pedagogy draft

8/17/2019 Pedagogy Draft

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Introduction

The development of the method book has evolved signicantly over

time. Method books are products of a time and reect the creators’

philosophical knowledge of pedagogical practice. The method bookis a tool for teachers that can be implemented in a myriad of ways.

Currently it is common to see a variety of activities from multiple

methods adopted by teachers. Whether this is reective of the

teacher’s own method and philosophy or a reection on methods

lacking in certain areas is one of debate. The government initiated

study into music’s role in the development of children showed that

synaptogenesis the process in which synapses connect to neurons

in the brain increased in the practice of music due to it’s emphasis

on repetition. Through creating this automated skill children who

learned music were better able to learn language and higher levels

of auditory retention were shown. The cultural and social inuences

that have shaped the millennial child has meant that teaching styles

have had to adapt to the !modern child". #chools are implementing

programs and activities that place a greater emphasis on catering

for di$erent types of learners and their specic needs. With greater

understanding of the connection between the way we teach and the

success of children and the benets of certain teaching activities

method books have had the ability to evolve over time and reect

this knowledge that has been ac%uired about children and the way

they learn. The implementation of method books or a method of

teaching has a large inuence on the e$ectiveness. When looking at

older methods an educated generali&ation that they lack visual

appeal can be made. 'nsupported by research the ()* learning

styles (isual )uditory and *inesthetic is a popularly theory adopted

by teachers to make informed choices about the way kids are

taught. )ll + modalities are re%uired to learn however it is common

for one to be dominant and it can vary depending on the activity. )ll

+ elements play an instrumental in violin pedagogy. #ome method

books focus specically on certain styles more and thus can



benecially cater for certain students with a clearly dominant

learning style. ,igh road and low road transfers in the brain develop

automated skills versus perceptive learning which allows these skills

to be used and processed. )s musicians it is important to develophigh road transfers as this accounts largely for musicality.

Dofein Method

The three methods that will be compared are the -oein Method

The colour string method and ncore for #trings. -ening a

beginner as someone who has never played the violin before and is

approaching it for the rst time this comparison will look at the

progression of the book it’s implementation of the left hand and the

right hand the way it is set out and the break down of the skills.

The Dofein Method, the Violinists Progress, Volume 1 The beginning

Created and developed by /erman pedagogues rich and lma

-oein this method spans 0 books and is ! a course of violin

instruction combined with music theory and practice in duet

playing" The preface of the book gives great insight into the

philosophical reasoning behind the pedagogical processes of the

method. This allows the teacher greater insight and ability to

implement the method. The pieces have been ac%uired from various



sources inclusive of Mo&art and 1artok to lesser well known. 2n this

way the -oein method paved the way for the construction of the

more modern method books where pedagogues tend to create a

ma3ority of their own materials for e4ample 5atalie and *eith #harp

in ncore for #trings. !The rst volume of a violin school must

present the beginner with the problems whose solution will enable

him to ac%uire stage by stage the basis of a good sound manner

playing66he must be given the opportunity of training his ear and

developing a sure sense for musical sound of becoming gradually

ac%uainted with the compass of the instrument learning to

translate the musical symbols into motions of playing and learning

the notes time signatures and keys and nally developing a rm

understanding of the processes and combinations which make up

music." Written with the intention of development through duet

playing the -oein method’s design is most apt to individual

teaching.

Skills

stablishing the left hand

before the right the -oein

method begins students in rst



position on the - string. Chapter 7!Music with ve notes" goes

through a variety of activities and techni%ues in a fast paced

manner. ) large emphasis throughout the preface is given to

teaching correct left hand position and bow hold however the

e4ercises that begin the book tend not to aid the establishment of

this. The rst e4ercise is a short bowing e4ercise on the string and

the ne4t shows the value of the notes.

While other methods introduce rhythm separate from the

instrument with clapping games and associations with di$erent

things the -oein method does not separate this skill and establish

it in this manner. )s seen in the above photo the set out of this book

would be %uite daunting for a young beginner. The e4planations for

each e4ercise are written on the book. While some methods choose

to have a separate teacher and student book this method does not

and thus the e4planations of the activities remains close to the

e4ercises.

!2t is not good to take up the bow in any old way and then change

and improve the position of the ngers until it is held in the correct



position6.2t is better to try and hold it correctly at the outset" The

-oein method has a specic way of introducing the bow. This

involves beginning with the bow being held in the left hand with the

hair facing upwards. The right palm is held at outwards

supernated. The thumb is the last nger to be introduced on the

bow. The left hand places the bow onto the right ngers. The

thought process behind this being that the ngers will be in a

natural curved state and this feeling will aid the student in allowing

them to place the ngers correctly without the weight of the bow.

The theory of this has positive benets as it is allowing the child to

develop the bow without the weight however this simplistic

e4planation does not entirely allow for the room for error that e4ists

when the bow is introduced.

Commencing with only the ma3or keys as it is most aided by the

open strings the -oein method begins its students in 7st position.

The reasoning behind this is that the rst 0 notes on the string in 7st

position follow the same nger pattern. )t the beginning only 0

notes on each string are introduced allowing for a rm foundation to



be built. ach piece is played only on one string enabling the left

hand to be uncomplicated by the right specically in relation to

string crossings. The fourth nger is introduced straight away to

create the correct hand shape. 1y bringing the fourth nger onto the

string bent it encourages the student to maintain a round hand

shape. The - and the ) string are the rst introduced not only

because they are the easiest to create a good hand shape on but

most importantly because they are at comfortable singing pitch

allowing the teacher to incorporate singing which develops ear

training into lessons.

The doein method focuses largely on the development of

musicality bow speed and good techni%ue. What is most notable

about this book in comparison to more modern method books is that

it has e4tensive tehcnical e4planations as to the reasons why

certain activities have been chosen and how to e4ecute them.

,owever this is not en3oyable for the child. 2t becomes technical to

the point that it is di8cult to see how the child could en3oy the

activities. When taught in a certain manner the -oein method is a

well established book for beginner techni%ue however it’s



progression is too fast and it lacks the repetition re%uired to ingrain

habits and create automated skill. The -oein method is a reection

on the time and place in which it was established. 2t is important to

recogni&e our understanding of !millennial children" and the way in

which they have changed the way we teach.

!

Colour Strings

/e&a #&ilvay studied violin pedagogy at the 1udapest Music

)cademy. The principles of the colour string method are intrinsically

connected with 9oltan *odaly’s teaching and philosophy. Created

originally for private students the method has developed over time

and can be implemented both with individual and group teaching

however it is most e$ective in a group. The philosophy !aims to

create an environment in which singing playing games and

instruments live side by side". The musical activities are introduced

rst through activities such as singing and movement . 2nduction.

The establishment of a good ear is at the foundation of the colour

strings method. The visual association with notation rather then



traditional notation speeds the process of learning pieces without

the hindrance of the inability to read the notes. #&ilvay said of the

choice of colour association !!#ight connects the learning with the

brain66.knowledge that is achieved through more than one sense

is deeper and more long lasting" The approach of using multiple

facets to learn a skill such as learning a the melody of a piece by ear

and singing it before playing it allows the child to establish a

connection between two areas and allows the child to be able to

correct themself while they are learning. The colour strings method

book has very little instruction inside on how tot each it. 2n this way

the colour strings can be a hinderance to teachers. :ather then

being a self e4planatory book that can be taught in a myriad of

ways the Colour strings method is a philosophical way of looking at

pedagogy and a choice that a teacher needs to make. This method

makes little sense unless the correct training has been undertaken.

While many of the ideas and skills used in the book can be adopted

in order for the student to benet the method must be used in the

correct way.



While the -oein method begins by establishing techni%ue on the

instrument the colour strings method begins by laying a foundation

in musical skills such as singing to develop a good ear. The -oein

method is much easier for a pedagogue to integrate into teaching

and there is a clear technical foundation shown however visually

the colour string entices children with it’s pictures and visual

association with notation children nd it much easier to establish a

connection with the ngers and the colours early on. 2t is clear the

colour strings understand that there are many elements and vital

skills that are re%uired to play an instrument that don’t actually

re%uire an instrument to be established. 2n this way the children are

doing numerous activities which maintains their interest and focus.

Clapping games for rhythm and movement games to music all

create a well rounded musical child however critics may argue that

time away from the instrument means less establishment of proper

techni%ue. While the -oein focuses heavily on technical elements

the colour strings begins away from the violin. While both methods

have proven to have positive results the Colour #trings as a method

and philosophy is a positive way to develop a child’s musical

interest and ability in a more en3oyable way. 2f the layout of the



-oein were di$erent perhaps a teacher and a student book made

it’s benets would be more likely seen. 2f implemented in a certain

way if the teacher broke down the skills that are in the -oein book

there are many great things that could be taken away from this

however until this is done it is not a particularly good book for the

modern child.

-eveloped by 5atalie and *eith #harp the ncore for #trings method

is a visually appealing method that integrates the use of a C- a very

modern method. ,aving witnessed the creator implement this

method it is again a situation whether the teacher has a repsonbility

to implement the book in a certain way. While not being a method

as such the encore for string books are a series that e4plores

musicality.

!

Teaching of shifting through harmonics

#kills;rder of

<itches



Musical

4amples=ayout and

appearance/roup or

2ndividual

teaching

pedagogy draft

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