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orchestra String (Pedagogy) Trek:


The Next Generation Carrie Gruselle, WMEA State Chair, Orchestra


I am admittedly a fan of science fic- tion. I find myself drawn to concepts that st retch the imagination, from speculations about sub-atomic particles to dark matter and the vastness of the


universe. And intertwined is the concept of time. If I were to propel myself into space fast enough and far enough, and focused a telescope on the earth, would I see the past? And conversely, how might I actu- ally get a glimpse of a potential future?


Putting “string theory” to the test, what does my theoretical telescope show of our past, in this case, my past? What is back there to be celebrated, and how can we imagine the future?


Back we go… It is 1965. I am 9 years old and in an orchestra class at Washington Elementary School. We are learning from the Muller-Rusch string method book. We begin with letter names only, using familiar tunes to learn to pluck out melo- dies before we learn to read notes and use the bow. This actually works pretty well. Jingle Bells and Old McDonald! And soon we will read the notes and can explore tunes that are new to us.


As we advance to the fifth and sixth grades, we are learning orchestra tunes


Practical Pointers


that were created or arranged by among others, Samuel Applebaum, who had a vision about providing valuable and ap- propriate repertoire to expose to young musicians. Less obvious to me as a fourth grade student but of tremendous importance was Paul Rolland who was influencing teachers to present technique to students through understanding move- ment and balance. These influences sent ripples through the string pedagogy world, which are still being felt.


At Benjamin Franklin Junior High School we were performing arrangements by Merle Isaac who left a legacy of great rep- ertoire playable by intermediate students. But the biggest surprise in those years was meeting classmates with advanced technique and flair for sharing exciting and beautiful tunes. These were Suzuki students who were studying through the local university. Apparently, Dr. Shinichi Suzuki and representatives of his school of violin playing had been visiting the U.S., and some American string teach- ers had been visiting Japan, and were introducing a new approach to teaching music. As did my fourth grade orchestra class, these students learned familiar tunes before reading notes, but they were also listening to recordings of many wonderful tunes, their parents were actively involved in the learning process and they waited quite a while before they learned to read notes. And surprisingly, they began their studies at a very young age and on very


tiny instruments! This sent more ripples through the string world.


Focusing our telescope on my high school, the orchestra room held a mixture of “traditional” and “Suzuki” string stu- dents, and together we were performing (with the help of the fine band and choral programs) Mendelssohn, Bach, Dvorak, Poulenc, Vaughan Williams, Beethoven, Mozart, Copland, etc., as the ripples were propelled by passionate and enthusiastic instructors.


As my studies became more serious, I discovered the wakes of other great peda- gogues who had been contributing to the ripple-pool all along: Ivan Galamian who brilliantly codified aspects of playing and teaching, and Kato Havas who integrated balanced body with mind and spirit.


Closing up the telescope and viewing the present, the pool is now swirling with the after-effects of these and other great pedagogues, their students and many classroom and private string instructors who are opening their students to the techniques and repertoire that has evolved and adjusted over the years. Method books are continuing to improve, each edition adjusted for more efficient and inspiring learning and musicianship. More and more beginning and intermediate level repertoire of high quality is accessible to school music programs.


– Carrie Gruselle


Connect the generations and the curriculum at the same time! Give your music students an assignment to interview three people of different generations: a classmate, an adult and a senior citizen. Give them a list of questions to ask (for example, how each values or experiences music in their lives) and have the students turn in a written report.


24 September 2010


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