AMERICAN STRING TEACHER · to practice striving to follow in the footsteps of Ivan Galamian. by Susan J. Kim Challenging the Middle School Orchestra Musician We want to challenge

August 2008

3

Guidelines for Successful Orchestra Auditions

The Projected Career Plans of String Music Educators

Challenging the Middle School Orchestra Musician

PLUS:String Industry Council Directory

August 2008 | Volume 58 | Number 3

AMERICAN STRING TEACHER

American StringTeachers Association

www.astaweb.com

BACK-TO-SCHOOL ISSUE!

2 | American String Teacher | August 2008

SAVETHE

DATES!2009 ASTA

National ConferenceMarch 19-21, 2009

Atlanta, GA* Exhibits

* National Orchestra Festival

* National Solo Competition

* Alternative Styles Awards

2010 ASTANational Conference

February 17-20, 2010Santa Clara, CA

* Exhibits

* National Orchestra Festival

* National High School

Honors Orchestra

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AMERICAN STRING TEACHER CONTENTS

Features and Forums

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Using a Practice Diary to Promote Self-Regulated Instrumental PracticeAs a studio violin teacher, I spend a lot of time teaching my students how to practice striving to follow in the footsteps of Ivan Galamian. by Susan J. Kim

Challenging the Middle School Orchestra MusicianWe want to challenge our students—but, to do what? What kinds of experiences make a lasting impact on a young person, and how can we help our students develop a feeling of ownership that leads to a commitment to music? by Gail V. Barnes

Mastering the Unknown: Guidelines for Successful Orchestra AuditionsOrchestra auditions and recitals require differing methods of preparation. Read about the most important difference between auditions and recitals. by Garrett Fischbach

The Projected Career Plans of String Music Educators: Implications for the ProfessionWhere do string teachers go when they leave the profession, and what are the implications on the profession as a whole? by Joshua Russell

Master ClassThere Are No Secrets—Thoughts on a Career in MusicAn Interview with Violinist David Nadien David Nadien’s name is known to many young violinists as “the man who recorded those great Suzuki CDs.” His affi liation with Dr. Suzuki was just a small part of his stellar career. by Elaine Fine

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CONTENTSAMERICAN STRING TEACHER

Mission StatementThe American String Teachers Association promotes excellence in string and orchestra teaching and playing. ASTA pursues its mis-sion through: • an open sharing of ideas; • benefi ts, services, and activities responsive

to the needs of all members; • development of strong state leadership

and chapters; • enhancing the image and visibility of string

teaching and study; • advocacy for string education; and• an inclusive community of string teachers

and players.

American String Teacher (ISSN: 0003-1313) is published quarterly by the American String Teachers Association (ASTA). American String Teacher (AST) is available exclusively to ASTA members; the annual subscription price is included in membership dues ($99). Known offi ce of publication is: American String Teachers Association, 4153 Chain Bridge Rd., Fairfax, VA 22030. Periodicals postage paid at Fairfax, Virginia 22030 and additional mailing offi ces.

POLICY: As the primary means of profes-sional communication of ASTA, the American String Teacher represents and refl ects the mission of the association. It is not the intention of AST to promote or endorse any particular person or commercial product. The ideas and opinions expressed are those of the writers and not necessarily those of ASTA or AST. ASTA reserves the right to refuse advertising for any reason. No article or editorial matter in AST may be photocopied or reprinted without written permission from ASTA. Visit www.copyright.com for more information.

POSTMASTER: Send address changes to American String Teacher Journal, 4153 Chain Bridge Rd., Fairfax, VA 22030. © 2008 by American String Teachers Association.

Inspirationsby Donna Sizemore Hale

Member2MemberStrings and Volunteering: A Winning Combinationby Robert Gillespie

Teaching TipsCheck Sheet for the Beginning String Class by Nancy Kredel

ASTA Publications LibraryMembership ApplicationLeadership DirectoryAdvertisers Index

Association NewsMessage from the President, award and grant announcements, new publications, and other association-related information

ShowcaseThe latest news from members of the String Industry Council

NotesNews of people, places, and events of interest to string teachers and players

ReviewsOf books, music, software, and videos

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ASTA Award Winners Discovering Strings and Orchestra2009 ASTA National

Conference Preview2008 String Industry Council

Directory

Departments

Every Issue

Special Sections

Columns

949698

106

30 52

56

72

100Rebecca Edmondson’s

students await their chance to hold and explore a stringed

instrument in a Discovering Strings

and Orchestra session in Bar Harbor, Maine.

About the cover:

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www.astaweb.com | 9


Inspirations by Donna Sizemore Hale

ASTA Board of Directors

President • Jeffrey Solow7914 Park Ave.

Elkins Park, PA [email protected]

President-Elect • Kirk Moss1218 18th Street S

Moorehead, MN [email protected]

Past President • Mary Wagner5833 Burke Cove Landing Rd. #204

Burke, VA [email protected]

Secretary • Judy W. Bossuat2913 Hempstead Way, Stockton, CA 95207

[email protected]

Member-at-Large • Beth Gilbert1928 E Calle De Caballos, Tempe, AZ 85284-2507

[email protected]

Member-at-Large • Lynn Harrell1615 Hermann Drive Unit 1208, Houston, TX 77004

[email protected]

Member-at-Large • Kristin Turner1708 N Morrison Rd., Muncie, IN 47304

[email protected]

Member-at-Large • Mark WoodPO Box 2074, Port Washington, NY 11050-0500

[email protected]

Publications Chair • Marilyn Seelman2075 Briarwillow Dr., Atlanta, GA 30345-3501

[email protected]

String Industry Council President • Neil LilienMeisel Stringed Instruments

32 Commerce St., P.O. Box 90, Springfi eld, NJ [email protected]

Executive Director • Donna Sizemore HaleASTA National Offi ce

4153 Chain Bridge Rd., Fairfax, VA [email protected]

American String Teacher

Editor • Mary Jane DyeInterim Articles Editor • Mary Wagner

Reviews Editor • Marg SchmidtDesign and Layout • Sky Henderson

Advertising Representative • Steve DiLauro

• Correspondence Subscriptions, change of address (send mailing label), individual issues, billing, membership, and other business matters should be directed to the ASTA National Offi ce, 4153 Chain Bridge Rd., Fairfax, VA 22030; tel. 703-279-2113; FAX 703-279-2114; Email: [email protected].

• Advertising Deadlines are: August issue—June 5; November issue—September 5; February issue—December 5; May issue—March 5. Inqui-ries should be directed to ASTA National Offi ce, 4153 Chain Bridge Rd., Fairfax, VA 22030; tel. 703-279-2113; FAX 703-279-2114; Email: [email protected].

• Editorial AST welcomes letters and articles from its readers. Query letters are preferred over unsolicited manuscripts. For a copy of the AST Au-thor Guidelines, visit www.astaweb.com. Inquiries and articles should be submitted to [email protected].

• Reviews Review materials should be sent to Marg Schmidt, School of Music, ASU, 40 Gammage Parkway, PO Box 870405, Tempe, AZ 85287-0405. Requests to become a reviewer should be addressed to Marg Schmidt, tel. 480-965-8277; Email: [email protected].

• Submission Deadlines For material to be considered for publication in the Departments and Association News sections (including Letters to the Editor), it must be received by: February issue—November 10; May issue—February 10; August issue—May 10; November issue—August 10.

With the school year looming ahead, this is a great time to focus on how you can promote string education at the grassroots level. Th e sluggish economy is having a profound impact on many people and professions.We continue to hear stories of music programs being curtailed and even eliminated as school districts struggle to balance their budgets. Now is the time for you to lay groundwork to solidify your string program’s importance in the curriculum. Here are some simple but important steps that you can take to ensure your program’s success.

• Learn who the decision makers are in your district and begin to cultivate them. Invite them to concerts. Attend school board and other community meetings to promote strings. It is too late to begin nurturing these relationships once your program is put on the chopping block.

• Engage your students’ parents in promoting strings in your community. Orchestra programs with a strong booster component are generally more respected and recognized within their communities.

• Get to know the media contacts in your area. School boards love positive publicity. Send them invitations to your concerts as well as success stories from your orchestra.

• Become an active and engaged member in your state chapter. Participation at the state level will provide you with a solid network of colleagues that can help you and your program become stronger.

• Take care of and nurture yourself. As busy teachers, we often neglect our own professional development and growth. Make your professional development a priority and your students will reap the rewards. Th e ASTA National Conference off ers you more than 175 string-related sessions and workshops. Plan now to attend.

On the national level, ASTA provides a number of resources that are designed to help you promote strings. Many of you have seen the special customizable PowerPoint on our website and the advocacy video. Th ese tools were created to help you advance strings at the grassroots level.Just recently, ASTA began partnering with “Wunderkind Little Amadeus,” a new television series designed to introduce children and their parents to classical music. Th is show will begin airing this fall on public television stations. For more information go to www.little-amadeus.com We also welcome your suggestions at the national level for programs and projects to pursue in the advocacy realm. You can email me at [email protected] or the Advocacy Committee Chair, Mary Wagner at [email protected]

Getting the Word OutIn Your Neck of the Woods

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ASTA National Offi ce

AST Editorial Committee

Gregory BarnesColumbia, South Carolina

Sean BeaversHuntington, West Virginia

Margaret BergBoulder, Colorado

Chelcy BowlesMadison, Wisconsin

William DickAustin, Texas

Emanuel Garcia, M.D.Boulcott, Lower Hutt, New Zealand

Sharan LeventhalBoston, Massachusetts

Greg SarchetChicago, Illinois

Laurie ScottAustin, Texas

David StarkweatherAthens, Georgia

Benjamin WhitcombFort Atkinson, Wisconsin

Members of the ASTANational Executive Board

4153 Chain Bridge Road • Fairfax, VA 22030Phone: 703/279-2113 • Fax: 703/279-2114

www.astaweb.com

Donna Sizemore Hale, Executive Director [email protected] ext. 13

Beth Danner-Knight, Deputy Director, Conferences and Member Services

[email protected] ext. 11

Jody McNamara, Deputy Director, Finance and Administration [email protected] ext. 15

Deanna Tompkins, Director of Meetings and Events [email protected] ext. 24

Mary Jane Dye, Director of Communications [email protected] ext. 12

John Golden, Development and Advocacy Manager [email protected] ext. 26

Sky Henderson, Manager of Publications and Graphic Design/Webmaster

[email protected] ext. 10

Kari Hahn, Director of Membership [email protected] ext. 14

Libby Dietrich, Meetings and Events Manager [email protected] ext. 28

Erin Gallagher, Membership and Conference Coordinator [email protected] ext. 16

AST Forum Editors

Violin Forum, James PrzygockiViola Forum, Helen Callus

Cello Forum, Benjamin WhitcombBass Forum, Michael Fanelli

Guitar Forum, Jonathan LeathwoodHarp Forum, Saul Davis-Zlatkovsky



from the president

ASTA has come a long way! At our beginning in 1947 we were essentially a mom-and-pop offi ce-in-the-basement association with approximately 100 members. Th e board consisted of fi ve offi cers plus representatives from each of ASTA’s six geographical regions (corresponding to MENC’s six regions). Dues were $2 for active and associate members (of which 50 cents was returned to each member’s regional unit), $10 for contributing members and $1 for student members. Although we have grown and evolved into a multifaceted organization of 11,500-plus members, we are still served by a dedicated board and offi cers plus many enthusiastic and tireless volunteers. And, of course, we now have professional management from our executive director and a highly skilled and effi cient staff of associates who administer ASTA’s more than 45 programs from our national offi ce near Washington D.C. As I step into my new role as ASTA’s 29th president I am challenged to live up to the superb leadership models set by my predecessors. I am also highly conscious of the complex task of helping guide our organization through these diffi cult economic times. Before I became a board member and an offi cer, I, like many of our members, did not truly understand ASTA’s overall picture. Th e last few years have been a very educational experience for me. For example, it is easy for each of us as individual members of our specifi c state chapters to see those programs that are near and dear to our hearts as deserving of special attention and consideration. But I have learned that ASTA’s programs all work in conjunction with each other, not in isolation, and the board strives not only to make the right choices for every program but for ASTA as an association. Th is overarching organizational view, together with our country’s current engagement in its presidential electoral process, leads me to compare ASTA to America’s federal system. In Congress, the representatives from each state speak up for their state’s individual interest but the federal government and the Executive Branch should make decisions based on the interests of the nation as a whole. Additionally, while no one likes to pay taxes, everyone wants the government to perform the services and provide the programs that benefi t all of us — and, of course, those things cost money. Th is, too, is the same with ASTA. Regarding money, another thing that I have learned from being on the board is that ASTA runs a very tight ship. We do our utmost to contain administrative expenses and keep dues and conference fees to a minimum. But it still takes money to run ASTA and as we all know from our daily lives, expenses go up every year. We have expanded the staff in order to run our expanded activities and services but an expanded staff means additional salaries and employee benefi ts—very necessary if we are to remain competitive with other nonprofi t organizations of our size in the Washington area. (And to accomplish our advocacy mission, something that our members have identifi ed as a high priority for ASTA, our national offi ce must remain near D.C.) Our administrative overhead, such as rent and utilities, are all aff ected by infl ation. Rising gas prices have an eff ect on all of our supplies and postal rates have just risen again, increasing our mailing costs. I know that many members question our dues structure and program fees. As a member of the Executive Committee that oversees our fi nances I have learned how and why such decisions are made and that they are necessary to ensure the overall success of our programs and the survival of ASTA. Very few of our programs (only fi ve!) generate income. Most of our activities and services cost us money and some, such as the National Solo Competition, the Alt Styles Awards and NHSHO, run substantial defi cits. (Many members do not understand that nonprofi ts are allowed to earn money; if we did not, many of our membership benefi ts would have to be discontinued.) While the fees for our conferences and events such as NOF certainly are not low, they are comparable to other national events of their kind. Th e global view of ASTA has taught me that that program fees not only must cover their immediate running costs—facilities, accommodations and food, fees and expenses for adjudicators and clinicians, etc.—but also ASTA’s staff salaries and administrative overhead or there would be no future events. Almost every decision we make has complex ramifi cations. For example, lowering our student dues was responsive to the desires of our membership and will, hopefully, be good for the organization in the long run, but it costs us money in the short term and comes at a time when the economy has dealt us several unexpected knocks. Th e unfortunate fate of the IAJE has provided us with a powerful cautionary tale. In order to weather unexpected economic crises and avoid a similar doom, organizations such as ours should have operating expenses for two years. Although ASTA has been putting money aside each year to build a contingency fund, at present we have probably only enough to cover six months. As members and supporters of ASTA we should all feel proud that we have a stable and well-managed association. You can rest assured that the offi cers, board and staff associates are all working to the very best of our abilities to see that we remain strong and vibrant.

The Education of an ASTA President


Association NewsAssociation News

ASTA is proud to announce the winners for the 2008 Merle J. Isaac Composition Contest. Th e winner in the Junior Division is 17-year-old Kevin Hartnett of Lee’s Summit, Missouri for “Indignation.” In the Senior Division, the winner is Susan Day of Littleton, Colorado for “Shores of Ireland.”

Harnett began composing music in the eighth grade, and he was the 2007 fi rst place winner in the Senior Fine Art Division of the University of Missouri’s creating original music project. He also

won the 2008 Student Composition Talent Search sponsored by MENC. “Indignation” is a piece that is meant to convey a sense of anger and frustration. Its fast paced tempo and driving rhythms capture the emotions of the listener and performer alike.

Day received her music degrees from Ithaca College and Columbia University. She has taught orchestra at all grade levels for more than 28 years. In 2000, she received the

Colorado ASTA Teacher of the Year award. She was also the winner of the 2006 Texas Orchestra Directors Composition Contest. In 2008, she was inducted into the Colo-rado Music Educators’ Association hall of fame. Th e “Shores of Ireland” was written to provide an easily accessible piece that students can enjoy in 6/8 time. It captures the feel of Ireland with its lush melodies and pleasing harmonies. ASTA thanks Robert McCashin, chair-man of the committee, from James Madison University in Harrisonburg, Virginia for all his time and eff ort ensuring the success of this contest. Th e 2009 Merle J. Isaac Com-position Contest deadline is January 15. Additionally, please remember that the Senior Division is open to both full and string orchestra compositions. Th e Junior

Division remains string orchestra. Initiated in 1959, this contest is held annually to encourage the composition, publication, and performance of quality music for school orchestra programs. Please check the ASTA website for complete contest details at http://www.astaweb.com/ (click on the “Competitions” link.)

Kevin Hartnett

Susan Day

ASTA Announces Winners Of 2008 Merle J. Isaac Composition Contest


Outstanding Student Chapters Wanted!Don’t miss your opportunity to submit your application to be selected as the 2009 Outstanding Student Chapter. Th e award will be pre-sented at the 2009 ASTA National Conference in Atlanta, Georgia. Applications are due no later than December 1, 2008. Please visit the student chapter section at www.astaweb.com for more details.

Potter’s Violins Instrument Award Winners ASTA is pleased to announce that three young musicians were awarded instruments by Th e Potter Violin Company, based in Bethesda, Maryland. Twice a year, Potter’s Violins donates three instruments to deserving young musicians who demonstrate particular need and talent. Th e recipients of instruments for the 2008 April round of the Potter’s Violin Instrument Awards are:

Ariel C.D. Manning of Atlanta, Georgia – violinHeather Mueller of Chippewa Falls, Wisconsin – violinKenneth L. Trotter of Friendsville, Tennessee – violin

For more information on the award, or to download an ap-plication, please visit www.astaweb.com. Th e postmark deadline for the October 2008 awards is October 1.

John Golden Joins ASTA National Staff

John Golden, development and advocacy manager, joined ASTA in April 2008. Golden received a B.A. degree in English literature from Saint Michael’s College in Vermont. He began his career in the nonprofi t association/human service arena in 1992. He worked with at-risk youth in both inner city and rural areas of New York and Massachusetts prior to returning to Vermont where he was involved in alumni work for his alma mater, and

responsible for the day-to-day operations of a homeless shelter. After relocating to northern Virginia in 2004, Golden worked for another homeless services organization. He later joined Ronald McDonald House. He dedicates his personal time to local commu-nity theater and volunteer activities such as Greyhound Rescue and the American Legion Post 177.

ASTA Certifi cate Program Changes Its NameTh e national board of directors voted to change the name of the Certifi cate Program for Strings (CPS) to the ASTA Certifi cate Advancement Program or ASTACAP, informally. Th is change took eff ect July 1, 2008. State chapters should continue to use any current supplies that they have on hand and request new supplies as needed. For more information on the ASTACAP program, please visit www.astaweb.com.

•••

Enjoy Your Complimentary Copy of Teen Strings

We hope you enjoy the latest issue of Teen Strings, which accompanied this issue of AST. Teen Strings, the magazine for the next generation of violin, viola, cello, bass, and fi ddle players, is brought to you by String Letter Publishing, the publisher of Strings magazine. Geared toward younger string players, Teen Strings is all about the benefi ts of string playing and the creative, social,

intellectual, and professional opportunities string playing opens up for young people. Teen Strings has proven to be a great tool to help teachers inspire their students. With Teen Strings, you too can give young players a voice of their own as it refl ects their musical activities, aspirations, and dreams. To subscribe to Teen Strings or to share copies with your students, call 1-800-827-6837 or go to teenstrings.com.

CodaBow Awards Every year, CodaBow International, Ltd., donates approximately $5,000 worth of full-size CodaBow Aspire bows to deserving schools and studios. Violin, viola, and cello bows are awarded. Applications are accepted from ASTA members on behalf of schools or studios that outline the particular worthiness, promise, and need of their program. ASTA is pleased to announce that bows were awarded to:

Eastview Middle School - Bartlett, Illinois (Jennifer Gontarek)Grants Pass School District #7 - Grants Pass, Oregon (Krista DeBolt)

Please visit www.astaweb.com for more information on the award or to download an application. Th e next postmark deadline for this outreach program is April 1, 2009.

ASTA Pushes Congressional Associates ProgramTh is past July, ASTA sent out more than 200 faxes to members of the Congressional Arts Caucus and the Senate Cultural Caucus to encourage membership in ASTA’s free Congressional Associates Program. Th e one-page fax was designed to draw the attention of democrats and republicans alike and used famous quotes by former presidents on music and the arts. One of the biggest advantages for joinning this free program is a gratis listing on ASTA’s webpage with a picture, bio, and personal quote on why music is important in today’s society and for future generations. “It will be interesting to see if this grassroots eff ort garners any response,” says Donna Hale, ASTA executive director. “As many of you already know, getting information through the mailroom on Capitol Hill is diffi cult since 911.”

•

•

John Golden

ASTA Welcomes New MembersTh e following list refl ects individuals and organizations who joined the association between April 1 and June 30, 2008. Welcome to ASTA!

IndividualMembers

Elizabeth AdamsSonia AkiElora AldenJamie AllenYessenia AmayaLevon AmbartsumianParan AmirinazariTony AndreChristiane

Appenheimer-Vaida

Nicola AversaMindy BallPatricia BalsterFran BardKarin BargJordan BayorgeonJennifer BearupMichelle BeauchesneKatharina BeckerMelissa BelgenMonte BelknapSarah BeltRamiro BenavidesMegan Benjafi eldAlyson BergerLigon BertChristine BeversonStacey BinderHenry Birge-LeeBonnie BlackMichael BlosteinReuben BlundellAnabel BlytheElizabeth BondChristine BondsLaura BoselaJeanne BourgeoisDavid BowesRebeca BoydCammie BrennanMatthew BriereCandace BrowerLora BrownLaurie BrucknerMatthew BryanAshley BurkhardtTinder BurrisNancy ButcherHelen CallusArlette CardenesJanice CarlsonJavan CarsonElizabeth ChangTiffany ChangLucy ChapmanJamie ChapmanStephanie CharltonSarah ChelgrenHarry ChiangJennifer ChieffaloJennifer ChinJules Christeson

Annette ClearyJennifer CoalsonSamuel CogburnBarbara CorbatoPaul CorteseSusan Drew CosonDrew CryerAmanda CushmanEric DahlgrenAndrea DawsonRickie DentonGrant DonnellanAlexandra DreyfussJoyce DubachRachyl DuffySara DuvalThomas EcholsArthur EdelsonMegan EdingerStuart EisenThomas ElliottKelly EvansThea FarhadianKelly FarrellElizabeth FeethamLaura FeltonElizabeth FeolaSarah Fertig WangCharles FidlerRosamond FinleyGarrett FischbachMichael FizzellAisling FoleyWesley FollettJulie GageDianna GallacherAnnabelle GardinerTiffany GeEric GeierJay GilbertsonJames GilesBrenna GilletteDiana GillilandBridget GlynnSarah GoldEmma GoldbergSidney GoldsteinAnissa GonennSusan GoudreauBenjamin GreeneMarjory GruskyTerence GuerreroJanet Guy-KlickmanJordan HanAlice HanelMichael HanfJohanna HartmanThomas HartmanNaomi HasanTara HayesTamir HendelmanJeraldine HerbisonHillary HerndonRanden HeywoodCurtis HiyaneAshley Holbrook

Jonathan HoltfreterGrainne HopeDavid HorgerJane HorswillBeth HoughLinda HowardEllen HowertonLawrence HuangThomas HuntingtonAustin HuntingtonJoy IndrelieJeff JacobsenStephen JohnsonLynn Anne Johnson-

LangeRochelle JonesElizabeth JonesEr-Gene KahngMichaela KeatingTascha KeettelMegan KennyDerin KennyPhillip KentAlexander KerrJolene KesslerChristopher KneiselWilliam KoehlerBrian KoenigHaley KrajewskiCharles KreitzerMisha KuchukArthur LaBrantFredell LackKristin LandisDiana LanpherEnrique LasanskyTravis LaughlinKendra LawDylan LawlessErin LawsonKimberly LeEric Le VanMichelle LeavittGaye LeBlancJean LenoirBetty LinRobert LipsettAgnes Litfi nShelley LivingstonBurke LokeyJanet LymanEmily LyonsJason MajewskiZachary MansellKevin MarcinkoNathan MarkAndriana MarkanoStephen MarrGerry MarshNatasha MatveevaMichael MayDana McCombMiles McConnellJan McCoshShannon McCueColleen McCullough

Debbie McDonaldThomas McDonaldCarol McNeelyDavid MeiMark MendelsohnDeborah MeyerPatrick MillerJennifer MiyahiraBonnie MohrOlivia MokSantiago MoralesJonathan MottRiana MullerSachi MurasugiMikylah McTeerAntonia NelsonJessica NickelMonica NoonElizabeth O’BrienTara Ogden-SkousonKarl OlsonRobert O’ReillyLisa OrnsteinMichael OshiverMerietta OviattMarie ParkerCicely ParnasSusan PascaleDori PavelDavid PeekStephen PhalpEmily Pierce-

HeuscheleBrian PowellKarie PrescottNeil PuzonErin QuintonMichael RadoElizabeth ReardonTommy ReddicksAriel Redfi eldMaile ReevesKevin ReidyRobin ReimerCaroline Reiner-

WilliamsStephen ReinfranckDavid RenterJennifer RhodesJulie RibchinskyKaren RitscherValerie RitterSarah RoarkBrittany RobsonJoseph RodgersWilliam RoehrsLaurie RomingerSharon RondeauSvend RonningMichael RonstadtDennis RootJay RubottomSarah RussellCrystal SabikKiarra Saito-

Beckman

Miya Saito-BeckmanNelda SankerDavid SaritiJanet SawyerAmy SchuetzDanette SchuhSherrill ShafferBarry ShapiroThomas ShawJulie SlamaLeonora SleeterCarol SmithLaDonna SmithLinda Smith CooperHolly Smith TaltonRobin SodenKevin SongJann SparksMatthew SpiekerMichael SporreAnthony SpringerJenete St. ClairCraig StantonKathleen StarrKristina StingleJennifer SullivanSharon TaylorStacey ThompsonJudith ThompsonKathleen ThomsonPauline ThomsonInge ThrockmortonMichael TinusRichard ToddBuffy TolstedtScott TranRobert TrentErica TrocinoOlivia TsuiMyra ValdezCelia ValerioElizabeth Van

BenthuysenDorian Vandenberg-

RodesLigia VascanGilbert VelezNicole VettrainoErika VipondLeykin VitalyChristina VotoJui-Chao WangJessica WarrenChristine WattsMetta WattsShirley WeaverChristina WedbergJane WeigelAndrew WeihrauchRebecca WenhamThomas WermuthLukasvincenty

Whaley-MaydaChad WhalleyRita Whitaker-HaunSarah Whitehouse

Tricia WilburnChristine WilliamsKelley WilliamsThomas WoodElizabeth WrightChing Fang WuYu-Hua WuAlbert WuAllison WyattMakiko YamauchiClara YangJennifer YoppSusan YoungBeth YueKellen ZakulaLori ZimmermannDonna ZitzelbergerErin Zurbuchen

InstitutionalMembers

Texas Tech University School of Music

Pittsburg State University

University of New Hampshire

UCLA Music Department

The Community Music School of the Piedmont

University of Miami Frost School of Music




Sponsored by Yamaha

Corporation of America

What are the Alternative Styles Awards?The event seeks to identify, celebrate, and encourage young practitioners of alternative string styles, such as (but not limited to) all folk music traditions, jazz, fusion, and rock music.

EligibilityASTA members or students whose primary teacher is an ASTA member, who are players of violin, viola, cello, and bass (upright) are invited to apply. To be selected as a winner, the performer must be able to perform at the 2009 ASTA National Conference in Atlanta and meet the age requirements on the entry form. First place winners from 2005 and 2007 are not eligible unless they have moved to a new age division.

Application MaterialsEach participant must submit:

• Completed application• Proof of age (acceptable forms: birth certifi cate, school ID, etc.)• A non-refundable entry fee of $75 (U.S. Dollars) made payable to ASTA• A VHS videotape or a DVD recording, no longer than 15 minutes of performance, which must contain three contrasting selections within the chosen alternative style.

Applicants are encouraged to submit supporting materials that may enhance the application, such as programs, reviews, announcements, awards, etc.

Notes* Please note there are no event chaperones. Minors should be accompanied by a responsible adult.* Bass players must include at least one example of bowed solo playing. * Students who have been accepted to be part of the Alternative Styles Awards program may not also be a participant in a National Orchestra Festi-

val group, the National High School Honors Orchestra, or the fi nals of the National Solo Competition in the same national conference year. This par-ticipation restriction is due to overlapping event schedules which will cause disruption to the overall experience for all participants of each program. Students may apply for more than one event, but must accept only one if offered multiple event opportunities within the same conference year.

* It is permissible for applicants to enter in more than one style. Applicants who choose to do so should be sure that the three selections on the audi-tion recording are not only contrasting in terms of tempi, artistry, and musicianship, but that the multiple styles are also represented. All audition recordings must contain no more than three selections. Submissions will not be returned.

All materials must be sent in one package postmarked by October 1, 2008 to: ASTA Alternative Styles Awards

4153 Chain Bridge Road Fairfax, VA 22030

Judging/AwardsWithin each age division, there will be a maximum of four winners. One winner will be chosen from each of the following four categories: impro-visation, the best “groove,” musicianship, and recognition of established traditions within the chosen style(s). If the judges deem that no one has exemplifi ed a certain category within an age division, then that prize will not be awarded. The winners will be chosen based on their ability to best represent their chosen style(s). A panel of judges with recognized expertise in the individual stylistic tradition of the applicant will adjudicate each set of materials. From these applications, the winners will be selected and invited to perform at the 2009 ASTA National Conference in Atlanta, Georgia. Performances will take place March 18-21, 2009. Only those applicants able to perform in Atlanta will be eligible to win. A maximum of four cash awards are possible within each age division. Each award in the Senior Division will be $1,000; each award in the Junior Division will be $750; and each award in the Elementary Division will be $500. Elementary prize money sponsored by Alfred Publishing Company.

Conference PerformancesWinners will perform at least once for 10 to 15 minutes. There will also be master class settings for winners to work with master teachers in their genre. Other performance and study opportunities will also be possible. In addition, fi nal participants will be invited and encouraged to participate in all aspects of the conference. A schedule of conference participation will be provided. Winners will be responsible for paying all travel, meals, and hotel costs associated with performing at the conference.

Deadlines• All application materials must be postmarked no later than October 1, 2008. • Winners will be determined and notifi ed by December 1, 2008. • Winners will perform at the ASTA National Conference in Atlanta, Georgia, March 18-21, 2009.

QuestionsQuestions and concerns may be addressed by contacting Matt Turner at [email protected], or Libby Dietrich at ASTA’s National Offi ce at 703-279-2113 x28 or [email protected].

These selections must include examples of:• Contrasting tempi• Artistry and musicianship• Improvisation, as appropriate, within the style• Originality, and• Dynamic stylistic “groove”

CC e l e b r a t i n ge l e b r a t i n g AA l t e r n a t i v el t e r n a t i v e SS t r i n g st r i n g s

American String Teachers AssociationCelebrating Alternative Strings:

The Biennial Alternative Styles AwardsMarch 18-21, 2009 • Atlanta, Georgia

Personal Information Please print clearly or type.Name ___________________________________________________________________________________________________________________

Teacher’s Name ________________________________________________________ ASTA member ID of applicant or teacher _________________

Instrument ________________________________ Alternative Style(s)/Genre(s) ________________________________________________________

Age as of March 18, 2009 ___________________________________ Birthdate ______________________________________________________(Please attach proof of birthdate: copy of birth certifi cate, driver’s license, etc.)

Senior Division (ages 19–25) born on or after March 18, 1984, and before March 18, 1990.

Junior Division (ages 14–18) born on or after March 18, 1989, and before March 18, 1995.

Elementary Division (through age 13) born on or before March 18, 1996.

Permanent Home Address ___________________________________________________________________________________________________

City, State, Zip ___________________________________________________________ Country _________________________________________

Home Phone _____________________________________________________________ Email ___________________________________________

College or Temporary Address (optional) _______________________________________________________________________________________

City, State, Zip ___________________________________________________________ Country _________________________________________

Home Phone _____________________________________________________________ Email ___________________________________________

Honors/Awards (not mandatory, attach additional paper if necessary)

________________________________________________________________________________________________________________________

________________________________________________________________________________________________________________________

________________________________________________________________________________________________________________________

Recorded Selections (title and composer) submitted on VHS or DVD:1. ______________________________________________________________________________________________________________________

2. ______________________________________________________________________________________________________________________

3. ______________________________________________________________________________________________________________________

Applicants are encouraged to attach any additional supporting materials that may enhance the application.

Membership Become an ASTA student member today for only $30. (This is additional to the $75 entrance fee.)

Completed entry form, recording, supporting materials, and $75 entry fee (check payable to ASTA) must be postmarked by October 1, 2008, and mailed as a single package to:

ASTA Alternative Styles Awards4153 Chain Bridge Road

Fairfax, VA 22030

I understand that I must adhere to all criteria published with this application to be eligible to participate.

Applicant’s Signature ___________________________________________________________________ Date ______________________________

Parent or Guardian’s Signature ___________________________________________________________ Date ______________________________(needed if applicant is younger than 18 years of age)

Application Deadline

October 1, 2008

Sponsored by:



National Solo CompetitionInformation

What is the National Solo Competition?The National Solo Competition is open to ASTA members or students of a current ASTA member with instrument categories of Violin, Viola, Cello, Double Bass, Harp and Guitar. Participants must fi rst compete at the state level. For entry into the semi-fi nal round, each state competition chair submits to the national chair applications, fees and recordings of contestants from his/her state who have been selected by either a live state competition or a recorded screening evaluation. You may fi nd your state solo competition chair contact information at www.astaweb.com.

Eligibility* Participants must be ASTA members or a student of a current professional ASTA member. Proof of membership is required.* There are two levels, the Junior Division and the Senior Division. The Junior Division is open to

musicians under the age of 19 as of March 18, 2009 (born on or after March 18, 1990). The Senior Division is open to musicians 19-25 as of March 18, 2009 (born on or after March 18, 1984 and before March 18, 1990).

* A copy of an offi cial document proving the entrant’s birth date (e.g. birth certifi cate, passport, license etc.) MUST be submitted with the application.

* For the state competition, participants may enter in their state of residency or the state in which they are studying. Under no circumstances will a participant be allowed to enter more than one state’s competition.

* Previous Winners: All eligible previous entrants may enter the competition again, including previous National Finalists and Second Prize winners. Previous Grand Prize and First Prize winners in the Junior Division may not compete again in that division; however, they may enter the Senior Division if they will have attained their 19th birthday by March 18, 2009. Previous Grand Prize and First Prize winners in the Senior Division are not eligible to compete further.

* Participants must participate in their state solo competition to enter into the National Solo Competition. Any applicants sent directly to the National Offi ce will be disqualifi ed.

Application Materials:* 2 copies of the entry form with proof of birth date (birth certifi cate, license etc.)* Non-refundable entrance fee of $75 USD made payable to ASTA* CD or cassette recording of national repertoire requirementsSubmit the above to your state competition chair by their deadline for consideration. Check with your state chapter for this date.

Notes: * Students who have been accepted to be part of the National Solo Competition fi nals may not also be a participant in

a National Orchestra Festival group, the National High School Honors Orchestra, or participate in the Alternative Styles Awards in the same national conference year. This participation restriction is due to overlapping event schedules which will cause disruption to the overall experience for all participants of each program. Students may apply for more than one event, but must accept only one if offered multiple event opportunities within the same conference year.

* Please note there are no event chaperones provided by ASTA. Minors should be accompanied by a responsible adult.

Prizes:Prizes will be awarded to the 1st place winner in each instrument for both the Senior and Junior division. The judges are not obligated to award a prize for any division or instrument they feel is not worthy.Judges will select one individual as the grand prize winner. That winner will be granted a performance opportunity with the Atlanta Symphony Orchestra. **

** If the judges deem that no one has exemplifi ed a grand prize performance, then that prize will not be awarded.

For more information contact your State Competition Chair (list found at www.astaweb.com) or:Libby Dietrich at ASTA’s National Offi ce ([email protected]) or 703-279-2113 x28 orLaura Kobayashi, 2009 National Solo Competition Chair ([email protected] or [email protected].)

ASTA thanks Georgia State University for their support and co-sponsorship of the National Solo Competition Finals!

Finals held March 18- 21, 2009 in Atlanta, Georgia at the Florence Kopleff Recital Hall

Co-Sponsored by Georgia State University


March 18-21, 2009 in Atlanta, Georgia

National Solo Competition Entry Form

Division Junior Senior

Are you a member of ASTA? yesno

ASTA ID number_____________

Which state competition did you enter? ________________________________

Is your teacher a member of ASTA? yes: ASTA ID Number_______________nonot sure: Teacher’s name_______________________

Repertoire (on recording) _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Competition Prizes, Signifi cant Concerts, Festivals, and Honors (5 lines maximum): _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Students, please return the following components to your state chairperson by their deadline, or Nov. 1, whichever is earlier. For list of state chairs, visit www.astaweb.com.

I have read and understand the Solo Competition Guidelines and Responsibilities. I understand that I am responsible for all costs associated with advancing to the ASTA National Finals in Atlanta, GA (including travel, lodging, meals etc.). I understand that I will be provided an accompanist or will notify the National Offi ce that I am securing my own. I understand that if I am selected by the national committee to participate in the fi nals of the National Solo Competition at the national conference, I may not participate in the Alternative Styles Awards program or be part of a participating National Orchestra Festival group due to overlapping schedules that disrupt the overall experience of all participants.

Applicant Signature __________________________________________________________ Date _________________________

Parent/Guardian Signature (required for Junior Division Applicants) __________________________________________________

State Chairs, please return the following components for each entrant postmarked by November 15, 2008. 2 copies of entry form with proof of birth date (birth certifi cate, license, etc.).Non-refundable entry fee of $75 USD made payable to ASTA. CD or cassette recording of national repertoire requirements

Return to: ASTA/2009 National Solo Competition • 4153 Chain Bridge Road • Fairfax, Virginia 22030 Tel: 703-279-2113, ext. 28 • Email: [email protected]

•••

Name _________________________________________________________________________________Address ________________________________________________________________________________City, State, Zip __________________________________________________________________________Phone ____________________________________________ Fax _________________________________Email _____________________________________________ Instrument___________________________Age _______________________ Birth date________________________________________





1. Th e selection committee will photocopy all materials submitted, so it is important that all information be typewritten or printed legibly.

2. Nominee must currently be active in teaching strings or orchestra in a regularly scheduled school setting.

3. Nominee must have a minumum of 15 years of successful school string/orchestra teaching experience.

4. Nominee’s program must be for school-aged children through the 12th grade.

5. Nominator and nominee must be current ASTA members.

6. Note: Nominations will be kept on fi le for three years. Nominees not selected this year will automatially be included in the next two

years of applications.

NomineeNominee Name ____________________________________________________________ Title_________________________Address___________________________________________________ City___________________ State_______ Zip________Phone___________________________________________ Email_________________________________________________Current position__________________________________________Years in position__________ Years in profession__________Name of school district: ____________________Location of school district (urban, rural, or suburban): _____________________Grade level(s) currently teaching (HS, MS/JH, Elementary, and/or Pre-K): ____________________________________________Number of schools where currently teaching: ____________

NominatorTh e selection committee’s initial assessment of the nominee will be based upon a narrative provided by the nominator. Th e narrative must address all of the following issues in the order listed: the nominee’s impact on students; the nominee’s impact on the musical development in his/her school, community, and state; the nominee’s pursuit of his/her own professional development: a listing of past teaching awards and other awards; and a listing of nominee’s service to the profession through state and national leadership activities. Note: Be sure to use detailed examples in each section of the narrative to provide the selection committee with a complete description of the nominee’s qualifi cations.

Nominator Name __________________________________________________________ Title__________________________Address___________________________________________________ City__________________ State_______ Zip_________Phone_______________________________ Email_____________________________________________________________

ReferencesPlease obtain and submit with this application at least 2 letters of recommendation for the nominee. Th e selection committee will narrow the applicant pool (using the narrative provided by the nominator). Upon arriving at the semifi nal list, the committee will contact three references that will need to be able to speak of the abilities of the nominee. Th ese references must include an administrator, a teacher/colleague, and a student or parent.

Please submit application to:Elizabeth A.H. Green Award • American String Teachers Association • 4153 Chain Bridge Road • Fairfax, Virginia 22030

Elizab e t h A.H. Gre en S choo l Educa t o r Award

ASTA Committee on School Orchestra and StringsThe Elizabeth A.H. Green School Educator Award is presented annually to a school string teacher with a current and distinguished career in a school orchestral setting.

ASTA members making nominations should complete and submit this form to the ASTA National Offi ce with a postmark no later than November 1, 2008.

Late forms will not be accepted.



Artist Teacher AwardAlice Schoenfeld 2008Eleonore Schoenfeld (Posthumous)

2008Lynn Harrell 2007Helen Kwalwasser 2006Lawrence Hurst 2005Donald McInnes 2004Paul Katz 2003Heidi Castleman 2002Robert Mann 2000Fritz Magg (Posthumous) 1998Franco Gulli 1997Gary Karr 1996George Neikrug 1995Karen Tuttle 1994Nathan Gordon 1993Warren Benfi eld 1992Alice Chalifoux 1991Jascha Brodsky 1990Orlando Cole 1990Harvey Shapiro 1989Janos Starker 1988Zara Nelsova 1987Jascha Heifetz (Emeritus) 1986William Lincer 1986Efrem Zimbalist (Emeritus) 1985Leonard Sorkin 1985Eudice Shapiro 1984Aldo Parisot 1983Bernard Greenhouse 1982Roman Totenberg 1981Oscar Shumsky 1980Lillian Fuchs 1979Raya Garbousova 1978Paul Doktor 1977Rafael Bronstein 1976Dorothy DeLay 1975Yehudi Menuhin 1974David Walter 1973Gabor Rejto 1972Joseph Fuchs 1971William Primrose 1970Gregor Piatigorsky 1969Joseph Gingold 1968Samuel Applebaum 1967Ivan Galamian 1966Pablo Casals 1965Hans Letz 1964Isaac Stern 1963Hans Hess 1962Samuel Gardner 1961Louis Persinger 1960Joesph Szigeti 1959

Arts Advocacy AwardDavid E. Kelley 2008Sen. Edward M. Kennedy 2007

Arts Philanthropist of the Year AwardKay Logan 2008Sheila C. Johnson 2007

Distinguished Service AwardVictor Sazer 2008Richard D. Colburn (Posthumous)

2005Roland and Almita Vamos 1997Eleonore Schoenfeld 1996Felix Galimir 1995Louise Behrend 1994Abram Loft 1993Grant Beglarian 1992Robert Mann 1991Alexander Schneider 1990Henri Temianka 1989Milton Katims 1988Robert Klotman 1987Herbert Axelrod 1986Margaret Farish 1985Phyllis Young 1984Louis Krasner 1983Clifford Cook 1982John Celentano 1981T.J. Frederick Muller 1980John Kendall 1979Ralph Matesky 1978Margaret Rowell 1977Elizabeth A.H. Green 1976Marvin Rabin 1975George Bornoff 1974Paul Rolland 1973American Symphony Orchestra League 1972Fine Arts Quartet 1971Merle Isaac 1970Heinrich Roth 1969National Federation of Music Clubs 1968Congress of Strings, American Federation of Musicians 1967Bell Telephone Company 1966American Airlines 1965Joseph Maddy 1964Jack Benny 1963

Merle J. Isaac Lifetime Achievement AwardPamela Tellejohn Hayes 1997Jacquelyn Dillon-Krass 1996Dorothy A. Straub 1995Jerry N. Kupchynsky 1994Merle J. Isaac 1993

Paul Rolland Lifetime Achievement AwardLouise Behrend 2007Elsa Hilger Ezerman 2005John Kendall 2003Phyllis Young 2002Marvin Rabin 2001Jacquelyn Dillon-Kraus 2000

Elizabeth A.H. Green School Educator AwardSusan Ellington 2008Mary Lou Jones 2007Jan Garverick 2006Coral White 2005Leyla Sanyer 2004Jan Davis 2003Michael Alexander 2002Joanne Donnellan 2001Ida Steadman 2000Pamela Tellejohn Hayes 1998E. Daniel Long 1997Wayne Roederer 1996Ian Edlund 1995Linda Lydiard 1994William Dick 1994Bruce Fowler 1993Edward Ashton 1992Dale Kempter 1991Marilyn Kessler 1990

Isaac Stern International AwardItzhak Perlman 2008François Rabbath 2006Janos Starker 2005Mstislav Rostropovich 2002Kato Havas 1992Henryk Szeryng(Posthumous) 1989Nathan Milstein 1987Ilona Feher 1986Edward Melkus 1985Nannie Jamieson 1984Max Rostal 1984Shinichi Suzuki 1964

Traugott Rohner Leadership in the Music Industry AwardDalton Potter The Potter Violin Company 2008Charles Avsharian Shar Products Company 2006Norman Pickering J. D’Addario 2003Jim Strouse Stanton’s Sheet Music 2001

Traugott Rohner Service to NSOA AwardEdna L. Hansen 1997Nancy Watling 1996James H. Godfrey 1995

Marvin J. Rabin Community Service AwardMary Drane West 2006Bonnie Greene 2004Roberta Guaspari 2003

National String Project AwardLaurie Scott, The University of

Texas at Austin 2008Margaret Schmidt, Arizona

State University 2005

Outstanding ASTA Chapter Award Winners

2008Best Newsletter, VirginiaBest Website, TennesseeMembership Recruitment, New MexicoMost Improved State Chapter,

ConnecticutMost Outstanding Chapter, IllinoisState Chapter Leader, Andrea

Meyers, Colorado

2007Best Newsletter, MinnesotaBest Website, VirginiaMembership Recruitment, New MexicoMost Improved Chapter, New MexicoMost Outstanding Chapter, New JerseyState Chapter Leader, New Jersey Sharon Holmes (posthumously)

2006Best Newsletter, New JerseyBest Website, ColoradoMembership Recruitment, KansasMost Outstanding Chapter, MinnesotaMost Improved Chapters, Georgia and OklahomaState Chapter Leader, South Dakota David Elder (posthumously)

2005Best Newsletter, MinnesotaBest Website, ColoradoMembership Recruitment, AlabamaMost Outstanding Chapter, CaliforniaMost Improved Chapters, Alabama and VirginiaState Chapter Leader, Texas Kathlene Goodrich

Outstanding ASTA Student Chapter AwardUniversity of South Carolina

2008Montclair State University 2007 Pennsylvania State University

2006Michigan State University 2005Eastern Michigan University 2003

Awa r d s a n d C i t a t i o n sThis impressive list of ASTA award winners emphasizes that our organization is the leading string education and performance association. ASTA congratulates our many award winners, who have been infl uential in the lives of thousands of string students, teachers, and players.


Citations for Leadership and Merit

2008Albuquerque Youth SymphonyRichard AnshutzJoshua BellAmy Fear-BishopJudy BossuatLynne DenigJeremy DenkRobert GillespieDonald HamannJoanne MayDenese OdegaardJung-Ho PakShanghai QuartetLya SternLeslie Webster

2007Connie AikenRenata BrattMichael CarreraMarilyn DaggettMichael GagliardoRobert GardnerMidori GotoKaren HigdonTanya KalmonovitchMartin NorgaardJim PalmerPam PhillipsBonnie RideoutDaryl SilbermanTracy SilvermanDavid SmithKristin TurnerMatt TurnerTurtle Island String QuartetDavid WallaceCornelia Watkins

2006Stanley ChepaitisJanet Farrar-RoyceDavid LittrellKatharine MasonKirk MossDenese OdegaardJames PalmerKansas City SymphonyBob PhillipsVicki RichardsDaryl SilbermanJeffrey SolowKristin TurnerMary Wagner

2005Geri ArnoldKaren BeckerRenata BrattAndrew DabczynskiGerald DoanRobert GreenwoodJulie Lyonn LiebermanSteve MuiseBob PhillipsDaryl SilbermanMary Wagner

2004Lynne AspnesRenata BrattAndy DabczynskiGerald KlicksteinJulie Lyonn LiebermanKirk MossMartin NorgaardDeborah PerkinsBob PhillipsMary Alice Rich-WittrigLouise RossiJeffrey SolowEdmung SprungerCarol TarrLeslie WebsterLeslie WimsattMimi Zweig

2003Renata BrattStanley ChepaitisAndrew DabczynskiRobert GardnerMatt GlaserMary Lou JonesCarol LiddleJulie Lyonn LiebermanKirk MossAnne SheldonMary WagnerShi-Hwa WangLeslie Webster

2002Michael AlexanderLouis BergonziJeff BradetichTanya CareyPamela Tellejohn HayesJudy PalacLaura ReedCarol SmithJeffrey Solow

2001Michael AlexanderMichael Allen

2000Edward AdelsonRobert CowdenDoris GadzaLawrence HurstMary Lou JonesDotty KuhnLaura ReedLya SternMary Wagner

1998Susan KempterWilliam Magers

1997Evelyn ElsingMargaret MotterMary Wagner

1996Judy EvansRobert KlotmanAnne Witt

1995Dorothy A. Straub

1994Edward AdelsonJody AtwoodRobert CulverDoris GazdaLawrence HurstRobert Klotman

1993Ross CapshawGordon Epperson

1992Louise BehrendGerald DoanJoe KirschnerJerry Cadek LucktenbergKevin MillerIrene Sharp

1991Robert HladkyScott Schwab

1990Ronda ColeJ. Kimball HarrimanDaniel HeifetzLinda LydiardAnne MischakoffMargaret PardeeAaron ShearerGeorge Vance

1989Fredell LackHarry LantzA. Clyde RollerShirley Trepel

1988Gerald FischbachRichard KapuscinskiDavid WalterAnne Witt

1987Carleen HutchinsMilton Preves

1986Margery AberJoachim ChassmanAbraham ChavezLucas DrewPhyllis DunnMurray GrodnerRichard Maag

1985James CeasarCleveland FoundationColeman Chamber SocietyLouis KievmanGene Morlan

1984LeRoy BauerWarren Benfi eldMarla MutschlerLouis PotterMarvin RabinWilliam StarrFrancis TursiOscar Zimmerman

1983Nancy CluckEdward KrolickSiegfried Palm

1982Patrick BurrougsTanya CareyNannie JamiesonJohn KendallZenzo MatsumotoEduard MelkusElizabeth MorganMax RostalPhyllis Young

1981Margaret FarishArt HillRichard MaagRaymond StuhlLarry Zgonc

1980Neva GreenwoodMarkwood HolmesA. Kunrad Kvam

1979Robert C. MarinceMehli MehtaFrederick Neumann

1978Phillip GordonC. Paul Herfurth

1977John CelentanoMary SextonJohn Zurfl uh, Sr.

1974Vera BarstowJoan BoneyG. Jean SmithPriscilla SmithPhyllis Young

1965Marjorie KellerJoseph KnitzerLucie LandenRalph MateskyGabor Rejto


Member2Member by Robert Gillespie

String teachers are passionate about their profession. We give, give, give, work, work, work, defend, defend, defend. In short, we care, care, care! I challenge you to combine that deep love and commit-ment to strings with volunteering in your local communities. We get the importance of strings and volunteering. We freely volunteer much of our personal time with our students. Who has ever gotten paid for everything that we do for them? No one! How about taking some of that devotion and sharing it with our communities through volunteering as string instru-ment professionals?

Benefi ts of Volunteering with StringsLet’s briefl y look at the benefi ts of community volunteering:

• Enriches the lives of others beyond our classrooms or private studios,

• Helps us get beyond ourselves –allows us to focus on others,• Allows us to realize how blessed and fortunate we are,• Gives us practical ways to help others – we may not be able

to fi x someone’s car or repair their house, but we do have the skills to bless them through strings,

• Helps us become more aware of others – not just our students, family, and friends,

• Helps us learn to give – not hard for us, we already give, give, give to our students,

• Helps relieve stress by focusing on others in need – the eff ects of volunteering are actually healthy!

• Helps us to personally grow and sometimes gets us beyond our comfort zones,

• Models good citizenship for our students when they see us volunteer, and

• Helps us to keep balance in our lives – have you ever found yourself so deeply committed to your profession that you forget there are other important values in life and people who need us?

Okay I Get It! How Do I Do It?Now that we have had a chance to refl ect, what are some ways to combine our life with strings and volunteering? Th e following are some suggestions to help us get started. Th ey are divided into activities that focus on teaching and performing. Let’s look fi rst at those involving teaching:

• Give free private lessons to a student that is not able to pay for them. People have provided lessons for us. Consider returning the favor by giving free lessons to a student who cannot aff ord them.

• Organize opportunities for your older students to tutor stu-dents who cannot aff ord to take private lessons like their peers

• Teach in community inner city programs where those who typically do not get a chance to learn to play would have that opportunity thanks to you volunteering.

• Organize a New Horizons orchestra for senior citizens.• Volunteer to introduce string instruments to kindergarten

and young elementary students using the ASTA Discover-ing Strings and Orchestra program. Take advantage of the coloring book and DVD. (See side bar about the ASTA Discovering Strings and Orchestra Program).

• Help students combine strings with their school civic and club volunteer activities.

• Incorporate volunteering into your string teaching curricu-lum and make it a topic of discussion, research, and action that involves string instruments.

• Ask your students and their parents to suggest string volunteer activities. Th ey may have suggestions you would never have considered. April is National Volunteer month. Pay special attention to volunteering with strings during this time.

Opportunities Are Everywhere!Now let’s look at some volunteer activities with strings that in-volve performing. Free volunteer performances may be given at:

• Nonpartisan political events,• Hospitals (See sidebar about the MusicCare Program at

the James Cancer Hospital and Richard J. Solove Research Institute in Columbus, Ohio),

• Senior citizen centers and retirement communities,• Day care centers, latch key programs, Boys and Girls Clubs

of America events,• Prisons,• Churches and synagogues and other faith-based organizations,• Civic association meetings like the Kiwanis and Chamber

of Commerce,• PTA meetings,• Youth organization meetings, e.g. Girls Scouts, Brownies,

and Boy Scouts,• Events or activities associated with other community vol-

unteer associations like Volunteers of America. (Ask these organizations for suggestions for volunteer activities where you can incorporate strings), and

• Events that involve your students performing as volunteers.

Strings and Volunteering: A Winning Combination

Volunteering is an important part of community service.


How to Get StartedGetting started with any new activity is tough. Th e following are some guidelines to help us begin volunteering with strings:

1. Be practical and start small. Choose one activity that you can comfortably fi t in your life. Begin with one activity for one hour per month. Try it for a few months and then add more if it works.

2. Do not make a major life or schedule change to get the activity to work. At fi rst, choose something that can comfortably fi t in your life without having to make a lot of changes.

3. Just try something. You may not be sure if the volunteer activity is the best one for you. Test it out a few times and see if it feels right. If it does not, try a diff erent activity. Keep going until you fi nd the one or two that fi t you well.

4. Do not be a perfectionist (Just like me!) and worry too much about being able to perform the activity. Just try it out and see if it works. Th ose in charge can’t lower your salary if you are volunteering for free! Choose an activity that is comfortable and relatively safe for who you so that it is easier to get started.

5. Refl ect on how volunteers have aff ected your life and then consider how to add strings to that experience. Have you ever volunteered at a nursing home? Bring your string instrument and play for everyone. It will brighten everyone’s day, and yours too, in a unique way that only you as a string player can do!

6. Remember that volunteering is not about you – it is about others. Do not volunteer because who want or expect to get appreciated. Let’s be frank. Teachers need to be in charge of their classes and private lessons. We are used to leading and controlling circumstances and people. We are good at it, and we need to be so we can successfully teach. In our fi eld, we are accustomed to applause and appre-ciation. However, volunteering is not about being in charge or being appreciated. Volunteering focuses on helping and blessing others. Volunteering is about service and serving others, not rewards and applause for us. Someone may recognize our eff orts or say thank you, but not often. Th at is okay. Volunteers are servants.

Th e ChargeWe have one of the grandest professions. We get to teach and support others through the world of string instruments and music. In the course of our work we can touch many people’s lives. We have the power to bless those around us with music that will move them, brighten their day, and enrich their lives. Strings in our hands are powerful. I challenge you to consider touching others by using your professional string skills as volunteers. I challenge you to use your teaching and playing to touch people beyond your classrooms, pri-vate studios, and concert halls. Refl ect on how incomplete your life would be without strings. Have you ever tried or been forced not to play or teach for a time? It is diffi cult, you miss it, and you have to return. Use that longing and gift to share with others through volunteering. Touch others with strings in the same way you have been touched. Combining strings and volunteering is a win-win: You will be blessed and so will those you touch.

JamesCare for Life MusicCare ProgramLocated at Ohio State University, the James Cancer Hospital and Richard J. Solove Research Institute is one of the leading cancer hospital and research centers in the country. Th e JamesCare for Life MusicCare Program was developed to enhance the quality of care for patients. Th e goal of the MusicCare Program is to surround patients in a soothing, calming atmosphere before, during, and after their treatment or surgery.

Patients may experience live or recorded music. All of the live music is performed by volunteer perform-ing musicians who dedicate over hundreds of hours playing in patient rooms or out in hospital waiting ar-eas each year. One of the volunteers, Judy Mollenhauer, harpist, of the Columbus (OH) Symphony, states:

“Having played the harp professionally for many years and as principal harpist for the Columbus Symphony, I know the joy that music has in general, and the harp in particular, can bring to people in any state of health. Having joined the MusicCare program in January 2001, I have had the opportunity to experience some very touching positive responses from the patients when I play the harp in their rooms, as well as from the staff when I play in the general area near the nursing station. One patient wished me much beauty, as I had made her day so beautiful. Another time was when I got off the elevator with my harp; a staff member just looked, smiled, and gave a long sigh of joy.”

Th e James MusicCare program is free of charge to all patients at the James. It is funded by private dona-tion and grant support.

Dr. Robert Gillespie, professor of music, is responsible for string teacher training at The Ohio State University. He has served on the ASTA national board for six years, most recently as immediate past president (May 2008). He is a frequent guest conductor of All-State, Region, and festival orchestras throughout the country and Europe. He has presented string teacher sessions, workshops, and conducted concerts at national and state music educator conferences in 44 states and Canada and Europe.

Jude Mollenhauer plays bed side to an appreciative patient.


s a studio violin teacher, I spend a lot of time teaching my students how to practice striving to follow in the foot-steps of the prominent violin

pedagogue Ivan Galamian who once stated, “[Th e teacher] has to impress on his students that practice has to be a continuation of the lesson, that it is nothing but a process of self-instruction in which, in the absence of the teacher, the student has to act as the teacher’s deputy, assigning himself defi nite tasks and supervising his work.” (Galamian, 1964, p. 62) Still, I ask myself, “Are my students eff ectively practicing on their own?” Th is question led me to the Self-Regulated Learning Th eory, a social-cognitive perspective on how students acquire skills that are necessary to take control over their own learning (Bandura, 1991). Th is theory was formulated by Albert Bandura in 1986, and since then, it has become an important perspective among education aca-demic circles. Only in the recent decade has it become the basis for a growing body of research in music education. Th is educational paradigm is viewed as an open-ended cyclical activity that occurs in three phases: forethought, performance/volitional control, and self-refl ection (Zimmerman, 1998). Th e forethought phase includes the thought processes, self-effi cacy, and self-motivation that pre-cede eff orts to learn. Th e performance/volitional control phase refers to the processes that occur during learning that aff ect a student’s concentration and performance. Finally, self-refl ection is the student’s reaction and subsequent response to the completed learning experience. (McPher-son & Zimmerman 2002, Zimmerman, 1998). Based on this theory, I recently conducted a study on how college string majors self-regu-lated their learning during practice sessions. In order to better understand this learning process, the students used a semi-structured practice diary. Th e research results revealed that the students found the diary:• Provided a structure to plan out their practice sessions, • Made them become more metacognitive about how they practiced,• Aided them so that they practiced more effi ciently, and• Helped achieve goals within the four-week period of the study.

Using a Practice Diary to Promote Self-Regulated Instrumental Practice

“Practice is everything.” Th is is often misquoted as “Practice makes perfect.”Periander (ca. 625-585BC)

by Susan J. Kim

A


Th e practice diary can also be used as a practical tool for studio music teachers to examine their students’ daily practice behaviors. To promote self-regulated learning in students at various ages, the following three self-teaching phases should be used (Jorgensen, 2004): • Planning and preparation of practice,• Execution of practice, and• Observation and evaluation of practice .

Th e Semi-Structured Practice DiaryPhase I: Planning and PreparationTh e questions in the fi rst phase of the practice diary should be answered before the student starts practicing.

1. Make a list of exercises and repertoire and the time you want to allot for each item on the list. Th e fi rst item provides a framework so that a student can plan out the practice session. Th e students found that making a

list of all the things they wanted to practice helped them plan out their practice sessions and manage their time better. Th e checklist also served as a record of all the things they had practiced.

2. What are my goals for this practice session? Th is question asks the student to intentionally think about the purpose of his practice session, so that he is less likely to prac-

tice mindlessly. Th e students found that writing down practice session goals provided the structure needed to achieve them. It also helped them stay focused and ultimately achieve long-term goals during the four-week period of the study.

3. What are some practice strategies that I am going to use to accomplish my goals? Once the student sets his goals, he has to think about how to achieve them by coming up with diff erent practice strategies.

Th e students reported using a wide range of technical and cognitive strategies. A few examples of the technical practice strategies they used are: practicing diff erent groups and rhythms to improve motor skills, playing double-stops to improve intonation, and repeating notes to help them play eff ortlessly. To think more analytically, they used cognitive strategies, such as isolating problem spots and dissecting them into parts, identifying recurring patterns, and thinking about the music in phrases and sections. Keeping a daily record of the practice strategies that were used allowed the students to see which strate-gies were eff ective.

Phase II. Execution of PracticeTh e questions in the second phase should be answered after the practice session.

1. How did I instruct myself when I came across a problem? In order to carry out the fi rst phase of the self-regulated learning cycle, the student needs to instruct himself. My study found

that students self-instructed to solve problems, monitor playing, implement and adjust practice strategies when a certain practice strategy was not working well. Th is question also reminded students to teach themselves just like a respected teacher would have instructed them.

2. How did I analyze the music during this practice session? Research has found that analytical study of a score prior to physical practice is a cognitive-analysis strategy that is used more by

professional musicians (Hallam, 1995). Th e students that participated in the study found that analyzing the music not only helped them be more mindful of the diff erent parts of the composition, but it also helped them memorize the music, hear the harmony better, and play more musically. But the younger students did not analyze the music as much as the older students because they did not receive the same amount of formal music theory instruction. Still, this question reminded them to analyze the music to the best of their knowledge, and it helped them organize their thoughts and play more musically. Studio teachers can help younger students better understand the composition of the music by demonstrating simple analytic techniques, such as identifying the form of the piece, noticing certain recurring patterns, and identifying harmonic patterns.

3. How did I construct an aural or visual image of the piece? Constructing an internal image of the music is a strategy that is also used more by professional musicians (Miklaszewski,

1989). Students who created an aural and visual image of the piece had a clearer idea of the piece before they played, and so, they practiced more eff ectively. Teachers can help their students use this strategy by asking them to describe the sound in colors or paint a picture in their head. Th e student can also be asked to sing the music out loud to help create an aural image of the piece.

4. How did I monitor myself? How did I think about the music? How did I listen to myself? How did I watch myself? Self-monitoring is an essential part of practicing because playing a musical instrument requires a combination of aural, cogni-

tive, motor, and decision-making skills. Th ese questions remind students to monitor their playing by listening, thinking, and watching themselves. Students should be encouraged to use practice tools, such as a metronome, a mirror, or video-recorder to help monitor as well as to give themselves immediate feedback on a daily basis.

Phase III. Observation and Evaluation of PracticeTh e questions in the third phase should be answered after second phase questions.

1. How did I sound? Th e student ought to think like a medical doctor by diagnosing strengths and weaknesses in order to prescribe solutions

to problems, so practice can be more eff ective. Th is phase of the self-regulated learning cycle is crucial to knowing how to


continue practicing. Th e student needs to refl ect upon how he practiced, and how he sounded in order to fi gure out his next plan. Students in the study found the semi-practice diary a helpful tool to articulate what they heard and refl ect on their practice session. Th ey also found it to be a concrete way to keep track of their progress.

2. What are some problems that I encountered during this practice session? How am I going to go to fi x them? Practicing becomes more eff ective once you identify the problem and only then can you solve it by coming up with possible

solutions. Th is question reminds the student to identify problems on a regular basis. However, the teacher may need to challenge the student to probe deeper to help get to the root of the problem. Th is question served as a reminder to not only identify problems, but also to think through their problems. By articulating them on a daily basis, the students developed better critical thinking skills and problem-solving skills.

3. Did I accomplish the goals that I set at the beginning of the practice session? Which ones? Practicing becomes more rewarding when a student sees the fruits of his labor. Th e students in this study felt a sense of progress

when they were able to reach the goals they had set at the beginning of the practice session. Th ey also learned what kind of goals were reachable within a practice session. Ultimately, setting specifi c short-term goals helped them reach longer-term goals during the period of the study. In addition, they became more motivated to practice as they accomplished smaller goals on a daily basis.

4. How did I play musically? When a student overly focuses on the technical aspects of playing, musical expression can be compromised. Th is was the case

with some of the students involved with the study. Th ey struggled with balancing technical work with musical expression. However, this question served as a reminder to play musically during their practice sessions. As a result, the students enjoyed practicing more because they did not get into the mindset of only thinking about the technical aspects of playing. Teachers can encourage their students to think and play more musically by asking them to write a story that would go along with the music or by asking them to describe the music in colors or emotions.

5. What is my next plan of action? Th e last question of the semi-structured practice diary should help the student plan and prepare for the next practice session.

Th is question directs the student back to the fi rst phase of the self-regulated learning cycle.

SummaryMost students self-regulate their learning to some degree; still, all students can benefi t by learning how to practice more effi ciently. Th e student can use the practice diary as a tool to remind himself of some of the important elements of eff ective practicing. Th e practice diary is also a way for a student to keep a record of progress over the week or even a month. Th e students found the diary useful in making them more aware of how they learned during their practice sessions. Th ey were also able to achieve their goals during the four-week period of the study, and they became more confi dent in the way they practiced on their own. Teachers can use the semi-structured diary to examine their students’ practice habits and diagnose persistent problems. With the diary, they can assist their students to develop more effi cient practice habits. Th e practice diary can also serve as a catalyst for discus-sion and exploration of better practice strategies and practice habits between the student and teacher, as well as for the students in the same music studio.

InstructionsTh e semi-practice diary’s forms can be copied for each day of the week and put in a binder for each student. Younger students might need more help using the semi-structured diary. Teachers might consider going over the questions with each student and give examples of various practice strategies or good practice behaviors. Studio teachers may tailor the practice diary to the needs of each student as long as the integrity of the self-regulated learning cycle is preserved.

ReferencesBandura, A. (1991). Self-regulation of motivation through anticipatory and self-reactive mechanism. In R.A. Dienstbier (Ed.), Nebraska Symposium on Motivation: Vol. 38. Perspectives on

motivation (pp. 69-164). Lincoln: University of Nebraska Press.Galamian, I. (1964). Principles of Violin Playing and Teaching. London: Faber & Faber.Hallam, S. (1995). Professional musicians’ approaches to the learning and interpretation of music. Psychology of Music, 23(2), 111-128.Jorgensen, H. (2004). Strategies for individual practice. In Williamon, A. (Ed.), Musical Excellence: Strategies and Techniques to Enhance Performance. (pp. 85-103). N.Y.: Oxford University

Press, Inc. McPherson, G.E. & Zimmerman, B.J. (2002). Self-regulation of musical learning. R. Colwell & C. Richardson (Eds.), Th e New Handbook of Research on Music Teaching and Learning (pp.

327-347). New York: Oxford University Press.Miklaszewski, K. (1989). A case study of a pianist preparing a musical performance. Psychology of Music, 17, 95-109. Zimmerman, B.J. (1998). Developing self-fulfi lling cycles of academic regulation: An analysis of exemplary instructional models. In D.H. Schunk & B.J. Zimmerman (Eds.), Self-regulated

learning: From teaching to self-refl ective practice (pp. 1-19). New York: Guilford Press.

Susan J. Kim, violinist, recipient of the Charles Petschek Award and Michael Cohen Scholarship, studied with Sally Thomas and Joel Smirnoff, receiving her B.M. and M.M. at the Juilliard School. She went on to receive a doctor of education degree from Teachers College Columbia University and is currently on the Preparatory Division faculty at Mannes College of Music. Kim has performed across the United States, Canada, Germany, Japan, and Korea as a soloist, an orchestral player, and a chamber musician.



We want to challenge our students—but, to do what? Play faster? Higher?

Louder? Idealistically, we believe that if we help them to have rewarding

musical experiences, they will always want music in their lives. What kinds of

experiences make a lasting impact on a young person? What are some of the

tools we can use to help our students develop a feeling of ownership in their

program, ensuring their commitment to music, now and in the future? Th e

answer to these questions may rest in some common issues defi ned by the

65 string and orchestra teachers who took part in the validation process for

an Orchestra Performance Rating Scale (OPRS), (Smith and Barnes, 2007).

Each of these individuals viewed and rated three of 65 orchestra performances

using a list of statements that are commonly used to describe school orchestra

performances. Th e results were calculated and went through further validation

to synthesize this list to 25 items (see box on following page.)

By Gail V. Barnes

Challenging the

MiddleSchool

OrchestraMusician


Th ese items, along with a positive struc-ture for the orchestra rehearsal, may be used to provide focus and direction for both teacher and students.

Challenge One: Goal SettingSometimes, the six to eight weeks we have to prepare our students for a performance seems light years away. We can focus our eff orts by prioritizing: position, rhythm, intonation, tone, ensemble, and presentation (stylistic elements). While it may not always be feasible or even desirable to keep these as discrete categories, it is one way of creating shorter-term goals so that students will focus. Each rehearsal needs to be structured with specifi c goals that will be meaning-ful. One method of doing this comes from Christopher Selby, an orchestra director in Richland School District 2 (Colum-bia, SC): Stage 1—fi rst introduction to the piece; Stage 2—working through the structural elements and Stage 3—polish-ing the piece for performance. Th ese three stages create smaller goals on the way to

the larger objective. Another aspect may be learning to speak in terms of “we.” As an example rather than “I want to hear. . .,” or “Play it this way for me...,” focus on “What we want to do.” Th is can be done by simply giving two choices and then asking the students to vote for one. It is bet-ter to progress from broad to more subtle choices or perhaps even open-ended ones. Th is may lead to the feeling of los-ing a bit of control over the class, but if the students begin to understand how they can infl uence shaping the piece, they may pay more attention and take greater pride in their work. Th is will infl uence their sense of ownership and integrating music into their lives.

Young children will frequently at-tribute success to eff ort, but middle school students have more of an understand-ing of the diff erence between eff ort and ability than younger children. We need to increase their attributions to eff ort. If they are encouraged to try harder and not accept mediocrity, there is some evidence they will read this as an ability cue and that they are capable of higher achieve-ment. Children are not easily fooled and may infer lack of ability from an excess of sympathy (Asmus, 1985; Austin & Vispoel, 1992; Schmidt, 1995).

Challenge Two: PositionEvery orchestra member must have a lengthened and balanced position. Middle-school students are sometimes growing at such a rapid pace that, all of a sudden, those good habits we thought were in-grained seem to disappear. Middle-school children seem to be trying to hide and curl into themselves. Th ey must be continually but gently reminded to sit up away from

the back of the chair and have the soles of both feet fl at on the ground. Teachers may also want to take a closer look at their orchestra room chairs. Do the students have a fi ghting chance of sitting up straight in bucket chairs or even worse… metal folding chairs? One possible way to get musician’s chairs is to ask parents to donate one in honor of their child. Add a small brass plaque on the back, with the child’s name imprinted serving as a lasting legacy to their time in your group.

Challenge Th ree: RhythmRhythm issues can frequently seem abstract to a child instead of something they can internalize. If we want dotted rhythms to be accurate and precise and all notes to be sustained for the notated value, how do we bring those concepts to our students? Sometimes children become confused about where to start counting. Here’s an idea…Th ey all have measuring cups or tape measures at home, and they know those particular devices start with zero—so, when they count to three for a dotted half note, they stop when they get to three, just as with a measuring cup, they don’t want to overfl ow. Just because you explain that music starts on one and the need to hold the beat to beat four may seem obvious to us, but not so much to the average 11 or 12 year old. What about developing an internal pulse? While being able to move to music is a preliminary step either with the body or by foot tapping, we also want our students to able to internalize the beat. Robert Culver, professor of music educa-tion at the University of Michigan, chal-lenges students with the following: a) First, clap or snap a consistent pattern of quarter notes b) stop after a time and ask the students to clap together after a specifi c number of beats after you stop the pattern (call that beat one). Th e students will see if they can audiate the beat without exter-nally displaying it.

Challenge Four: IntonationAccurate intonation is a lifelong quest for most string musicians. For middle school string players, it may help to teach concepts in polarities: teach good intona-tion by modeling accurate intervals and then comparing them to out-of-tune intervals; having second violins and violas manipulate the third of the chord to be either minor or major; model an out-of-

25 Common Ratings Statements Ensemble Players watch conductor. Ensemble plays together. Chordal accompaniments are together. Players show evidence of listening to one another. Attacks are clearly defi ned. Overall texture is clear. Left hand Cadence points are in tune. Vibrato speed and width contribute to artistic impact. Chromatic alterations are in tune. Lowered fi ngerings are in tune. Raised fi ngerings are in tune. Position Players demonstrate correct instrument position. Players demonstrate correct left hand position. Players demonstrate correct right hand positions. Players demonstrate lengthened and balanced posture. Players demonstrate uniform bow placement. Rhythm Dotted rhythms are accurate and precise. Notes are sustained for the full notated value. Players demonstrate control of bow speed. Tempo Tempi are fast enough. Tempi are appropriate to style of composition. Presentation Ensemble has a uniform appearance. Ensemble has a professional appearance. Bow Players use enough bow speed. Players use suffi cient bow weight.


tune leading tone and the resulting lack of tension. Sometimes intonation may be clouded by less than accurate rhythmic alignment. Another contributing factor is less-than-eff ective playing position (there are many specifi c examples that you could cite), and a lack of understanding of fi nger patterns. Th ere are several systems for the latter, the most common being the Bornoff fi ngering system. Sometimes string and orchestra teachers isolate the issue to two notes or even one note, circulating around the group and having each student play, note-by-note. Th is can be ineffi cient, because it is actually easier for students to hear pitches in context, three to four notes at a time, as in i.e. D-E-F#-G rather than just the F#. Another suggestion for this age group is to have them experiment with res-onance: Students play a fast down bow on an open D or G and “whip” the bow off the string and listen for the “ring.” Th en, the teacher can model an in-tune and out-of-tune fi ngered note of her choice, bowed the same way and demonstrate that in-tune notes will have resonance also.

Challenge Five: ToneTh e bow presents a unique challenge to young string players and is aff ected by all the preceding elements: position, rhythm, and intonation. Use of the bow and pitch are mutually dependent because an unfocused bow stroke can make the pitch sound muddy. Conversely, out-of-tune pitches will never have a resonant sound. Sometimes we can become so focused on performances that we may forget to look at bow holds to be sure they’re still bending the (fi rst) right thumb joint. If this is the case, students are handicapped by playing with crooked bows and almost always pri-marily, in the upper half of the bow with a drooping right elbow. Try capturing middle school students’ imaginations by describing the palette of tone colors that are available to them. If they can control bow speed and weight, draw the bow parallel to the bridge, control the distance from the fi ngerboard to the bridge, they can vary their sound, leading to a more exciting sound. Make sure they understand that sometimes the bow is too light, so we must make it heavier with right arm weight. Sometimes it is too heavy, and we must make it lighter with a lifting eff ect that incorporates the right arm and thumb. Middle school students may fre-quently yank at the bow during certain rhythmic fi gures, e.g. dotted half note, followed by a quarter note, dotted quarter, followed by an eighth note. Th is leads to

an unintentional accent and is not very musical. Make students aware of this issue and teach them to lighten the bow weight, and bring the bow closer to the fi nger-board on the shorter note. Th is helps the overall expressivity of the sound. Altering the bowing to hooked bows can also work! Middle school students should also be challenged to avoid open A and E strings. Using a fourth fi nger (or second or third position for the cello) can create new intonation issues but those can be adjusted. Once students make the left-arm adjustments that make the fourth fi nger feasible, they will enjoy the more pleasant sound of the fi ngered pitch. Th e violin and viola left hand (and elbows) may only be set properly when the fourth fi nger is used correctly and consistently.

Challenge Six: EnsembleTh e most heavily weighted item in the OPRS was “players watch conductor.” Developing an internal pulse can go a long way toward keeping the group together, but the orchestra will never be able to play expressively or feel the potential power of the music without watching the conduc-tor. One trick is to have the students hold or release a note while watching us during scale exercises. Th is trick forces the students to watch but that can fl y out the window once we get absorbed rehearsing pieces. Th is is evident in performances, both adjudicated and otherwise, when the students are burrowed into their music and we may only see the tops of their heads. Perhaps another approach is develop-ing their musical sensitivity through their listening skills. If students practice in quartets, they may begin to have a greater understanding of the importance of their section’s musical line. Not all middle school orchestra facilities are fortunate enough to have practice rooms, so another option is dividing the students into small groups and have them scattered around the room. Each player will have both an individual and a group responsibility. It can also be valuable to vary the seating within the traditional set-up. Th is requires work on the part of the director, shaking things up and getting the students out of their comfort zones. One system may be to rotate one stand forward each week (second stand moves to fi rst, fi rst stand rotates to back, etc). Many directors may wish to have their more confi dent players lead the section for performances, but it may be worthwhile to consider hav-ing a strong player/anchor in the rear of the section. Th is can help with the mini-

Doppler eff ect (articulation coming in waves rather than at a single moment) that can sometimes occur in young orchestras. Optimally, the orchestra should have the same blend from any angle of the listener.

Challenge Seven: TempoTempi need to be fast enough or slow enough. Th at may seem obvious but does not always happen by concert time. Bill Jones, from the University of Iowa, believes the fi rst reading must be at the correct tempo, no matter how many notes get dropped. Th e students then get a sense of their ultimate goal. In Stephen Covey terms, we need to begin with the “End in Mind.” Middle school students have a frequent tendency to rush the tempo. Th ere are a couple of strategies for work-ing with this problem. First, describe the performance as the telling of a story. If one talks too fast or hurries to the end, the story isn’t as enjoyable. Second, try using a loud metronome such as the McAdams tuner-metronome or a Dr. Beat connected to an amplifi er to serve as a unifying force in the school orchestra. When students start rushing, make the beat fi ve or 10 degrees slower. If they continue to rush, decrease it fi ve or 10 degrees more. Th ey fi nd this maddening, but it does have the eff ect of making them pay more attention to keeping a steady pulse.

Challenge Eight: PresentationAs with sports, suiting up appropriately for an activity helps the young player recognize that he or she is getting ready to do something important. Not all middle school orchestras have adequate resources to purchase concert dress for every child. If this is the case, explore fundraising options to purchase concert attire, thus gaining uniformity. To make another com-parison to sports, it also helps the group feel like a team. Variety in the aural experience of the listener is also important, and it is easier than ever to fi nd varied literature. Students love rhythmically driven pieces. Th ey are keen on pieces written in a modal or mi-nor tonality and also enjoy novelty pieces. Students also need expressive pieces that can initially be a tougher sell. Th ese will help students really develop their sound, control their pitch, watch the conduc-tor, and pay attention to their role within the school orchestra. Meeting all of these challenges is not easy, but all add up to a quality teaching and learning and experi-ence for both student and teacher.


ReferencesAsmus, E. P. 1985 Sixth grader’s achievement motivation: Th eir views of success and failure in music. Bulletin of the Council for

Research in Music Education, 85:1-13.Austin, J. R. & Vispoel, W. P. 1992 Motivation after failure in school music performance classes: Th e facilitative eff ects of strat-

egy attributions. Bulletin for the Council of Research in Music Education, 111: 1-13.Boardman, E. 1989 Dimensions of musical thinking. Lanham, Maryland: Rowman & Littlefi eld EducationSchmidt C. P. 1995 Attributions of success, grade level, and gender as factors in choral students’ perceptions of teacher feedback.

Journal of Research in Music Education: 43:313-329Smith, B & Barnes, G. (2007)Validation of an orchestra performance rating scale. Journal of Research in Music Education,

55:268-280.

Gail Barnes is associate professor of string teacher education, director of the USC String Project and area coordinator of music education at the University of South Carolina. She edited Applying Research to String Teaching and Playing for the American String Teachers Association and has developed an online community for string and orchestra teachers, present-ing best practices in string and orchestra teaching through video in an online forum.


Orchestra auditions and recitals require diff ering methods of preparation. Th e following scenario is familiar to many people who have auditioned for an orchestra and illustrates the most important diff erence between auditions and recitals: the absence in auditions of the acclimation period which is usually built into a recital. You have prepared all year for an important recital. Th e repertoire is demanding but you have programmed an opening number that you feel comfortable with. During the recital, the fi rst few bars are a bit rough as you acclimate yourself to the stage, the surroundings, and the acoustics. You make one rather embarrass-ing mistake, but after a few minutes you feel relaxed and you are playing at your best level. Th e recital is a huge success, and no one remembers the little slip at the beginning.

astering the Unknown:MGuidelines for SuccessfulOrchestra Auditions

by Garrett Fischbach

You have an orchestra audition coming up. You’ve practiced meticulously six hours a day for three months, and you feel ready. You arrive at the hall at 8 a.m. on the audition day to be assigned a time, and are assigned to play between 10 and 11a.m. Th ey show you to a cold room with 47 others, and tell you that 10 minutes prior to your audition time you will be given your own room. Meanwhile, you are allowed to practice in this holding tank, but you can’t hear yourself, and you feel self-conscious with your competitors watching and listening, so you decide to roam the hallways. You hear the person who has just been given a private practice room and is about to go out on stage. He seems to be playing the Strauss excerpt faster than you do. Did you practice the wrong tempo? Th e audition starts to run behind schedule. Five and a half hours later, you are brought to your private room and are told that you will be instructed what to play when you get out on stage. You fi nally get out there, it’s strange, you feel uncomfortable, and they ask you to play a light spiccato excerpt fi rst (you are accustomed to starting with your concerto). You start to play and you feel out of control. Th e acoustic of the hall is much drier than you expected, and you feel like you can’t make a good sound. Somehow you stumble through the 45 seconds of spiccato. Th en they ask you to play the Strauss excerpt. You try to play it much faster than you are accustomed to, and it goes badly. Now one more excerpt, but you make a few mistakes because you are still thinking about the Strauss. Some-one from behind the screen says, “Th ank you very much.” It’s over. You were on stage for three and a half minutes. Needless to say, you didn’t get the job (and by the way, neither did the person who played the Strauss so fast).



Th at story sounds pretty grim, but the good news is that you can still win an audition under those circumstances. What follows is advice on mastering the skill of playing your best even in the most disorienting of circumstances, as well as answers to many frequently asked questions regarding preparing for and taking orchestra auditions.

Th e Importance of the “Mock Audition”A large part of your preparation must be devoted to putting your-self into unfavorable circumstances by playing practice auditions. You will have to use your imagination to come up with ideas that will best challenge you. You can call one professional colleague, and ask him to gather one or two others, but not tell you who they are. Show up at his house and have them sit in an adjacent room to keep their identity unknown. Have your colleague choose three excerpts for you to play straight through with only fi ve minutes of warm up time. Play the excerpts, and you’re done. Th e point is for you to practice the act of giving your best in those fi rst few minutes, with no second chances, and no time to settle in. Do this as many times as possible during the weeks leading up to the audition date, and vary the circumstances so that there is some new factor that you must deal with each time. By the time you get to the audition, the feeling of being “on” in the fi rst few minutes under strange circumstances will be routine for you.

How Should I Practice?From the start, program yourself for the best possible rhythm and intonation. You don’t need to take any shortcuts, because you will allow yourself ample time to learn the music carefully. Th ere is one method of practicing you use to prepare for tomor-row morning’s rehearsal, for which you just today received the music. Quite another type of practicing is used to prepare for an audition: you start weeks or months in advance, never pushing yourself to play more material than you can manage, or at a faster than comfortable tempo. If you isolate a small enough passage, and play it slowly, you are almost guaranteed to succeed in the practice room every time you play that passage. If you play up to tempo before you are ready, you will practice making mistakes. Repetition at gradually increasing tempos cultivates success from the beginning and will increase your chances of getting it right that one time that counts: at the audition. Do not change tempos during a play through of a passage while you are practicing - this will build habits of unsteady rhythm. In other words, don’t speed up in your practice for half a bar just because that half bar is easy. Keep a continuous tempo. Use the metronome often - even for slower lyrical passages. Many committee members will be on the other side of the screen silently tapping and subdividing to check your rhythm. If you are practicing a fast passage at a slow tempo, don’t vibrate excessively or use too much bow. Try to approximate the same physical motion that you will use at a fast tempo, and then you will be more nimble when you actually play fast.

Should I Play for Orchestra Members Prior to the Audition?Coaching with someone in the orchestra can be useful for obtain-ing general advice from an experienced professional, but that same advice can sometimes be obtained from an individual in a diff erent orchestra as well. In most cases, it is not worth the cost of a special trip across the country or ocean to play for someone, especially if the fi nals will be held behind a screen. If there is no screen in the fi nals, then obviously psychological factors can come into play among the committee members, and if you have previ-ously formed a positive relationship with one or more of them, it may help you. Still, there are no guarantees, and most likely the person who plays the best at the audition will win.

Must I Know the Score?You will have an advantage if you know what else is happening in the score. Th at doesn’t mean that you must memorize every part in the orchestra, and although it is always useful to see a score, if access to a particular score is diffi cult, you can still do without it. Usually careful listening to a few standard recordings will tell you the important points: who has the melody, what other aspects of rhythm, articulation, and voicing are present in the score that might aff ect the way you play your part, and especially, what traditional unmarked rubato or tempo changes exist.

Why Are Th ere So Many Spiccato Excerpts? Many audition repertoire lists consist largely of excerpts de-signed to test your bow control. Even the best soloists don’t need perfectly even spiccato because they need not match exactly with an entire section. As soloist it is okay to stand out a bit. A slight irregularity in a section player’s spiccato will sound like sloppy en-semble, not artistic personality. Diff erent techniques are required for diff erent types of spiccato. Many people consider the most diffi cult to be the slow spiccato excerpts where each note is con-trolled individually, rather than very fast spiccato which requires only an easy back and forth motion of the wrist. For the slower spiccato strokes, a fi rmer bow hold is required. It is helpful to fo-cus on the fi rm contact of the fourth fi nger with the bow, and to pay attention to the up-bows. Also, practice ON the string until you reach the actual performance tempo. Most of these spiccato strokes are best thought of as well articulated “on” strokes - the stick moves up and down, but the hair scarcely leaves the string.

Must I Do Th eir Bowings or Tempo Markings?Occasionally an orchestra will send their own parts for a particu-lar excerpt. If there are bowings marked, you should familiarize yourself with them and be prepared to play them, but if you feel you sound much better with your own bowings, it is better to use those. It is usually not diffi cult to determine a standard tempo range; listen to several recordings to get a general idea of tempo. In the last stages of an audition, candidates are often asked to repeat excerpts with diff erent tempos, dynamics, articulations, etc. Th e better prepared you are, the more fl exible you will be. Profes-sional orchestras require great fl exibility and the ability to make quick changes due to limited rehearsal time. If you are a fi nalist, they want to test your fl exibility.

How Can I Be Expressive Yet Sound Like a Good Section Player?Notes at ends of passages should be short and neat, especially when there is a dot over the note. Attacks with the bow should always be from very close to the string and not high up in the air. Th e former is a style more suited to matching with the sound of a section. Vibrato should be expressive, but not such that it would stand out in a section. You may be as eccentric/passionate/rhap-sodic as you wish in the concerto. Th e excerpts must still be as ex-pressive as possible, but played with a symmetry that can easily be followed, and automatically agreed upon by an entire orchestra. When each player pushes/pulls the rhythm or dynamic in diff er-ent places; you end up with ragged edges and ensemble problems. An audition committee knows this, and they will respond well to a player whose expression is compelling, but not unpredictable or too individualistic in the excerpts.

Must I Learn the Musical Style of the Orchestra that I Am Auditioning For?Some orchestras are known for having a unique style, and often hire local students who have studied for years with members of


the orchestra and played as substitutes in the orchestra. Many observers criticize this practice, but an orchestra must function as many individuals working toward a common goal, so it often doesn’t hurt if there is a uniformity of approach. If you know that the orchestra is famous for this type of selection, you will undoubtedly increase your chances by studying with a member of the section or with the section leader. Having said that, it is true in most cases, the person who wins the job is the one who plays the best for the audition, even if no one in the orchestra has ever heard of that person.

Should I Play Double Stops?When auditioning, your fi rst consideration should be to sound your best. To that end, you will take each case individually and decide on bowings, fi ngerings, double stops, etc. Generally, one is not expected to play double stops in an audition or in an orches-tra performance. On the other hand, one is rarely frowned upon for playing double stops in the orchestra. In an audition however, you don’t score any points for successfully playing double stops, simply because it is not a skill that will be required. In the audi-tion, play them only if they are easy and only if they add to the fullness of your tone, especially with open strings. If the part is marked ‘divisi’ then the answer is obviously “no.”

Is My Instrument Good Enough? Is It Loud Enough?Th e most important condition is that you are comfortable. It’s best not to borrow that great Strad two days before the audition - you might not feel accustomed to it. When the passage is marked fortissimo, think about the fullness of your tone rather than the penetrating quality. When you are alone on stage, your sound won’t be covered up by other sections of the orchestra, so there is no reason to play as though you are fi ghting to be heard. Beauti-ful tone and most of all good playing, will win in the end.

Must I Count Out the Rests During An Audition?If it is a few beats or a bar and a half, you should count them and begin playing again at exactly the right time. In these cases your ability to accurately count the rests without rushing or dragging shows good rhythm. If there are 10 and a half bars, then just count out one and a half and go on, unless you are instructed otherwise.

What Should I Wear?If the whole audition is behind a screen, you won’t be out of place in your most comfortable jeans and tee-shirt. You want to feel good when you play. Bring an extra layer in case the practice room is cold, or in case you feel cold before going on stage. If any part of the audition is without a screen, you should look neat and presentable. Th e committee members may not even be aware of how much this aff ects their impression. More formal business attire is recommended in this case.

Who Is Listening to the Audition?Each orchestra has slightly diff erent audition procedures. In most American orchestra auditions, you are playing for six or more players, sometimes selected from a broad range of instruments. Remember that each player gets only one vote and will have their own tastes and opinions. Th is is regardless of the particular sound or style of the orchestra. In most cases, the audition committee is not allowed to discuss a candidate’s performance during the audition process or voting. Voting is usually done by secret ballot. Sometimes the conductor has the fi nal say and can even veto a unanimous committee vote. But sometimes, the conductor has only one vote, just like all other committee members.

In ConclusionWinning an orchestra audition requires a specifi c set of skills. Th e audition process can be awkward and full of unpleasant surprises but with the right kind of conscious preparation, the outcome is no longer left to chance, and the player is empowered with the tools for success.

Garrett Fischbach is a currently tenured member of the Metropolitan Opera Orchestra in New York City, and a former member of the San Francisco Symphony, and the National Symphony Orchestra in Washington, D.C. He holds a bachelor of music degree with high honors from Boston University where he studied violin with George Neikrug and Yuri Mazurkevich, and a master of music degree from Northern Illinois University where he studied

violin with Shmuel Ashkenasi. He is an avid teacher, and has given master classes at the Central Conservatory of Music in Beijing, China, the Shanghai Conservatory of Music, and the Mannes College for Music. He has enjoyed close exposure to a broad range of pedagogi-cal methods, from early training with his father whose infl uences included Paul Rolland, to fi ve subsequent teachers who were themselves pupils of Gingold, Galamian, Dounis, Oistrakh, and Zimbalist.



In a 1996 article in the American String Teacher, James Kjelland asked an important question: “Where have all the string teach-ers gone?” In the article, Kjelland stated, “Th e shortage of string teachers is a major topic of concern today, and the long-term solution would be to recruit more string education majors to our colleges” (Kjelland, 1996, p. 91). Th is solution has been echoed by other researchers examining the string teacher shortage in K-12 schools (Gillespie & Hamman, 2002; Smith, 1997). Th ere has been little focus, however, on where string teachers go when they leave the profession, and what implications this migration and attrition may have on the profession as a whole. Th erefore, a possible follow-up question to the one posed by Kjelland may be: Where do all the string music teachers plan to go? In a recent survey of ASTA members who identifi ed their pri-mary occupation as teaching in the K-12 schools, string teachers

were polled about their future career plans for the following year as well as in the next fi ve years. Of the nearly 3,000 members of ASTA teaching in a K-12 school, 304 string teachers responded.

Career PlansAll too often, researchers investigating the career plans of teachers treat career decisions as binary in nature. Th at is to say, regardless of where a teacher goes, if they leave their current position, they are counted among teacher attrition (Stinebrickner, 2002). String teachers may be leaving K-12 positions, but may remain active in the profession as a whole. A more nuanced look into the career decision of string educators is needed. In this study, string teach-ers were asked where they planned to go after leaving their K-12 teaching position. Th ese responses are summarized in Table 1.

by Joshua Russell


Table 1. One Year and Five Year Career Plans

Career PlanYear One Year Five

Frequency Valid Percent Frequency Valid Percent

Remain a music teacher at the same school

250 83.3 154 51.7

Remain a music teacher in a different school in the same district

8 2.7 17 5.7

Remain a music teacher in a different district

10 3.3 25 8.4

Leave music temporarily for family, health, or personal reasons

4 1.3 10 3.4

Leave music teaching temporarily for educational or professional reasons

6 2.0 4 1.3

Leave music teaching to become an education administrator

0 0.0 5 1.7

Leave music teaching in a K-12 school to teach music privately

4 1.3 10 3.4

Leave music teaching in a K-12 school to teach music in a community organization

0 0.0 0 0.0

Leave music teaching in a K-12 school to teach music in a college or university

1 0.3 5 1.7

Take early retirement 4 1.3 10 3.4

Retire 10 3.3 50 16.8

Leave music teaching completely and permanently for reasons other than retirement

3 1.0 8 2.7

Total 300 100.0 298 100.0

Th e greatest proportion of string teachers, at both year one and year fi ve, planned to remain a music teacher in the same school. No participants planned to become school administrators or community music school instructors within a year, or community music school instructors within fi ve years. Th e number of teachers planning to retire is over 10 percent greater for year fi ve than year one. Th ere are also sizeable year one versus year fi ve diff erences in the proportion of teachers planning to remain a music teacher in a diff er-ent school in the same district or in a diff erent district; proportions for all other career decisions diff ered less than 3 percent from year one to year fi ve. Based on career plan responses, participants were placed into one of three groups (stayer, mover, leaver). Stayers are those who planned to remain a music teacher at the same school where they currently work. Movers are those who planned to remain a music teacher but in a diff erent school in the same district or in a diff erent district, leave teaching temporarily for family, health, or personal reasons, leave music teaching temporarily for educational or professional reasons, leave music teaching to become an education admin-istrator, leave music teaching in a K-12 school to teach music privately, leave music teaching in a K-12 school to teach music in a com-munity organization, or leave music teaching in a K-12 school to teach music at a college or university. Leavers are those who planned to take early retirement, retire, or leave music teaching completely and permanently for reasons other than retirement. Frequencies and percentages for these classifi cation groups are shown in Table 2.

Table 2. Descriptive Results for Stayers, Movers, and Leavers

Group Year One Year Five

Frequency Valid Percent Frequency Valid Percent

Stayer 250 83.3 154 51.7

Mover 33 11.0 76 25.5

Leaver 17 5.7 68 22.8

Total 300 100.0 298 100.0

Comparisons to National Data Direct statistical comparison of string teacher career decision data from the current investigation with national data for music/arts teachers or all K-12 teachers is not possible. It is possible, however, to make logical, descriptive comparisons. In Figure 1, string


teacher career decision percentages for year one and year fi ve are presented alongside actual career decision data for all K-12 teachers as compiled by the National Center for Educational Statistics (NCES) (Marvel, Lyter, Peltola, Strizek, & Morton, 2007). Th e propor-tion of string teachers classifi ed as stayers, movers, or leavers for year one (based on projected career decisions) is almost identical to the NCES proportions for all teachers (based on actual career decisions).

Figure 1. Percentage of Teacher Stayers, Movers, and Leavers: String Teacher Data and National Data for All K-12 Teachers

In Figure 2, string teacher career decision percentages for year one and year fi ve are presented alongside NCES data for all mu-sic/arts teachers. Once again, the proportion of string teachers classifi ed as stayers, movers, or leavers for year one (based on projected career decisions) is almost identical to the NCES proportions for all music/arts teachers (based on actual career decisions). Collectively, these fi ndings provide support for the validity of projected career decision data.

Figure 2. Percentage of Teacher Stayers, Movers, and Leavers: String Teacher Data and National Data for Music/Arts Teachers

100

80

60

40

20

0 04-05 National Data String Teacher (Year 1) String Teacher (Year 5)

Stayers Movers Leavers

Stayers Movers Leavers

100

80

60

40

20

0 04-05 National Data String Teacher (Year 1) String Teacher (Year 5)

Th e Teacher Follow-up Survey (TFS) includes a range of additional data about teachers, including their age, gender, years of teaching experience, minority student population, school level, school setting, and teacher ethnicity. Table 3 presents demographic results for stayers, movers, and leavers, as compiled by the TFS, alongside string teacher demographics for these same career decision categories. Overall, data patterns are very similar; cell proportions for all teachers and string teachers (year one) are typically within fi ve percent. Compared to all K-12 teachers, early-to-mid career string teachers (4-6 years of experience) appear more inclined to migrate to other positions in education (25 percent, as opposed to 9.4 percent for all teachers) than to leave teaching altogether (1.7 percent as opposed to 7.9 percent for all teachers). Similarly, a greater proportion of non-Caucasian string teachers plan to stay in their current positions, rather than move to a diff erent job or leave teaching.


Table 3. Cross Tabulations for Career Decisions and Demographics

Factor 04-05 National Data* Year 1 Projections Year 5 Projections

Stayers Movers Leavers Stayers Movers Leavers Stayers Movers Leavers

Age

<30 76.3 14.7 9.0 80.7 15.4 3.8 36.5 57.5 5.8

30-39 84.2 9.0 6.8 79.1 20.9 0.0 59.5 38.1 2.4

40-49 87.6 7.1 5.3 89.0 11.0 0.0 79.4 15.9 4.7

50+ 83.7 4.5 11.8 83.1 6.6 10.3 42.6 14.0 43.4

Gender

Male 83.9 8.3 7.7 82.3 12.4 6.3 60.3 23.1 16.6

Female 83.4 8.1 8.6 83.9 11.1 5.0 49.1 26.4 24.5

Teaching Experience

1-3 yrs. 77.1 14.8 8.1 82.6 13.0 4.4 52.2 39.1 8.7

4-9 yrs. 82.7 9.4 7.9 73.3 25.0 1.7 36.7 58.3 5.0

10-19 yrs. 88.2 6.3 5.5 91.5 7.0 1.5 70.0 15.7 14.3

20+ yrs. 84.9 3.9 11.2 83.8 7.0 9.2 49.6 14.2 36.2

Minority Students

<10% 86.4 5.6 8.1 82.1 12.8 5.1 51.3 25.6 23.1

10-34% 85.5 7.8 6.7 87.5 9.4 3.1 48.4 21.9 29.7

35% 80.6 9.9 9.5 84.5 8.2 7.3 55.6 25.9 18.5

School Level

Elementary 82.8 8.8 8.5 83.1 9.2 7.7 53.1 29.7 17.2

Secondary 84.6 6.8 8.6 83.0 11.7 5.3 52.0 22.8 25.2

Combined 85.9 7.8 6.3 86.2 10.3 3.5 50.8 43.2 21.0

School Setting

Urban 79.8 10.3 9.9 84.5 8.5 7.0 54.3 21.4 24.3

Suburban 84.8 7.3 7.9 83.9 10.9 5.2 51.3 26.2 22.5

Rural 85.0 7.3 7.7 83.3 13.3 3.3 53.3 26.7 20.0

Teacher Ethnicity

White 83.9 7.9 8.2 82.7 11.4 5.9 51.1 26.7 22.2

Black 79.3 9.7 11.0 100.0 0.0 0.0 20.0 0.0 80.0

Hispanic 80.6 10.1 9.3 100.0 0.0 0.0 50.0 25.0 25.0

Asian/Pacifi cIslander

81.8 7.9 10.3 83.3 16.7 0.0 75.0 16.7 8.3

Amer. Indian 93.1 5.0 1.9 100.0 0.0 0.0 100.0 0.0 0.0* Data from the 2003-04 TFS Survey conducted by NCES.

ImplicationsAlthough not leaving the music education endeavor completely, string teachers who elect to migrate within the fi eld will create a defi ciency at the school organizational level (Ingersoll, 2002). Schools that string teachers leave must fi nd a qualifi ed individual to replace the outgoing teacher, which will become increasingly diffi cult unless the number of students entering string education programs increases (Gillespie & Hamann, 2002). Positions may be staff ed by individuals not highly qualifi ed to teach strings or the position may not be fi lled at all, leading to the elimination of the program or an additional stress to remaining music faculty (possibly leading to their migration or attrition).


Many migrators leave their positions only temporarily for either personal or professional reasons. Although this migra-tion may cause an organization stress, it does not necessarily negatively impact the profession as a whole. String teachers may be leaving to pursue a graduate degree or some other form of professional develop-ment (Poutiatine, 2005). Such professional development could enhance their teaching skills and might, in the long term, advance the profession. Th ose temporarily leaving for personal or familial reasons may return to the profession with a greater apprecia-tion or sense of renewal based on their time away from teaching. Given the private training experiences of many string musicians, it is not surpris-ing that many wish to teach privately themselves. Th e fl exible schedules, rela-tively high pay, and lack of K-12 teaching stress can draw many string players to this role. Th e participants who indicated a desire to become a private instructor, however, could still be involved in the string music education enterprise by teach-ing lessons to students involved in school programs, off ering clinics and workshops for students and teachers, and performing with student ensembles. One of the more disturbing fi ndings was how few participants indicated a desire to teach in higher education, become an administrator, or teach in a community organization. Although it may be diffi cult to identify an optimum level of overall string teacher migration, some migration is required for the health of the profession. If experienced and well trained string music educators do not migrate from K-12 classroom teaching to other education related endeavors, an important resource (experienced string educators) is not be-ing distributed throughout the multiple dimensions of string music education. Teachout (2004) identifi ed several barriers, such as fi nancial considerations and limitations on time that may dissuade music educators from pursuing a doctoral degree and then teaching in higher educa-tion. Additionally, teaching in higher education may present challenges for those who do complete a terminal degree (e.g., gaining employment, meeting publication expectations, earning tenure). Given the small number of string music educators planning on entering higher education, string music education undergraduates may fi nd themselves instructed by indi-

viduals who lack public school experi-ence or who are otherwise unequipped to be eff ectual as a string music education professor, thus deterring more students from becoming string music educators and producing unprepared students. Several researchers in general educa-tion and music education have indicated that the relationship with and support received from administrators is para-mount in the retention of music educators (Bloland & Selby, 1980; Cotten, 2003; Krueger, 2000). If few music educators become school administrators, percep-tion and communication challenges that characteristically impede string orches-tra programs are likely to persist. String teachers may face continuing diffi culties in communicating the intricate and nuanced diff erences between what transpires in a traditional classroom and in a music class-room. As more music educators become educational administrators, communica-tion between school administrations and string teachers and string program advo-cates may improve. If few music educators enter into this endeavor, the music educa-tion profession may miss out on some its most eff ective advocates. No participants in the current study indicated plans to teach in a community organization. It could be that the small salaries and large work loads often associ-ated with such positions leads most string music teachers to continue in their K-12 position or to fi nd a more lucrative position outside of classroom teaching. Th is fi nding has a potentially alarming implication. Previous researchers have found that access to string music instruction in public schools is limited (Smith, 1997); only 16 percent of school districts in the United States off er string music education instruction. Due to this limited access to string instruction, the role of community string and orchestra or-ganizations becomes even more important. Although students may take private lessons, without community organizations, students in areas where access to string instruction in the schools does not exist will miss the opportunity to participate in an ensemble. If such organizations do not exist or are operated by individuals untrained in string pedagogy and music education, stu-dents may not receive the best instruction possible. Th is fi nding has some implica-tions for institutions of higher educa-tion. String performance undergraduates should be given improved instruction in

string pedagogy as well as in management of such community programs. If trained music educators do not intend on taking such positions, string performers and pedagogues will most likely staff them. Although the percentage of string teachers planning to remain in the profes-sion was relatively high, the importance of teacher turnover and attrition should not be overlooked. National data suggest that the demand for teachers continues to increase due to student enrollments, immi-gration, class size reduction initiatives, and teacher retirements. Moreover, the rate of the teacher workforce growth began to de-cline in the late 1990s (Gerald & Hussar, 1998). As a consequence, a greater num-ber of schools with teaching openings are having diffi culty fi nding highly qualifi ed candidates to fi ll their positions (Ingersoll, 2002). Th is threat is more pronounced in the specialized fi eld of string music educa-tion. In the 2000-2001 school year, 43 percent of school districts with orchestra programs had string teacher positions left unfi lled (Gillespie & Hamann, 2002). As claimed by previous researchers (Gillespie & Hamman, 2002), retire-ment continues to be a major factor in the string teacher shortage. More inter-estingly, however, participants with less teaching experience were more likely to migrate away from their current position. Th e high incidence of migration among early career string teachers in this study may refl ect a certain reality – namely, that fi rst jobs seldom match novice teachers’ expectations and skills. Researchers have found that teaching experience is related to teacher retention and that teachers with little teaching experience are more likely to migrate or leave their position (Beaudin, 1993; Bempah, 1991; Brownell, Sindelar, Bishop, Langley, & Seonjin, 2002; Th eo-bald, 1990). When string teachers leave positions, it is not uncommon for a band director or other music educator outside of string music education to replace the string teacher, if the individual is replaced at all. In a recent survey of string teachers, Gillespie and Hamman (2002) found that only 80 percent of individuals teaching strings in public schools were string play-ers (this number decreases to 62 percent when considering new hires) and only 59 percent indicated that their teaching assignments were completely in strings. As Ingersoll (2002) states, “one of the pivotal


causes of low school performance is the inability to adequately staff classrooms with qualifi ed teachers” (p. 26). Accordingly, string programs should be staff ed with teachers adequately trained in music in general as well as string education specifi cally. Th e limited supply of qualifi ed string music educators can also threaten the very existence of string programs. When string teachers leave the profession and/or migrate within the profession, as refl ected in the study participants’ fi ve year plans, deliberate ef-forts are needed to rally parental, administrative, and student sup-port for the program and ensure that the program will continue under the guidance of a highly qualifi ed string music educator.

ReferencesBempah, E.O. (1991). An Econometric Analysis of Teacher Mobility. Dissertation Abstracts

International, 52(06), 1953.Beaudin, B.Q. (1993). Teachers Who Interrupt Th eir Careers: Characteristics of Th ose Who

Return to the Classroom. Educational Evaluation and Policy Analysis, 15(1), 51-64.Bloland, P.A., & Selby, T.J. (1980). Factors Associated with Career Change Among Secondary

School Teachers: A Review of the Literature. Educational Research Quarterly, 5(3), 13-24.Brownell, M.T., Sindelar, P.T., Bishop, A.G., Langley, L.K., & Seonjin, S. (2002). Special

Education Teacher Supply and Teacher Quality: Th e Problems, Th e Solutions. Focus on Exceptional Children, 35(2), 1-16.

Cotten, V. (2003). Elementary Teacher Attrition and Factors of Organizational Climate. Dis-sertation Abstracts International, 64(06), 1954.

Gerald, D., & Hussar, W. (1998). Projections of Education Statistics to 2008. Washington, DC: National Center for Education Statistics.

Gillespie, R., & Hamann, D.L. (2002). Wanted: 5000 Future String Teachers. American String Teacher, 52(1), 72-78.

Ingersoll, R.M. (2002). Th e Teacher Shortage: A Case of Wrong Diagnosis and Wrong Pre-scription. NASSP Bulletin, 88(631), 16-31.

Kjelland, J. (1996). My Turn: Where Have All the Teachers Gone? Bringing the Ecosystem Into Balance. American String Teacher, 46(2), 91-92.

Krueger, P.J. (2000). Beginning music teachers: Will they leave the profession? Update: Ap-plications of Research in Music Education. 19(1), 22-26.

Marvel, J., Lyter, D.M., Peltola, P., Strizek, G.A., & Morton, B.A. (2006). Teacher Attri-tion and Mobility: Results From the 2004-2005 Teacher Follow-up Survey (NCES 2007-307). U.S. Department of Education, National Center for Education Statistics. Washington DC: U.S. Government Printing Offi ce.

Poutiatine, M. (2005). Selected summary of the research on the courage to teach program and the process of teacher formation. Unpublished Paper, Gonzaga University.

Smith, C.M. (1997). String Education: Th e Stepchild of American Music Education. Ameri-can String Teacher, 47(4), 37-42.

Stinebrickner, T.R. (2002). An Analysis of Occupational Change and Departure from the Labor Force: Evidence of the Reasons Th at Teachers Leave. Journal of Human Resources, 37(1), 192-216.

Teachout, D.J. (2004). Incentives and Barriers for Potential Music Teacher Education Doc-toral Students. Journal of Research in Music Education, 52(3), 234-247.

Th eobald, N. (1990). An Examination of the Infl uence of Personal, Professional, and School District Characteristics on Public School Teacher Retention. Economics of Education Review, 9(3), 241-250.

Joshua A. Russell is an assistant professor of music education at the University of Arkansas in Fayetteville. He received his Ph.D. from the University of Colorado at Boulder, an M.M at Northwestern University, and bachelor degrees in music education and composition from Shepherd University in West Virginia. At the University of Arkansas, Russell teaches graduate and undergraduate courses in music education

and string pedagogy. His research interests include education policy, string education, and cognitive and psycho-social development in the teaching and learning of music. His research has been published in several music education journals.


Mission accomplished! Discovering Strings and Orchestra (DSAO) has succeeded in its fi rst year to encourage young students to participate in string and orchestra programs in their schools and communities. Children from all regions are “discovering” the joy of strings and showing interest in pursuing lessons either privately or through school programs. “We fully expect its second year to garner even more enthusiasm and open up even more opportunities for the program,” says Donna Hale, ASTA executive direc-tor. “We continue to appreciate the support that NAMM has given us for this program as we could not have done it without them. Now our challenge is to continue to grow the program.” NAMM graciously funded DSAO in June 2007. Th e program partners with youth groups and focuses on students in grades one through three with volunteer string clinicians introducing them to the world of strings. Th ere are fi ve sessions to select from: Introduction to Strings, Strings and Academics, Group Lesson, Field Trips, and Advocacy. Th e

Plucks the Right Notes with Children

While Encouraging Volunteerism

Quilt from

“Quilt in a D

ay” by Eleanor Burns.


program is designed to be fl exible and can be done in just one session or extended for several weeks. Many clinicians have successfully combined sessions to allow more topics during a fi xed allotment of time. (Th is is especially true with Brownie troops that meet after school for just an hour.) Prepared lesson plans and program details can be found at astaweb.com. Adding interest and fun to the program are several free items including a DVD, coloring and activity book, a completion certifi cate, and a patch. Due to DSAO’s fl exibility, every program can have its own look and feel. Additionally, this fl exibility has allowed certain components of the program to reach further than originally anticipated. Young Audiences of Virginia is now using the coloring and activity book as a part of their Project Music program reaching more than 4,000 children in the Tidewater area for the period of October 2007 through June 2008. Th ey plan to continue using the activity and coloring book indefi nitely. “Th is is a signifi cant achievement in bringing continued name recognition to ASTA and our DSAO program,” says Hale. Th e activity book was also featured at a book fair in Washington D.C. at the Hyde Leadership Public Charter School. More than 250 books were given away to second and third graders.

Encore YearTh e generous grant from NAMM allowed ASTA to hire a project consultant, Dr. Anne Clark for the fi rst year. As DSAO enters its second year, prospective volunteer clinicians can rely on a community network of adults who value strings and have exper-tise to share in getting a program started. Below are some proven ideas and sugges-tions on how to implement DSAO in your area for specifi c targeted groups.

BrowniesVolunteer as a CoordinatorCathy Drabkin, Fort Hays State University’s (FHSU) Western Strings Academy, coordi-

nated the DSAO program for two Brownie troops and used university and community clinicians. She wanted to include the entire fi ve sessions so she planned the program to last the entire school year. Session one began with electric and early string instru-ments, with adults and children from the academy performing and helping with the instrument petting zoo. Th ere is not a repair shop in Hays so Drabkin improvised and invited cellist Ben Morris-Cline from the FHSU Music Department to give a creative presentation covering many of the things in the repair shop session. Drabkin used her own ingenuity to make the ses-sions “fi t” when the required criteria were not available.

Matching Performers to GroupsPaul Hoff man, executive director of the New Hampshire Philharmonic, registered as a performer for DSAO and requested help in fi nding youth groups for his ticket donations. Charlene LeDoux, interim New Hampshire state president, volun-teered to pilot projects and was matched with two troops who were able to arrange session times together. LeDoux chose to use a small size cello in her petting zoo and played her full size one while the girls sang along. Th e troop leaders followed up the session by hosting an instrument dem-onstration by Th e Sounding Post String Shop in Hooksett. A nice complement to this DSAO program was the fact that the director and public relations manager of the Girl Scouts Council for that area took a keen interest in the project. According to Clark, “Th ey felt DSAO off ered youth arts opportunities which were not otherwise available in their area.”

Troops Look for Good Programs that Off er Educational Benefi tsWorking with a newly-formed Utah Brown-ie troop in Bountiful, Michael Palumbo of Weber State University included not one, but two shop fi eld trips taken to Peter Prier Violins and Th e Violin Making School of America. He combined parts of session one, two, and three and supplied tickets to We-ber State University’s Orchestra Concert. Mary Wagner, ASTA past president, used three string assistants from Lake Braddock Secondary School in Burke, Virginia for her DSAO project with a local Brownie troop. Donna Hale, ASTA execu-tive director, coordinated the program that was condensed to one session. To add yet another component to the program, Wag-ner had one of her assistants talk about playing sports and pursuing the violin while in high school. Her message was that you can do both but time management was important. Note: Brownie troop sign up fl yers are available from ASTA and can be tailored to meet your needs. Please email [email protected] for fl yers.

Learning for LifeDoctoral viola student Sally Barton pre-sented sessions for Florida’s Steinhatchee School third graders through a Learning for Life program. Barton and cellist HristoIvanov borrowed instruments from String-fest (Kyle Dunn, Luthier) and transported them 60 miles from Tallahassee to Stein-hatchee so that each child handled at least two instruments and had time to ask many questions. For session one, a homeschooler (the same age as the participants) joined them and played the violin; Barton and Ivanov performed viola-cello duets for session fi ve. “We are sure that going the extra miles for the instruments truly made a diff erence for the kids,” says Wagner.

After School ProgramsAn after school program in Solomon, Kansas took advantage of sessions one, three, and fi ve. To personalize the pro-gram, an ensemble of teachers and string students from a nearby middle school in Junction City gave them a private concert. Note: Junction City/Ft. Riley schools were in their second year of introducing a strings curriculum. Kimberly Chiesa, president of the ASTA/New Jersey college student chapter at Montclair State University, is debuting the fi rst New Jersey program and the fi rst ASTA college chapter pilot with her mem-bers and student advisor Dr. Paul Hostet-ter. (Th is student chapter was recipient of the national ASTA 2007 Outstanding Student Chapter award.) Th ey incorpo-rated session one in May to a special strings outreach to 50 elementary school children at the St. Patrick and All Assumption School in Jersey City, New Jersey and are planning an after school DSAO program for the fall of 2008.

Summer ProgramIn Jackson, Mississippi, private string stu-dio teacher Kate Morgan planned a sum-mer DSAO session for public school chil-dren who participate in an independent after school program at the Neighborhood


Th e fi rst DSAO program was launched at Ft. Hays State University’s Western String Academy.

Student volunteers provide assistance and serve as role models.


Christian Center where she teaches. Dur-ing the center’s summer program, Morgan gave DSAO sessions to children that she will work with in the 2008-09 school year.

Music Classes in Regular and Unique Public SchoolsWonderful collaborations happen when string clinicians work with school music teachers on DSAO projects. Th is was the case with seven state pilot projects last spring. Th e school’s general music teacher assists in planning, publicizing, and in some cases conducting fi eld trips or sessions when the string clinician is not available. In Milwaukee, Wisconsin Fran Richman, executive director of the Milwaukee Youth Symphony Orchestra, located a Marquette University graduate student and private strings teacher Anna Toshach to be a part of DSAO. Toshach presented DSAO to fi rst-graders at Congress Year Round School, an extended day K-8 school in the Milwaukee public school system. Th is system prides itself on using many nontraditional ap-proaches to achieve excellence. Toshach of-fered a one day session combining sessions one and the science lesson from session two. She also helped Tasha Little, music special-ist, with planning fi eld trips to Korinthian Violins Shop (Korinthia Klein, Luthier) and the Milwaukee Symphony Orchestra. Th e same type of collaboration happened in Colorado between Dr. William Hinkie (Th e New Millennium Conservatory for Strings and artist faculty, Th e Interlochen Center for the Arts) and music teacher Tommy Reddicks of Flagstaff Academy Charter School in Longmont. Reddicks had started an after school orchestra program in 2007-08, but wanted to use DSAO to recruit more third graders for the fall of 2008. For session two the children conducted using straws while violinist Jennifer John of New Millennium played music. Th en Hinkie and John demonstrated diff erent subdivi-sions of the pulse using word associations (huckleberry, apple, pie, chocolate) fol-lowed by collaborative group work identify-ing rhythms and time signatures. In session three students were put into small groups to

do plucking with instruments loaned by Lafayette Music of Lafayette, Colorado. Martha Clark, New Mexico clini-cian, conductor of the Clark Recital Orchestra, and member of the Assai String Quartet presented session one, three times to three diff erent third grade music classes in Sunset Elementary School in Carlsbad, New Mexico. Th is was followed by a combined concert for session fi ve of the orchestra and quartet. Of note, students in the school have no string classes. Two unusual features of this project were that the petting zoo in-

cluded a Celtic harp demonstration by Elizabeth Pappas, and small size string

instruments were used. At this time, Clark hopes to off er DSAO to more Carlsbad schools and create a summer string camp for all fi ve sessions. Elizabeth Hankins, Ohio ASTA state president, was able to set up a late spring project for 75 kindergartners at Harrison Elementary School in Lakewood, Ohio. She chose this school because the teachers were former string players and the princi-pal had a daughter in the orchestra. Th e Lakewood High School String Quartet played in the school for session fi ve, and she videotaped it for broadcasting over the school’s TV access channel. ASTA board member, Beth Gilbert of Tempe, Arizona, used her sixth grade string students to present the petting zoo for third graders at Edison Elementary School in Mesa, and also arranged their fi eld trip to an elementary orchestra concert. Lisa Robertson, music professor at Eastern Oregon University, began session one at the end of the school year with Carla Arnold’s grades K-5 in Central Elementary School in La Grande, Oregon, and plans to continue sessions the following school year with other co-clinicians. Judy Bossuat of the University of Cali-fornia, Sacramento, and a long-time ASTA leader on the national level and current board secretary, assigned her cellist graduate student Timothy Stanleyto to off er DSAO to Robla School in Sacramento. Accord-ing to Bossuat, he capably handled the media contacts and releases too.

Public School Music Teacher ProjectsTwo projects in DSAO’s fi rst year had the benefi t of the clinician and school music teacher being one and the same person. Vinny Lee teaches orchestra and elemen-tary music in Eastmont School district in Washington. With the goal of recruiting for her orchestra classes, she off ered four sessions with third and fourth graders who elected to take the project at Kenroy Elementary School in East Wenatchee. She used fi ve of her own beginning string students to play during the fi rst session.

Due to the success of her fi rst project, she plans to off er another one this fall. In Bar Harbor, Maine, Rebecca Edmondson teaches orchestra and general music at Conners Emerson School on an island where there are also four other mu-sic teachers. She used diff erent sessions of DSAO with her grade one, two, and three music classes. Her students took a walking fi eld trip to Song of the Sea for a 30-minute instrument demonstration where instruments are made. Since all her second graders already study violin, their petting zoo showed them other string instruments. Th ey colored in the activity booklet right in class at the end of session one. Edmond-son chose to integrate sessions of DSAO right into her music class curriculum, and used a bass for the science academic lesson extension after the initial lesson plan with violin. She created and videotaped her own American history lesson plan using open string accompaniment and a dance to the song “Shoo-Fly, Don’t Bother Me” (in the public domain) and students created and colored quilt patterns, coordinating with the song. Some creative ways she was able to publicize her project included postings on her school website, mass e-mailings done by Maine ASTA, and the Bangor Symphony Orchestra notifi ed the Maine Arts Commission and off ered to present a teachers’ workshop during a professional day for other music teachers. She also suggested having a state teacher workshop about integrating strings with the aca-demic curriculum to Margaret Hopkins, secretary of Maine ASTA. Th e possibilities of “Discovering Strings and Orchestra” are endless, and this summary only begins to reveal how creative our string teachers are in work-ing in local situations to share the joy of strings with others. ASTA awaits your call to start planning your own “Discovering Strings and Orchestra” project soon! For more information, contact Mary Jane Dye at [email protected].

ASTA sincerely thanks Dr. Anne Clark for her hard work and dedication to DSAO.

A young girl delights in holding a stringed instrument for the fi rst time.

Th e young children enjoyed learning from older youth volunteers.



Each year the ASTA national conference grows just a little bit bigger with more information to share with attendees. Join your colleagues for another phenomenal conference this coming March. Th is event will be packed with sessions that will interest and excite just about everyone in the string world – from classical and alternative styles performers to K-12, private studio, and university teachers, as well as students at all levels. Th e ASTA conference is the premier place to enhance your skills and knowledge of string related topics – not to mention a terrifi c opportunity to network, reminisce with old friends, and, of course, meet some new ones.

We know you’ll fi nd the sessions at the conference to be informative as well as entertaining. Topics will include traditional pedagogy, issues for school string and orchestra teachers, injury prevention, classical and nontraditional performance, university-level training for future string players and educators, and alternative styles techniques, to name just a few. Th e top-notch pre-senters are well respected in the fi eld and possess a wealth of information to pass along to you. View all sessions on the website under the conference/national conference section.

In addition to the education sessions, there will be:• Pre-Conference Sessions on March 18,• Grand Opening Ceremony to begin the conference,• Energizing keynote address by Miles Hoff man,• Multilevel master classes for every instrument,• Exhibit Hall dedicated to the string industry and string-related items,• Exciting social events for all attendees,• Invited performing groups,• Juried Poster Sessions,• Music Industry Showcases,• National Orchestra Festival competition and master classes,• Finals of the National Solo Competition and the Alternative Styles Awards,• Outstanding Th ursday evening performance by Darol Anger’s Republic of Strings, and• Th e culminating event of the conference: “Gala Benefi t Evening” which includes the Silent

Auction and the fi nal concert performed by Zuill Bailey and youth orchestra.

ASTANational ConferenceMarch 18-21, 2009Atlanta, Georgia

2009



Alfred Publishing Company, Inc.

Claire Givens Violins, Inc.

Clemens Violins, Violas, Violoncellos

CodaBow International Ltd.

Connolly & Co., Inc.

Electric Violin Shop

Hal Leonard Corporation

Merz-Huber Company

Shar Products Company

StringWorks

Yamaha Corporation of America

Confi rmed Master Class CliniciansPre-College Level

Cello: Robert Jesselson

Viola: Kathryn Steely

Violin: Helen Kwalwasser

Bass: TBD

Collegiate LevelCello: Hans Jorgen Jensen

Viola: Karen Ritscher

Violin: Brian Lewis

Bass: Milton Masciadri

MultilevelViola: William Preucil, Sr.

Guitar: Gerald Klickstein

Harp: Robbin Gordon-Cartier Chamber Music: Norman Fischer Alternative Styles: Tracy Silverman

Music Industry ShowcasesAlfred Publishing Company, Inc.

Barenreiter

Connolly & Co., Inc.

Frederick Harris Music Company

FJH Music Company

Frisch and Denig Custom-fi tted Chinrests

G. Schirmer

Hal Leonard Corporation

Il Gladio

Mel Bay Publications

Neil A. Kjos Music Company

Northeastern Music Publications

Shar Products Company

Strings Music & More, LLC.

Tempo Press

Yamaha Corporation of America

Confi rmed Exhibitors as of June 30, 2008Alfred Publishing Company, Inc.BarenreiterBEE-IN Tuner, Inc.BowStopper EnterprisesCarl Fischer Music, LLCCarl Fischer Music – ABCs of Strings Claire Givens Violins, Inc. Clemens Violins, Violas, VioloncellosCodaBow International Ltd.Connolly & Co., Inc. Electric Violin Shop Th e Enterprising RabbitFJH Music Co., Inc. Frederick Harris Music Co.Frisch and Denig Custom-fi tted ChinrestsG. Schirmer, Inc. Hal Leonard CorporationG. Henle USA, Inc.Huthmaker ViolinsIl GladioJazzBows Music, Inc. Luck’s Music LibraryMark O’Connor Fiddle Camp & Strings Conf.Mel Bay PublicationsMerz-Huber CompanyMona Lisa Sound, Inc. Neil A. Kjos Music CompanyNortheastern Music PublicationsSam Ash Music CorporationShar Products CompanySouthwest StringsStrings MagazineStrings Music and More, LLCStringWorks Super-Sensitive Musical String Co.Tempo PressYamaha Corporation of America

Conference Sponsors as of June 30, 2008



Pre-Conference Sessions & Events Wednesday, March 18Pre-Conference Sessions (12:00 – 5:00 pm) Adjuducation 101Alternative Styles Body MaintenanceConductingK-12 (a STEP program requirement)Private StudioState Leadership Training Workshop (invitation only)

Advocating for Strings: An Interactive Discussion Forum 7:30-9:00 pm Join your colleagues for this stimulating and interactive discussion. All conference attendees are encouraged to attend and participate. There will be advocates leading the discussion, and an open mic for attendees to ask questions and share their own experiences. Complimentary copies of the “Advocating for Strings” DVD will be available.

Collegiate Members Meet & Greet 9:00 – 11:00 pmFirst time attending a national ASTA conference or just want to meet other conference attendees like yourself? Then, come to this pre-conference meet and greet where you can talk with other students. You just might meet a new friend or two to pal around the conference with.

Educational Sessions Thursday – Saturday Please visit the 2009 National Conference section of the ASTA web for session titles, description and speakers. Sessions will be catorgorized on the website right now by topical tracks: Alternative Styles, Chamber Music, General/Crossover, K-12, Private Studio, University and Masterclasses. Once the committee has set the schedule this summer/early fall sessions will also be listed by date and time.

Juried Research Posters (Submission Deadline: October 3, 2008) This poster session is open to papers involving any aspect of string playing and teaching, including those that are philosophical, theoretical, or historical in nature, as well as reports that are qualitative and quantitative in design. We are accepting submission of studies being conducted by undergraduate students, graduate students, university faculty, and practicing teachers in public or private school. Submission procedures: All submissions must meet the Code of Ethics published in the Journal of Research in Music Education and should not have been published prior to the conference. Papers presented at other conferences will be considered for poster presentation if the audience was substantially different (e.g., a state meeting or a university symposium). A statement specifying particulars of presentation must be included with the submission. You must be a member of the American String Teachers Association (at time of submission and presentation). If accepted, the primary or a listed co-researcher must register for and attend the conference to present the poster. Presenters will be expected to bring 40 copies of their abstract and fi ve copies of the completed report to the session. The online submission process will be available to accept your research poster proposal until October 3, 2008. All applicants must be current members of ASTA at the time of application and also at the time of conference. To submit a proposal for the juried research poster please visit the link from our website or: http://precis.preciscentral.com/User/UserLogin.asp?EventID=e56954b4

Evening PerformancesDarol Anger’s Republic of Strings Thursday, March 19Showcase Performance of Alternative Styles Friday, March 20 Award WinnersGala Benefi t Evening featuring Silent Auction, then Zuill Bailey and youth orchestra Saturday, March 21

Silent Auction The Silent Auction will kick off the Gala Benefi t Evening on Saturday, March 21, 2009, in Atlanta. Please join us to bid on a variety of fabulous donations, including instruments, bows and accessories, travel packages, state baskets, and much more! All proceeds will benefi t the educational programs and activities of the National Foundation to Promote String Teaching and Playing. Visit the ASTA website to view auction items and a listing of our generous donors. To make a donation, contact John Golden at [email protected] or complete the donation form online.

The Gala Evening, silent auction and performance, is sponsored by Connolly & Co., Inc. (Sky – please include their logo)

Pre-Conference Sessions & EventsWednesday, March 18

Pre-Conference Sessions 12:00 p.m. – 5:00 p.m. Full session descriptions available on website. Solo Adjuducation 101 Alternative Styles Body Maintenance Conducting

Advocating for Strings: An Interactive Discussion Forum 7:30 p.m. – 9:00 p.m. Join your colleagues for this stimulating and interactive discussion. All conference attendees are encouraged to attend and partici-pate. Th ere will be advocates leading the discussion, and an open mic for attendees to ask questions and share their own experiences. Complimentary copies of the “Advocating for Strings” DVD will be available.

Collegiate Members Meet & Greet 9:00 p.m. – 11:00 p.m.First time attending a national ASTA conference or just want to meet other conference attendees like yourself? Th en, come to this pre-confer-ence meet and greet where you can talk with other students. You just might meet a new friend or two to pal around the conference with.

Educational SessionsThursday – Saturday, March 19 through 21

Please visit the 2009 National Conference section of the ASTA web for session titles, description and speakers. Sessions will be catorgo-rized on the website right now by topical tracks: Alternative Styles, Chamber Music, General/Crossover, K-12, Private Studio, Univer-sity and Master Classes. Once the committee has set the schedule this summer/early fall sessions will also be listed by date and time.

Juried Research Posters (Submission Deadline: October 3, 2008) Th is poster session is open to papers involving any aspect of string playing and teaching, including those that are philosophical, theo-retical, or historical in nature, as well as reports that are qualitative and quantitative in design. We are accepting submission of studies being conducted by undergraduate students, graduate students, university faculty, and practicing teachers in public or private school. Submission procedures: All submissions must meet the Code of Ethics published in the Journal of Research in Music Education and should not have been published prior to the conference. Papers presented at other conferences will be considered for poster presenta-tion if the audience was substantially diff erent (e.g., a state meeting or a university symposium). A statement specifying particulars of presentation must be included with the submission. You must be a member of the American String Teachers Association (at time of submission and presentation). If accepted, the primary or a listed co-researcher must register for and attend the conference to present the poster. Presenters will be expected to bring 40 copies of their abstract and fi ve copies of the completed report to the session. Th e online submission process will be available to accept your research poster proposal until October 3, 2008. All applicants must be current members of ASTA at the time of application and also at the time of conference. To submit a proposal for the juried research poster, please visit our website and click on the Conferences link on the left side of the page.

Evening PerformancesDarol Anger’s Republic of Strings ....................................................................................................................... Th ursday, March 19Showcase Performance of Alternative Styles Award Winners ....................................................................................Friday, March 20Gala Benefi t Evening featuring Silent Auction, then Zuill Bailey and youth orchestra .......................................... Saturday, March 21

Silent Auction Th e Silent Auction will begin the Gala Benefi t Evening on Saturday, March 21, in Atlanta. Please join us to bid on a variety of fabulous donations, including instruments, bows and accessories, travel packages, state baskets, and much more! All proceeds will benefi t the educational programs and activities of the National Foundation to Promote String Teaching and Playing. Visit the ASTA website to view auction items and a listing of our generous donors. To make a donation, contact John Golden at [email protected] or complete the donation form online. Th e Gala Evening, silent auction, and performance is sponsored by Connolly & Co., Inc.

K-12 (a STEP program requirement)Private StudioState Leadership Training Workshop (invitation only)



National Orchestra Festival®Th e National Orchestra Festival brings together orchestras from around the country to a single location in order to provide an unparalleled opportunity to receive placement, ratings, and comments from leading clinicians and adjudicators in the industry. Th e festival encompasses Youth Orchestras, Middle School Orchestras and High School Orchestras in their choice of Competition, Rating, and or Comments categories. Competitive groups will receive rating and comments as part of their competition status. Performances of the orchestras are open to all conference attendees. For a complete list of selected orchestras participating in the 2009 festival, visit the conference section of the website at www.astaweb.com beginning in early October.

Finals of the 15th Biennial National Solo CompetitionTh e National Solo Competition allows individual musicians to showcase their talents. Applicants are selected by their state for a fi nal round of national judging, which occurs at the ASTA National Conference. Finals of the competition will be held March 19-20, 2009 in Atlanta at Georgia State University, just a few blocks away from the conference hotel. Th e competition is open to ASTA student members or current students of ASTA members. Instrumental categories are violin, viola, cello, bass, guitar and harp. For a complete list of competition guidelines, repertoire, and state level contacts please visit the competition section of the ASTA website. Contestants must compete at the state level, and the state chair must submit the application for the semi-fi nal round. Any applications sent directly to the national offi ce will automatically be disqualifi ed from the competition. Th ank you to Georgia State University for their generous sponsorship of this event and the use of their superb facilities for the competition.

Alternative Styles Awards: Celebrating Alternative StringsTh e Alternative Styles Awards off er the chance to award strings students of non-classical styles. Th is biennial event seeks to identify, celebrate, and encourage young practitioners of alternative string styles such as (but not limited to) all folk music traditions, jazz, fusion, and rock music. Award winners are chosen prior to the national conference, but they perform – and receive their awards – at the winner’s concert during the conference, much to the delight of the ASTA members in the audience. For a complete list of divisions, prizes, eligibility and other competition information plus the application form to enter can be found on the ASTA website. Deadline for application is October 1, 2008. Th e event is generously sponsored by Yamaha Corporation of America and Alfred Publishing Company.

Professional Development Opportunities at the National ConferenceString Teacher Enrichment Program (STEP)ASTA off ers members a professional development program! STEP is a 45 hour comprehensive professional development program in topics specifi c to string teaching. Th is program is to be completed within the timeframe of two conferences over a four year period. STEP is open to any string teacher interested in learning vital topics in string education, non-string playing teachers such as band directors who are now teaching strings, and private lesson instructors now teaching adjunct in schools. STEP fi lls in gaps in coursework, introduces new concepts in education, and reinforces knowledge areas. Once you have completed the program, a STEP certifi cate will be awarded and notifi cation will be made to supervisors or administrators specifi ed on the application that a certifi cate in this program has been received. You may also elect to receive two college credits during this program issued by ASTA’s university partner, Shenandoah University. To participate in this program you will need to pay conference registration fees, including the pre-conference session, one-time ASTA enrollment fee of $25*, and if elected, the cost of credit off ered through Shenandoah University. * If you have previously enrolled in ASTA’s Professional Development program and paid the $25 fee, you need not pay the fee a second time. To become a member of the STEP program, simply check off the String Teacher Enrichment Program box on the regis-tration form, register for the conference and the K-12 pre-conference workshop, and if appropriate, the one-time enrollment fee box. Additional materials will be sent to you about the program. You may also visit the ASTA website for complete program details.

College Credit Available from Shenandoah UniversityShenandoah University will off er undergraduate and graduate credit in conjunction with the American String Teachers Association’s National Conference. To receive credit, you must complete Shenandoah’s registration information form indicating course number and credit level and complete all required assignments. Th ese are available to view on ASTA’s website and you will receive these upon checking the box on the ASTA conference registration form. Tuition cost for 1 credit is $197, plus a $20 special student application fee for all fi rst time Shenandoah University students. Th ese fees are paid directly to Shenandoah.

Note: Th is program is administered strictly by Shenandoah University and off ered to ASTA conference attendees as a member service. Exact requirements and fees are determined and executed solely by the university and are paid

directly to them.



Professional Development Documentation Program & Certifi cateParticipation in this program means ASTA creates and maintains a permanent and ongoing record of your professional development hours, as long as you are a member of the program and the association. Th is program diff ers from the String Teacher Enrichment Program (STEP) as it does not have set topical criteria or specifi ed number of clock hours to meet.

Certifi cate of Participation ASTA still off ers a certifi cate of participation to those members desiring documentation of attendance at the conference for school administrators/districts requiring evidence of attendance or just to have as a remembrance of participation at the conference. Th is certifi cate does not include professional development hours.

To get the best rates, register today!Early Bird rates are the same as last year!

Plan now to join us at the conference. Use the registration form on page 55 or visit the conference section of the ASTA website at www.astaweb.com for additional information and ways to register.

Early-bird registration deadline is December 10, 2008!All registered by December 10 are entered into a drawing for a DIAMOND SX Bow, generously donated by CodaBow International. Get the best rates available and a chance to win a bow!

Hotel Accommodations Reservation Deadline: March 2, 2009 ASTA has secured preferred rate room block at the Atlanta Marriott Marquis Hotel. Please contact the hotel by calling 404-521-0000 or toll free at 888-855-5701 by the cut-off date of March 2, 2009 to secure your reservations – be sure to mention you are with ASTA in order to receive the special room rates below. We are anticipating that the ASTA room block will sell out before the cut-off date. Reserve early to ensure space availability.

MARTA TrainFly into Hartsfi eld International Airport and get to the hotel without stepping outside! Take the MARTA train from the airport stop to Peachtree Center Station. Th e hotel is connected to the station. Th e fare is just $1.75 each way! (Approximately a 20-minute train ride.) Visit www.itsmarta.com for more details.


Single $150++/nightDouble/Triple/Quad $155++/nightReservations 888/855-5701 or 404/521-0000

Atlanta Marriott Marquis Hotel 265 Peachtree Center Ave.Atlanta, Georgia 30303

Register Today for 2008 Rates - We’ll See You In Atlanta!Professional Development Opportunities (con’t)

Name _____________________________Member ID # ___________________________

Address 1 ________________________________________________________________

Address 2 ________________________________________________________________

City, State, Zip, Country _____________________________________________________

Phone _____________________________FAX __________________________________

Email ___________________________________________________________________

Primary Profession (circle one): K-12 University Private Studio Performer

Conference RatesEarly-Bird Registration:postmarked on or before Dec. 10

Pre-Registration: postmarked Dec. 11 – Feb. 4

On-Site Registration: postmarked after Feb. 4

ASTA Member Rates

$224 $282 $308

Non-Member Rates

$378 $436 $462

Student Member Rates

$97 $135 $189

Student Non-Member Rates

$199 $241 $292

Member One-Day Rate: $159

Non-Member One-Day Rate: $199 Indicate which day (circle one):

Th F S

Documentation of Professional Development One-Time Enrollment Fee $25 Certifi cate of Professional Development $10 String Teacher Enrichment Program (STEP) College Credit from Shenandoah University (these fees are paid directly to university, not ASTA; check box to receive more information/participate)

Certifi cate of Conference Participation $10 x _____ = $________

Name on Certifi cate: _________________________________________

* Does not contain hours of professional development.

ASTA Membership (Join or Renew Now!)Join or renew your membership when registering for the conference and take the discounted member rate on registration fees. Memberships must be current prior to the conference for member rates to apply.

Professional $99

Full-Time Student (copy of ID required) $30

Dual $138

Senior (age 62 or over) $70

Conference Badge InformationPlease print your name and professional affi liation as you wish it to appear on your badge (e.g., John Doe, University of Maryland, or Jane Doe, City High School, or Jane Doe, Private Studio Teacher).

Nickname _________________________________________________________

Place of Employment ________________________________________________

2009 ASTA National ConferenceRegistration FormMarch 19-21, 2009Atlanta, Georgia • Atlanta Marriott Marquis Hotel

Fax or email form to:ASTA4153 Chain Bridge Rd.Fairfax, VA 22030FAX 703/279-2114Or register online:www.astaweb.comFor questions, call:703/279-2113, ext. 16

Optional Conference ActivitiesPre-Conference Workshops (Choose only one.)March 18, 12 p.m. to 5 p.m. $59 – Members; $79 – Non-Members

Alternative Styles Body Maintenance Conducting K-12 Private Studio Solo Adjudication 101

Evening Concerts Darol Anger’s Republic of Strings – Thursday, March 19 $20 ____ Qty. Gala Benefi t Evening – Saturday, March 21 $40 ____ Qty.

(Gala includes Silent Auction and the Zuill Bailey performance)

State Leadership (invitation only) State Chapter_______________ I am the (circle one): President President-Elect other (list) __________

2009

Register by

December 10 and

$AVE MONEY!

Payment Information Check (made payable to ASTA) Check # _________ Note: Registrations with funds from outside the U.S. must be drawn on a U.S. bank. Purchase Order # _____________ (copy must be attached; must be fully paid 45 days before conference or balance collected at conference.) VISA MasterCard (Sorry, we do not accept American Express or Discover.)

Card # _______________________________________________ Exp. Date__________________________________Cardholder Name ______________________________________ Signature ___________________________________

Cancellation PolicyAll cancellation requests must be received in writing by February 4, 2009. No refunds will be given on requests after this date. NO EXCEPTIONS. There is a $75 cancellation fee. Refunds will not be processed until after the conference.

Conference Rates

Optional Conference Activities

Documentation of Professional Development

Cer tificate of Par ticipation

Conference Badge Information

ASTA Membership (Join or Renew Now!) SAVE $$

Total Registration Fees:_____________

National Conference

Check here if fi rst-time attendee.

Early-bird ratessame as last year!


Photographs of You: Registration and attendance at, or participation in the ASTA National Conference and its events and activities constitutes an agreement to ASTA’s use and distribution (both now and in the future) of the individual’s image, likeness or voice in photographs, videotapes, electronic reproductions, and audiotapes of such events and activities for promotional purposes.

Join today and save!

Join today and save!




Master Class by Elaine Fine

There Are No Secrets—Thoughts on a Career in Music;an Interview with Violinist David Nadien

Musical Infl uencesAre there any secrets about great violin play-ing that you can share?

Th ere are no secrets. If there were, there would be so many people able to do it!

Could you tell me about studying with Constan-tine Dounis? I have heard stories about people not wanting to be seen in his waiting room.

You could come in from an entrance from a balcony or you could come in through the front door. Sometimes people who felt embarrassed, people perhaps of some stature didn’t want to be seen by other people in the same fi eld, so Dounis would usher someone in through the front door, and the previous student would be ushered out the balcony door and exit to a diff erent elevator. He did that to keep them happy, and he used to laugh about it. Sometimes well-known artists would ask him questions, and he wouldn’t want to deal with them because of their attitude. Often they would want to study on their terms and not want anybody to know. I think that’s very phony myself: If you’re going to study with somebody, then study with some-

body! Don’t be ashamed of it. I barely learned anything at all tech-

nically or physically from him, but what I did enjoy with him was the music. He had such a wonderful sense of phrasing and shaping of a piece; that was what I enjoyed about working with him. You know, he himself said that gifted people and talented people play, for the most part, correctly--they do not need to ana-lyze what they are doing. He’s the fi rst to recognize that talent will survive overall.

Dounis was quite independent fi nan-cially and he didn’t need to teach if he didn’t want to. I think he was married to a rather wealthy woman. He loved mu-sic, and he would go out of his way for some people. I remember that he came to a recital that I played at a high school in the Bronx (a friend of mine drove him there). He would go out of his way for somebody that he cared about, but he would not move a fi nger for people who had “attitudes” that involved ego and false expectations.

I have been lucky to have known a lot of great musicians, and among the great musi-cians I have known, humility seems to be a unifying trait.

Yes. Th e good ones know how diffi cult it is, and are appreciative of anyone who is capable. Absolutely. I know that when I hear somebody who plays extremely well, I take my hat off to them. I know how diffi cult it is to do.

Did you ever study with Fritz Kreisler?

No, never. But I was a great admirer of his.

I love your audible shifts, particularly when you play Kreisler. You don’t hear an actual slide, but you hear something: it’s as if the shifted-to note carries harmonic material from wherever it came from.

Th at’s called good shifting! You know the master of that was Fritz Kreisler. Kreisler had the most beautiful changes of posi-tion. Th at was my idea of how a violin should sound: Fritz Kreisler.

I love his pieces. I get the impression that he wrote those thinking, “If I have to practice technique, let me at least make it musical,” and it works to practice his pieces with the idea of getting all the position changes and string crossings.

David Nadien’s name is known to many young violinists as “the man who recorded those great Suzuki CDs.” His affi liation with Dr. Suzuki, though, was but a small part of his stellar solo and orchestral career that spanned more than six decades.Elaine Fine, a professional musician and long-time ASTA member, was fortunate to have been able to sit down with Nadien earlier

this year to discuss his background, career, and thoughts on the music profession. She writes, “David Nadien had his career during a fantastic time, and he was the best fi ddle player around. He got where he did by practicing and by playing really well all the time. However, the musi-cal world has changed. Anyone who has tried to ‘make a go’ of music as a freelancer knows how diffi cult it is to make a living, no matter how well he or she plays. Nadien, being a sensitive human being, is acutely aware of the musical prospects for people who are just starting out or are interested in going into music as a profession. It is Nadien’s absolute honesty that has made him the player and the man he is.”

BiographyNadien was born in Brooklyn, New York in 1926. He studied in New York and in Lucca, Italy with Adolfo Betti, the leader of the Flonzaley String Quartet. He made his Town Hall debut at 13, and played his fi rst concerto with the New York Philharmonic when he was 14. Nadien continued his studies with Ivan Galamian, until he was drafted into the Army. After getting training in various fi elds of artillery, he was asked to join the Army Services Orchestra as its concertmaster, and in 1946, after the war was over, Nadien was given the Leventritt Award by Arturo Toscanini. A frequent soloist with the New York Philharmonic, he became the orchestra’s concertmaster in 1966, where he was a frequent soloist and remained until 1970. After leaving the Philharmonic, Nadien continued to be very active as a studio musician in New York through the 1990s. In addition to his work with the New York Philharmonic, Nadien has soloed with the St. Louis Symphony, the National Orchestra Association, the Montreal Symphony, the Quebec Philharmonic, the Washington Symphony, and the Omaha Symphony. Cembal d’Amour (www.cembaldamour.com) has issued four DVDs that feature Nadien as soloist. Some selections on the record-ings are reissues of out-of-print LP recordings from the 1960s, and some are recordings from concert performances. Th e CD that features concert performances of the Tchaikovsky and Glazunov concertos, and Ravel’s Tzigane and Havanaise by Saint-Saëns, includes a bonus 68-minute DVD interview that has a minute or so of David Nadien playing a bit of Kreisler.


I was brought up on all those pieces of Kreisler’s. One of my fi rst teachers gave me nothing but Kreisler pieces, and that was so much nicer than any of the exercise books.

And they accomplish pretty much the same thing.

Yes, except you get to play them with feeling. Kreisler was a wonderful com-poser, and the pieces are lovely--they’re charming. And of course another great left hand for shifting and getting around the violin was Heifetz. He’s another master. Th ere were so many fi ne violin-ists of the past.

Th oughts about Playing ViolinEvery single note you play seems to be fi lled with life. It is as if you care about every single note.

Well, I do. I do care about every single note, and I endeavor to, no doubt about it. You can’t play sort of fl ippantly and meaninglessly. It has to mean something. You have to be talking when you play.

When you teach do you help students to cultivate this kind of playing?

Th is is a diffi cult subject to talk about because usually you can see if a person is trying to do it, perhaps not succeeding, but you feel them trying to play with feeling. Th en you can help, because there is usually something standing in the way that you can help them overcome. But with people who don’t feel anything at all—they are just playing notes—I don’t know if they can be helped.

Yet they play.

Th ey play, sure, because they can physi-cally move fi ngers and arms, and rosin the bow, and take the violin out of the case, but that’s about it. Nothing is happen-ing. Th at is not artistry. Just like there are people who can run and walk, but they are not marathoners. I’m afraid that there are ungifted people for certain things who might be very gifted in other directions.

I hope that when people hear your playing they will recognize substance.

It takes a sensitive ear to do that. Many

people don’t have sensitive ears. It takes an appreciative ear to enjoy something that is sensitive. It’s not just a one-way thing. Some say a good thing is self-evi-dent, but sometimes, it’s not. Perhaps there will be a rejuvenation, but I don’t know, and I don’t see it happening soon.

Freelancing, Th en and NowI know that you did a lot of studio playing in New York.

Th ose were the days when there was a good deal of studio work. I was fortu-nate. I was in the heart of the best times when there was a lot of live work: radio, studio, jingles. If it weren’t for that I wouldn’t have the pension that I am able to enjoy today. It’s because of all the work that I did in the 60s, 70s, 80s, and 90s. Th at sort of activity does not exist anymore. Th e fi eld has dried up.

Being a musician is a tough way to make a living. It all boils down to money, I’m afraid. Everybody’s trying to save it and make it, and automation has taken the place of human endeavor, and that’s about it.

How do you advise college-age students who want to go into the profession? It’s very dif-ferent from the way it was when you were growing up.

Th ere’s little work in the fi eld now for performers. Th e need for live musicians in the United States has almost dried up, with the exception of large orchestras and the Met, and the existence of a few large groups like that. Th e Broadway shows use very few live musicians. It’s hard for a fi ddle player to get a job in a musical on Broadway now because they only use four to six violins, and one or two violas, and maybe one or two cellos. Th ey used to have large sections. Th at doesn’t exist anymore. For the most part people don’t notice anyway. If you turn the television set on, most of the back-ground music is synthesizers, and most people don’t care or know the diff erence.

I would tell a college student the truth. I would say, “look, there isn’t much out there unless you can get, perhaps, a job at a university teaching, which is not easy to come by, or pass an audition for one of the orchestras in the country, which is also hard to do. I would look at music as something that

you love to do, if you can aff ord it. I am disappointed by what I see happening. I feel badly for young people today, and deserving ones too, who cannot make a go of it in the music world. I was most fortunate because I hit the fi eld when it was booming, and now seems it is at its lowest point.

Th oughts on the Teaching ProfessionMany of these young people go into teaching, but some of the people are not good teachers. What would you say the qualities of a good teacher are?

Well, not to disturb a good thing is the fi rst thing. You should not start med-dling with things that you think are going to help and won’t, and might get in the way of somebody’s natural ability. Often if you just kind of guide, rather than interfere, it is a better thing. But some people need very defi nite help if they play incorrectly. Th ere is such a thing as playing incorrectly.

Oh, I know it well!

Th ere’s bad posture, poor bow strokes, not knowing how to hold the bow natu-rally, how to hold the violin naturally… Th ere are certain basics, but once they know those things, give them musical guidance, and hope that something will spring from that. Often what has to happen has to come from what is inside the student. You can’t force feed it.

Would you say that a person who would go into teaching should be intuitive?

Well, a teacher should be intelligent, and be careful not to harm anything. If I had my choice of studying with some-one who didn’t play well but taught, or someone who played very well and didn’t teach, I’d rather study with the person who played very well because at least you can see a model there. You can hear what a vibrato should sound like, and what it should look like. Somebody who’s all mouth and no action, I don’t think I would like that. A good teacher should be able to play very well and show how something should sound.


Master Class by Elaine Fine

So somebody who is preparing to go into teaching should be able to basically “put their money where their mouth is.”

Yes!

Performance Practice/Musical ApproachHow do you feel about playing Baroque music without vibrato?

A lot of people play it as if Baroque music shouldn’t be played with any feeling. It should be played with a lot of feeling. Vibrato has a great deal to do with feeling. Everything is combined: the vibrato, the bow, how you shape a piece. It’s “multi-complicated.”

When you were working as a studio musi-cian did you approach commercial music diff erently from the way you would approach “serious” music?

Not at all. I always made it sound the best that I could make it sound, but often the style of it might have to be diff erent. I would always try to make it sound well. For example once I was asked to do some hillbilly stuff , but I tried to make it sound like “good hill-billy,” not “bad hillbilly.”

So you are saying that whatever you are play-ing, you do at your very best?

Absolutely. If I can’t get any pleasure out of what I’m doing musically, I’ve failed. I have to enjoy it myself. I want to like what I’m doing while I’m doing it.

If live commercial music ever comes back, do you think that would be a goal for commercial players, for musicians to have as much integ-rity with whatever they are trying to play?

Yes. It’s not like the old saying, “it’s good enough for jazz!”

Elaine Fine is a violinist, violist, and composer who lives in east central Illinois. In addition to freelancing and teaching, she is on the review-ing staff of the American Record Guide and has more than 60 compositions

published by the Seesaw Music Corporation.



Inspire Young Musicians; Order Honey Bee’s Song Now is an appropriate time

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ASTA Announces 2009 Budget

Revenue

Administration 25,220

Foundation 48,900

Governance 0

Grants 30,000

Member Services 1,912,507

Publications 68,100

Total $ 2,084,727

Expenses

Administration 369,131

Foundation 88,624

Governance 83,678

Grants 30,283

Member Services 1,460,348

Publications 46,571

Total$2,078,635


On the following pages you will fi nd the annual printed String Industry Council directory. Please note that signifi cant changes were made in its organization and presentation in an eff ort to better assist you in fi nding the products and services you need on a daily basis. Th e full directory listing for each company, including the full description and all categories and more, is still available on our website at http://www.astaweb.com. Click on the Member Resources link on the left, then click on the Searchable Directories link on the left as well. You may search by company, product, business location, and more. Th e website gives you the description of the company, and complete contact information including live links to email and websites.

Anytime you are in need of products and services, use these pages or visit the online directory, please support the companies that are actively supporting you! Many listings also include special discounts for ASTA members – just ask!

ACCESSORIES (ACC)

Alter’s Violin Shop 816-468-7757 www.altersviolinshop.com

Ashokan Fiddle & Dance Camps 845-246-2121 www.ashokan.org

Bob Beerman’s Bass Violin Shop 336-272-2877 www.bassviolinshop.com

Brobst Violin Shop 703-256-0566 www.brobstviolins.com

Concord International Group 847-836-8688 www.concordgroup.com

D’Addario & Co., Inc. 631-439-3333 www.daddariobowed.com

Fegley’s Violin Shop 610-779-0665 www.fegleyviolin.com

Fein Stringed Instruments 651-228-0783 www.feinviolins.com

George Robinson Violins 806-792-9752 www.robinsonviolins.com

Huthmaker Violins 800-572-1019 www.huthmakerviolins.com

Johnson String Instrument 617-964-0954 www.johnsonstring.com

Kenneth Warren & Son, Inc. 312-427-7475 http://kennethwarrenandson.com

Last Resort Music Publishing, Inc. 818-956-0088 www.lastresortmusic.com

Mach One Shoulder Rest 819-684-3886 www.machonerest.com

Meisel Stringed Instruments 800-634-7356 www.meiselmusic.com

Mercury String Shop 804-553-7995 www.mercurystringshop.com

Pasewicz String Instruments, Inc. 919-858-0429 www.tristrings.com

The Potter Violin Company 800-317-9452 www.pottersviolins.com

Sam Ash Music Corporation 888-615-5904 www.samashmusic.com

Super-Sensitive Musical String Co. 941-371-0016 www.supersensitive.com

The Violin Case 425-829-4945 www.violingifts.com

Yamaha Corporation 714-522-9011 www.yamaha.com/strings

ASSOCIATIONS (A)

Heart of Chamber Music Institute 617-232-1135 www.heartofchambermusic.net

Indianapolis Symphony Orchestra 317-231-6785 www.indianapolissymphony.org

The Midwest Clinic 847-424-4163 www.midwestclinic.org

Starling Project Foundation 513-421-4404 www.starling.org

(current members as of June 30, 2008)

20082008 M e m b e r s h i p D i r e c t o r yS t r i n g I n d u s t r y C o u n c i l


BOWS (BOWS)

A. Cavallo Violins 402-827-9270 www.acavalloviolins.com


Antonio Violins 800-846-5270 www.antonioviolin.com

Beckmann Violin Shop 913-831-1119 www.kkbeckmannviolins.com



Casa Del Sol 317-257-9923 www.casadelsolviolins.com

Charles W. Liu Fine Violins 801-255-9636 www.fi nestringinstruments.com

Claire Givens Violins, Inc. 612-375-0708 www.givensviolins.com

CodaBow International Ltd. 507-454-1509 www.codabow.com

Conrad String Instruments, LLC. 732-469-4544 www.conradstrings.com

David Gage String Instrument Repair 212-274-1322 www.davidgage.com

Eastman Strings 800-624-0270 www.eastmanstrings.com

Electric Violin Shop 919-806-3311 www.electricviolinshop.com



Ferguson Violin Shop 208-356-0231 www.fergusonviolinshop.com

Foster’s Violin Shop 714-639-4480 www.fostersviolinshop.com

Fritz Reuter & Sons Inc. 847-677-7255 www.fritz-reuter.com


Glasser Bows, Inc. 718-994-1613 www.glasserbows.com

Gliga Violins USA 626-578-0442 www.violinslover.com

Guarneri House 616-451-4960 www.guarnerihouse.com

House of Note 952-929-0026 www.houseofnote.com


Ifshin Violins 510-843-5466 www.ifshinviolins.com

Jim Clinton Violins 864-322-2622 www.jcviolins.com

John Montgomery, Inc. 919-821-4459 www.montgomeryviolins.com


JonPaul Bows 801-266-0443 www.jonpaulbows.com

Kelin Violin Shop 972-964-8666 www.kelinviolin.com

Ken Altman Bowmaker 503-873-7420 www.altmanbows.com

Lemur Music 949-493-8323 www.lemurmusic.com

Lisle Violin Shop 800-545-4753 www.violins.com


Menchey Music Service, Inc. 717-637-2185 www.mencheymusic.com


Metzler Violin Shop 818-246-0278 www.metzlerviolins.com

Nordenholz Distributing Co. 800-272-7170 www.nordenholz.com


Oliver Musica USA, Inc. 714-632-5959 www.olivermusic.com


Peter Prier & Sons Violins 801-364-3651 www.prierviolins.com


Psarianos Violins, Ltd. 248-689-8424 www.psarianosviolins.com

Reuning & Son Violins 617-262-1300 www.reuning.com

R.L. Ray Violin Shop LLC. 360-570-1085 www.rlrayviolinshop.com

Robertson & Sons Violin Shop, Inc. 505-889-2999 www.robertsonviolins.com

Roy G. Quade Bowmaker 403-277-9373 www.quadebows.com

Rufi no Violins 917-930-4153 www.rufi noviolins.com

Southwest Strings 520-624-9390 www.swstrings.com

The String House 585-442-9272 www.thestringhouse.com

Violin Outlet 702-733-3028 www.violinoutlet.com

William Moennig & Son Ltd. 215-567-4198 www.moennig.com

Williamson Music Company 972-633-8203 www.williamsonmusicco.com


INSTRUMENT & ACCESSORY MANUFACTURER/WHOLESALER(IAMW)



BEE-IN Tuner, Inc. 516-798-5555 www.BeeInTuner.com


CodaBow International Ltd. 507-454-1509 www.codabow.com

Conn-Selmer, Inc. 574-522-1678 www.conn-selmer.com

Connolly & Co., Inc. 631-757-0110 www.connollyandco.com

CSC Products Co., Ltd. 888-600-8559 www.samuelshen.com


Dogal SNC +39 041 5388281 www.dogalstrings.it

Don’t Fret Enterprises 505-292-9614 [email protected]

Eastman Strings 800-624-0270 www.eastmanstrings.com

The Enterprising Rabbit 866-876-3123 www.enterprisingrabbit.com

G. Edward Lutherie, Inc. 612-781-5799 www.gelbass.com

Gemeinhardt Co., Inc. 219-295-5280 www.gemeinhart.com

Gibson Musical Instruments 615-871-4500 www.gibson.com


Happynex 401-569-6510 www.happynex.com

Howard Core Company 800-633-2302 www.howardcore.com

Il Gladio +88 6982253177 www.il-gladio.it

Instrumental Distribution 734-480-2280 www.instrumentaldistribution.com



Kaman Music Corporation 860-509-8888 www.kamanmusic.com

String Industry Council Directory2 0 0 82 0 0 8


Knilling String Instruments 314-727-4512 www.knilling.com

Kun Shoulder Rest, Inc. 613-232-1861 www.kunrest.com



Nordenholz Distributing Co. 800-272-7170 www.nordenholz.com

Notes & Strings LLC 719-251-1341 www.notesnstrings.com


OnBoard Research Corporation 214-239-4005 www.tuners.com

Otto Musica 215-636-0585 www.ottomusica.com


Peterson Electro-Musical Products, Inc. 708-388-3311 www.petersontuners.com

Pirastro GmbH +49 69-840090-0 www.pirastro.com



Shar Products Company 734-665-3978 www.sharmusic.com

Snow Stringed Instruments, Inc. 718-353-7402 www.snowviolin.com

Sofi a Violins 317-264-0444 www.sofi a-violins.com


Super-Sensitive Musical String Co. 941-371-0016 www.supersensitive.com

Superscope Technologies, Inc. 630-820-4800 www.superscopetechnologies.com

THOMASTIK-INFELD +43 15451262 www.thomastik-infeld.com

United-Workshops 888-895-7477 www.united-workshops.com

Universal Music 310-537-0938 www.univiolin.com

Xeros Music Enterprises 972-234-5414 xerosmusic.com


INSTRUMENT, ACCESSORY & MUSIC SALES (IAMS)


Anti-Fatigue Practice Mat 574-232-5434 www.musicmat.net






Concord International Group 847-836-8688 www.concordgroup.com




David Kaemmer’s Fiddle Tune of the Month 520-220-1166 www.dkmusicstudio.com

Don’t Fret Enterprises 505-292-9614 [email protected]







Guarneri House 616-451-4960 www.guarnerihouse.com



Il Gladio +88 6982253177 www.il-gladio.it




KC Strings, Inc. 913-677-0400 www.kcstrings.com







Music & Arts Center 301-620-2053 www.musicarts.com





Peter Zaret & Sons Violins, Inc. 888-846-5462 www.zaretandsonsviolins.com

PlayMyPiece, LLC. 585-461-9421 www.playmypiece.com




Rolland String Research Associates 480-969-9744 www.myspace.com/peterdocrolland

Sam Ash Music Corporation 888-615-5904 www.samashmusic.com



Strings Music and More LLC. 480-200-4025 stringsmusicandmore.com

Strings101.com 626-961-4936 strings101.com

Tata Classical LLC 734-604-1373 www.tataclassical.com




Wood Violins 516-767-6677 www.woodviolins.com



INSTRUMENT MAKER/DEALER (IMD)



Anne Cole Violinmaker 505-294-3709 www.annecoleviolinmaker.com







Clemens Violins, Violas, Violoncellos 314-727-4787 www.clemensviolins.com










Gemeinhardt Co., Inc. 219-295-5280 www.gemeinhart.com


Gibson Musical Instruments 615-871-4500 www.gibson.com





Jansma Fine String Instruments 231-924-0657 www.jansma.com

Jiang Violins +86 10 5210 7389 www.jiangviolins.com




Jonathan Cooper Violinmaker 207-893-1866 www.jcooperviolinmaker.com






Lyon & Healy Harps 312-786-1881 www.lyonhealy.com

Maison Bernard +32 2 514-18-71 www.maison-bernard.com










Rapkievian Fine Violins 301-519-2021 www.fi neviolinsbydavid.com





Sofi a Violins 317-264-0444 www.sofi a-violins.com


Steven M. Tinling Violinmaker 951-780-1274 [email protected]

StringWorks 920-830-0928 www.stringworks.com

The Violin Shop 615-662-1570 www.theviolinshop.net

Universal Music 310-537-0938 www.univiolin.com

W & W Musical Instrument Co./Venus Harps

847-818-0578 www.venusharps.com



Wm. Rees Instruments, LLC. 812-438-3032 www.reesharps.com

Wood Violins 516-767-6677 www.woodviolins.com

INSTRUMENT RENTAL (IRE)


























Peter Zaret & Sons Violins, Inc. 888-846-5462 www.zaretandsonsviolins.com











INSTRUMENT REPAIR (IR)










Clemens Violins, Violas, Violoncellos 314-727-4787 www.clemensviolins.com















Jansma Fine String Instruments 231-924-0657 www.jansma.com








Maison Bernard +32 2 514-18-71 www.maison-bernard.com













The Violin Shop 615-662-1570 www.theviolinshop.net




MUSIC FESTIVAL (MF)

ACIS/Encore Tours 617-450-5660 www.encoretours.com



Festival-Institute at Round Top 979-249-3129 www.festivalhill.org

Johansen International Competition 301-946-9531 www.fmmc.org

Music Celebrations International 480-894-3330 www.musiccelebrations.com

Music Dreaming, Inc. 828-350-0916 www.violinmastery.com

Orchestra America 317-636-2263 www.musicforall.org

Symerge 585-313-4319 www.symerge.org

Travel Adventures 810-664-1777 www.traveladventures.com

Vanguard Tour Service, Inc. 708-895-0060 www.vanguardtours.com



MUSIC PUBLISHER/DISTRIBUTOR (MPD)

Alfred Publishing Co., Inc. 818-891-5999 www.alfred.com


Barenreiter +49 561 3105 173 www.baerenreiter.com

Boosey & Hawkes 414-774-3630 www.halleonard.com

C. Alan Publications 336-272-3920 www.c-alanpublications.com

C.F. Peters Corporation 718-416-7800 www.cfpeters-ny.com

Carl Fischer Music 212-777-0900 www.carlfi scher.com

Col Legno Music 651-487-1980 www.collegno-music.com

David Kaemmer’s Fiddle Tune of the Month520-220-1166 www.dkmusicstudio.com

E&E Cello Music, LLC. 785-354-0765 www.eecellomusic.com

E.F. Kalmus/Ludwig Masters Publications, Inc.718-268-8906 www.kalmus-music.com


Family String Method 413-624-3976 www.familystringmethod.com

FJH Music Co., Inc. 954-382-6061 www.fjhmusic.com

Frank Rodgers Music 757-420-7671 [email protected]

Frederick Harris Music Co. 905-501-1595 www.frederickharrismusic.com

G. Schirmer, Inc. 414-774-3630 www.halleonard.com

GIA Publications, Inc. 708-496-3800 www.giamusic.com

Hal Leonard Corporation 414-774-3630 www.halleonard.com

Heiden Music Publications 503-587-2201 heidenmusic.com

Innovative Learning Designs, LLC. 800-232-6332 www.musicreading.com

Jazzbows Music Inc. 718-881-8158 www.jazzbows.com


Kendor Music, Inc. 716-492-1254 www.kendormusic.com


Latham Music, a Lorenz Co. 800-444-1144 www.latham-music.com


The Lorenz Corporation 937-228-6118 www.lorenz.com

Luck’s Music Library 248-583-1820 www.lucksmucic.com

Lyra House Music Publications 248-855-2135 www.iteachguitar.com

Mel Bay Publications 636-257-3970 www.melbay.com

Mewzkl Publications 410-841-6288 www.mewzkl.com

Mona Lisa Sound, Inc. 877-263-5691 www.monalisasound.com

Mountain Crest Music 845-226-1142 www.mountaincrestmusic.com

Mozart Music 832-566-0405 www.mozartm.com

MSB Publishing Co. 703-561-0189 members.aol/msbpubco

Music Mart, Inc. 505-889-9777 www.musicmart.com

Neil A. Kjos Music Company 858-270-9800 www.kjos.com

NJR Music Enterprises 952-974-5047 http://members.aol.com/njmuse


Northeastern Music Publications, Inc. 610-942-2370 www.nemusicpub.com

Northfi eld Press 716-634-6884 www.northfi eldpress.com





SMHD Publications 303-773-3185 www.smhdmusic.com



SYNKROS 585-244-4962 www.synkrosmusic.org

Tempo Press 248-588-0808 www.tempopress.com

Twofold Media +613 9878 0716 www.twofold.com.au

Wilfi n Music +61 7 3341 8086 www.wilfi nmusic.com.au

Wingert-Jones Publications 816-765-6200 www.wjpublications.com

SHEET MUSIC (SM)


C.F. Peters Corporation 718-416-7800 www.cfpeters-ny.com

E.F. Kalmus/Ludwig Masters Publications, Inc.718-268-8906 www.kalmus-music.com


Heiden Music Publications 503-587-2201 heidenmusic.com

JW Pepper & Son, Inc. 610-648-0500 www.jwpepper.com




Latham Music, a Lorenz Co. 800-444-1144 www.latham-music.com

Luck’s Music Library 248-583-1820 www.lucksmucic.com



MSB Publishing Co. 703-561-0189 members.aol/msbpubco

Music Mart, Inc. 505-889-9777 www.musicmart.com

Navarro River Music 707-937-3342 www.navarrorivermusic.com




Stanton’s Sheet Music, Inc. 614-224-4257 www.stantons.com

Tempo Press 248-588-0808 www.tempopress.com

Wilfi n Music +61 7 3341 8086 www.wilfi nmusic.com.au

Williamson Music Company

OTHER PUBLISHER (OP)

Alfred Publishing Co., Inc. 818-891-5999 www.alfred.com


David Kaemmer’s Fiddle Tune of the Month520-220-1166 www.dkmusicstudio.com



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The Violin Case 425-829-4945 www.violingifts.com

Wireless for Strings 650-343-6444 www.wirelessforstrings.com




Teaching Tips by Nancy Kredel

Check Sheet for Beginning String Class(First class through learning to hold the violin and viola)

Class____________________________________________ Beginning Date __________ Ending Date ___________

Purpose of this Check Sheet: To begin the string classes in an effi cient manner and employ the right strategies for students to master the skill of properly holding the instrument. Each student will show mastery of skills that are marked with an asterisk* and will require a checkout that can be done individually or in a small group. Th e teacher should not go on to new skills until these essential skills are

learned. For an elementary school 45-minute string class, it is expected that this checksheet will take about two classes to fi nish.

How to Use Th is Check Sheet: Follow each step of the checksheet in order, making sure the class understands each item and can do

the drill before going on to the next step. When the class can do an item, initial and date the corresponding line.

Do not skip around on the checksheet. Th e items have been arranged in a specifi c order to build the necessary skills.

SECTION ONE — GETTING THE CLASS STARTED

Th e children are seated and wearing nametags. Th eir instruments are on their laps. You have put big red dots on each instrument about halfway up on the fi ngerboard. (You can get the dots at an offi ce supply store.) Address the class with the following talking points.

1. Th e fi rst thing we are going to do is learn the parts of the instrument and get to be friends with our violin or viola. Hold your instrument on your lap with the strings facing you. Watch and follow me. (Touch the scroll.) Touch the top of your instrument and say, “scroll.” (Wait for them to do it.) Now touch the pegs and say, “pegs.” Th e pegs are used to tune the instrument, but I do not want you to turn them because it is easy to break a string by accident. Go through six to eight parts and make sure they are following directions and answering as a group.

2. BRIEFLY go over instrument care. If you did not already do it, go over basic class rules.

3. Teach the names of the strings — violins fi rst. Do this any way you like. A suggested way is to have all the violin players fi nd their thinnest string and pluck it one time saying “E.” Find their next string, pluck it once and say “A,” etc. Th en do the same process with violas and cellos. Th e strings are still facing the students. Write the names of the strings on the board.

*4. Choose one child and have him copy you. Listen carefully. I am going to pluck each string and say its name. Be sure to name the strings. Do this slowly so that anyone who is confused can pick it up: (pluck), “E,” (pluck), “A,” (pluck), “D,” (pluck), and “G.” Th en have Suzy do it. If she gets it right, say, “Th at is 100% correct. Great! If not, demonstrate it again and have her repeat it until it is correct.

*5. Repeat the same process until you are sure that every child has it correct. To be effi cient, you can do a whole row at a time. When you are satisfi ed say, “Great, we now have it 100 percent!” Let the class know that each skill must be correctly learned before a new skill is introduced.

SECTION TWO — HOT CROSS BUNS HARMONY

6. Hot Cross Buns harmony. Put your instrument under your right arm with the strings out like a guitar. Aim the scroll up near the ceiling a little bit. Wiggle your right thumb. Find your D string and pluck it several times. Pluck near the end of the fi ngerboard. Check that they all have the D. If any instruments are way out of tune, tune them while the student is still plucking. Do the same for the A.

Choose one child and ask them to copy you. Pluck D A D. Once he has it, ask the class to copy you too. If there is one extra quick child, challenge them to listen and try the whole song:

D A D - D A D - D D A A D A D -

Write it on the board.

*7. Drill the song until they all have it. At fi rst, test a few that seem to have it. Once a small group can do it correct-ly, the chances are good that the next group can do it too because they have been listening. Drill in this way until the whole class has achieved 100 percent. I like to play piano with them, playing a D chord and an A chord. You can play the melody in the right hand and the D A D harmony in the left hand if you want, perhaps after they have all passed the test. (Th ey might get confused when the melody goes into faster notes on the second line.)


Optional: Some classes will only get this far during the fi rst class. Do not worry if this happens. Tell them the fi rst class or so we do not get to cover a lot. Suggest to them that they practice everything we just went over 10 times a day.

When you are ready, have students put the instruments away and latch the case before picking it up.

Optional: During the fi rst or second class, take pictures of half or a third of the class at a time. Ask their permis-sion fi rst. Tell them the purpose is to help you learn their names. Get the pictures developed and write their names on the back. Study the faces and names whenever you get a chance in order to learn them quickly.

SECTION THREE — STATUE OF LIBERTY AND INSTRUMENT UNDER CHIN

8. Get sponges and Kun shoulder rests on instruments. Teach students how to put Kun shoulder rests on, demon-strating fi rst and then helping as needed. Put sponges on for them. If there is time, check each student using a sponge with the instrument under their chin to see if it fi ts.

9. Statue of Liberty Game. As you face the class, stand to the right of the child on the right end of the row as you face them, so all the students will be looking slightly to the left at you. Demonstrate the whole game, then take them through it step-by-step. If there is a student who has already played some, have them come up in front of the class and be the leader.

Stand with instrument under your arm with the strings facing out. Th is is called rest position.

Aim the scroll up toward the ceiling a little.

Put your feet together and make a “V” with your toes; “V” for violin or “V” for viola.

Move one foot sideways so your feet are under your shoulders. Rock back-and-forth.

Hold your left hand up high.

With your left hand, cover up your dot so no one knows it is there. Put your thumb on the top of the neck and the fi ngers underneath.

Hold up your instrument like the Statue of Liberty holds her torch. Hold it in the same path your left foot points in. Put your weight on the foot under the violin or viola (left foot). Stand tall.

Look at the back of the instrument and let’s count to 10. (Do it.)

Lift your chin. Help with your other hand and put your instrument on your shoulder.

Let your jaw hold it a little snug and fl oat your left hand fi ngers over the big red dot. Pretend your fi ngers are an umbrella and don’t let the rain get on your dot.

With your left pinky, strum the strings over the dot.

Curl up your pinky and see if you can pluck just your D string. (Do it.) Pluck your A string. (Do it.)

Put your instrument under your right arm in rest position and listen to this: (In playing position under your chin, you pluck the whole song, D A D, with your left pinky over the dot.)

At fi rst this is a little tricky, but you can do it if you practice it a lot. When the whole class can pluck D A D with their pinky perfectly, we will be ready to use the bow!

10. Give them the paper for the Statue of Liberty Game and suggest they drill it at home 10 times a day. Th e check-out (item. 11) should be done in the next class, after a drill.

11. Statue of Liberty Checkout. Have one row at a time do this game… up to plucking the D string with the pinky. When the whole row does it correctly, with the instrument on the shoulder, tell them, “Th at is correct. Great!” Test the other rows the same way, correcting any student who needs help. When they are ready, test the whole group. Th e class only passes when all students do it correctly without help.

12. Do Statue of Liberty and pluck D A D (whole song) with the pinky over the big red dot. Th is will take some home practice to master. Test them as in #11. When all of the students are doing it correctly, say “Congratula-tions! You have mastered the position of the instrument. Now we are ready to use the bow!”

PROVISIONAL: If there are one or two that lag behind on this skill and you want to go on, tell them to take the test next time fi rst thing. If they will promise to master it at home, you will let the class start the bow. Tell them if they do it 10 times a day, they will be able to do it easily the next time. Do your best to make sure they master the skill as soon as possible. If anyone was absent, be sure to catch them up with the rest of the class.

Nancy Kredel is an elementary string teacher in Fairfax County, Virginia. She is a former student of Paul Rolland with more than 30 years of teaching experience. She chose the most basic teaching strategies to get the students to hold the instrument and bow properly and play short strokes. The check sheet format ensures mastery of these skills before using a method book or teaching left-hand tunes by rote. Each year she revised and improved her teaching strategies and those included in the check sheets have proved to be the most successful in a group setting. A complete set of check sheets can be downloaded from the Virginia ASTA website at www.vastaweb.org. Included is a set of bass check sheets written by Matthew Baldwin. Permission is granted to copy all the material.

*

*


ShowcaseAlfred Distributes Violin Bow Technique for DVD-ROM

Violin Bow Technique, a new multimedia DVD-ROM by Fintan Murphy, shows you how you can develop and improve your bowing skills. More than 150 video clips in 11 chapters cover all the major bowstrokes, complete with the steps needed to develop artistic and advanced bowing. Violin Bow Technique is a wonderful fusion in-depth research into bowing technique with state-of-

the-art multimedia software. Lessons include:

• Bowhold• Hand & Finger Action• Bowstrokes• String Crossing• Chords• Bow Speed• Friction or Pressure• Point of Contact• Planning & Practice• Warm-Ups• Th e Lesson Environment

Additional resources include a bibliography of all conducted research, tuning notes, and printable text and scores for practice. Th is product can be used by players and teachers of violin and viola at all levels. Alfred will be distributing this product interna-tionally, with the exception of Australia and New Zealand (where it is distributed by Encore Music).

Suzuki® Violin School Volume 3 Revised Edition

Alfred is also pleased to release the third volume of the internationally renowned Suzuki® Violin School. It contains the fundamental lessons and practice pieces of the Suzuki® school with the following enhanced features:

• Additional exercises, some from Dr. Suzuki, plus additional insight and

suggestions for teachers, • New editing of pieces, including bowings and fi ngerings, • New engravings in a 9” x 12” format,• 16 additional pages, • Glossary of terms in English, French, German and

Spanish, • Musical notation guide, • Fingerboard position, and • New photos.

Th e songs included in the book and performed on the accompa-nying CD (sold separately) are: 1. Gavotte, P. Martini2. Minuet, J. S. Bach 3. Gavotte in G, J. S. Bach 4. Humoresque, A. Dvorák 5. Gavotte, J. Becker 6. Gavotte in D, J. S. Bach 7. Bourrée, J. S. Bach

Alfred currently has over 45,000 active print, DVD, soft-ware, general MIDI, audio CD and enhanced CD titles in circulation throughout the world. Titles represent a full range of musical tastes and styles, including the works of George and Ira Gershwin, Duke Ellington, Henry Mancini, Led Zeppelin, the Eagles, Madonna, Green Day, and hundreds more. In addition to its own titles, Alfred distributes works from the National Guitar Workshop, the Dover Music catalog, and Faber Music. Contact Marina Terteryan at 818/891-5999, ext. 149 for more informa-tion about these new releases.

Presenting the BEE IN TUNERTh e new standard in string instru-ment tuning, BEE IN TUNER is a unique new product technology designed for violin, viola and guitar. Th e patented BEE IN TUNER is an entirely automatic, frequency responsive, mechanical tuning device. Th e BEE IN TUNER is

extremely easy and fun to use and it is the fastest, most effi cient way to tune string instruments. Th is versatile tuning wand uses micro-processor and motor control technology for its intuitive operation and is ergonomically designed to fi t the hand. A backlit screen clearly reads out your instrument, string, and selected tuning.

Violin and ViolaTh e BEE IN TUNER uses specially designed fi ne tuners which allow the tuner wand to interface and adjust the string tension automatically by listening (with the pickup) to the pitch of each string. It is the most effi cient way to tune a large number of student instruments .Th is will cut tuning time by 75%.It allows students to be in control of string tuning with “No hands on the friction tuning pegs”. Th is new technology standard is useful to students and teachers in rehearsal, class and at home.

Guitar/HornetTh e BEE IN TUNER for guitar uses a similar wand design but has a specially designed head which will adapt to any shaped guitar tuning machine. Designed for beginners or advanced musi-cians, the wand contains the standard plus fi ve alternate tunings. Th e tuning wand can be used on any six string electric or acoustic guitar (with pickup).Th e Hornet model contains new features de-signed specifi cally for advanced musicians and guitar technicians. For more information, contact BEE IN TUNER, P.O. Box 136, Massapequa Park, NY.11762 or www.Beeintuner.com. Phone or fax inquiries at (516) 798-5555.


The Violin Case Announces Winners of Annual International Strings Art CompetitionTwelve winning artworks featuring bowed stringed instruments have been selected in the Annual International Strings Art Com-petition sponsored by Th e Violin Case, LLC. Th e art will be fea-tured in the 2009 Celebrate the Strings Calendar to be published in August 2008 and are displayed online at [email protected]. Th e calendar is available to high school orchestras and string groups at wholesale for fundraising. In addition to the calendar, Th e Violin Case, LLC off ers a full line of violin-theme gifts and collectibles for string players, teachers, and students. Owned and oper-ated by Julie Tebbs, the Seattle based com-pany is the web’s only source for unique violin gifts. Visit them today at www.theviolincase.com. For more information, contact Julie Tebbs at (425) 829-4945.

New V-809 Adjustable Shoulder Rest From Meisel “Grows” With StudentsIt used to be that as a student grew and moved up to a larger violin, parents would have to buy a new shoulder rest. Not anymore; the V-809, an innovative new shoulder rest from Meisel Stringed Instruments, is adjustable so it “grows” right along with the student. Th anks to the V-809’s adjustable feature, students can continue to use the same shoulder rest as they move up from fractional violins to a full-size model. Th is spares parents the expense of buying a new shoulder rest with each instrument, something that is sure to be appreciated during these economic times. Th e V-809 can be adjusted to fi t any violin from a 1/8 model to a full-sized instrument, as well as 11-inch to 14-inch violas. Th e unique design of the V-809 makes the adjustment process simple and convenient. Weighing only two ounces, the ergo-nomic V-809 is comfortable and unobtru-sive, so it will not interfere with a student’s

concentration or perfor-mance. By contributing to the comfort of students, Meisel’s adjustable shoulder rest makes them more likely to continue in music. Th e V-809 Adjustable Shoulder Rest for violins and violas has a list price of $24.95. For more informa-tion contact Meisel Stringed Instruments at 1/800 MEISEL M (634-7356). Fax: 1- 973 379-5020. Email [email protected] Website: www.meiselmusic.com

(Showcase continued on page 93)


Notes

Dr. Marianne Murray Perkins (1954-2008)Greatly esteemed and greatly loved colleague and teacher,

Marianne Murray Perkins succumbed to cancer on July

10, 2008. We will miss her unique perspective, her tireless

work, her honest commentary and her insight.

Marianne studied directly with Dr. Shinichi

Suzuki at the Talent Education Institute in Matsu-

moto, Japan, graduating as a Suzuki Method teacher

in 1985. She studied the New Approach with Kato

Havas in England and the pedagogy of Paul Rolland

at the University of Maryland. She acquired a special

understanding of the pedagogies of the three most

important string pedagogues of the twentieth century and she had built a reputation

for her comprehensive interpretation of string playing technique.

She attained her Bachelor’s degree in Music Education at Temple University

in1976, her Master’s degree in Education at the University of Pennsylvania in 1982,

and in1993 she completed a Doctor of Musical Arts degree in Music Education at

Catholic University, Washington DC. Her doctoral dissertation, “A Comparison

of Violin Playing Techniques: Kato Havas, Paul Rolland, and Shinichi Suzuki” was

published by ASTA in1995 and turned out to be one of their best sellers for more

than ten years. It is used widely in music schools across the country. At the time of

her death, she was working on her second book on string pedagogy with her close

colleague and friend, Lynne Denig.

Marianne was a frequent contributor to string teaching journals and newsletters,

and the recipient of numerous awards and citations for her teaching and contributions

to string education. She gave presentations on string pedagogy at the ASTA national

conference for the past three years and has been an invited speaker to numerous other

conferences, most recently at the University of Alcala, Madrid, Spain. Marianne’s

teaching career extended from directing school orchestra programs in Fairfax County to

university programs in Saudi Arabia and Japan. For the past twenty years, she built an

extensive private studio in Oak Hill, where she focused on violin technique.

In her three terms on VASTA’s board, she served as Secretary and web site chair

and as editor of the VASTA newsletter, Th e Fingerboard, which she re-launched three

years ago. Th e VASTA web site that she created was awarded best website by ASTA in

2007.

Marianne is survived by her husband, Graham, and sons, Christian and David.

Memorial gifts to ASTA may be made in Marianne’s name through the “support

ASTA” page of their web site at http://www.astaweb.com.

Dr. Marianne Murray Perkins


Oklahoma Chapter Continues to GrowTh e Oklahoma chapter of ASTA is proud to announce their new offi cers:• President - Douglas Droste, • Vice President/President-Elect - Laura Talbott,• Secretary - Susan Diekman, • Treasurer - Dawn Th railkill, • Newsletter Editor - Dorothy Hayes, and • Members-at-Large - Mary Snider (historian), Kent Graber

and Donna Brox.

According to Droste, “Our goal is to continue to grow our chapter and help create activities that will keep string playing thriving in Oklahoma.” Several new workshops for ASTA members and their students have recently been created. Th e inaugural OK-ASTA String Teacher Day took place at Oklahoma State University this past June, in coordination with Horizons Chamber Music Camp and OK Bass Bash. Current ASTA members were invited to the OSU campus for a day-long workshop that included: participation in a chamber ensemble with other ASTA colleagues (with coaching from OSU faculty), refresher course/lesson on each instrument (instruments provided), materials to help build a chamber music program,and a session on instrument repair and maintenance. An informal performance was held at the conclusion of the day. More information can be found at music.okstate.edu. Other new events include the OK-ASTA All-State Etude/Excerpt Workshop on December 2, 2008 at Oklahoma State University. Participating high school students will receive an opportunity to perform a mock audition on their All-State repertoire, and receive immediate critique and feedback from area university string studio professors. Specifi c details will be released in the early fall. Th e OK-ASTA Quartet Competition will be revived with a new format- all entries will be a recorded submission. Th e win-ning quartet will be awarded $200 and an opportunity to perform for the chapter at our annual meeting at the OMEA State Music Convention. Th e due date will be January 16, 2009, and details will also be released in the early fall. “We are excited about the future of our chapter and string playing in Oklahoma!” says Droste.

Moss Receives Outstanding Achievement Award

Kirk Moss, ASTA president-elect, received a 2008 Alumni Outstanding Achievement Award from the University of Florida (Gainesville) College of Fine Arts. Each year, faculty members from within the college select three honorees based upon signifi cant career accomplishments. Moss holds a Ph.D. in music education, conducting emphasis, from the University of Florida.

He accepted the award and spoke at the college’s Spring Commencement, held on May 3rd. His address to the 800 attendees underscored the infl uence of teachers in the lives of each graduate. He stated, “As we step toward new goals, we carry forward the legacy of those who taught us.”

Rachel Barton Pine Violin Residency at Morehead State UniversityAcclaimed violinist Rachel Barton Pine will conduct a three-day residency at Morehead State University on November 13-15. Pine is one of the world’s leading violinists and has soloed with the Chicago, Philadelphia, Atlanta, St. Louis, Dallas, Montréal, Vienna, New Zealand, and Budapest Orchestras. She made her solo debut at age seven and has worked with famous conduc-tors - Zubin Mehta, Erich Leinsdorf, Placido Domingo, and Charles Dutoit to name a few. Her instrument is one of the most important in the world, the “ex-Soldat” violin made in 1742 by Guarneri del Gesu. She has appeared at festivals in Marlboro, Ravinia, Salzburg and Montreal and has enjoyed high profi le collaborations, includ-ing pairings with the rock band Kansas, pianists Daniel Baren-boim, Christopher O’Riley and Christoph Eschenbach, baritone William Warfi eld, and violinist/fi ddler Mark O’Connor. Th is three-day residency at Morehead State University (MSU) will have Pine sharing her music and educational talents with musicians of all ages and audiences in Kentucky. During this residency she will present workshops, lectures, master classes, and will perform as a solo artist and with an orchestra of high school and college musicians participating in MSU’s Fourth Annual Tri-State Honor Orchestras. On November 15, she will present a performance of her recital program and perform with the High School Tri-State Honor Orchestra. All components of the residency will be open to the general public. For more information visit www.moreheadstate.edu/music or call (606) 783-2198 or email [email protected].

“At the Heart of Chamber Music” DVD Wins Two Awards“At the Heart of Chamber Music” is a fi rst-of-its-kind, 35-minute DVD that has won two awards for excellence and will be aired on PBS in the fall. According to Gillian Rogell, creator of the DVD and music educator, “Educators fi nd that it helps their students engage with classical music because it de-mystifi es the language of

Offi cers for the Oklahoma Chapter of ASTA met last May. Pictured left-to-right are: Douglas Droste, Laura Talbott, George Speed, Mary Snider, Dorothy Hayes, and Dawn Th railkill.


Notesclassical music and provides a window into what musicians experience as they create music.”

Rogell and the Jupiter Quartet coach three chamber groups, with commentary by the world-renowned cellist, Paul Katz. Students

explore what the music is “saying” and how musicians make this happen. Bonus features include a performance of the fi rst movement

of the Brahms Sextet in G major, and an extended conversation with Paul Katz.

Gillian Rogell, violist, teaches at New England Conservatory Preparatory School and is the chair of the Chamber Music Depart-

ment at the School of Continuing Education. She is the director of the Heart of Chamber Music Institute and has been a member of

ASTA since 2004.

For more information go to www.musicalchemy.net.

ASTA Members Invited to Submit Articles for

American String Teacher Journal

The award-winning American String Teacher journal provides an extraordinary benefi t to its members. ASTA members are encouraged to submit articles on a broad range of pedagogical and performance topics. As is the rule with most professional journals, submission of an article does not guarantee publication, but the articles editor is most willing to work with prospective authors in order to maintain the highest standards.

Author guidelines may be found on our website, www.astaweb.com. Articles may be submitted for consideration as feature articles, forum (instrument-specifi c) articles, My Turn, Teaching Tips, or Member2Member articles.

Please make an initial inquiry with article idea or send a completed article via e-mail to Mary Wagner, interim articles editor, at [email protected].


D’ADDARIO ANNOUNCES RELEASE OF ZYEX COMPOSITE VIOLIN STRINGSD’Addario is pleased to announce an improved version of the popular Zyex violin strings, utilizing a new confi gura-tion of the composite Zyex synthetic core material. Zyex is a new generation of synthetic material, tremendous for professional players. Zyex strings are versatile, and are excellent for a variety of musical styles, from classical to modern or jazz to country. Th e advanced core confi guration allows musicians to have an even greater ability to control the fi ner nuances of their tone. Th e strings also remain stable in tun-ing—even under extreme climate condi-tions and have the fastest break in time of any synthetic string on the market. Zyex strings maintain a warm, rich tone quality. “D’Addario is always striving tocraft the highest quality strings for its customers,” says David Luce, D’Addario bowed product manager. “Th e Zyex Composite Violin Strings represent a signifi cant advancement in string tech-nology and are proof of our dedication to the needs of the professional violinist.” Zyex Composite Violin Strings are available for immediate shipment. For more information about Zyex Composite Violin Strings, please visit www.daddariobowed.com.

Kendor Music to Premier: Holiday Strings Th is grade 1-2 collection, arranged by Robert S. Frost, contains 11 familiar holiday songs from divergent ethnic groups, each arranged in two performance formats: duet and string orchestra. Th ese formats provide directors with versatility and variety in meeting the performance needs of beginning level string orchestras. In the duet arrangements each instrument has the melody line and a harmony (duet) line. In the string orchestra arrange-ments each instrument has two parts that follow standard instrumentation, allowing for various instrument combinations between upper and lower strings. Th e optional piano book includes both duet and string orches-tra accompaniments that will strengthen the confi dence and sound of ensembles of any size. Titles include “Up On Th e Housetop”; “We Wish You A Merry Christmas”; “Silent Night”; “O Come, All Ye Faithful” (Adeste Fideles); “Joy To Th e World”; “Go Tell It On Th e Mountain”; “God Rest Ye Merry Gentlemen”; “Ding! Dong! Merrily On High”; “La Piñata”; “Ma’oz Tzur” (Rock Of Ages) and “S’Vivon.”

Kendor Music is a publisher of educational music for jazz ensemble, concert band, string orchestra, textbooks and instrumental solos and en-sembles since 1954. Distributor of both the Doug Beach Music (U.S.A.) and the Advance Music (Germany) catalogs. www.kendormusic.com

(Showcase continued from page 89)

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ASTA Publications

New BooksHoney Bee’s Songby Cynthia Swiss$9.95 M $12.95 NM

PedagogyGeneral

The Teaching of Action in String Playing by Paul Rolland$37.50 M $48.75 NM

ViolinBasic Principles of Violin Playing by Paul Rolland$10.50 M $13.65 NM

A Comparison of Violin Playing Techniques: Kato Havas, Paul Rolland, and Shinichi Suzuki by Marianne Murray Perkins$31.95 M $41.55 NM

The Violin Guide by Stefan Krayk$10.00 M $13.00 NM

A Violinist’s Guide for Exquisite Intonation by Barry Ross, second ed.$19.95 M $25.95 NM

ViolaPlaying and Teaching the Viola ed. Greg Barnes$43.95 M $56.95 NM

A Violist’s Guide for Exquisite Intonation by Barry Ross$19.95 M $25.95 NM

CelloThe Art of Cello Teaching by Gordon Epperson$11.95 M $15.95 NM

Cellist’s Guide to the Core Technique by G. Jean Smith$14.50 M $18.85 NM

Classroom & OrchestraGetting It Right from the Start ed. Kathlene Goodrich and Mary Wagner, second ed.$19.95 M and NM

A Harp in the School: A Guide for School Ensemble Directors and Harpists ed. Chelcy Bowles$17.95 M $22.95 NM

Improvise! by Jody Harmon, includes CD$25.95 M $33.75 NM

Jazz Improvisation Made Easy by Jody Harmon and John Blake, includes CD $25.95 M $33.75 NMAvailable for violin, viola, and cello. Specify which of the three JIME! books you want on the order form.

Manual of Orchestral Bowing by Charles Gigante$21.95 M $28.55 NM

Orchestral Bowings and Routines by Elizabeth A.H. Green$16.50 M $21.45 NM

The School Symphony Orchestra Experience: A Guide to Establishing a Full Orchestra in the Schools ed. Pamela Tellejohn Hayes$13.95 M $15.95 NM

String Teaching in America: Strategies for a Diverse Society ed. Jane Aten$17.95 M $22.95 NM

Teaching Stringed Instruments in Classes by Elizabeth A.H. Green$21.75 M $28.30 NM

ResourceBasic String Maintenance: A Teacher’s Guide by Harold Turbyfi ll$17.95 M $22.95 NM

Dictionary of Bowing and Pizzicato Terms ed. Joel Berman, Barbara G. Jackson, Kenneth Sarch$16.50 M $21.45 NM

ResearchApplying Research to the Teaching and Playing of Stringed Instruments ed. Gail V. Barnes$32.95 M $42.85 NM

The Bach Chaconne for Solo Violin ed. Jon F. Eiche$12.95 M $16.85 NM

The Ten Beethoven Sonatas by Joseph Szigeti$4.00 M $5.20 NM

CompendiumsString Syllabus Volume One, 2003 Edition for Violin, Viola, Cello, Bass, and Ensembles ed. Gregory Hurley$24.95 M $32.45 NM

String Syllabus Volume Two for Harp and Guitar ed. David Littrell$19.95 M $25.95 NM

Music MedicineSforzando! Music Medicine for String Players ed. Anne Mischakoff Heiles$8.75 M $11.40 NM

Stretching for Strings by Jack Winberg, M.D., and Merle F. Salus, M.S.T.$19.95 M $25.95 NM

MiscellaneousAdvocating for Strings DVDfree M, $9.95 NMAlternative Styles In the Classroom DVD$20.00 M, $26.00 NMDiscovering Strings and Orchestra DVD(program-specifi c, please visit www.astaweb.com for more details)

Ultimate Strings, Vol. 1: Alternative Styles CD$9.95 each (M and NM price same)

Ultimate Strings, Vol. 2: Classical Virtuosity CD$9.95 each (M and NM price same)

Cello Drones CD$10.00 M $12.00 NM

Award Certifi cates$12.95 M $14.95 NM (per pack)Each pack includes 25 certifi cates. Please specify which award you want: Achievement Award, Spirit Award, Director Award, Student Leadership Award, Most Improved

Director’s Awards Pack $27.95 M $32.95 NMContains 10 of each certifi cate.

Director’s PLATINUM Awards Pack $54.95 M $59.95 NMContains 25 of each certifi cate.

ASTA Pin*$7.00 each

I ♥ Strings Bumper Stickers*$12.00 per pack of 10

CareersInStringTeaching.Com Bumper Stickers (Free, min. order pack of 25, but please add shipping/handling fee of $2.50 per pack on these stickers only)

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*Shipping is only included on individual purchase of bumper stickers, keychains, and/or membership pins. If ordering books or CDs along with either of these, you MUST add shipping according to the chart on order form.

ASTA Keychain*$4.75 each


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Augustana CollegeKelly Helmich, President, [email protected] Ehrlich, Advisor

[email protected] Luvliga Srtangar Chapter639 38th StreetRock Island, IL 61201-2210

Baldwin-Wallace CollegeAdam P. Cordle, President, [email protected] Ross, Advisor

[email protected] Eastland Rd.Berea, OH 44017

Ball State UniversityChristine Jones, President, [email protected] Turner, Advisor

[email protected] University AvenueMuncie, IN 47306-0001

Central Washington UniversityCarrie Rehkopf Michel, Advisor, [email protected]

400 E University WayEllensburg, WA 98926-7502

Concordia CollegeKelly Aus, President, [email protected] Linde Capistran, Advisor [email protected] 901 8th St. South Moorhead, MN 56560

Converse CollegeMichele Tate, President, [email protected] Johnson, Advisor

[email protected] East Main StreetSpartanburg, SC 29302-1931

Duquesne UniversityAlexis Kitchen, [email protected] Benham, Advisor, [email protected]

600 Forbes AvenuePittsburgh, PA 15219-3016

East Carolina UniversityKathryn York, President, [email protected] Hurley, Advisor, [email protected]

Fletcher Music Center, 307 BGreenville, NC 27858

Florida State UniversityJulia Castor, President, [email protected] Allen, Advisor, [email protected]

College of MusicTallahassee, FL 32306

Grand Valley State UniversityAmanda Thoms, President, [email protected] Blakemore, Advisor, [email protected]

1300 Performing Arts CenterMusic Department1 Campus DriveAllendale, MI 49401-9403

Indiana University of PennsylvaniaLiesel Dorrow, President, [email protected] Jenkins, Advisor, [email protected]

103 Cogswell HallIndiana, PA 15705

James Madison UniversityAlex Lacquement, President, [email protected] McCashin, Advisor, [email protected]

JMU School of MusicHarrisonburg, VA 22807

Kansas State UniversityLaura Bradshaw, Cora Cooper, Advisor

[email protected] of Music109 McCain AuditoriumManhattan, KS 66506-4700

Mansfi eld UniversityStephanie Swart, President, [email protected] eld.eduKenneth Sarch, Advisor

ksarch@mansfi eld.eduButler Music Center 106Mansfi eld, PA 16933

Michigan State UniversityCaitlin Mihalko, President, [email protected] Palac, Advisor, [email protected] 102 Music Practice Building East Lansing, MI 48824

Minnesota State University - MoorheadHaley Rydell, President, [email protected] Moss, Advisor, [email protected]

1104 Seventh Avenue SouthMoorhead, MN 56563-0001

Northwestern UniversityLindsay Klecka, [email protected] Kjelland, Advisor, [email protected]

60 Arts Circle Dr.Regenstein Hall, Rm. 202AEvanston, IL 60208

Ohio UniversityMorissa R. Freiberg, President, [email protected] Bagley, Advisor, [email protected]

440 Robert Glidden HallAthens, OH 45701

Old Dominion UniversityJessica Metcalf, President, [email protected] Manning, Advisor, [email protected] Diehn FPA 4810 Elkhorn Ave. Norfolk, VA 23529

Pennsylvania State UniversityMatthew Haydt, President, [email protected] D. Gardner, Advisor, [email protected]

231 Music Building IUniversity Park, PA 16802-1901

Sacramento State UniversityEmily Wolfram, President, [email protected] Weigert-Bossuat, Advisor, [email protected]

6000 J StreetSacramento, CA 95819

SUNY PotsdamShawn DePalma, President, [email protected] Hersh, Advisor, [email protected]

44 Pierre Port AvenuePotsdam, NY 13676-2200

Tennessee TechMichael Neal, President, [email protected] Allcott, Advisor, [email protected]

Department of Music and ArtTennessee Tech Box 5045Cookeville, TN 38505

University of ArizonaToru Tagawa, President, [email protected] Hamann, Advisor, [email protected]

PO Box 2100041017 N. Olive Rd.Music Bldg. Rm 109Tucson, AZ 85721-0004

University of Nebraska - LincolnMuriel Huckins, [email protected] Neely, Advisor, [email protected]

120 Westbrook Music Bldg, UNLLincoln, NE 68588

University of North Carolina at GreensboroAnnalisa Chang, President, [email protected] MacLeod, Advisor, [email protected]

Gate City ASTAPO Box 26167, School of MusicGreensboro, NC 27402

University of Northern ColoradoJoe Miller, President, [email protected] White-Smith, Advisor, [email protected]

501 20th StreetGreeley, CO 80639

University of South CarolinaStacy Wiley, President, [email protected] Terwilliger, Advisor, [email protected]

234 Russell House, SG 189Columbia, SC 29208

University of TennesseeKatie Middleton, President, [email protected] Baldwin, Advisor, [email protected]

UT School of MusicKnoxville, TN 37996

University of Texas - San AntonioMatthew Bernard and Darryl Tolliver, Co-presidents [email protected] or [email protected] L. Cahill Clark, Advisor

[email protected] UTSA CircleSan Antonio, TX 78249

University of Wisconsin - WhitewaterNicole James, [email protected] Whitcomb, Advisor, [email protected]

800 W Main St.Center of the Arts, Room 2038Whitewater, WI 53190-1705

VanderCook College of MusicFabian Lopez, President, fl [email protected] Galay-Altman, Advisor, [email protected] 3140 S. Federal Street Chicago, IL 60616

West Virginia UniversityElyse Brandt, President, [email protected] Myers McTeer, Advisor, [email protected]

Division of MusicPO Box 6111Morgantown, WV 26506-6111

Western Michigan UniversityEmily Kenney, President, [email protected] Uchimura, Advisor, [email protected]

1903 W Michigan Ave.School of MusicKalamazoo, MI 49008-5200

Chamber Music ConnectionEmily Butterfi eld, ebutterfi [email protected] Pennsylvania AvenueColumbus, OH 43201-3334

Chancellor High SchoolMichelle Sweeten, [email protected] Harrison RoadFredericksburg, VA 22407-6363

Etowah Youth OrchestrasMichael Gagliardo, [email protected] Broad StreetGadsdenm, AL 35901-3719

James River High SchoolBeth Almore, [email protected] James River RdMidlothian, VA 23113

McEachern High SchoolDr. Tim Mooney, [email protected] New Macland RoadPowder Springs, GA 30127

North Allegheny Senior High SchoolSarah Lavelle, [email protected] Perry HighwayWexford, PA 15090

West Chester UniversityJamie Chimchirian, President [email protected] Ahramjian, Advisor [email protected] HallWest Chester, PA 19383

ASTA Student Chapters

ASTA K–12 Student Chapters

If your chapter is not listed, it is considered inactive. To receive a registration packet for re-establishing a student chapter, please contact the National offi ce at 703/279-2113 or send email to Kari Hahn at [email protected].


Volunteer Leadership DirectoryState PresidentsAs with the National Board, the following state chapter presidents have been elected to serve a two-year term (2008–2010).

Alaska: Ida Pearson; w (907) 543-0642; PO Box 3087, Bethel, AK, 99559; [email protected]

Alabama: Dr. Daniel Hornstein; h (256) 428-8150 x192; w (256) 776-4768, 101 Jodie Dr., Huntsville, AL, 35811-9690; [email protected]

Arkansas: Patricia J Cox; h (501) 279-4479; w (501) 268-2302; Harding University, Box 10767, Searcy, AR, 72149-0001; [email protected]

Arizona: Janice McDivitt; w (520) 742-3110; 6633 N Montrose Dr., Tucson, AZ, 85741-3122; [email protected]

California: Manon Robertshaw; w (562) 924-6019; 6475 East PCH PMB#165, Long Beach, CA, 90803; [email protected]

Colorado: Donald Emmons; h (303) 347-7736; w (303) 906-3912; 10417 S Hollyhock Ct., Highlands Ranch, CO, 80129; [email protected]

Connecticut: Dr. Nola Campbell; h (860) 768-4127; w (860) 392-8080; 12 Green Meadow Dr., Granby, CT, 06035-2429; [email protected]

Florida: Nancy Beebe; h (561) 882-3872; w (561) 659-6828; 615 Upland Rd., West Palm Beach, FL, 33401-7849; [email protected]

Georgia: James Palmer; h (770) 521-7600; w (770) 528-5992; 2041 Signal Ridge Chase, Kennesaw, GA, 30152-3265; [email protected]

Hawaii: Daniel Padilla; h (203) 496-3677; w (808) 566-6659; 2268 Hikino St., Honolulu; HI, 96821; [email protected]

Iowa: Dr. Julia K. Bullard; h (319) 273-3074; w (641)920-7021; 703 W Main St., Steamboat Rock, IA, 50672-1006; [email protected]

Idaho: Erika Schulte; h (208) 282-4626; w (208) 478-1526; 1135 East Benton St., Pocatello, ID, 83201-4843; [email protected]

Illinois: Peter Rosheger; h (847) 784-6699; w (847) 831-0764; 611 Barberry Rd., Highland Park, IL, 60035-4429; [email protected]

Indiana: Elisabeth S. Ohly-Davis; h (317) 259-5428 x806; w (765) 748-7810; 2189 Glebe Street, Carmel, IN, 46032-7294; [email protected]

Kansas: Bruce Boyd; h (620) 665-4575; w (620) 665-3610; 401 W 6th #2, Hutchinson, KS, 67501-1324; [email protected]

Kentucky: Joanna Binford; h (859) 338-9630; 3500 Merrick Ct., Apt. 214, Lexington, KY, 40502; [email protected]

Louisiana: Michael Buckles; h (337) 475-5034; w (337)-562-2815; 413 West Claude St., Lake Charles, LA, 70605-3405; [email protected]

Massachusetts: Kenneth C Culver; h (978) 692-5560 x2134; w (978) 392-5992; 241 Concord Rd., Westford, MA, 01886-4203; [email protected]

Maryland: Doree Huneven; h (703) 582-7493; w (301) 589-9396; 1609 Ladd Street, Silver Spring, MD, 20902-3520; [email protected]

Maine: Mary Eckstein; w (207) 642-4368; 5 School St., Standish, ME, 04084-5413;

[email protected]

Michigan: Mark Kotchenruther; w (616) 974-9018; 2948 Oakwood Dr SE, Grand Rapids, MI, 49506-4236; [email protected]

Minnesota: Sarah Chelgren; h (763) 504-8688; w (612) 310-6407; 15645 E 25th Pl N, Unit E, Plymouth, MN, 55447; [email protected]

Missouri: Patience Fleer; h (636) 938-2400 x2232; w (636) 239-7394; 2312 Southbend Dr., Washington, MO, 63090; fl [email protected]

Mississippi: Stephanie Maisel; h (601) 941-0687; w (601) 605-1805; 201 Lisa Circle, Madison, MS, 39110-9292; [email protected]

Montana: Jenanne B. Solberg; h (406) 862-8650; w (406) 862-3921; 148 Mallard Loop, Whitefi sh, MT, 59937-8457; [email protected]

North Carolina: Susan Wallace; h (919) 760-8703; w (919) 782-6216; 6810 Fairpoint Ct., Raleigh, NC, 27613-3612; [email protected]

North Dakota: Kari Moen; h (701) 240-9993; w (701) 852-8971; 202 22nd St NW, Minot; ND, 58703-2961; [email protected]

Nebraska: Ruth Meints; h (402) 250-9287; w (402) 614-5106; 9279 Adams St., Omaha, NE, 68127-4026; [email protected]

New Hampshire: Charlene Mary Ledoux; w (603) 878-9169; 784 Campbell Mill Rd., Mason, NH, 03048-4901; [email protected]

New Jersey: Frances Elizabeth Rowell; w (201) 759-4680; 8700 Boulevard East #2H, North Bergen, NJ, 07047; [email protected]

New Mexico: Kimberly Fredenburgh; h (505) 277-8534; w (505) 877-7230; 4362 Aspen Ave NE, Albuquerque, NM, 87110-5743; [email protected]

Nevada: Charles Cushinery; h (702) 799-5800 4063; w (702) 876-8768; 5826 W. Viking Rd., Las Vegas, NV, 89103-2336; [email protected]

New York: Jackie Darvill; h (315) 341-2800; w (315) 343-5422; 267 W 7th St., Oswego, NY, 13126-3843; [email protected]

Ohio: Elizabeth A. Hankins; h (216) 529-4051 x3; w (216) 534-4121; 12963 Emerson Ave., Cleveland, OH, 44107-2809; [email protected]

Oklahoma: Douglas Droste; h (405) 744-8984; w (405) 385-0603; 5207 W. 3rd Place, Stillwater, OK, 74074-6726; [email protected]

Oregon: Marshall Tuttle; h (503) 491-7010; w (503) 618-8655; Mt Hood Community College, 26000 SE Stark St, Gresham, OR, 97030-3300; [email protected]

Pennsylvania: Dr. Stephen J Benham; h (412) 396-1887; w (724) 554-7676; 390 Jubilee Dr., Bridgeville, PA, 15017-1171; [email protected]

Rhode Island: Pamela Ursillo; h (401) 270-8010; w (401) 368-9121; 135 Gansett Avenue, Cranston, RI, 02910; [email protected]

South Carolina: Kathleen S. Robinson; h (864) 355-1400; w (864) 232-0175; 300 Bright Water Ln., Greenville, SC, 29609-6004; [email protected]

South Dakota: Kim Evander; h (605) 665 2073; w (507) 319-5174; 700 W. Riverside Drive, Yankton, SD, 57078; [email protected]

Tennessee: Francis E. Elliott; w (931) 528-1276; 799 West Oak Dr #B-5, Cookeville, TN, 38501-3795; [email protected]

Texas: Dr. Eugene Dowdy; h (210) 458-4354; w (210) 493-8684; 4603 Tex Woods Street, San Antonio, TX, 78249-1844;

[email protected]

Utah: Andrew H Dabczynski; h (801) 422-2317; w (801) 226-0714; 4374 Imperial Way, Provo, UT, 84604; [email protected]

Virginia: Gary Frisch; h (703) 533-5883; w (703) 533-3887; 3008 Westcott St.; Falls Church, VA, 22042-1925; [email protected]

Vermont: Michael Hopkins; h (802) 656-7767; w (802) 864-2483; 36 Arbor Road, South Burl-ington, VT, 05403-5748; [email protected]

Washington: Carol Pederson; h (509) 354-6035; w (509) 838-5240; 1111 W 20th Ave., Spo-kane, WA, 99203; [email protected] us

Wisconsin: David Topolovec; h (414) 773-3164; w (262) 513-9047; 3026 Rolling Ridge Dr., Waukesha, WI, 53188-1354;

[email protected]

West Virginia: Ian A Jessee; w (304) 550-3078; 7 Forest Drive, Charleston, WV, 25302-2906; [email protected]

Wyoming: Sherry Sinift; w (307) 745-8662; 157 Corthell Road, Laramie, WY, 82070-4825; [email protected]


Alternative Styles Task ForceRobert Gardner, Chair, [email protected]

Renata Bratt

Andrew H. Dabczynski

Steven Muise

Jed Fritzemeier

Beth Danner-Knight, Staff Associate

2009 National Orchestra Festival CommitteeKathleen D. Brungard, Chair, [email protected]

Libby Dietrich, Staff Associate

2009 National Conference Planning CommitteeKaren Higdon, Chair, [email protected]

Susan DuBois

Ruth Kurtis

Bill Scott

Deanna Tompkins, Staff Associate

2009 Alternative Styles Conference Planning CommitteeRandy Sabien, Chair, fi [email protected]

Darol Anger

Sheldon Fisher

Dayle Quigley


2009 Alternative Styles Awards CommitteeMatt Turner, Chair, [email protected]

Lesa Terry

Tanya Kalmnanovitch

Crystal Plohman

Andy Carlson


Advocacy CommitteeMary Wagner, Chair, [email protected]

John Benham

Donna Sizemore Hale

John Golden, Staff Associate

Collegiate String Education RoundtableJane Palmquist, Chair, [email protected]

Committee on School Orchestras and Strings (CSOS)Ruth Kurtis, Chair, [email protected]

Committee on Studio Instruction (COSI)Susan DuBois, Chair, [email protected]

Brian Lewis

Thomas Landschoot

Leslie Webster

Jeff Bradetich

Council of Past PresidentsRobert Gillespie, Chair, [email protected]

Solo CompetitionLaura Kobayashi, Chair, [email protected]


Curriculum CommitteeStephen Benham, Chair, [email protected]

Jane Aten

Judy Evans

Denise Odegaard

Mary Wagner

National Foundation to Promote String Teaching and Playing Committees:

CodaBows for America Community Outreach Program Committee

Merle J. Isaac Composition Contest Committee

Potter’s Violins Instrument Awards Committee

Special Project Grants CommitteeKirk Moss, Chair, [email protected]

Nancy Bargerstock

Barbara F. Eads

Outreach Grants CommitteeBeth Gilbert, Chair, [email protected]

John Golden, Staff Associate

Development Committee

Instrument Specifi cations BrochureJacquelyn Dillon-Krass, Chair, [email protected]

Sharon Anderson

Judy Evans

Neil Lillien

New Music Reading FoldersKari Hahn, Coordinator

[email protected]

Research Committee

String Industry Council Executive CommitteeNeil Lilien, President, Meisel Stringed Instruments,

[email protected]

David Luce, Secretary, J.D’Addario & Company, Inc.

Donna Sizemore Hale, ASTA Executive Director

Jeffrey Solow, ASTA President

Kirk Moss, ASTA President-Elect


Student Chapters CommitteeKari Hahn, Staff Associate

ASTA with NSOA Past PresidentsRobert Gillespie 2004-2006

David Littrell 2002-2004

Robert Jesselson 2000-2002

Louis Bergonzi 1998-2000

ASTA Past PresidentsMary Wagner 2006-2008

Edward H. Adelson 1996-1998

Jacquelyn Dillon-Krass 1994-1996

Anne Witt 1992-1994

Robert Culver 1990-1992

Gerald Doan 1988-1990

Anne Mischakoff 1986-1988

Gerald Fischbach 1984-1986

Lucas Drew 1982-1984

LeRoy Bauer 1980-1982

Phyllis Young 1978-1980

Jerry Kupchynsky 1976-1978

Richard Sieber 1974-1976

Robert Oppelt 1972-1974

Ralph Matesky 1970-1972

Harry Lantz 1968-1970

Howard Van Sickle 1966-1968

Paul Rolland 1964-1966

Robert Klotman 1962-1964

Gerald Doty 1958-1962

Frank Hill 1954-1958

Ernest Harris 1952-1954

Rex Underwood 1950-1952

Duane Haskell 1947-1950

NSOA Past PresidentsDoris Gazda 1997-1998

Peter A. Miller 1995-1997

Robert J. Greenwood 1993-1995

Arlene G. Witte 1991-1993

Pamela Tellejohn (Hayes) 1989-1991

Robert S. Frost 1987-1989

Jerry N. Kupchynsky 1985-1987

James H. Godfrey 1984-1985

G. Jean Smith 1983-1984

C. Gary Iams 1981-1983


John R. Bright 1977-1979

Robert A. Ritsema 1975-1977

Lois Hobbs 1973-1975


Malvin N. Artley 1969-1971

H. Wayne Pyle 1967-1969

Orville “Cy” Dally 1963-1967

Forest A. Etling 1961-1963

Traugott Rohner, Founder 1958-1961


ReviewsString Class MethodNEW DIRECTIONS FOR STRINGS, BOOK I. Joanne Er-win, Kathleen Horvath, Robert D. McCashin, Brenda Mitchell, Supplemental Ensemble Music by Elliot Del Borgo & Soon Hee Newbold. FJH Music Company, 2007, teacher’s manual $39.95, pno accomp. $14.95, student books $8.95.New Directions For Strings is an innovative and comprehensive approach to teaching strings, containing everything necessary to teach a beginning strings class. Produced by a team of co-authors, the book was piloted for one year in classrooms across the country by 12 string music educators who provided feedback on the original draft. It was then revised and refi ned many times and evolved as a magnifi cent resource. String music educators will appreciate the innovative aspects of this method. Each student book includes two CD’s of accompaniments for home practice. Instructors have a choice of two bass books. One starts students in fi rst position, as other string method books generally do. The other starts students in fourth position (“D” position), like some of the well-known studio bass methods. There are advantages to both approaches, and the authors have left the choice to each teacher. Although teachers may be required to rethink the way they start bass students, it is worth the effort to examine the “D” position book and perhaps to give it a try. New Directions uses a comprehensive approach and is aligned with the National Standards for Arts Education. Opportunities are provided for students to read and write music, sing, improvise, practice ear training skills, and learn about music history. Students complete written activities in their books. Reproducible worksheets

and evaluations are provided in the teacher’s manual. The teacher’s manual is a 535-page spiral bound book with many extras, including worksheets, evaluations, and organizational information useful for the new teacher or for the seasoned veteran. You get more than just a method book, as performable works for your ensemble and solos arranged specifi cally for each instrument are included. The three full-length performable pieces are outstanding. Elliot Del Borgo’s piece will help your beginning ensemble achieve a full, strong sound while learning their First Concert Piece in D major; two by Soon Hee Newbold, a Scottish tune in G major and a rock-style piece with syncopated rhythms in E minor, are also included. The piano accompaniment for the entire method has outstanding pianistic accompaniments, well-written in the style of each piece. Clearly, much attention was given to writing the piano accompaniments and moreover to developing the entire method. New Directions For Strings is timely, utilizes current technology, is aligned with the National Standards, and takes a fresh, innovative, and comprehensive approach to string music education. What a wonderful addition to beginning string music education. P.S.

String OrchestraBOSSA VERDE (Gr. 3, rhythm section). Bert Li-gon. Alfred, $60.Already a popular arrangement among jazz string ensembles and teachers, this is newly published by Alfred for string orchestra (8-8-4-4-) and bass, piano, and drums. Suggested solos in all four string parts have been added, with chord symbols. Ligon has provided meticulous jazz bowings and articulations, simple background lines behind solos, contrasting

counter melody and close harmony sections in this lovely piece. Based on the chord changes to Autumn Leaves, this composition is easy for beginning improvisers to solo in a familiar key (E minor/G major) as well as fun for advanced players. P.Z.

BRING A TORCH (Med. Easy-Med., opt. pno). Arr. Roy Phillippe. Carl Fischer, 2007, $45.Here is a warm and richly scored setting of this popular Christmas carol that will greatly enrich seasonal programming. Roy Phillippe has employed a broad palette of harmonic and instrumental colors to craft a memorable holiday selection. This arrangement, scored in a lush but fl owing way, takes the simple tune in directions that are truly unexpected. The melody moves through several keys, F, D, and G major, each one adding its own color to the tune. And there even seems to be a well-hidden reference to “Away in a Manger”. First violins and cellos require third position. A moderate tempo, numerous slurred passages, and a few dynamic changes mean this could be put together without too much effort, yet produce a nice full sound. N.C.

CARDBOARD REGATTA from Crystal Lake Suite (grade 1+). Robert Frost. Kjos, 2006, $40.This is a movement from a four-movement work commissioned by the McHenry County, Illinois, Youth Orchestras. It is all in fi rst position, and in C major with a few accidentals. The opening is in 5/8. Another section is in 6/8, while another alternates from 2/4 to 6/8 every other measure or so. The tempo is moderate with one ritardando and one accelerando. The cello part has rolled three-note chords in several places. The piece is supposed to represent boats

rocking, tipping and rolling over in the lake. It is very well written and is a good way to introduce young players to uneven and changing meters. The piano part is an important part of the piece, but it could be performed without it because most parts are doubled. I highly recommend it. Hopefully the other three movements will be published also. J.K.H.

I GOT RHYTHM (Gr. 3.5, rhythm section). George Gershwin, arr. Bert Li-gon. Alfred, $60.Ligon has combined tight four-horn writing with string-specifi c techniques, resulting in a lively and varied arrangement of this classic for jazz string ensemble. Opening with solo drumset and percussive “chop” patterns in the strings, Ligon goes on to exploit a variety of string colors and techniques including pizzicato, “sul tasto,” jazz bowing patterns and articulation. Dynamic contrasts, soli as well as close harmony sections and other references all contribute to the fun of this arrangement. The improvisation section includes a different sample solo in each of the four string parts, incorporating jazz vocabulary and phrasing, over the original Bb rhythm chord changes. Written-out background lines can be used behind any soloist. This chart is an excellent vehicle for introducing rhythm changes to strings, or a nice ride for more advanced improvisers. P.Z.

MEXICAN MOSAIC (Gr. 1+, opt. perc., pno). Barry Amass. Mewzkl Publica-tions, 2007, $35.This is a catchy 4/4 composition and would be perfect for a concert around Cinco de Mayo. With sections in C and G major, it would be a fun way to work on low and high second fi ngers. The violin and viola parts are


rhythmically the same and mostly in thirds, giving the piece a mariachi fl avor. Much of the second and viola parts is on the G string. Cello and bass double, but in different octaves to avoid shifting for the bass. Except for the more lyrical middle section, the cellos and basses pluck a fun rhythmic ostinato that drives the piece and will keep them on their toes. The piece ends with everyone playing a pizzicato rendition of the fi rst section. The percussion and piano are optional (and not in the score), but guiro, maracas, cowbell, bongos/conga certainly make the piece more festive. Mewzkl has a website with a full audio version of the piece and a view of the fi rst page of the score. Check it out. S.P.W.

RONDO FROM HORN CONCERTO K. 417 (Gr. 3.5). W.A. Mozart, arr. Gerald R. Doan. Great Works/Ludwig, 2007, $48.As with so much of Mozart’s work, the fi nale of this horn concerto transfers naturally to other instrumentations. This arrangement maintains all the excitement of the original and treats the students like true musicians, a great piece to challenge your players up a notch to the next level. The solo horn passages have been divided among violins and cellos. Stylistically, the work is quite typical of Mozart’s music for strings but should be played with vigor to capture the essence of the original horn lines. Lilting 6/8 rhythms will require performers to explore the lower portions of their bows, and provide a great chance to teach the jig bowing of two slurred notes and one up bow. The original key of E-fl at has been raised to F to make the work more accessible to younger players. There are many second position passages for the fi rst violins, and third position passages

for all players. Extended fi nger passages are in all parts, but not diffi cult. The scalar sixteenth-note runs pose no problem. Dynamics are well marked, with two energetic fortepianos to really get the momentum going. This is a great piece to play and learn the classics. N.C.

STOMPIN’ ON THE HOUSE-TOP (Gr. 1+, opt. pno, sleighbells). John Capone-gro. Kendor, 2007, $42.Notable meters: 3/4, 4/4, and 2/4, keys: G and D (so C# and C-naturals), fi rst fi nger D-sharp in viola part, high 3 for viola and second violin, foot stomping and shuffl ing, some pizzicato This is a welcome addition to the holiday literature. It features a medley of “Up on the Housetop”, “Jingle Bells” and “We Wish You a Merry Christmas” in a fun arrangement. The students will enjoy working on the foot stomping and shuffl ing, which often happens as part of the melodic line and could be a fun challenge for some students. Violas have one D-sharp, and the violas and seconds have one measure of high three C-sharps. Since the key changes for each piece, the students have to go back and forth between C-sharp and C-natural. Although there are a lot of meter changes, the quarter note and tempo remain constant. The sleigh bells are a true percussion part (the student will have to count!) and, as the publisher suggests, add sparkle to the piece. The optional piano part can be used for both rehearsal and performance. Caponegro has again given us a new piece that can be a great teaching tool, fun and the hit of the concert. S.P.W.

ViolinCONCERTO IN D MAJOR FOR VIOLIN AND ORCHES-TRA, OP. 77 (vln/pno). Johannes Brahms; ed. Clive Brown. Bärenreiter-Verlag, 2006, score $37.95, pno reduction (by the composer) $19.95, critical commen-tary (English) $19.95.No scholarly critical edition of this work has previously been published; therefore the many, sometimes confl icting, sources have never been evaluated for a critical performing edition. In this new edition not only Brahms’ autograph score, solo part, and autograph piano reduction, but also his personal copy of the fi rst edition score and fi rst edition orchestral parts have all been consulted. Brown’s edition offers insights into the genesis of the composition and the working relationship between Brahms and Joachim. It includes an informative article on period performance practice with regard to vibrato, bowing articulation, tempo, rhythm, and rubato. Both the full score and piano reduction are cross-referenced with the critical commentary, which outlines the discrepancies between sources. Included is a separate brochure with not only the familiar Joachim cadenza, but also those by Carl Halir, Leopold Auer, Hugo Heermann, and Ferruccio Busoni. G.H.

THE ORCHESTRAL VIOLIN-IST, BOOK 1. Rodney Friend. Boosey & Hawkes/Hal Leonard, 2006, $38.95.This collection in two volumes includes excerpts from 53 of the orchestral works most frequently required on auditions. Unlike other books that crowd the excerpts on the page this book has a clean, open look about it. This helps make the music seem less intimidating. All editorial additions are color

coded; red for bowings, black for fi ngerings, and green for stylistic instructions (articulation, bow distribution, phrasing, technical suggestions). Friend is a former leader of the London Philharmonic where he worked closely with Haitink, Barenboim, Solti and Giulini. In 1975 he became concertmaster of the New York Philharmonic and worked with Bernstein, Boulez, and Mehta. On returning to London, he became leader of the BBC Symphony and professor of violin at the Royal College of Music. From these and other associations he brings a wealth of fi rst-hand knowledge to the repertoire. For instance, as concertmaster of the New York Philharmonic, he performed the entire Mahler literature working from the composer’s personal markings and bowings. This book is an indispensable resource, especially for young players learning the repertoire who have not had the opportunity to perform these works in an orchestra. G.H.

PLAYING THE VIOLIN: AN IL-LUSTRATED GUIDE. Mark Rush. Routledge, 2006, $29.99.The fi rst four of eight chapters of this beautifully and bountifully illustrated book are devoted to the fundamentals of posture (without the instrument) and set-up, holding the violin (shoulder rest, yes or no), positioning the left hand and arm, and holding the bow. Rush draws on Dounis principles and exercises and material from Ivan Galamian, Dorothy Delay, and Simon Fischer. There are wonderful photos illustrating how to choose and fi t a shoulder rest and clear instructions about what a shoulder rest should and should not do. In addition there are observations about the fundamental differences involved in playing without a shoulder rest. There is


Reviewsa similar list of chinrest qualifi cations, but no photos. The remaining chapters discuss putting right and left hands together, posture (with the instrument), more on bowing (smooth bow changes, string crossings, playing successfully at the frog), vibrato, and tips on practicing. Over 200 pictures vividly amplify the text, which is designed to be accessible to students, parents, studio teachers, and those who teach in the public schools. This book would be particularly valuable to school orchestra directors who are not string players and need practical information about string playing presented in a clear, concise format. G.H.

SONATAS IN G MAJOR, E MINOR; FUGUE IN G MINOR FOR VIOLIN AND BASSO CONTINUO BWV 1021, 1023, 1026 (vn/pno). Johann Sebastian Bach, ed. Peter Wollny, comments Andrew Manze, continuo realization Zvi Meniker, Bärenreiter-Verlag, 2005, $13.95. This new edition reevaluates the sonatas, BWV 1021 and 1023, on the basis of newly-unearthed sources. The Fugue, BWV 1026, long viewed as spurious, appears here for the fi rst time in a scholarly-critical edition authenticating Bach’s authorship. It contains few of the elements of Bach’s mature style, but this may be due to a 1709 encounter with the Dresden virtuoso Johann Georg Pisendel, which may also have given rise to the Sonata in E Minor, BWV 1023. The only surviving manuscript copy of this sonata, residing in the Saxon State and University Library in Dresden, was evidently prepared at Pisendel’s request for the music collection of the Dresden court. The Fugue deserves special attention for its remarkable length and the level of virtuosity demanded of the player.

This compositional style likely coincides with the presence of Johann Paul von Westhoff (1656-1705) whose own works require similar technical prowess. Wollny’s informative preface provides comments on the sources, notes on Meniker’s realization of the fi gured bass, an ürtext violin part, and a performing edition with fi ngerings, bowings and helpful comments on performance practice by Manze. G.H.

SONATAS FOR VIOLIN AND HARPSICHORD: Band I BWV 1014-1016, Band II BWV 1017-1019 (vn/pno). Johann Sebastian Bach; ed. Karl Schleifer/Kurt Stieler. C. F. Pe-ters, 1958, $25 each with CD.This appears to be a reissue of an older edition with the addition of a play-along CD of the continuo realizations. The pitch is at modern A-440 level. A click track precedes each movement where the performers begin together. The tempos are moderate and the performance straightforward. A forward by Karl Schleifer is in German, but not translated. The fi ngerings are somewhat old-fashioned and don’t refl ect the infl uence of recent scholarship with regard to Baroque performance practice. There is studious avoidance of open strings, and “smoothing out” of the natural down-bow stresses with hooked bowings. The edition does not include an ürtext part, so it is not possible to tell whether bowings are original or editorial. The CDs might be valuable for young students who have never played with harpsichord, but the violin parts would require considerable alteration of fi ngerings and bowings by the teacher, as well as consultation of a critical edition to sort out what is Bach and what is not. G.H.

SONATA IN B MINOR (vn solo). Franz Liszt, trans. Noam Sivan. Carl Fischer, 2007, $19.95.Liszt’s Sonata in B Minor, a masterpiece of piano literature, is offered here for the fi rst time in a version for solo violin. This transcription of a large-scale sonata in one movement exploits numerous instrumental possibilities in order to create a distinctive sound palette, including melodic independence of the four strings, wide-range polyphony, unusual use of harmonics, and a pizzicato fugue. All instructions are clearly marked, with excellent fi ngerings and phrase markings. Page turns in the part are not convenient. Many technical challenges of violin playing have to be overcome in studying this sonata. The task, therefore, is to clarify the musical meaning of each passage, giving shape to the melody while still allowing the harmonies to intertwine. It would be helpful for the performer to consult the piano version regarding thematic structure, chromatic harmony, and voicing; however, this source should not be the only guide to interpretation, since the violin version must retain its own unique character. Israeli-born transcriptionist Sivan currently lives in New York City, is on the faculty at Mannes College, and is a C.V. Starr doctoral fellow at the Julliard School. This transcription displays remarkable imagination, with novel use of half-positions, intricate broken chords, and the employment of Bartók-like pizzicati in a most fantastic fugue passage. Some interesting requests made of the performer during this pizzicato section can be very liberating. This piece is a daring challenge; even those who do not choose to feature it in concert performance will benefi t from mastering its intricacies in private. As often found in Liszt’s pieces, this work glorifi es Paganini’s soul. N.C.

CelloFANTASIESTÜCKE, op. 73 (vc). Robert Schumann, rev. ed Ernst Herttrich, vc bowings/fi nger-ings Reiner Ginzel, pno fi nger-ings Hans-Martin Theobold. G. Henle Verlag, 2006, $15.95.Beethoven can be considered the fi rst modern composer in the sense that he supported himself largely by selling compositions to publishers instead of being a resident court musician. As paying royalties to composers was not yet the practice, it is not surprising that sales potential became an important consideration for composers such as Brahms, Dvorak, and Schumann in their negotiations with publishers. To this end Schumann began offering his piano-paired-with-a-single-instrument compositions with multiple performance options. Thus the Adagio und Allegro, op. 70 for horn and the clarinet Fantasiestücke, op. 73 (both from 1849—Schumann’s most productive year in his own estimation) were designated ‘violin/cello ad libitum’ while the Drei Romanzen for oboe, op. 94 and the cello set of Fünf Stücke im Volkston, op. 102 had ad libitum violin parts. (Schumann even transcribed his cello concerto for the great violinist Joseph Joachim!) It is not known who actually made the string versions of the chamber works, but Schumann clearly authorized them; in his informative Preface, Herttrich mentions an 1852 diary entry in which Schumann praises violinist Ferdinand David’s splendid performance of the Fantasiestücke with Clara. Henle’s excellent new cello version (I assume that the new Preface and Comments is what they mean by “Revised Edition”) of the Fantasiestücke is based on the composer’s personal copy of the fi rst edition with emendations by Schumann. The concluding editorial comments refl ect


cello and violin sources as well as those for the original clarinet version. Hettrich notes that Schumann substantially revised the original autograph version. A particularly interesting change was Schumann’s addition of the fi nal chord of the second movement; without it the music fl ows without pause into the third movement. Hettrich also notes that the slurring in the string versions seems to refl ect bowing rather than phrasing so it is useful that the piano part retains the original clarinet/piano score. J.S.

SOLOS FOR YOUNG CELLISTS, Vols. 5. 6. Carey Cheney. Summy-Birchard, 2007, books, CDs each $13.95.Cheney continues her series with the fi fth and sixth installments of repertoire collections for student cellists. Primarily a supplement to the Suzuki material, the pieces are technically more challenging than the Suzuki volumes of the same number, but they do offer enriching and important literature. Each piece has been selected for variety of styles and composers, mixing standards with those that really deserve to be played more, including Frank Bridge’s lovely Meditation. Canadian cellist Claude Kennesen’s keyboard realization of the Boccherini Sonata in C Major G. 4 is featured prominently in Volume 6, which also includes a two-cello version. It should be noted, however, that some of the arrangements are not what a traditional teacher might expect when “cherry-picking” from the repertoire. For instance, in Volume 5, the realization of Couperin’s Pièces en Concert is by David Dunford, not the more familiar one by Paul Bazelaire, and Schumann’s Adagio and Allegro, has been transposed to F from the original A-fl at.

Mark Summer’s Julie-O is Cheney’s arrangement, not the original, and the solo part to Elgar’s Salut d’Amour has a few unexpected octave displacements. Each volume has a separately-purchased double CD: the fi rst with Cheney and pianist David Dunford performing the works in a very satisfactory fashion, the second of the accompaniment alone (in tempo). Cheney’s solo performance of Julie-O is lively, rhythmic and technically well-executed, and in general her lyric musicianship and pleasing tone are a fi ne example to students. Cheney also includes background information and translations of terminology and titles, emphasizing the kind of information that students need to perform meaningfully. Invaluable to teacher and student alike are the practice suggestions for developing the less-than-standard techniques needed to perform Julie-O. Unfortunately, Cheney is not consistent with these offerings, as some of the pieces have literally pages of introduction, while others have no supplemental information whatsoever. Perhaps Cheney could fi ll in the blanks for future printings that will be needed: at the price, these useful collections and well-played recordings are hard to beat. C.W.

Double BassSONATA IN G MAJOR for Cello or Double Bass and Piano. Karl Friedrich Abel, ed. Lucas Drew. St. Francis, 2007, $9.95.Drew, past president of ASTA, is devoting his retirement to enhancing the bass repertoire through publication of older out-of-print material, much of which has been sorely missed, as well as new compositions and transcriptions, many of which

are most welcome. Though other Abel sonatas have been transcribed and published for bass, this sonata, K. 144, has not. This charming short three-movement piece gives bassists a rare opportunity to explore a style between the high baroque of Bach and Handel and the early classical style of Dittersdorf, that of Empfi ndsamerstil. The melodic style is vigorous and quite varied, including many rhythms and articulations. The range spans just over two octaves from low G to a harmonic A. Though Abel was the last great historic gamba virtuoso, the piece was apparently written for amateurs (according to the New Grove) and calls more for musical imagination than for technical fi reworks. Drew’s editorial decisions can be verifi ed and potentially modifi ed, since the piano part is a reprint of Bärenreiter’s Hortus Musicus edition. The collected works, edited by Walter Knape, could provide additional insights into articulation. A.K.

ZWÖLF WALZER für Kontra-bass solo. Domenico Drag-onetti, ed. Tobias Glöckler. Henle, 2007, $13.95.These waltzes, composed around 1840, appear to be the only original music for unaccompanied double bass before the twentieth century brought works such as those by Scontrino, Moulaert, and Hindemith. Arguably, no works for unaccompanied bass of equal musical merit appeared until Maconchy’s Four Improvisations (1954). Dragonetti’s Waltzes are therefore of prime historical importance. They also have the pedagogical advantages of brevity compared to Dragonetti’s concerti and, with the exception of waltz 11, never rise beyond a twelfth above the open G string. With their rhythmic drive and intricacies of bowing,

they are achievable by an advanced high school student and attractive enough for a professional recital. Although the works were already available—Turetzky’s editions of nos. 1-6 (pub. Marx), Neidlinger’s nos. 7-12 (pub. Ludwin), and Turetzky’s nos. 1-12 (pub. Recital Music), along with versions with piano accompaniment edited by Oscar Zimmerman and Malaric—this edition is valuable for its transparency of editing and clarity of presentation: one sees a text that is very close to what Dragonetti wrote and can largely verify, in the editorial notes, changes that were made. A comparison with a copy of the manuscript (courtesy of Robert Nairn) shows that Glöckler did the meticulous work that has become his hallmark. This edition continues the major contribution that Glöckler and Henle are making to classic double bass repertoire. A.K.

GuitarBERKLEE JAZZ GUI-TAR CHORD DICTION-ARY. Rick Peckham. Berklee Press, $9.95.Peckham’s Dictionary explores standard jazz voicings in a compact easy-to-use format. The book is divided into two parts: part one presents chord voicings (forms), while part two gives diatonic exercises. In the fi rst two chapters, Peckham chooses four voicings for each chord type. I found some of my favorites omitted, but in general the ones presented “sound” and are useful. Chapters 3 to 5 give guide tone chords (root-third-seventh), triads over bass notes, and inversions (for the fi rst six types). One of the strengths of book is that the same forms are used throughout, so once a student learns minor seventh voicings for instance, these shapes are repeated in later


Reviewschapters such as guide tone (chapter three) and inversions (chapter fi ve). the diatonic exercises in part two are useful as they present the forms of Part One in a scalar context using major, harmonic and melodic minor, and the major and minor bebop scales. In contrast to chord dictionaries containing an endless array of possible voicings, Peckham’s presents common forms using contiguous strings and roots on the 6th-4th strings. This no-nonsense approach implies a methodology that, once absorbed through study of the text, can be applied to any harmonic structure. This text, paired with the Mel Bay Rhythm Guitar Chord System, would offer the intermediate jazz guitarist a powerful tool for mastering jazz chord voicings. M.Z.

SWING FAVORITES–BIG BAND PLAY-ALONG, Vol. 1. Hal-Leonard, book/CD $14.95.No less an authority than the great Jim Hall has stated that, “if the tree of jazz were pruned down far enough, we’d be left just with Freddie Green strumming away and making you feel like playing and smiling.” I feel that too often the jazz guitar student spends a disproportionate amount of study/practice time developing the ability to play “lead” guitar without developing a great sense of pulse in a swing context. Opportunities for learning this fundamental skill have largely dissipated with the disappearance of performance opportunities for big bands. Chord chart reading is a requisite skill for pit orchestral playing as well. This publication has chord charts to a variety of jazz standards and an accompanying performance CD with a quality professional band. The guitar arrangements largely consist of chords symbols in slash notation with some written rhythmic kicks, and

provide a virtual laboratory for gaining experience for engagements of this sort. I believe that the publication could be more effective with several additions. There is no discussion of chord voicing methods commonly used by guitarists in this style. Although it is to be expected that the guitar parts are not the focal point of the arrangements, it would be nice to have a separate mix on the CD, or a way to modify the balance/panning, where you could more clearly hear the guitarist’s articulation. However, I feel that it is a helpful addition to the resources available for teachers at the high school or collegiate level who wish to expose students to this style. M.C.

HarpSTROLLING THROUGH THE STRINGS (4 lever or pedal harps). Frank Voltz. Chiera Music www.frankvoltz.com, 2008, score/parts $12.Voltz’s fi rst ensemble arrangement is based on his delightful solo publication, and the ensemble is quite pleasant as well. The 11-page bound score is easy to read. The two-and-a-half page individual parts range in diffi culty from beginner to intermediate. Written in G major, lever and pedal changes are clearly marked. Part one has 11 lever changes and part four has only two. Each part gets to play either glisses or harmonics or both. A few helpful fi ngerings are included in this exceptional addition to the harp ensemble repertoire. D.G.V.

Chamber MusicPLAYING WITH STYLE. (2 vn, 2 va, str. quartet, or orch). Joanne Martin. Summy-Birchard/Alfred, 2006, parts each $5.95.Here’s a fi nd that you won’t want to miss: duets that entertain players and audience

alike. All players receive a turn at melodic patterns and fun devices. The rhythms are perfect for advanced string students and offer challenges in a variety of styles: tango, ragtime, and jazz. Slides or glissandi into notated pitches and tremolo are indicated. The parts can be used interchangeably so that violins can play with violas; piano accompaniment duplicates the ideas in the duet parts and can complete or add stability to any combination. Divisi sections in some duets fi ll out the sound when more than two students are involved. The titles are “Chromatic Tango,” “Soft Shoe,” “Hoedown,” “April Rag,” “Hopak,” and “Mellow Moment.” Studio teachers, here’s your chance to add enjoyment to sight reading pieces for your advanced students. P.C.

SERENADES OP. 77a AND 141a FOR FLUTE (VIO-LIN), VIOLIN AND VIOLA. Max Reger. G. Henle Ver-lag, 2006, $46.95.These serenades leave the impression of works of a consciously classical style. In a letter of June 5, 1904 to his publishers, Reger stated, “It is absolutely clear to me what is lacking from our music today: a Mozart! – To be perfectly frank: the fi rst fruits of this realization . . . are the op. 77a Serenade for fl ute, violin and viola, and the op. 77b Trio for violin, viola and violoncello” (Max Reger: Briefe an die Verleger Lauterbach & Kuhn, i, ed. Susanne Popp, Bonn, 1993, p. 324). The relaxed, even cheery nature of these works is accompanied by a lightness of construction, clear formal design and easily comprehended harmonic progressions, and clearly seeks comparison with Beethoven’s Serenade op. 25 for the same instrumentation. Reger was aware from the outset that the instrumental forces required for op. 77a (in D major) would not always be available. At

his publisher’s request, Reger arranged the Serenade’s fl ute part for violin, making a few small changes to more practically write technical and timbral elements. Therefore, there are actually four parts for op. 141a, with the fl ute and its companion violin part almost identical. This ürtext edition has critical comments in English in the back, with explanation of the sources, notes on the edition, and measures marked where changes and/or further explanations are needed. As with all Henle ürtext editions the pages are beautifully laid out on quality paper, with convenient page turns. Measure numbers are marked. I can hardly wait to play these myself! N.C.

TRIO NO. 2 IN C MAJOR, OP. 87 FOR VIOLIN, CELLO AND PIANO. Johannes Brahms, ed. June DeForest. International Music Company, 2007, score/parts $39.In the summer of 1880, Brahms sketched two piano trios. The second of these, the C major, was completed in 1882, during a summer spent at Bad Ischl. Though Brahms was extremely critical of his own music, this composition gave him every satisfaction. The principal theme of the fi rst movement Allegro is stated by violin and cello in octaves, with the piano contributing chiefl y to the second subject group, followed by the development of this material, marked animato to maintain its momentum and espressivo to signify the lyricism of the melodic line. The second movement Andante consists of a theme in A minor and fi ve variations. The following C minor Scherzo has a more relaxed contrasting trio section in the tonic major. The original key and mode is fully restored in the opening of the fi nal Allegro giocoso, where, as so often in this work, violin and cello initially support each


other in octaves. In sonata form, a variety of thematic material suggests the contrasts inherent in a rondo. The entire trio is reminiscent of Hungarian Gypsy music. DeForest’s fi ngerings and bowings are nicely presented. Page turns for the strings are convenient, and all measures are numbered. N.C.

BooksHELPING PARENTS PRACTICE, IDEAS FOR MAKING IT EASI-ER, Vol. 1. Edmund Sprunger. Yes Publishing, 2005, $20.Sprunger’s insightful observations are drawn from his many years of experience as a Suzuki teacher, teacher trainer, clinician, and psychotherapist. His book is organized in fi ve interconnected “neighborhoods”: Decoding, Practice Basics, Musicianship, Rhythm, and Appendix: Games. Each chapter (neighborhood) is divided into sections (blocks). The table of contents bears a strong resemblance to a subway map. The “staples of practice,” such as how to make it pleasant and productive are available in every chapter, but each “neighborhood” also has its own unique offerings. Most sections have cross-references making it possible to “hop around the book as your needs and interests dictate.” It can be used as a reference book, a textbook, or as a “daily dose” applying one or two new sections to each day’s practice session. Practice Basics has creative suggestions to help children focus, help parents give clear directions, and guidance for “choosing your battles.” The musicianship chapter focuses on helping the child fi nd their own voice. The chapter on rhythm has some very useful ideas on early introduction of the metronome in non-threatening ways. Throughout the book are inspiring and thought-provoking marginal quotations from

such prominent musicians, educators, philosophers, and child development experts as Elizabeth A.H. Green and Fred Rogers. Although the advice and many of the teaching examples are based on or drawn from the Suzuki Violin Method, the general principles of practice set forth can be applied to the study of any instrument. Much of what is included will provide valuable insights to both teachers and parents. G.H.

SIXTY MUSIC QUIZZES FOR THEORY AND READ-ING. Jay Althouse. Al-fred, 2007. $24.95.Intended as a companion to Althouse’s Ready to Read Music (Alfred, 2003), this volume includes reproducible one-page quizzes suitable for assessing music theory skills that MENC associates with grades 5-8 (see www.menc.org). Owning a single copy brings permission to make copies for one school/organization. The units within the book include staff/notes/rests, rhythm, note names, key signatures, musical symbols and terms, time signatures, keyboard identifi cation, and musical puzzles (unscramble words, word search, crosswords). Specifi c material begins with writing a whole note in an assigned space and ends with such skills as determining time signatures for the music examples provided, including 5/8. The number of quizzes within each unit ranges from two (keyboard identifi cation) to 12 (note names). The format of questions is nicely varied between quizzes, and vocabulary is appropriate. The physical format is appropriately inviting. A.K.

SUCCEED AS A STRING PLAYER! TEEN STRINGS SHOWS YOU HOW. Ed. Me-gan Westberg. String Letter Publishing, 2007. $16.95.As a public school string teacher, I would often read

broadly about strings and string playing as a form of self-guided professional development. However, my classroom and teaching lacked the idea that students might have benefi ted from the same sort of shot in the arm. Happily, this recently published book fulfi lls that purpose. Directed toward a teenage audience, this accessible handbook features well-written, concise articles on topics ranging from bow maintenance to audition tips. Furthermore, a section devoted to adolescent wellness shows that thoughtful and comprehensive consideration underscored the design of this book. The most remarkable aspect of Succeed as a String Player is that popular musics are featured alongside music of the Western classical tradition in complete compatibility. This may be analogous to how teenage musicians actually experience the world of music. The rich possibilities of electronics and strings are included and balanced with an effective presentation of the traditional. One could read this book from cover to cover or just move from topic to topic. Part of the book features articles written by famous players (Hillary Hahn and Joshua Bell), and other parts highlight up-and-coming younger players. It is fi tting that the teens get the last word in the concluding articles, as every part of the book is carefully aimed toward adolescent string musicians. Considering the breadth of topics and the outstanding layout and organization, it is reasonable to conclude that this book ought to be a staple in any studio, strings classroom, and personal or public library. Perhaps this book will encourage teachers to formulate their own classroom libraries while drawing on all of the resources Teen Strings provides. V.C.

Reviewers

Nola Campbell (N.C.) is assis-tant professor of music educa-tion/strings at the Hartt School for the University of Hartford in Connecticut, and director of the Hartt String Project. She performs on either violin or viola with the New Britain Symphony Orchestra, and many other orchestras in the greater Hartford area, and is an active music education clini-cian, lecturer, studio teacher, and orchestra conductor.

Michael Carenbauer (M.C.) is professor of guitar and director of guitar studies at the University of Arkansas at Little Rock. He is the recipient of numerous awards for performance, teaching and composition and has recently re-leased a CD of works for guitar, string quartet and the Chinese zheng entitled Music for Guitar and Strings.

Vincent Cee (V.C.) is currently a doctoral student in music educa-tion at the University of Mas-sachusetts, Amherst. He taught strings for fi ve years in the Mesa Public Schools in Mesa, Arizona and continues to spend part of his summer in Fairbanks, Alaska teaching bass and jazz at the University of Alaska, Fairbanks Summer Music Academy.

Patricia Cox (P.C.) is associate professor of music at Harding University in Searcy, Arkansas, where she teaches strings and coaches the university string quar-tet. She directs the White County Youth Orchestra and the Searcy String Quartet.

Winifred Crock (W.C.) is the or-chestra director at Parkway Cen-tral High School in Chesterfi eld, Missouri and maintains a private violin studio. She is an active string clinician, lecturer and conductor.


ASTA ....................................................................22Baerenreiter Petra ....................................... insertBall State University .........................................62Bee-In Tuner, Inc. ................................................13Brobst Violin Shop .............................................41C. Alan Publications ............................................ 7C.F. Peters Corporation ....................................29Caputo Music .....................................................44Carriage House Violins ....................................12Claire Givens Violins, Inc. ................................13Cleveland Institute of Music ............................27CodaBow International, Ltd. ..........................63D’Addario & Company ....................................41DePauw University School of Music ...............55Dogal SNC c/o Cupertino Strings .................16Electric Violin Shop ............................................. 9Fegley’s Violin Shop ........................................... 2Frustrated Accompanist ...................................... 7Gateway 4M .....................................................84Gettysburg College / Sunderman

Conservatory of Music .............................71Hal Leonard Publishing Co. .............................19Happynex ...........................................................66Heart of Chamber Music Institute ..................83Huthmaker Violins .............................................68Ifshin Violins ..................................................... 109J.W. Pepper & Son, Inc. ...................................11Jazzbows Music Inc. .........................................44Johnson String Instrument ................................... 8K.C. Strings Violin Shop ...................................85Kaman Music Corporation ................................. 2Knilling String Instruments ................................15Lawrence University ..........................................63Little Amadeus ...................................................84Mannes College of Music/

The New School .........................................26Meisel Stringed Instruments ............................... 7Mel Bay Publications ........................................66Menchey Music Service, Inc. ............................62Merz-Huber Company .....................................55Midori/Partner in Performance ......................26Mona Lisa Sound, Inc. .......................................29New York University .........................................92North Carolina School of the Arts .................69NS Design ............................................................ 9Oberlin Conservatory of Music ......................23Otto Musica ........................................................51Pasewicz String Instrument, Inc........................85Peter Prier and Sons Violins ............................37Peter Zaret and Sons Violins, Inc. ...................91Peterson Electro – Musical Products, Inc. .......62Pirastro G mbH ................................................... 4Rice University/Shepherd School of Music .. 107Robertson & Sons Violin Shop ........................91Rolland String Research ...................................83San Francisco Conservatory of Music ........ 108Shar Products .................................................. 110Southern Methodist University .......................45Southwest Strings ................................................ 9Stephen F. Austin State University ............... 106StringWorks .......................................................89Stulberg International String ..........................12Super-Sensitive Musical String Co.................... 3Texas Christian University ................................37The Potter Violin Company ..............................45Thomastik-Infeld / Connolly & Co. .................. 1United-Workshops Corp./Heinrich Gill

Violinmakers ...............................................13University of Massachusetts - Amherst ..........67University of Miami, Frost School of Music ...29University of Michigan School of Music ........70Venus Harps (W & W Musical Instrument

Company) ...................................................69Violin House of Weaver ..................................71Wayne State University ...................................37Willamette University .......................................45William Harris Lee & Co. ................................37William Moennig & Son, Ltd. ..........................85Yamaha Corporation of America .................... 2

Advertisers Index

Denise Grupp-Verbon (D.G.V.) is an active professional performer who teaches privately and at Owens State Community College. She was formerly a member of the Civic Orchestra of Chicago and has a master of music degree in harp performance from Northwestern University.

Janet Kvam Holub (J.K.H.), D.M.A, is a private studio teacher in Woodstock, Illinois. She conducts the Prelude Orchestra at the McHenry County Music Center, teaches music appreciation classes and studio violin and viola at mchenry county college and is a free-lance violinist in the northern Illinois area.

Georgia Hornbacker (G.H.) is associate professor of violin at Millikin University in Decatur, Illinois, associate concertmaster of the Illinois Symphony Chamber Orchestras and violinist of the Kirk-land Trio. She maintains a private studio in her home, and in 2001 was named outstanding studio teacher by Illinois ASTA with NSOA.

Andrew Kohn (A.K.) teaches string bass and music theory at West Virginia University and is a member of the Pittsburgh Ballet Theatre and Opera orchestras.

Polly Sibert (P.S.) directs the Walker Upper Elementary School Orchestras in Charlottesville, Vir-ginia, and restores, repairs, and builds violin family instruments. She received her D.M.A. in music education from Shenandoah University, her M.M. in orchestral conducting and her B.M.Ed. from James Madison University.

Cornelia Watkins (C.W.) is a private cello teacher and freelance cellist in Houston, Texas. She is the author of Rosindust, a newsletter for string teaching and playing, and has given several clinics at teaching conventions across the country.

Susan P. Wilson (S.P.W.), a graduate of Indiana University, was a violist in the New Jersey Sym-phony and then for many years with the Phoenix Symphony Orchestra. She currently teaches teaches fi fth and sixth grade strings at three elementary schools in the Gilbert Unifi ed School District, Gilbert, Arizona.

Mark Zanter (M.Z.) is associate professor of composition and theory at Marshall University, and an avid jazz guitarist. His new release, Question Mark, is available on CD Baby and iTunes.

Paula Zeitlin (P.Z.) is a jazz violinist from the Boston area who teaches improvisation and coaches jazz string ensembles at the Rivers Music School and Wellesley College. She has given presentations at national and regional conferences and performs with her jazz quintet and jazz string quartet.


August 2008

3

Guidelines for Successful Orchestra Auditions

The Projected Career Plans of String Music Educators

Challenging the Middle School Orchestra Musician

PLUS:String Industry Council Directory


AMERICAN STRING TEACHER

American StringTeachers Association

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AMERICAN STRING TEACHER · to practice striving to follow in the footsteps of Ivan Galamian. by Susan J. Kim Challenging the Middle School Orchestra Musician We want to challenge