutions and advice
especially for the non-string instrumentalist director will be given.
Presenters: Karl Reinarz, Las Vegas Academy Orchestras; Jim Palmer, ASTA Board of Directors
Fun Pedagogical Props from Your Local Shopping Mart for the String Classroom
Room: 155 A
Have you ever gone to your local shopping mart and thought how this item or that item would be
great to teach bowing? Or to keep the left arm and wrist straight? Could hair curlers, clothespins,
clothes hangers, toys, straws, rubber bands, and even egg cartons be used to teach playing skills and
musical concepts in the string class? In this session we will explore the use of common ordinary items
available to us at our favorite shopping marts. You may bring your own ideas and props to share,
while some props will be available to try.
Presenter: William Wassum, Thornburg Middle School
Introduction to the Norwegian Hardanger Fiddle and Scandinavian Styles
Room 251 C/F
Norwegian Hardanger fiddler Karin Loberg Code will present a demonstration of this eight-stringed
folk violin and its tunes. During the session, participants will be introduced to the rich
ornamentation, asymmetrical meters and scales used in Norwegian fiddling. Bring along your
instruments because we also will learn a traditional dance tune that can be taught to your middle or
high school string school orchestra. Velkommen!
Presenter: Karin Code, Kalamazoo College
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The "It" Factor in School Orchestra Literature
Room: 250 C/F
The best way to motivate students is with the music they learn. We will discuss the attributes of
selected school orchestra literature and how to motivate stringed instruments students to take
ownership of their musical learning.
Presenters: Gail Barnes, University of South Carolina; David Pope, Manatee High School
Petar Hristoskov's 12 Caprices for Solo Violin, Op. 1: A Hidden Treasure from the Bulgarian Violin
Literature
Room: 251 A/D
Petar Hristoskov's 12 Caprices for Solo Violin, Opus 1 stand out as one of the most commonly used
and effective pedagogical tools among the advanced Bulgarian violin students. Specifically, these 12
caprices address the development of complex and asymmetrical rhythmic patterns commonly found
in the folk traditions, as well as a wide range of tonal colors. This session aims to introduce these
gems of the Bulgarian violin literature, emphasizing the pedagogical value of the caprices. Selected
passages from the caprices will be used to illustrate specific applications to teaching.
Presenter: Miroslav Hristov, University of Tennessee
Rest No More?
Room: 250 A/D
Jonathan Swartz will share lessons learned in his exploration to play violin without a shoulder rest,
after almost 40 years of playing exclusively with one. This session does not intend to convert
violinists away from using a shoulder rest. Rather, it reveals efficiencies in technique and important
violin/body relationships discovered in this journey that will benefit all, shoulder rest or not.
Presenter: Jonathan Swartz, Arizona State University
Scales, Scales, Scales!
Room: 155 C
The practice of scales need never be monotonous! Based on the historic scale systems of Sevcik,
Flesch and Galamian, Barbara Barber has compiled one of today’s most popular series of scale
books: Scales For Young Violinists, Scales For Young Violists, Scales For Advanced Violinists and Scales
For Advanced Violists. Barbara will present background information on the books, teaching tips and
ideas to build skills, save time and eliminate drudgery from daily scale practice! .
Presenter: Barbara Barber
Sponsored by Summy-Birchard
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Thursday 12:15 p.m.-1:15 p.m.
Collegiate Level Violin Master Class
Room: 155 D
Master Teacher: Eduard Schmieder, Temple University
sponsored by SHAR Music
Best Practices in the NSPC String Projects
Room: 255 F
Presenter: Adriana Ransom, Illinois State University, Moderator
The German School of Cello Playing
Room: 155 A
Although a handful of pieces by 18th and 19th Century German pedagogues Georg Goltermann,
Julius Klengal and Bernhard Romberg have made their way into the standard student repertoire of
the 21st Century, each of these composers wrote numerous pieces that are valuable for student
cellists, especially in building left-hand technique. The session will present a comprehensive review
of works from the German School, including those listed in ASTA’s string syllabus and CAP handbook.
Also, excerpts from many of the pieces will be performed so that attendees will become familiar with
the level, pedagogical importance and artistic merit of each work.
Presenter: Mira Frisch, UNC Charlotte
The How-To-Practice Flow Chart: Guiding Musicians to Improve Their Practicing
Room: 255 C
Most musicians must be taught how to practice well. The process of practicing really consists of a
series of very logical and sequential steps, with each successfully completed before going on to the
next one. This process is similar to that of a computer program that solves a problem by following a
flow chart of tasks. The How-To-Practice Flow Chart guides students in breaking down a piece of
music through specific activities while practicing.
Presenter: Robert Jesselson, University of South Carolina
K-12 Committee Rountable Meeting
Room: 250 C/F
New Product Showcase: 1, 2, 3, Play! and Rhythmic Projections
Room: 155C
1, 2, 3, Play! by Joanne Martin is the perfect solution for the private studio or beginning string
instructor. Fifteen original pieces in a variety of styles (Grade 1-2), singable melodies and easy
rhythms abound. The focus here is flexibility. 1, 2, 3, Play! may be played by 1-3 players with either
piano accompaniment, teacher accompaniment or a play along CD. Rhythmic Projections by Seth
Gamba is also a flexible educational tool designed to teach rhythmic reading from the very beginning
of study. These exercises may be projected on a wall, copied as handouts or used to teach students
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how to mark bowings. A must have for any orchestra classroom or private studio.
Presenter: Lynne Latham
Sponsored by: Latham Music and LudwigMasters Publications
Plug In Your Ears! Training Future String Educators in Modern Technology
Room: 255 A
Integrate technologies, electric strings, computers, iPads and smartphones in the classroom.
Students will learn to use playback and recording techniques to give them ultimate control in their
musical development, complementing the teachers guidance. By listening back to their playing,
students can more accurately critique their own performance and instantly correct or modify their
techniques thus accelerating learning. We will introduce the use of drones, rhythm loops, selfrecording and American styles to help facilitate learning.
Presenter: Mark Wood, Electrify Your Strings
"Rockestra": A Curriculum for Teaching Eclectic Styles, Arts Integration, and for Fostering
Recruitment and Community Outreach
Room: 251 C/F
In this session, a curriculum for a "Rockestra" class will be presented. A week-by-week plan,
complete with links to resources, will be included. Rockestra presents an opportunity for students to
learn how major historical events influenced Rock and Roll. It is an opportunity for students who play
a drum set and electric guitar to perform with a school ensemble, and classical string players to play
on electric instruments and learn eclectic styles. Rockestra groups can perform gigs in the
community to provide exposure for your program.
Presenter: Elizabeth Chappell, Austin Independent School District
Using Finger Patterns as a Tool for Teaching Scales, Shifting and Upper Positions
Room: 155 F
In this hands-on session, attendees will learn a practical method for incorporating the concept of
finger patterns into a systematic approach for technique development. Utilizing the pedagogy of
George Bornoff as the foundation, attendees will be introduced to a system of nomenclature and
group activities that facilitate the introduction and development of intonation, shifting, upper
positions, scales, rhythm and bow techniques. Attendees will receive online and technological
resources as well.
Presenter: Scott Laird, NC School of Science and Math
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Thursday 1:30 p.m.-3:45 p.m.
Exploring New Horizons: An Orchestra Model for Lifelong Learning and Teacher Training
Learning Lab - Two-Hour Session
Room: 255 C
The BYU New Horizons Orchestra provides an entry point into music making for adults, whether
beginners or those with previous string experience. Many adults desire an opportunity to learn music
in group settings similar to those offered in schools, but cannot find them available. New Horizons
programs provide such opportunities. But the BYU-NHO orchestra primarily functions as a teaching
laboratory for BYU music education students, and a research vehicle for studying adult music
learning, pedagogy and their effect on family life. Discover the joys and teacher-training benefits of a
community-based, multi-generational string program focused on adult beginning instrumentalists.
Presenter: Andrew Dabczynski, Brigham Young University
Thursday 1:30 p.m.-2:30 p.m.
Multi-Level Eclectic Styles Master Class
Room: 155 D
Master Teacher: Christian Howes, Creative Strings Academy and Creative Strings Workshop
Arranging of Scottish Fiddle Tunes for Performance by Your School Orchestra
Room: 251 C/F
The inclusion of fiddle tunes into the orchestral curriculum can be used for motivation, reward,
enrichment and all of the above. However, while spending time teaching your students a single fiddle
tune has educational merit, it doesn’t go far when planning a concert program. This session will
discuss the techniques of assembling authentic performance “sets” of Scottish fiddle tunes of
appropriate duration and creating arrangements that reflect authentic Scottish accompanying
practice and that work within the range of skills in your school orchestra. Bring your instrument to
try some of the arrangements that will be discussed.
Presenter: Melinda Crawford Perttu, Westminster College
Connolly Music Company Industry Showcase
Room: 155 C
Harp session by Marina Roznitovsky, University of Nevada
Room: 251 A/D
Jascha Heifetz in the Studio and at the Beach: Aphorism and Humor as Teaching Tools
Room: 255 A
How does a legendary performer-turned-teacher reconcile an iconic, fascinating and complex
persona with the imperatives of effective teaching? The presenter will draw upon his experience as a
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member for three years of the Jascha Heifetz Master Class at the University of Southern California in
a discussion of Heifetz's effective use of aphorism and humor in his interactions with his students,
both in the classroom and in less formal settings (such as his annual Malibu beach house parties),to
convey a gestalt culture of the violin and of a life in music as he knew it and practiced it.
Presenter: Daniel Mason, University of Kentucky
The Legacy of Robert S. Frost
Room: 250 C/F
This session will examine the great output of Robert S. Frost -- his publications of music and writings.
Bring instruments! A reading session will feature some of his greatest hits as well many of his lesser
known treasures.
Presenters: Janice McAllister, Logan School District; James McWhorter, Mountain West String
Academy
Real Men Play Violin
Room: 255 D
Session will review some of the latest research on gender differences in education, and how to use
the information to increase male interest and participation in playing string instruments. Session will
cover boy-friendly teaching strategies, offer suggestions on dealing with teasing, and how to cope
with the distraction of sports. General classroom behavior of boys who play string instruments
improves as does overall development in the affective domain. Session also will cite hand
differences, growth patterns, and how to compensate for these.
Presenters: Keith Cook, Kentucky Center for the Arts
Research in String Education and the NSPC
Room: 255 F
Presenter: Dijana Ihas, Pacific University
Tackling Tricky Bass Tactics in the School Orchestra
Room: 155 A
A hands-on session that takes a look at commonly encountered bass issues in the school orchestra
using excerpts from grades 1, 2, 3 and 4 repertoire. Topics covered include shifting, bow techniques,
elements of sound production, style and basic setup. Especially suited for the non-bassist public
school string director. Bring your bass!
Presenter: Sidney King, University of Louisville School of Music
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What Pitch to Play? What Pitch Sounds Best? A String Player’s Age-Old Issue – Intonation
Room: 250 A
String players need to finger their notes! Unlike the keyboard instruments, we have decisions to
make on how high or how low we finger a pitch. Other than the open strings, we face more than one
choice of pitch each time we finger. We are able to move to a best-sounding pitch by fine tuning our
finger movement. This is a good news (sounding perfect when tuned right) and a bad news (high risk
of a bad pitch). It is a blessing and a curse.
Presenters: Shi-Hwa Wang, Weber State University
Thursday 2:45 p.m.-5:00 p.m.
Batting 1001: MUS 500 + MUS 501
Room: 255 A
In a two-hour intensive session we will unpack the syllabus of a two-semester graduate course
designed to prepare performance majors for the strong likelihood of studio teaching in their careers.
Ranging from performance analysis to artful teaching, business practicalities to philosophical
awakenings, presenters will offer suggestions for designing, proposing and teaching this significant
and stimulating course.
Presenters: Laurie Scott, The University of Texas at Austin; Cornelia Watkins, Rice University
Orchestra Conducting Laboratory
Room: 155 A
Attendees will observe individual coaching sessions utilizing a high school string orchestra as a
demonstration ensemble. Topics may include posture/position, use of the left hand, pattern clarity,
limiting extraneous motion, preparatory gestures, cueing and expression. Repertoire will be selected
from standard educational and advanced string literature. Up to five attendees may volunteer for
coaching by contacting Mark Laycock (mark.laycock@wichita.edu).
Presenter: Mark Laycock, Wichita State University
Thursday 2:45 p.m.-3:45 p.m.
24 Viola Caprices: Selected Virtuoso Solo Works by Composer Performers
Room: 250 A/D
To include viola caprices in recitals, competitions, auditions, and audio and video recordings is an
effective way to increase appreciation and awareness of the viola, violists and viola history. There is a
growing interest among professional and student violists to perform viola caprices because of the
quality and visceral excitement of the music, and, in turn, there is a scholarly interest in the
neglected histories of composers for the viola and their works. Come discover the viola as a virtuoso
instrument!
Presenter: Pamela Ryan, Florida State University
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Administrators and How They Can Help Your Orchestra
Room: 155 D
Come and learn new techniques to ensure you are working effectively with your school's
administration so your orchestra program is efficiently and effectively benefitting students. Please
join an orchestra director and administrator team that works cooperatively to build such a
partnership. Topics covered will include problem solving, communication, monetary issues,
recruitment, retention and advocacy.
Presenters: Kenny Baker, McQueen High School, Wahoe County SD; Susan Denning, McQueen High
School, Washoe County SD
“Bassic” Musicianship in the Beginning Orchestra
Room: 155 F
This session will focus on teaching bass in your beginning orchestra. Walk away with valuable tips,
hints and ideas regarding playing position, left-hand position, holding the bow, use of bow, pizzicato
technique, shifting and where to place your basses when teaching a mixed string orchestra class.
Presenters: Michael Trowbridge, Retired Prince William County Schools VA
An Ensemble That Thinks Alike Plays Alike: Helping Younger Ensembles to Think, Feel, and be
Expressive in a Unified Way
Room: 255 F
Chamber music is one of the best and most enjoyable ways of teaching students to think, feel and be
expressive in a unified way. No student is too young to develop these skills, which are essential to
good string technique and artistic development. This session will provide tips and tricks to unify your
ensemble’s musicality through physical gestures, breathing and cuing.
Presenters: Karen Becker, University of Nebraska, Lincoln; Marcia Henry Liebenow, Bradley
University; Leslie Perna, University of Missouri
Private Studio Roundtable Meeting
Room: 251 A/D
Resonance - Intonation - Tone - The Secret to Playing in Tune
Room: 250 C/F
This session demonstrates the unique physical properties of resonance as it relates to string
instruments and delves into harmonics, sympathetic vibration and tone as a fresh way to listen for
intonation.
Presenter: John Burton, University of Texas at Arlington
Teaching Beyond the Music: How the Orchestra and String Pedagogy Engender Social Change
Room 255 D
In this session, we will share how the orchestra can be used to teach musical skills and life skills.
Music can be a vehicle for social change, impacting students, schools and families. Come hear about
practical ways that we use music on a daily basis at the El Sistema-Inspired String Program, Paterson
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Music Project, to fulfill goals of social change. We will explore how technique, ensemble work and
musicianship work toward goals beyond music.
Presenters: Elizabeth Moulthrop, Paterson Music Project; Shanna Lin, Paterson Music Project
The Techniques of Musicality -- Effective Ways to Achieve Maximum Expression in Your Students'
Playing
Room: 251 C/F
What is musicality and how do we achieve it? What technical elements determine a “musical”
performance, and how does a work’s period and style affect our technical choices? When and how
should musicality be taught to our students? Using representative examples from the Baroque to the
21st Century, this session will explore the most effective use of bow and left-hand technique to
achieve musically and stylistically enlightened performances of works from all periods and levels of
difficulty.
Presenter: William Terwilliger, University of South Carolina – Columbia
Technique Training: Easy as the ABCs
Room: 155 C
Janice Tucker Rhoda (author of ABCs for Strings) presents her new Complete Technique series for
violin, viola, cello and bass. The Complete Technique series helps students improve their playing skills
quickly and effectively. In this session, top musicians will demonstrate innovative bowing, shifting
and arm movement exercises as seen in the book, and Janice Tucker Rhoda will show how learning
technique can be as easy as the ABCs!
Presenter: Janice Tucker Rhoda
Sponsored by Carl Fischer Music
Thursday 4:00 p.m.-5:00 p.m.
Collegiate Level Bass Master Class
Room: 155 D
Master Teacher: DaXun Zhang, Indiana University
(sponsored by Pirastro GmbH )
Chamber Music as a Pedagogical Force
Room: 255 F
Communication, collaboration, and shared creativity are elements that are increasingly important to
the backbone of any string program in the 21st century. The Fry Street Quartet presents a dynamic
lecture-performance that demonstrates how these principles make chamber music a powerful
pedagogical tool.
Presenters: Fry Street Quartet
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Circuit Training for Musicians
Room: 250 C/F
While not a substitute for more traditional practice regimens, Circuit Training for Musicians provides
an additional tool to help counteract what is sometimes called the “practice room blues.” It is a
method that provides an exciting change for musicians and can help lead to a better long-term
learning environment. Circuit training has proven to be a successful method in developing optimum
results for athletes. Musicians can learn from these tools and the results can be surprisingly
productive.
Presenter: Paul Robinson, The Ohio State University
From Simplification to Sophistication: Alteration of Rhythms, Fingerings, Notation and Bowings as
an Approach to Learning Advanced Violin Repertoire
Room: 250 A/D
This session focuses on the simplification of bowings, fingerings, notation and rhythms as a primary
pedagogical and practice technique. Students can learn quicker and more easily by starting with
simplified versions of the standard violin repertoire.
Presenters: Samantha George, Lawrence University; Jerome Franke, Private Studio Teacher
Look How Far We Have Come: an Overview of Creativity in the String Classroom
Room: 255 C
While other areas of education still bemoan a lack of creativity, the string world has forged ahead
with innovative classroom strategies. Exemplary programs and approaches will be showcased
through video samples giving numerous suggestions for new activities that can be easily
incorporated in the traditional orchestra classroom.
Presenters: Renata Bratt, Private Studio; Elizabeth Fortune, Seattle Public Schools; Amy Marr,
Tecumseh Public Schools; Martin Norgaard, Georgia State University; Skip Tayor, University of
Georgia
Measures of Success for Strings, Book 2: Taking Success Further
Room: 155 C
Discover Measures of Success for String Orchestra, Book 2, the next volume of the exciting and
powerful new string classroom method. Correlating directly with the most current ASTA developing
standards, Book 2 continues to balance technical skills with musicality while exposing students to
critical skills such as playing by ear, improvising, critical listening, composing and more. Book 1
opened the door to playing a string instrument. Now Book 2 unlocks an entire world of musical
possibilities!
Presenters: Gail Barnes, Carrie Lane Gruselle, Michael Trowbridge
Sponsored by the FJH Music Company
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Middle School Full Orchestra Rehearsal Techniques
Room: 155 F
Is anything more fun than full orchestra? Bringing strings together with woodwinds, brass and
percussion is a winning formula for any music program, and beginning this activity in middle school is
the surest way to lay groundwork for performing great literature at the high school level.
Presenter: Sandra Dackow, William Paterson University
A View from the Middle: The Best of Student-Centered Viola and Cello Studio Teaching
Room: 255 D
A master teacher panel reflects insights from private studio experience. Topics are oriented to
private teachers (but applicable to the classroom). Leave inspired and with plenty of practical ideas!
Presenters: Melissa Knecht, Hillsdale College; Renee Skerik, Interlochen Arts Academy; Diane
Winder, Eastern Michigan University; Jeffrey Solow, Temple University
Yes, You Can! A Step-by-Step Approach to New Styles, New Techniques and Improvisation
Room: 251 C/F
Are you interested in integrating alternative styles and improvisation into your playing and into your
classroom -- but don’t know where to start? This session will provide an uncomplicated, nonintimidating approach that will empower performers as well as teachers who want to inspire their
students to improvise and explore a variety of musical styles. Bring your instrument!
Presenter: Robb Janov, Rock and Rhythm Foundation
Friday 7:00 a.m.-8:00 a.m.
Before the Method Book -- an Alternative Approach to Beginning String Classes
Room: 155 A
This class will explore how to set up a large homo or heterogenous beginning string class that uses
performance as the motivator of achievement even with the most beginning students. It will outline
classroom management strategies, posture and bow hold, rote drills and reading exercises that
increase visual comprehension.
Presenter: Jill Schultz, Scarsdale USFD
The Double Trouble of Double Joints: Issues and Modifications for Hypermobility in String Playing
Room: 155 F
Double-jointedness, known in scientific literature as hypermobility, is the unnatural motion of parts
of the body. While it can provide some flexibility, it also can cause increased tension and
performance injuries among string players. This session will address who is most likely to experience
this condition, other related problems, benefits and disadvantages, and how teachers can modify
technique to avoid or accommodate related injuries.
Presenter: Amber Peterson, Carl Sandburg College
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Initial Foundation and Natural Approach in Violin/Viola Playing: Continuing the Traditions of the
New Russian Violin School From Yamposky to Yankelevich, Oistrakh, Parchommenko and Author
Room: 250 A
The author will share method and pedagogical approaches based on the continuing traditions of the
great Russian School of Violin playing. The presentation will include a detailed description of basic
violin set up rules for left and right hands and its effect on intonation, shifting, vibrato and bow-arm
technique, as well as detection and correction of the most common mistakes. The method discussed
is based on an individual approach, the use of natural, functional, physiological movements, as well
as setting simple and clear guidelines for achieving injury-free development for the beginner through
advanced players.
Presenter: Larisa Elisha, Georgia Southern University
So You've Been Hired… Now What? A Checklist for Your First Week on the Job
Room: 155 C
You scoured the country for orchestra positions, you sent in resumes, you went to interviews and
you've been hired! Congratulations! Now you have to figure out how to get your program up and
running. In this session, we will discuss ways to acclimate to a new school, a new district, or even a
new state. Some topics will include field trips, budgets, concerts and state standards. You will walk
away from this session with an actual checklist to make starting a new job a little less stressful.
Presenter: Meredith Miller, Lexington County School District 1
Therapeutic Yoga for Violinists and Violists
Room: 155 D
Yoga = Union of body, mind and spirit. In a guided one-hour yoga class, we will explore Yoga postures
and Ayurvedic self-massage specifically selected for violinists and violists to use before, during or
after instrument practice and performance. Plan to feel refreshed and relaxed after this session!
Please wear comfortable clothing, plan to remove shoes, and bring a mat or towel if possible.
Presenter: Annie Young-Bridges, St. Tammany Parish Schools, Louisiana
Tips from the Masters
Room: 250 C/F
Tim Janof has interviewed almost 80 of the greatest cellists and pedagogues in the world. Come
listen to him share “Tips from the Masters.”
Presenter: Tim Janof, Internet Cello Society
Friday 8:15 a.m.-9:15 a.m.
Ballistic Sight Reading -- I LOVE to Read Music!
Room: 155 A
I LOVE to Read Music! Old-fashioned Suzuki whiz kids, who can play well but can’t sight read well?
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This session for all bowed instruments will demonstrate easy, quick, efficient and effective steps to
teach music reading, sight reading and even theory to children, to bring them to fabulous music
literacy in 5-plus minutes a day. Presentation includes understandable methods, clear explanations
and helpful demonstrations with children. This session was presented to standing-room-only crowds
at ASTA Conference in Reno, Santa Clara, and Kansas City, and Suzuki Conferences in ’04, ’06 and ’08,
plus Suzuki Association of Utah Conventions.
Presenter: Denise Willey, American Heritage School
From Bow to Baton, and Back Again
Room: 250 C/F
Both conductors and string orchestra teachers use the right hand to communicate musical intent.
Use how to translate your right hand technique as a string player into effective gestures and
communication on the podium. Find out how you might improve your conducting while using your
ensemble to improve your studio teaching.
Presenter: Linda Veleckis Nussbaum, Lincoln Junior High School
A Comparison of Concepts Taught in Popular String Method Books
Room: 250 A
This session will compare the most popular beginning string method books. We will discuss what
different concepts are presented, how the concepts are approached, and how many times they are
reinforced in the different books, in order to know which book is best for your string program. We
also will discuss how the method books have included theory and history concepts, improvisation
exercises, creativity exercises, multicultural music and composition opportunities.
Presenter: Nola Campbell, Glastonbury High School
Curriculum Driven Success for Studio Teachers
Room: 255 C
Resources, tricks, and discussions for putting your students on the fast track, using the ASTA String
Curriculum as a guide.
Presenter: Kelley Johnson
Everybody On Your Feet: String Techniques to Get Your Orchestra Moving
Room: 251 C/F
Have you ever seen a rock band sit for a performance? Why should orchestras be confined to their
chairs, especially when performing pops and rock music? The purpose of this session is to get your
orchestra out of their chairs and onto their feet for your pops concerts. Topics will include the basics
of standing while playing, memorizing parts and styles of choreography to fit every piece. Bring your
instruments and get ready to move!
Presenter: Michael Giel, Cambridge High School
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Let's Get Together! Fostering Lifelong Friendships in Your Studio so EVERYONE Benefits
Room: 155 D
When your students make friends with each other and their parents also become friends, the longterm rewards far surpass the actual friendships. You, your students, your parents, your studio and
your community all will reap amazing benefits. You also will enjoy free advertising throughout your
neighborhood and music community, and your program will magically grow! Come and hear Sheryl
Shohet’s 16 specific and logical steps you can follow to encourage lifelong friendships in your private
studio, including illustrations and tips for implementation.
Presenter: Sheryl Shohet, Private Studio Teacher
Perform Internationally: A Comprehensive Talk about Traveling and Performing Internationally
Room: 155 C
Discover WorldStrides’ International Discovery Performance Program Tours. Strategies for travel,
recruitment, customization, and performance venues will be discussed. Want to find out where
Mozart walked? We can take you there! Bring your questions! Question/Answer session will
conclude our session. www.performingtravel.com
Presenter: Andrew Gekoskie
Sponsored by Worldstrides International Discovery
Repertoire That Teaches: Young Beginning Double Bassists
Room: 155 F
Traditional approaches to teaching young string players often include repertoire for beginning
bassists that do not allow multiple opportunities or enough repertoire to practice bass specific
technique. Pieces often cater to upper strings and do not include shifting and position work
demanded by beginning ensemble music. This best practices poster session will highlight lists of
repertoire for very young beginning bassists that fosters repetition, engagement and the
introduction of advanced technique.
Presenter: Jordan Loveland, The University of Texas
Teaching Adults – Problems and Solutions
Room: 255 A
This session will focus on teaching methods for adults and seniors beginners to intermediate.
Students who either started their string education as adults or those who have taken many years off
between adolescence and adulthood. Edgar Gabriel and Susan Blaese will share their years of
experience teaching adult beginners and intermediate students. The differences of teaching children
and adults will be discussed and demonstrated. Problems associated with teaching adults will be
addressed and solutions given. Bring your instrument.
Presenters: Edgar Gabriel, Elmhurst College; Susan Blaese, Elmhurst College
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Friday 9:30 a.m.-10:30 a.m.
Alternative Styles Roundtable
Room: 251 A/D
But I Memorized it! I Just Can’t Remember… How it Goes.
Room: 255 A
The fear of a memory slip during performance can be paralyzing. However, much of the risk of
memory slips comes from the way we go about memorizing music. This session will help you discover
or revisit the different approaches to memorization, including one designed to make your musical
memory the most solid element of your performance.
Presenter: Kasia Bugaj, Florida State University
Fixing the Unfixable -- Don't Accept a Poor Position Again
Room: Room 250 A/D
Have you ever taught an amazing lesson, one that you were sure would have every child in your
room boasting a perfect bow hold? And the next time you see them you are horrified by how they
hold their bow. How did they get that position from your wonderful lesson? During this session you
will receive assessment tools to use in your classroom that will allow your students to achieve
excellence in posture, left- and right-hand position and instrument placement. You also will get to
see many before and after positions. Clear assessment that produces excellent results.
Presenter: Jennifer Nichols, Gilbert Public Schools
Getting from Here to There: Violin Pedagogy in the Intermediate Years
Room 255 F
How do we help our intermediate level violin students cross the divide to become musical, confident
performers? The in-between years are a challenging period when the every choice a teacher makes
has a significant impact on the student's future. In this session we will discuss essential etudes,
technique books and technical exercises to facilitate both left- and right-hand development.
Intermediate level repertoire will be discussed and sample repertoire lists will be shared with the
audience.
Presenter: Anna Cromwell, Eastern Illinois University
Hal Leonard Music Industry Showcase
Room: 155 C
New String Orchestra Reading Session: Grades 4-6
Room: 155 A
Presenter: Kirk Moss, University of Northwestern - St. Paul
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Proficient Practice: Organization and Techniques for Effective Practicing
Room: 255 D
Home practice is notoriously challenging for students of all ages. However, without consistent,
effective practice routines, even the most insightful teacher or a talented student will not achieve
their potential. With busy students and parents being pulled in many directions, quality, wellstructured practice is especially important. This session will address all aspects of home practice. It
will include time usage, material, balancing activities, practice expectations, student accountability
and parental involvement. It also will include specific techniques for effective practice.
Presenters: James Przygocki, University of Wyoming; Sherry Sinift, String Academy of Wyoming;
Brenda Brenner, Indiana University
RD 3OCK!
Room: 251 C/F
You just joined a rock band and are looking at the blank canvas of a scribbled out chord chart. How
do you make the right choices as a string player? Using specific examples of well-known songs, this
class explores the concept of "three-dimensional playing." We examine the thought process behind
building an arrangement rhythmically, harmonically and texturally: how to "comp," solo or answer a
vocal line, and how to use electronic effects to add new dimensions to your playing.
Presenter: Joe Deninzon, Private Studio Teacher
Ready to Rehearse: Time Management and Behavior Management for the String Orchestra
Classroom
Room 250 C/F
Time management and behavior management are often obstacles to getting the most out of your
rehearsal time. This session will provide practical and easy to implement strategies to help make
your rehearsals more positive, efficient and productive.
Presenter: Richard Bell, Clayton State University
Sevcik for Cello
Room: 155 D
Description: TBA
Presenter: Tanya Remenikova, University of Minnesota
Stellar Student Teaching: Student Teachers Share Their Experiences
Room: 255 C
Student teaching is both an exciting and a scary time. Current student teachers will help you prepare
from freshman through senior year for a great start to student teaching. We will offer tips getting the
most benefit from the experience and for setting priorities. Topics will also include establishing
productive relationships with cooperating teachers, students, and parents, creating balance in your
life, teaching effective lessons, and managing student behaviors.
Presenter: Margaret Schmidt, Arizona State University
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Voices From the Past: The 44 Duos of Béla Bartók
Room: 155 F
How do you teach Eastern European folk music influences to classical string players? How do you
help a student learn to make the music of Béla Bartók sound gypsy-like and "more Hungarian?"
Claudine Bigelow will show you how to listen to the original folk songs, collected by Bartok in the
field in the early 1900s to find the nuances in rhythm and articulation that make playing these pieces
very exciting for students. Find how these pieces also help better prepare string players for
understanding the complex languages of 20th Century music and loving it at the same time.
Presenter: Claudine Bigelow, Brigham Young University
Friday 10:45 a.m.-11:45 a.m.
Multi-Level Chamber Music Master Class
Room: 251 A/D
Master Teachers: : Members of the Ying Quartet
Amplifying Your Acoustic Violin, Viola, Cello, and Upright Bass: the Basics of Amps, Preamps,
Pickups and Microphones
Room: 155 C
Award winning luthier Gary Bartig will be discussing different ways to amplify your violin, viola, cello,
and upright bass. Topics covered will be the various types of pickups and how they work; various
types of instrument amplifiers used; plugging your amplified instrument into a public address
system; microphone/pickup combinations for live performance; and good microphone choices for
both recording and live performance. Participants will want to take notes as no handout will be
given.
Presenter: Gary Bartig
Sponsored by G. Edward Lutherie
The "Bassics" from 20 Feet Away
Room: 250 A
In many orchestra classrooms, the bass section stretches across one end of the room, far from the
conductor's podium. What do you do about the out-of-tune shifts, the muffled tone, the excessive
edge on the attack? How do you hold their interest while they just play 1 and 5? Learn to use your
ears and eyes to assess their progress, and build proper technique without taking the whole class
period. Building on research and the presenter's personal experience from the back of the room,
take five key strategies home for implementation on Monday.
Presenter: Janine Riveire, Cal Poly Pomona
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The End of “Alternative” Contemporary = Relevant
Room: 155 F
The surge of contemporary influences on our listening, materials and tastes dictates a major shift in
our teaching priorities. Studying the superb artistry and craftsmanship of our predecessors is only
the beginning to a life of creativity, expression, and community involvement.
Presenter: Eugene Friesen, Berklee College of Music
Exploring the Creative and Intellectual Development Side of Music through Improvisation: So, Let's
Do a Little Bluegrass Pickin' and Grinnin'!
Room: 251 C/F
Meeting the National Standard expectations: The standard specifically states that students in the
secondary grades should be able to “improvise rhythmic and melodic variations on given pentatonic
melodies and melodies in major and minor keys” and “improvise original melodies over given chord
progressions.” Adapting an approach to improvisation in your existing secondary school orchestra
program can be fun for both teacher and student. The first step is to simply stop fearing the word
improvisation!
Presenter: Skip Taylor, University of Georgia
Find Your Inner Rock Star
Room: 251 A/D
What's a power chord? Find out how easy it can be for you and your class to play contemporary
literature. Improvisation and guitar-centric techniques also will be introduced and applied in a class
jam session.
Presenter: Glen McCarthy, George Mason University
A Session by Chrsitian Howes
Room: 255 F
Multilevel Madness in the Rural String Classroom: Scaffolding Pieces and Instruction
Room: 155 D
How can teachers provide meaningful ensemble opportunities in a multilevel strings classroom?
Come learn how from two teachers who compiled and arranged folk songs for use in a rural,
multilevel class. This presentation will explore opportunities ways to provide meaningful instruction
at multiple levels, especially focusing on creative teaching possibilities, including the scaffolding
teaching points and student driven ideas to insure learning experiences at all levels. Teachers, bring
your instruments!
Presenters: Liz Dinwiddie, Indiana University; Rose Sciaroni, Indiana University
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Preparation, Preview, Pattern Play: Training Musicians to Read and Play Music Through a Holistic
Pattern Recognition
Room: 255 D
Winifred Crock and Laurie Scott will discuss the concepts of preparation, preview and patterns as
they apply to sequential teaching, student engagement and confident sight reading. They will cover
learning sequences that foster fluency in sight reading in the studio or classroom setting. Preparation
lessons designed in incremental logical teaching and learning steps, foster student courage, fluent
ability and self efficacy. Pattern play is a concept of music reading through holistic pattern
recognition. This vital skill can be taught from the first and can be spiraled into both aural and visual
formal analysis and understanding.
Presenters: Winifred Crock, Parkway Central High School; Laurie Scott, University of Texas - Austin
Roll [and] Rock: Dancing Your Way into Paul Rolland Pedagogy Movements
Room: 155 A
Using tunes familiar to the majority of Americans, we will "dance" our way into an understanding of
Rolland movement concepts. These "dances" serve as the basis for understanding Rolland and Marla
Mutschler's "The Teaching of Action in String Playing.” They also aid in introductory and remedial
movement instruction for beginning to advanced violinists and violists. Bring instruments. No prior
dance experience necessary!
Presenter: Lynne Denig, Rolland Clinician
Simplicity: Teaching Orchestra One Hand at a Time
Room: 250 C/F
Understanding the left hand, right hand and music reading skills needed to play a string instrument is
crucial for long-term student success. Topics covered in this session will include how to isolate and
teach intonation, finger patterns, rhythmic precision, stylistic bow strokes, tone quality and music
reading at all levels. Participants also will learn how to combine those performance skills through
various activities to create an engaging and successful rehearsal atmosphere.
Presenter: David Pope, Manatee High School
Friday 11:45 a.m.-12:30 a.m.
Coffee Break
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Friday 12:30 p.m.- 1:30 p.m.
Pre-College Bass Master Class
Room: 155 D
Master Teacher: Eric Hansen, Brigham Young University
Sponsored by Pirastro GmbH
Collegiate Roundtable Session
Room: 255 D
Fiddling Songs for Cello: Singing, Accompanying and Improvising Too
Room: 255 C
Cello fiddling – learn to teach a fiddle tune PLUS the fiddling riffs for cello students. Tunes are easier
to learn if you sing them first. Improvisation is easier when you learn appropriate phrases. Reinforce
technique with bow crossing, left-hand extensions, syncopation, and fast passage work. Cellists can
sing, play the tune and improvise with variations too! Bring your instruments and we'll all learn
together.
Presenter: Renata Bratt, Private Studio Teacher
From the Practice Room to the Podium: Mindful and Creative Approaches to Practice and
Rehearsals
Room: 250 C/F
This session will examine how effective and creative individual practice strategies can be adapted for
use in sectionals and ensemble rehearsals. Using principles from successful pedagogical models,
effective rehearsal techniques, and music performance psychology, we will explore the benefits of
solving musical challenges through a mindful, deliberate and creative approach. Specific musical
examples as well as techniques will be examined.
Presenters: Frank Diaz, University of Oregon; Fritz Gearhart, University of Oregon
Improving Intonation with Tambura Drones: Hearing While Playing
Room: 155 F
Listening carefully to pitch while playing is challenging: so often, the performer’s attention is directed
primarily toward the mechanics of fingerings, bowings and tone production. Listening with intense
discrimination to the exact pitch takes a back seat. This session leads participants through the steps
outlined in the presenter’s February 2014 AST journal article by the same title to experience effective
ways of using the Indian tambura drones. The pedagogical techniques covered are designed to help
students strengthen their capacity to listen carefully to pitch while playing scales and standard solo
and orchestral repertoire.
Presenter: Paul Erhard, University of Colorado
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It's Symphony Time! Developing and Working with the Young Full Orchestra
Room: 250 A
Thinking about forming a full orchestra at your school? Where to begin? Some directors become
fearful at the thought of forming a full orchestra, particularly at the beginning and intermediate
stages. This session will show directors strategies for building and working with a young full orchestra
to create a unique and rewarding experience for both the string and band students.
Presenter: Charles Laux, Kennesaw State University
Jazz Improvisation for Middle School Strings: A Step by Step Approach
Room: 155 A
Erase the fear and unknowns of introducing jazz and improvisation to young string students. It can be
done with great ease and much fun. Jeremy Woolstenhulme and his orchestra will share step by step
ideas toward making basic improvisation logical, musical, and accessible to all students on all
instruments. He will work with a grade 1.5 rock style jazz chart composed by master jazz educator
Dean Sorenson. Complimentary materials will be distributed.
Demo Group: approx. 20 students from his middle school chamber orchestra
Presenter: Jeremy Woolstenhulme
Sponsored by Neil A. Kjos Music
Pre-K Violin Literacy Program
Room: 155 C
The pre-K violin program provides instruction that enhances literacy and focus, as well as social and
motor skills. Significant research regularly supports that appropriate education before age 5
produces the highest rewards, as it is the most critical period for brain development. The pre-K
violin program is especially designed for low economic communities to help children be ready for
kindergarten readiness and school success. Data will be shared showing very encouraging data from
several Florida Head Start centers. A video showing aspects of the program will be viewed.
Presenter: Judy Evans, Florida Gulf Coast University
A Session by Eduard Schmeider
Room: 255 F
What About My Music Making?: Maintaining Musicianship While Teaching
Room: 255 A
Many pre-service and in-service string teachers are concerned about maintaining their musicianship
as they develop teaching skills and build a strong program. In this session, we will share ideas on how
to integrate teaching and performance activities. Topics will include role development, experienced
teachers’ varied performance activities inside and outside of the classroom, creating a schedule, and
ideas for efficient practice.
Presenters: Margaret Berg, University of Colorado; Kristen Pellegrino, University of Texas at San
Antonio
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Friday 1:45 p.m.- 2:45p.m.
Multi-level Harp Master Class
Room: 155 D
Master Teacher: Marina Roznitovsky, University of Nevada
(sponsored by Merz Huber Company)
Curriculum Session
Room: 255 C
Presenter: Denese Odegaard, Fargo Public Schools
Collegiate Rountable Meeting
Room: 255 D
Discovering Your Natural Potential: Modern Violoncello Technique and Achieving Higher Levels of
Performance
Room: 155 F
Dr. Steven Elisha discusses evolved cello technique. Based partially on “yogic” principles and Janos
Starker’s Organized Method of String Playing, this session will provide information on concepts of
relaxation, balancing muscle tension, injury prevention, concentration and the integration of
breathe, maximizing playing potential to achieve higher levels of cello performance.
Presenter: Steven Elisha, Georgia Southern University
Finding Fantastic Fingerings for Solo Bach
Room: 255 F
This session will introduce the possibilities and methods for choosing stylistically correct fingerings in
solo Bach and other Baroque string repertoire. The session will explore an approach to fingering
choices that relies on the use of historical sources, period instrumental technique, and even
fingerings that Bach himself wrote into his music, and why this approach may be the best.
Presenter: Christine Rutledge, University of Iowa
From Pedagogy to Repertoire with the Springville High School Chamber Orchestra
Room: 155 A
Kirk Moss and Sam Tsugawa team up to share ideas on how to improve the sound of your middle or
high school string ensemble through the use of exercises and repertoire. See and hear results with
the Springville High School Chamber Orchestra from Springville, Utah.
Presenters: Kirk Moss, University of Northwestern - St. Paul; Samuel Tsugawa, Springville High
School
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Guitar Technique
Room: 255C
Presenter: Gregory Koenig, Clark High School
Maintaining Diversity Across the Multi-Level String Classroom
Room: 250 C/F
Most elementary string classrooms reflect the diversity of the school community; the challenge is to
maintain that diversity throughout high school. This session will investigate ways to promote
retention while respecting and acknowledging the individuality that all students bring to the string
classroom. Emphasis will be on practical applications and strategies that work for the good of the
entire string program. The session will conclude with a review of print and web resources.
Presenters: Mary Maliszewski, West Orange Public Schools
Managing Self-Talk: Three Techniques to Conquer Music Performance Anxiety
Room: 250 A/D
When we practice and perform, overly self-conscious thoughts can interfere with our musical
development and success. In this session we blend wisdom from expert teachers, psychologists and
expressive arts therapists to explore specific techniques to transform negative thinking patterns into
supportive thoughts that promote musical achievement. Come learn and practice three effective
techniques in a safe, reflective space where you can choose your level of engagement.
Presenters: Karin Hendricks, Ball State University; Tawnya Smith, University of Illinois
Violin Pedagogy
Room: 155 C
TBA
Presenter: Steven Shipps
Sponsored by SHAR Music
Friday 3:00 p.m.- 5:15 p.m.
Be Like Stuff and Steph! Exploring Improvisation in the Style of Swing Jazz Violin Pioneers Stuff
Smith and Stephane Grappelli
Learning Lab - two-hour session
Room: 251 C/F
Come explore the world of swing jazz improvisation from the point of view of jazz violin pioneers
Stuff Smith and Stephane Grappelli. All ages and ability levels welcome. For those new to improv, we
will cover basic concepts that will get you improvising in 10 minutes. For those with more
experience, we will compare the more classical vocabulary of Grappelli with the more "street smart"
style of Stuff Smith. There will be a little something for everyone. This will be a "learn by doing"
session, so bring your instrument. We'll end with a jam session.
Presenter: Duane Padilla, Punahou School
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Greeks, Geeks, and the Doctrine of Affections: Learning How to Decipher the Aesthetic Code that
Guided Musical Expression in the Baroque Era
Learning Lab - two-hour session
Room: 250 A/D
A cursory reading of many baroque compositions leaves most of us with the impression that music of
this style period is not very expressive. But connoisseurs know that there is a codebook for unlocking
the expressive intent of the composer, namely the Doctrine of Affections. Learn how the ancient
Greeks influenced this widely-accepted theory of musical aesthetics and how an understanding of its
principles can guide modern performers in interpreting compositions written under its influence
during the baroque era. Bring your instruments to first practice, then perform what we preach!
Presenters: James Lyon, The Pennsylvania State University; Elizabeth Lyon, Cornell University; Clara
Lyon, The Academy at Carnegie Hall
Friday 3:00 p.m.- 4:00 p.m.
Collegiate Cello Master Class
Room: 155 D
Master Teacher: Thomas Landschoot, Arizona State University
sponsored by Pirastro GmbH
Collegiate Roundtable Session
Room: 255 D
Discover the Best Music for Your Spring Concert: A New Music Reading Session from J.W. Pepper
Room: 155 A
Bring your instruments and get ready to play the ten new pieces that you must do for your spring
concert. Your students will be motivated and excited for orchestra until the very last rehearsal.
These easy to medium works have been selected among hundreds of new publications based on the
following criteria: sound great; not too difficult; teach technique; build confidence; and work each
section. Pepper’s orchestra editor, Todd Parrish, will conduct the reading orchestra with special
appearances by a few of your favorite composers and arrangers.
Presenter: Todd Parrish
Sponsored by JW Pepper & Son
Introduce Shifting in Three Stages
Room: 255 F
1) Preparatory exercises, 2)pieces and exercises in one position and 3)pieces and exercises, including
shifts -- these are the three stages of introducing the essential art of shifting. Preparatory exercises
emphasize larger shifting motions and can be introduced during the beginning stages of study. One
octave scales, finger patterns and easy folk songs can be taught in different positions. Pieces and
exercises, including shifts, will set the course for a lifetime of shifting. Paul Rolland, Evelyn Avsharian
and Harvey Whistler have provided excellent exercises, concepts and pieces that will get students off
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to a great start. Advanced shifting concerns addressed as well.
Presenter: Sherry Sinift, String Academy of Wyoming
Music Advocacy: An Open Dialog
Room: 250 C/F
John Benham, one of the nations leading and most successful advocates, will moderate an open
session on the four key components of music advocacy. Participants in the session will have the
opportunity to submit questions at the beginning and throughout the session that will then comprise
the content presented.
Presenter: John Benham, Liberty University
Ten Steps for the Development of Excellent Bass Players
Students will demonstrate how step-by-step teaching of correct physical actions enables them to
play the double bass easily and beautifully. Teaching points will include a secure relationship of
balancing the instrument, a proper understanding of tone production, and proper movement of both
arms and hands. The student demo group will feature beginning and advanced literature from the
Suzuki Bass School.
Presenter: S. Daniel Swaim, Private Studio Teacher
What No One Ever Told Me
Room: 155 F
Aimed at music education majors headed for student teaching and at teachers in the early stages of
their careers, this session presents 40 years of learning experiences condensed into an hour, which
will help assure success. This presentation may open some more experienced eyes as well.
Presenter: Ian Edlund, String Instrument Specialists
Why Do I Hurt When I Play With "Good Posture?" Learning to Stand and Sit in Balance: Body
Mapping for String Players
Room: 255 A
This presentation will address how to sit and stand in a balanced way with our weight delivering
through the bony structure so that unnecessary muscular “holding up” work can be released. We will
examine what myths, both cultural and pedagogical, lead to the common misconceptions about
sitting and standing that cause pain, and injury through the neck, back and legs. We also will
demonstrate how to guide a student out of damaging movement patterns toward healthy ones that
are aligned with the true design of the body, thereby restoring ease and poise to the student's
movement.
Presenters: Jennifer Johnson, Memorial University of Newfoundland; Rebecca Hunter, University of
South Carolina; Judy Palac, Michigan State University
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Friday 4:15 p.m.- 5:15 p.m.
Pre-College Viola Master Class
Room: 155 D
Master Teacher: Bradley Otteson, Utah State University
Sponsored by Pirastro GmbH
Assessment in the Orchestra Classroom: Designing and Implementing Meaningful Assessments for
Teachers and Students.
Room: 255 C
Assessments can be a powerful and meaningful way to help students achieve musical goals. This
session will present ways to design and implement both formal and informal assessments that
objectively measure students' strengths and weaknesses. Examples of actual assessments, rubrics
and assessment maps will be made available to the session attendees.
Presenter: Soo Han, Carmel High School
Growing Pains: Strategies to Help Your Cellists Survive Middle School
Room: 255 F
Student cellists encounter new challenges as they grow to need larger instruments and face
adaptations in their posture and set-up. This session will discuss common left-hand and right-hand
set-up issues seen in intermediate cellists, how to approach extended technique such as extensions,
shifting, fingerings, vibrato, and low- and high-register tone quality. Repertoire examples and online
resources will be provided for understanding appropriate cello technique and motivating students to
learn.
Presenter: Julia Ellis, Worthington City Schools
HD-200 Ear Training Tool for Ensembles
Room: 155 C
Sponsored by Yamaha Corporation of America
Icing on the Cake: Tips for Better Phrasing, Tone and Articulation, in Your Next String Orchestra
Performance
Room: 155 A
One of the greatest challenges for high school orchestra directors is helping string ensembles present
an expressive, energetic and memorable performance. This session will present tips for increasing
each student’s musical understanding through a focus on improved bowing techniques and more
effective rehearsal strategies. A special focus will be placed on tone production, articulation and
musical expression. Musical examples from common intermediate-level orchestra repertoire will be
discussed and played by participants. Participants who wish to play excerpts as part of a group
demonstration will be joined by string players from the Snow College Chamber Orchestra.
Presenter: Brent Smith, Snow College
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Juried Research Poster Session
Room: 255 E
The Research Posters present studies by graduate and undergraduate students, university faculty,
and practicing teachers. The poster session is open to research papers involving any aspect of string
playing and teaching, including philosophical, theoretical, or historical as well as qualitative and
quantitative reports. The poster session is designed to allow for dialogue and interaction among
researchers and interested attendees. Please join us for this informal and stimulating session. See a
description of all the posters being present on page?
Mozart was Not Born a Genius, He Became One -- and You Can, Too!
Room: 255 A
We’ll start by dissecting two popular talent misunderstandings; Wolf Mozart and Tiger Woods. We’ll
end with the biggest talent myth -- You. You are much more capable and “talented,” as a teacher and
student, than you may realize. Come to this session to find out practical ways to reach your potential
and immediately improve. What is significantly different about child prodigies other than developed
skill? Research in cognitive neuroscience is showing that our perceptions of talent and
accomplishment may be misunderstandings. If so, what are the best coaches and teachers doing to
get others to high levels of skill?
Presenter: Gregg Goodhart, Better Learning Through Neuroscience.com
An Overview of ASTA's Certificate Advancement Program and Ten Ways the ASTACAP will Improve
and Motivate Your Studio!
Room: 155 F
This session is geared toward an informative, fast-paced discussion of why ASTA's amazing
certification program (ASTA CAP) should be utilized in your instruction each year and how it can
positively impact the quality of your students. The ASTACAP will help your orchestra and/or private
studio by forming a solid foundation with a strong focus on repertoire memorization, preparation of
scales and etudes, and clear goals for your students. You will walk away refreshed with many new
ideas to incorporate as well as a better sense of how to implement structured, well balanced choices
in your individual private studio! Come and learn how the ASTA CAP will enhance your studio in ten
exciting ways. From how to get started organizing an exam site to requirements, repertoire
guidelines, and tips on how to make the ASTACAP work for you, this session is not to be missed!
Presenter: Stephanie Meyers, University of Texas at El Paso
SavageFiddler Method: Teaching Jamming and Improvisation in the Secondary Orchestra
Classroom
Room: 251 A/D
Do you desire to address the National Standards of arranging, composing, improvising chord reading
and playing with others while differentiating in the orchestral classroom? Bluegrass can be a
powerful tool for teaching these skills. Participate in a live bluegrass jam and walk away with the
tools to both participate and teach this American art form. Taught by Annie Savage, M.M.Ed,
international performer and bluegrass clinician with more than 10 years of experience teaching
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jamming in the public schools. Bring your instrument!
Presenter: Annie Savage, Founder, SavageFiddler Method
Traveling Around The Cello Fingerboard with Ease
Room: 250 C/F
The session will incorporate skills of the body in action, moving throughout the positions, charting
the positions, adventures into thumb position, extending the terrain with extensions, and moving
with vibrato. Source materials also will be provided.
Presenter: Katherine Jetter, Fort Lewis College
Saturday 7:00 a.m.- 8:00 a.m.
Bulgarian Pedagogical Repertoire for the Viola Studio
Room: 250 C/F
Bulgarian musicians have written many colorful, imaginative and highly accessible compositions for
viola. Bulgarian classical music is inspired by both Bulgarian folk music and the compositional
traditions of western Europe and Russia. Viola repertoire written by Bulgarian composers is mostly
unknown in the United States. Studying it presents an opportunity to discover and explore modal,
rhythmic and timbral features not commonly found in western European pedagogical materials,
including irregular meters, non-western scale patterns, double stops with drones, and specific tone
color effects. This presentation will focus on how Bulgarian repertoire can be incorporated into the
teaching studio.
Presenter: Lisa Nelson, Illinois Wesleyan University
Creativity and Musicality in the Very Beginning String Class
Room 255 D
In the beginning days of instruction, when students barely know how to hold their instruments, it can
be a real challenge to feel musical or creative. This session will explore activities to use on those first
days that combine beginning technique with improvisation, creativity and instrument exploration.
Your students, and you, will leave the first day of class inspired to be musical! Instruments and
participation welcome.
Presenter: Lindsay Fulcher, The Pennsylvania State University
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From Violin to Viola and Back Again: The Pedagogy of Switching Students
Room: 250 A/D
This session will focus on the pedagogy of switching from violin to viola at the beginner,
intermediate, collegiate and professional levels. Successful teaching strategies, body awareness and
tension, accessible repertoire, and how to present concepts for new violists such as resonance and
tone will be addressed. A comprehensive plan, including technique, repertoire and reading, for
switching students at any age or level will be presented.
Presenters: Elizabeth Guerriero, Rider University; Christopher Luther, University of Northern
Colorado
Keeping Your Students Challenged and “With the Program”!
Room: 155 A
Katharine Rapoport showcases the Royal Conservatory of Music’s exciting new Violin Series and Viola
Series. Whether students are aiming for entrance to a top music school or for enjoyment of a lifetime
of music-making, the nine progressive repertoire albums provide a rich resource for use in the
private teaching studio.
Presenter: Katharine Rapoport
Sponsored by Frederick Harris Music
Mo' Mozart, Mo' Money: Creating, Marketing and Branding Your Private Lesson Studio
Room: 155 F
Create a thriving and creative livelihood from your lesson studio with a three-year marketing plan,
retain and engage current students, and attract new students. This session will help you think of
ways to understand your brand, time management and hone in on your teaching experience as a
service and market your talents as a business owner and community partner. It will help you identify
and target your direct and indirect competition and help you to identify your allies. Topics discussed
include setting rates and studio policies, using technology, using traditional and social media, and enewsletters.
Presenter: Nancy Kuo, Leggy Fish Violin Lessons
String Pedagogy for String/Orchestra Teachers: A Sequential Approach
Room: 155 D
Based on Jerome Bruner's theory of Spiral Curriculum, this interactive session (bringing instruments
is encouraged) will present string/orchestra teachers with sets of developmentally appropriate and
sequential steps for teaching right- and left-hand playing techniques that are often delayed for later
years of instruction on the bases of their complexity: spiccato, cole, ricochet, shifting, vibrato and
left-hand pizzicato, among other techniques. Participants will receive handouts with steps being
spelled out both in musical notation and written text so they can implement what they learn in this
session in their own teaching settings.
Presenter: Dijana Ihas, Pacific University
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Your Students Can Play the Notes... What's Next?
Room: 155 C
Too often without realizing it, the goal of an ensemble class becomes to simply learn the notes and
rhythms. How do we, as directors, encourage and cultivate a more sophisticated level of music
making in our orchestras? This session will discuss how to pick appropriate level music, offer specific
rehearsal strategies to develop musical thought and activities for connecting musical thought to
executive skills, which will create a stunning performance.
Presenter: Lisa Caravan, Bucknell University
Saturday 8:15 a.m.- 9:15 a.m.
The ABC's of Chamber Music
Room: 250 A/D
This presentation is geared towards teachers who are working with young students that are either in
a chamber music setting for the very first time, or do not have a significant amount of chamber
music experience. The goal is to offer teachers practical tools and a framework for how to
successfully introduce chamber music to inexperienced students in a manner that will meet their
ability levels and foster their continued growth.
Presenter: Lucy Lewis, California State University San Bernardino
Creating the Ambidextrous String Player: Games and Exercises to Train and Integrate Skills for the
Left and Right Sides
Room: 255 A
Join in an active session filled with ribbons, rings, and other simple tools. At home you can use these
activities to inspire players of all ages. We also will use instruments and bows to try some of the
specific exercises I use in group and private settings. Activities and exercises are named for the gifted
teachers and pedagogues who inspired them.
Presenter: Janet Poth, Journey School
The Creative Cellist: Letting the Exploration of New Styles Motivate and Lead You to the Next Level
Room: 251 C/F
Utilizing Jazz, Blues, Fiddle tunes and even solo Bach, we can design challenging exercises, and look
forward to mixing it up with scales, etudes and pieces. Learn fast runs, swing your arpeggios, learn
double stops while you chord and chop your way through the harmonic landscape of a Fiddle tune.
Learn your theory by way of walking bass lines. The cello is the new bass as far as versatility goes and
everyone wants one in their band these days. So bring your cello and try a new approach -- and don't
forget to have some fun.
Presenter: Jane Heald, IPFW Community Arts Academy
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Mime in Time: Increasing Motion Awareness and Muscle Efficiency in Viola Playing
Room: 255 D
Strained neck? Sore shoulders? Aching back? Tight arms? Sound familiar? You’re not alone. Whether
such symptoms are felt intermittently or persistently, they do not have to occur as a consequence of
playing the viola (or any bowed instrument). Learn how to use better motion to increase your playing
ease. Empower your body to make more sound optimizing your physical resources. You might
impress yourself with new levels of awareness and freedom by breaking old habits that have limited
you for too long.
Presenter: Nancy Buck, Arizona State University
Old Becoming New: “Little Known “Gems” of the String Orchestra Repertoire
Room: 155 A
Looking for “new” and exciting compositions for your string orchestra?
Led by renowned arranger and educator Sandra Dackow, teachers will have the opportunity to hear
and learn about the forgotten historical gems of the standard string repertoire. Perfect for concert,
festival and competition performances; explore or revisit selections that have been “lost” in the mix
of the vast history of string literature. Exhilarate students and audiences alike with these old, yet
“new” pieces of music history! Bring your instruments to participate in the reading orchestra. A
score and set of each piece will also be raffled off at the session, giving all attendees a chance to win!
Presenter: Sandra Dackow
Sponsored by Luck’s Music Library
The Score Scavenger Hunt: Digging Deeper Strikes Gold!
Room: 155F
Knowing your score means more than knowing when to cue the basses or when to change your beat
pattern. By digging deeper, by really knowing, studying and analyzing your score, particularly as
practiced through the lens of Comprehensive Musicianship, your score will point you to your
students’ learning outcomes. From these outcomes you will be able to devise meaningful and
practical strategies to reach your outcomes as well as creative assessments to measure those
outcomes. We will dig into repertoire examples from beginning to advanced levels, and hunt for the
clues that will inform our presentation from the podium.
Presenter: Carrie Gruselle-Gray, Lawrence University
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Selecting Repertoire and Programming Considerations for School Orchestras
Room: 255 C
Selecting the best repertoire is one of the most important responsibilities of a school orchestra
conductor. Learning repertoire should help introduce students to new technical skills, reinforce
rhythmic concepts, introduce musical styles and more. In addition, the music should challenge
students, yet still be within reach of their technical limitations. This session will provide guidance,
suggestions and practical examples for orchestra directors of all secondary levels.
Presenter: Charles Laux, Kennesaw State University
Sounds Like, Feels Like, Looks Like: A Comprehensive Sequence to Improve Student Musicianship
and Music Literacy
Room: 155D
The ability to hear and anticipate tonal, rhythm and formal patterns are fundamental to developing
string musicianship and music literacy. This session demonstrates rehearsal strategies and classroom
activities that improve intonation, rhythmic accuracy and expressive playing based upon Dr. Edwin
Gordon's "Music Learning Theory," commonly called audiation. Video excerpts will illustrate various
rehearsal strategies and classroom activities that help students develop improved aural and rhythm
skills, music literacy skills and expressive playing. Effective formative strategies that assess student
learning also will be presented.
Presenters: Samuel Tsugawa, Springville High and Junior High schools; Andrew Dabczynski, Brigham
Young University
Technical Materials for Intermediate-Level Violin Students
Room: 255 F
Need a set of technical repertoire to support your intermediate violin students' progress through
solo repertoire? This session will give you a reliable, practical curriculum, including scale studies,
shifting, agility, double stops and etudes from Wohlfahrt through Kreutzer.
Presenter: Jennifer Sacher Wiley, Susquehanna University
There Are Rules for That: Guidelines for Submitting Your Work for Publication
Room 250 C/F
This session explains the use of modern music engraving programs and how best to use them, how
to submit music for publication, what to do if you choose to self-publish, what publishers are seeking
from arrangers/composers and, most importantly, specifics of the copyright laws, presented in the
format of a Jeopardy game.
Presenter: Lynne Latham, LudwigMasters Publications
We Played Through It, Now What?
Room: 155 C
Chamber music provides a unique opportunity to develop students’ level of playing, yet many
students lack the skills to effectively self-rehearse. This session explores strategies to tighten
ensemble skills such as rhythmic integrity, intonation, sound quality and expressive playing. The
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discussion also includes an approach to sequenced repertoire, including reading selected pieces.
Whether teaching an orchestra at a public school, or directing an ensemble in higher education, the
use of self-directed chamber groups allows for a unique in-depth opportunity to expand student
learning.
Presenter: Theodore Buchholz, Pima College
Saturday 9:30 a.m.- 10:30 a.m.
Multi-level Guitar Master Class
Room: 155 D
Master Teacher: Nicholas Goluses, Eastman School of Music
10 Mistakes Good Teachers Make That Keep Students Dependent
Room: 255 C
Good studio teachers make corrections and supply information… but is it possible that we provide
too much of a good thing? We examine common practices of studio teaching and figure out where
we veer off course -- and the adjustments we can make -- when it comes to helping students become
strong, independent musicians.
Presenter: Cornelia Watkins, Rice University
Don't Stop Believin: A Musician's Journey to Sustainability through Entrepreneurship
Room: 255 F
Building a career as a 21st Century musician is a daunting task. In a climate where budgets are cut
and the arts lay at the bottom of the totem pole, today’s musician has to work harder than ever to
cultivate a sustainable career. In this session, the Tetra String Quartet will present steps on how to
create your mission statement, brand and market yourself or your program, and build a positive,
sustainable working environment in which you CAN and will WANT to stay. These strategies will
empower you hit the ground running as a smart and successful musical entrepreneur!
Presenters: Heidi Wright, Tetra String Quartet; Jenna Dalbey, Tetra String Quartet; Louis Privitera,
Tetra String Quartet
The Hardest But Most Important Task in Our Profession: Teaching Beginners in a Large,
Heterogeneous Class to Play Correctly
Room: 255 C
Teaching beginners in a large heterogeneous class to play well is one of the hardest tasks in our
profession. Teachers who effectively teach beginners are worth their weight in gold -- and may they
weigh a lot! Come explore the best pedagogy, research, motivation, assessment, technology,
sequencing and strategies to get beginners to play their best. To get the high school orchestra to play
its best, beginners must play well from the start.
Presenters: Robert Gillespie, The Ohio State University; Blair Williams, The Ohio State Univeristy;
Renee Wang, The Ohio State Univeristy
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New String Orchestra Reading Session: Grades 1-3
Room: 155 A
Presenter: Gail Barnes, University of South Carolina
Play with More Color!
Room: 255 A
The relationship between music and visual color has been discussed for centuries, from Aristotle and
Newton to Rameau and Messiaen. But you don’t have to be a synesthesiast to appreciate how
connecting color to musical ideas can stimulate creativity and bring a performance to a new level. In
this session, specific activities utlitizing a box of crayons will be introduced that will activate your
imagination. These activities are fun for all levels of students and can be used with any instrument.
Crayons will be provided!
Presenter: Adriana Ransom, Illinois State University
Shifting Strategies
Room: 255 D
Organizing the shifting process is key to developing a comfort zone for fluid and reliable shifting. This
session will explore ways to achieve confidence in shifting by examining and coordinating listening
skills, left-hand logistics, bow planning and timing.
Presenter: Elisabeth Small, Belmont University School of Music
Spiraling Composition: Strategies for Incorporating Composition in Your Curriculum
Room: 155 F
Do you ever wonder how you can incorporate composition into all teaching situations? Are there
ways to create success for all students? This session will cover strategies for teaching composition to
students of all ages and ability-levels. Various materials and methods designed with string students
in mind will be discussed. Sample student work will be shown and a panel of student-teachers
currently using the composition curriculum with elementary students will share their experiences.
Presenter: James Mick, Ithaca College
Recycle and Re-Use: 20 Advanced Uses for Easy Folk Tunes
Room: 251 C/F
Using well-known folk tunes can be an extremely valuable tool for teaching students of all
ages/levels, whether individual lessons, groups, even chamber groups. Bring your instrument, and
discover some very creative ways to teach important skills such as: Ear-training; Transposing;
Technique (shifting, string crossing, bariolage bowing); Intonation; Theory (simple analysis, melodic
development, simple chord theory); Arranging; How to Create Variations; Ensemble techniques; and
Improvisation.
Presenter: Jody Harmon, Private Studio Teacher
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University-Public School Meet and Greet: Using Technology to Offer Opportunities to Collaborate
INSIDE and BETWEEN Public School and University Classrooms
Room: Room 250 C/F
The process of preparing future string educators is an involved and time-intense one. MUED majors
have huge expectations upon them in meeting their degree requirements. An ongoing challenge for
students and teacher preparation programs is scheduling enough opportunities for meaningful field
experiences prior to student teaching. Utilizing technology is a viable way to do this. This session will
explore the process, challenges and benefits of such “Technology Practicum Partnerships,” and
discuss relevant research.
Presenter: Lisa Maynard, James Madison University
Using Technology for R&R: Recruitment & Retention for String Programs
Room: 155 C
TBA
Sponsored by Wood Violins
What's a Scale and Why Should I Care? How to Succeed with Score Study for Students
Room: 250 A/D
How many times do we use the words key, scale, sharp and low 2 with our students only to get a
blank look? For the 100th time? Here's a quick and easy way to make the music on the page become
relevant and applicable no matter what concert pieces you choose. Students will interact with
learning targets, develop music literacy, make real-world connections and understand contentspecific vocabulary. The end results are students developing their musicality, identifying the
importance of their part to the whole, expanding their music vocabulary and understanding the
structure of their music.
Presenter: Lyda Osinga, Milwaukee Youth Symphony Orchestra
Saturday 10:30 a.m.- 11:30 a.m.
Coffee Break
Saturday 11:30 a.m.- 12:30 a.m.
Collegiate Level Viola Master Class
Room: 155 D
Master Teacher: Leslie Harlow, Park City Chamber Music Society
(sponsored by Pirastro GmbH )
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101 Ways To Teach Vibrato!
Room: 255 F
A session chock full of imaginative, creative and practical exercises derived from a lifetime of
successful teaching and working with some of the world's most famous pedagogues that covers the
teaching and playing of vibrato from the beginning, through the intermediate stages and culminates
in vibrato technique for the advanced artistic stage. These vibrato ideas can be used in the private
studio or in a group setting and adapted for all string instruments!
Presenter: Kenneth Sarch, Mansfield University (Retired)
Creativity, American Music and Variation
Room: 251 C/F
Mark O'Connor, a leading expert on American violin music with an extensive performing and
composing career, will show how improvisation and variation study in American song structures
nurture creativity in a string player. Using American musical materials featured in his best-selling
string playing method, The O’Connor Method, he will show how American music’s multiple styles
and song forms create what he calls the “21st Century string player,” who is an expert technician, a
keen listener and a willing creator. Learn not only how to teach and introduce creativity, but also
how to become a more creative string player yourself.
Presenter: Mark O'Connor, University of Miami
The Double Bass Fingering Buffet: Helping Students Explore the Wide Variety of Expressive Choices
Room: 255 D
This session is designed for teachers and students of the double bass to understand the basic
fingering choices available to the bassist (one-string, two-string, three-string fingerings) and their
execution (shift, pivot) in order to make the choice that best reflects their musical intention.
Examples will be taken from scales, arpeggios, orchestral excerpts and solo repertoire. Anyone with a
bass is welcome to play.
Presenter: Hans Sturm, University of Nebraska, Lincoln
Embracing Heterogeneity: Effective Teaching in Diverse Ability Groups
Room: 250 C/F
Orchestra classes and string ensembles are seldom organized into neat, homogenous groups in
which all students are working on the same skills at the same time. Heterogeneity within a classroom
can be daunting, but it also provides teaching opportunities that a more homogenous classroom
does not. This session will demonstrate procedures for layering technique in ways that encourage
skill development in beginners and more advanced students within the same class while encouraging
motivation and self-assessment among all students.
Presenter: Lani Hamilton, The University of Texas at Austin
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Festival Preparation Advice From an Experienced Adjudicator: Selecting Music, Rehearsal
Structure, Uniforms, Stage Warm Up
Room: 250 A/D
Taking your middle or high school group to a festival this year or next? There are many things to
consider, and planning determines the success of the group. Selection of music requires significant
thought, especially when there is no prescribed list or limit of performance time. How should the
rehearsal schedule be planned? What uniforms are best? What should the conductor wear? Should
we warm up on the stage? All these topics will be addressed by an experienced teacher and
adjudicator, for Texas UIL competitions and the 2014 NOF festival. Discussion will be encouraged.
Presenter: Anne Witt, University of Alabama
Help Me, Help You, Help ASTA?: Starting, Supporting, and Sustaining Your University ASTA Chapter
Room: 251 A/D
This session will discuss how to start an ASTA Student chapter at your high school or university. How
do you find the resources to fully commit to a successful ASTA chapter? How can your students
develop an ASTA community in your area? Come hear a student perspective on sharing ideas for
fundraising, community service, and developing camaraderie within your ASTA chapter.
Presenters: Kathryn Brown, Kailyn Tropeano, and Eileen Wronkiewicz
How Do String Players Breathe When They Play? Can Anything Be Done to Help?
Room: 255 A
The co-presenters, a viola professor and a professor from the Biological Systems Engineering
department, have developed an instrument that measures string players' breathing rates and
intensities. Does breathing change according to the demands of the music? Are stage fright and
breathing related? Can a player learn to breathe more normally while playing? Can proper breathing
reduce the possibilities of overuse injuries? These questions and more will be explored during this
session. Also, a demonstration of the equipment might answer the question, "How do YOU breathe
when you play?"
Presenters: Clark Potter, University of Nebraska - Lincoln; Gregory Bashford, University of Nebraska
- Lincoln
Introducing Expressive Performance in Your Orchestra with Expressive Techniques for Orchestra
Room: 155 A
Sandra Dackow will present this new “All-in-One” product for teaching technique, style, and
expression to your performing ensembles. Suitable for advanced middle school through high school
ensembles, Expressive Techniques for Orchestra features the combined ideas of noted educators and
authors: Michael Alexander, Kathy Brungard, Sandra Dackow and Gerald Anderson. Bring
instruments to join the reading ensemble as they explore and discuss each portion of the book.
Presenters: Michael Alexander, Sandra Dackow and Kathy Brungard
Sponsored by Tempo Press
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Paul Rolland Actions for Both the Studio and School Setting
Room: 255 C
Bring your instruments and try some favorite Paul Rolland actions successfully used by a former
Rolland student. Actions support performance injury prevention, playing without excessive tension,
and producing a free and full tone. Applicable for both the studio and school setting at all levels.
Presenter: Lucy Manning, Private Studio Teacher
Saturday 12:45 p.m.- 1:45 p.m.
Collegiate Violin Master Class
Room: 155 D
Master Teacher: Shi-Hwa Wang, Weber State University
Sponsored by SHAR Music
Artistry in the Guitar Classroom
Room: 251 A/D
Imagine a classroom of young guitar students performing together beautifully with impeccable
technique, fantastic tone and expressive music making. Classroom guitar is quickly gaining popularity
across the nation as a viable way to engage new students into music programs in the public school
system. Austin Classical Guitar Education Directors will share their experience creating and sustaining
40 ensemble-based classroom classical guitar programs in central Texas based on a philosophy of
musical expression and performance from day one.
Presenters: Jeremy Osborne, Austin Classical Guitar; Eric Peterson; Austin Classic Guitar
Bass Session
Room: 255 C
Presenter: Eric Hansen, Brigham Young University
The Bornoff Approach for String Education
Room: 155 C
A visionary in the world of string education and recipient of the 1978 ASTA Teacher Award, George
Bornoff revolutionized class teaching for string instruments. His work has now been reorganized on
the page for use in any classroom or studio. Adaptable for performance level differentiation, the
newest publication is presented in a format with the needs of the school orchestra teacher in mind.
This process-driven approach to learning skillfully sequences and integrates bowing technique, tonal
and finger patterns, shifting, double stops, harmonics, and vibrato, and nurtures emotional maturity,
and creative and technical flexibility firmly grounded with sonorous tone production and artistic
phrasing. The teacher manual not only provides finger and tonal pattern exercises with rhythmic and
position variations, bowing routines, and repertoire that supports music literacy, creativity and
independence; the Bornoff Approach addresses pedagogical questions of how to teach. Suggested
lesson plans, practice guides, achievement charts, and assessment tools are included. There are
accompanying teaching videos, and videos and recordings that are usable in the classroom and at
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home for student practice. A student group will demonstrate the practical application of Bornoff's
pedagogy, and participants are encouraged to bring instruments.
Presenter: Debbie Lyle
Sponsored by the Foundation for the Advancement in String Education (FASE)
Devising Good Fingerings for the Cello
Room: 255 F
Good fingerings are very important for good cello playing. Some passages are impossible with a poor
fingering, but relatively simple with a great fingering. While every cellist will have somewhat
different preferences, there are a number of principles that apply to all successfully fingered
passages. Dr. Whitcomb is on sabbatical for 2014-15 to write a book on this subject, and in this
session, he will give a summary of his system and approach.
Presenter: Benjamin Whitcomb, UW-Whitewater
Early Music on Modern Instruments: Translating Period Instrument Performance Practice to
Modern Instruments
Room: 255 A
Early music specialists violinist Elizabeth Field and cellist Stephanie Vial will discuss the great variety
and passion of 17th- and 18th-Century musical expressions, demonstrating how to perform familiar
baroque and classical works using modern instruments and period instrument sensibilities. Elements
discussed will include: bowing techniques, articulation, phrasing, vibrato, ornamentation and
baroque dance rhythms and gestures. Musical examples demonstrated will consist of highlights from
standard teaching repertoire, including Vivaldi’s a minor concerto and the Eccles sonata.
Presenters: Elizabeth Field, George Washington University; Stephanie Vial, UNC Chapel Hill
Eclectic Styles New Music Reading Session
Room: 155 A
Presenter: Samuel Tsugawa
Finding a Job and Keeping Your Sanity
Room: 255 D
The job search process can be daunting. This session offers nuts-and-bolts suggestions for organizing
a successful search. First steps include creating resumés, locating open positions, and filling out
applications. Organizational advice also will be offered, such as managing your time and keeping
accurate records of applications. Preparing for interviews, waiting between and after interviews, and
other practical suggestions will be discussed.
Presenter: Margaret Schmidt, Arizona State University
Get Out of the Way: Engaging Orchestra Students Musically and Expressively Through Conducting
Room: 155 F
String and orchestra teachers are often frustrated by the fact that their students do not watch or
respond to their conducting. Yet we are sometimes unaware that we are undermining our own goals
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through our rehearsal techniques and conducting habits. This session will focus on the things we
often do that encourage students to not watch or respond to our conducting, and how we can use
verbal and non-verbal techniques to draw students into our visual communication as they perform.
Presenter: Robert Gardner, Pennsylvania State University
Saturday 1:45 p.m.- 2:45 p.m.
Dessert Reception
Saturday 2:45 p.m.- 3:45 p.m.
Pre-College Cello Master Class
Room: 155 D
Master Teacher: Tanya Remenikova, University of Minnesota
Sponsored by Pirastro GmbH
Bowing Basics: Creating Beautiful Expression Through Technique
Room: 255 F
Bowing Basics will explore the pedagogy of basic upper string strokes with the goal of creating the
most expressive students possible. We will use the best of current research and historical
approaches to address a range of problems in detache, martele, spiccato and colle. The information
covered will benefit students at any level, as they navigate the technical means to great expression.
Bring instruments, as we will try examples to compare results.
Presenter: Shelly Tramposh, SUNY Potsdam
Effective Recruiting and Retention Strategies for the Public School Orchestra
Room: 155 F
Do you want to build and maintain a high-quality, high-quantity orchestra program or improve the
one you have? Are you frustrated by recruiting and retention issues that limit your group’s success?
Are you plagued by balance issues on critical instruments or wish there were more you could do to
encourage new students to enroll and current students to make the hard decisions that allow them
to stick with orchestra all the way through high school? In this session, we will explore these issues
and more. Come and hear practical strategies for building and maintaining the orchestra you
envisioned.
Presenter: Sandy Goldie, Virginia Commonwealth University
Embracing Musical Menus: Teaching Improvisation in a Group Setting
Room: 255 C
Looking for ways to include improvisation in your music classes but have no idea where to begin?
This session will teach you how to do just that! From teaching students to solo over 12-bar blues to
group improvising harmonies to playing colors and feelings to experimenting with conduction, you
will leave this session with lots of ideas of how to inspire creativity in your students. Bring an
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instrument to experience these ideas for yourself!
Presenter: Amy Marr, Tecumseh Public Schools
Fiddling 101: Where to Begin
Room: 155 A
Have you ever wanted to start a fiddle group but don't know how? This session will give you all the
basic knowledge to start a fiddle group with beginners and intermediate students, even if you know
nothing about fiddling. Included in this session will be simple notation for beginners, fiddle bowing
and fiddle tunes that are guaranteed to work for any age group. Bring your instrument and be ready
to participate!
Presenter: Linda Levy, Gilbert Public Schools
I Hate Scales!
Room: 255 A
Students find scales tedious. Instead, immerse your students in a world of improvisatory musical
puzzles in all 12 keys. This intriguing new system teaches the art of classical improvisation. At the
same time, it develops the students' intonation, technique and their understanding of fingerboard
geography. This lecture is based on Alice Kanack's new book "Basslines and Fantasies -- 24 Musical
Puzzles to Solve in all 12 Keys," with a publication release date of September by Creative Ability
Development Press.
Presenter: Alice Kanack, The Kanack School of Music Inc.
Increasing Your Scholarship Budget: Developing Skills to Receive the Bounty of Your University
Advancement Office and Your Community
Room: 251 A/D
Let's get past the complaining about our limited budgets and actively pursue funding that will enable
our programs to thrive. How to do that? Turn reserved university development officers into your
biggest advocate! Enlist community to the point where YES is the only option.
Presenter: Robert Becker, Chapman University
Tocando y Luchando: Playing and Fighting for El Sistema in the United States
Room: 250 A/D
The El Sistema movement has flourished in the United States over the last decade, with dozens of
programs operating across the country. This session will give an overview of how El Sistema-inspired
programs in the U.S. have complemented music education in the public schools. Participants also will
learn about the history of El Sistema, how to get involved with the El Sistema movement at the local
level, and available El Sistema resources.
Presenter: Jessica Chen, The Youth Foundation's First Notes
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Training Orchestral String Players in the Twenty-First Century
Room: 155 C
Proposes a novel, comprehensive concept for training orchestral string players and suggests how this
concept may be implemented in music-school and conservatory curricula as well as private teaching.
The demands of today’s orchestral work translate into ten basic areas of competence: (1) the
“orchestral mode” (2) techniques for learning, practicing, and sight-reading (3) basic orchestral
technique (4) bowing technique, sound production, and coordination (5) left-hand technique (6)
pizzicato and other special techniques (7) rhythmic skills and ensemble skills (8) familiarity with
orchestral notation and performance technique (9) familiarity with a core repertoire and stylistic
conventions and (10) special career skills (auditioning etc.).
Presenter: Martin Wulfhorst
Sponsored by Bärenreiter
Wait, What?! Grades are Due Tomorrow? Assessment Literacy for the Orchestra Classroom
Room: 250 C/F
Is the end of the grading period always sneaking up on you? This interactive presentation addresses
the challenges of providing quality feedback and assessing students in the high school orchestra
classroom. Learn some helpful hints to set up a balanced gradebook and motivate students to do
more than just attend the concert. Topics will include: Formative and Summative Assessments,
Learning Targets, Grading Categories, Using Technology in Assessment, Retakes, and Methods for
Student Feedback.
Presenter: Sarah Djordjevic, Maine East High School
Saturday 4:00 p.m. -5:00 p.m.
15 Quick Fixes for String Orchestras
Room: 255 D
15 Quick Fixes for String Orchestras is a seasoned teacher’s list of observations made after visiting
young directors’ classrooms. Topics covered are basic set up of string instruments and their use by
students, warm up procedures, thumbs, bowings and more.
Presenter: Matthew Spieker, University of Arizona
Am I Allowed to Do That? (Cultivating the Creative Spirit)
Room: 250 A/D
Tapping the creative muse -- empowering and teaching methods to access the creative voice using
nontraditional techniques, composition, improvisation and experimentation. Overcoming inhibitions
and supporting the imagination to create. This session is adaptable to accommodate all grade levels
and playing ability.
Presenter: Martha Mooke, Yamaha Artist
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Concert Programming: Move Your Audiences, Motivate Your Students
Room: 155 D
Program performances that students will be proud to play in and parents will be glad to which they
came. Increase the visibility and vitality of your program by including local “celebrity” guest
performers, multimedia, themed concerts, narration and more. If we create meaningful musical
performances, our students, parents, colleagues, administrators and community will remember -and come back for more.
Presenter: Rebecca Roesler, University of North Texas
G. Schirmer Music Industry Showcase: TBA
Room: 155 C
Intermediate Improvisation: How to Elevate Your Knowledge and Ease of Improvisation to the
Next Level
Room: 251 C/F
So you know the blues scale and can handle improvising on Summertime. Wondering how to take
your improvisation up a notch? Then this session is for you! Improvisation consists of creating a
melody internally and translating that melody to your instrument; we will cover both aspects with
strategies to best enhance your creative potential and technical execution.
Presenter: Gregory Byers, Saint Paul Conservatory of Music
Make Your Cellists Yo-Yo Ma-velous: Setting Up Students for Success
Room: 155 F
Learn new tricks and tips to create a solid foundation for your cellists that will carry them through
more advanced repertoire. Years of continued teacher training and student success have fueled our
passion for spreading great technique to every cellist, whether in the classroom or the private
studio!
Presenters: Erin Cassel, Columbus State University; Mary Beth Bryant, The Paideia School
The Organized String Teacher
Room: 250 C/F
Explore how the productivity techniques popular in Fortune 500 companies can be applied to your
string program, private studio, state chapter and even your personal life to improve effectiveness,
increase efficiency, and reduce stress. In this session we will discuss techniques including GTD
(Getting Things Done), Agile Results and Mindmapping, and how they can be applied to the world of
the modern string teacher.
Presenter: Matthew Tifford, Private Studio Teacher
What Seems to be the Problem? Bowing Diagnostics 101
Room: 255 F
Whether for the student, peer coach or teacher, developing an idea of what the problem might be is
a prelude to progress. How do we interact with the string through the bow? How do we control
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weight, path and speed? How do we cross strings? We will explore patterns that bring a bowing issue
to a teacher’s awareness; strategies that may bring the topic to the player’s awareness; clues that
prompt player insights, such as analogies, diagrams, science experiments, videos, sounds, motion
patterns, etc.; and activities through which the player can monitor and “treat” the problem.
Presenter: Sarah Hersh, SUNY Potsdam
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