Violin Class Research Articles

SUZUKI METHOD OF LEARNING THE VIOLIN IN THE AMABILE MUSIC STAGE

This observation aims to find out how important it is to apply the Suzuki method in violin classes at the amabile music studio, what advantages and obstacles I experienced during the learning process and what benefits students get from using the Suzuki method in the violin learning process. Apart from that, the author wants music teachers, especially violin, to know what and how the Suzuki method is used in the violin learning process. The Suzuki Method is an instrument teaching method created by Shinichi Suzuki. The Suzuki method prioritizes auditory training rather than reading a repertoire of songs. From the start of learning, students will not be taught to read first. From the observations it can be concluded that the Suzuki method is very important to use in the violin learning process at the Amabile Music Studio because this method has proven to be quite effective in helping students play the songs well and use the correct technique. Some of the benefits that students get when using the Suzuki method are good hearing training so that students can analysis notes better, good and correct body posture when playing the violin, and strong memory due to constant repetition. Some of the advantages of the Suzuki method itself are the training or learning which is quite detailed, the fingering patterns and the distribution of the bow are all regulated in the Suzuki method, the songs in the Suzuki book also sound familiar and enjoyable. There are three obstacles in using the Suzuki method, namely delays in the ability to read sheet music, minimal parental participation in the student's learning process at institutions and some students only memorize fingering patterns without knowing what notes are being played.

Innovations of music and aesthetic education courses using intelligent technologies.

Innovations in training programs impact the educational system and the level of students' professional abilities. Therefore, the purpose of this study is to investigate the use of innovative technologies in teaching music and aesthetics with the use of intelligent technology. Students from various music schools in Beijing participated in the study: elementary (112 respondents), middle (123 respondents), and high school (98 respondents) (areas: piano, violin, and percussion), a total of 343 participants. Assessment of the students' level of proficiency took place in several stages: comparing the students' level of proficiency with that they had before the experiment, for this purpose an average eight-point system was used. The next stage consisted of a comparison of grades for the final academic concert. The results showed that the greatest improvement was seen in the percussion class and the least in the violin class. Piano students showed an average result in the correlation comparison, but their level was the highest in the final academic concert, 48.55% of the students showed a level of skill above average. While 39.13% of the violin students scored "excellent" and "good". The same level among the students of "percussion instruments" was shown by 35.71% of the students. Thus, one can conclude that applying intelligent technologies positively impacts students' performance, but it is necessary to be careful in choosing applications and technologies for implementation in the educational process. Further research should be directed at the impact of other applications and programs on learning, as well as ways to improve other music education areas and how they can be changed by intelligent technology use.

A Study on the Actual Conditions of After-school Violin Class

A Study on the Actual Conditions of After-school Violin Class

СREATIVE PORTRAIT OF PROMINANT VIOLINIST (IN MEMORY OF SERHIY OREL)

Serhiy Orel (1952–2017) – an outstanding violinist, original composer, Carpathian folklore interpreter, teacher, organizer of musical work, born in Kolomyia in the family of a choral singing teacher and multi-instrumentalist Stepan Orel. He studied at the Lysenko Musical Institute Branch since the age of six years in Matviy Ruzichner’s violin class. He proved himself as a gifted improviser, while gaining universal academic violin education. In his student days at D. Sichynsky College in Ivano-Frankivsk he began composing music and orchestrating his favourite classical works. He deeply immersed in folklore, collaborated with well-known Hutsul virtuosos-performers on the flute traditional instruments – Vasyl Popadiuk (1940–1991), Mykhaylo Tymofiiv (1944), violinist Petro Terpeliuk (1941–2012), cymbalist Vasyl Myroniuk. He gained performance experience while serving together with them Huzul wedding ceremonies in a manner aimed at folk authentication and adopted traditional huzul folklore repertoire using oral method. At the time of obtaining higher education at the Kyiv Institute of Culture (specialty of folk bandmaster), S. Orel already had a two-year record of the soloist and bandmaster of the Hutsul song-and-dance ensemble of the Ivano-Frankivsk Philharmonia, as well as the experience of Kolomyia musical bands director. Musician’s move to the village of Deliatyn, Nadvirna district of Ivano-Frankivsk region in 1977 became fateful major shift, where he, having taken a position of the musical school director, founded together with his wife – singer Liubov Orel (Bilinkevych) the Arkan orchestra. Having rallied first nine participants he created his music piece – musical adaptation of Arkan Hutsul dance. Subsequently, the entire band’s repertory was developing of personal orchestrations and musician’s own works. The general features of his orchestral style include the improvisatory enriched themes of the violin-solo part, main texture load on the string group (violin solo, three parts of violin, viola, cello, contrabass), fipple flute and cymbal second parts, accordeon’s chordal and harmonic functions, tambourine rhythmic patterns, which highlight melody features. A year later, the orchestra gained “folk” title and represented Hutsul region in contests and festivals taking winner awards. Today, about 3,000 S. Orel’s note developments are known, including his own vocal and instrumental works, numerous orchestrations of Ukrainian and multi-ethnic folklore, interpretation of famous composer miniatures, church choral works, author’s music for children’s performances and theatrical productions, genre music pieces for violins and cymbals with orchestra. The phenomenon of the violin-interpreter had an impact on a style of play of presently municipal Arkan folk music orchestra founded by Serhiy Orel, which represents in complex the creative achievements of its artistic director across different scenes of Ukraine and worldwide.

The Effect of Distance Learning Model on Beginners’ Level Violin Instruction

In this study, it was aimed to determine the effect of distance education model on beginners’ level violin instruction. To this aim, as the appropriate experimental research model, pre-test-posttest with control group, was used. The study group of consisted of students from State Conservatory of Dicle University (n = 12). Violin classes were given using face-to-face teaching method with control group for 8 weeks; and distance learning method with experimental group for 8 weeks. "Student Academic Achievement Evaluation Form" was used as the tool to collect data for the research. Percentage, mean and standard deviation were used as descriptive statistical methods in evaluating the data. Man Whitney-U test was used to compare quantitative longitudinal data between two independent groups. The Wilcoxon test was used to compare intra-group changes/differences. The findings were evaluated at 95% confidence interval and at 5% significance level. As a result of the research, there was a significant difference between the pretest-posttest scores of the beginner group. This difference is seen to be in favor of the posttest. There was a significant difference between the pretest-posttest scores of the control group in favor of posttest. However, there was no significant difference between pretest scores and posttest scores of baseline experimental and control groups. This result showed no significant difference between the traditional face to face instruction and distance instruction in terms of the basic skills acquired by the students.

Visual and Semantic Knowledge Transfer for Large Scale Semi-Supervised Object Detection.

Deep CNN-based object detection systems have achieved remarkable success on several large-scale object detection benchmarks. However, training such detectors requires a large number of labeled bounding boxes, which are more difficult to obtain than image-level annotations. Previous work addresses this issue by transforming image-level classifiers into object detectors. This is done by modeling the differences between the two on categories with both image-level and bounding box annotations, and transferring this information to convert classifiers to detectors for categories without bounding box annotations. We improve this previous work by incorporating knowledge about object similarities from visual and semantic domains during the transfer process. The intuition behind our proposed method is that visually and semantically similar categories should exhibit more common transferable properties than dissimilar categories, e.g. a better detector would result by transforming the differences between a dog classifier and a dog detector onto the cat class, than would by transforming from the violin class. Experimental results on the challenging ILSVRC2013 detection dataset demonstrate that each of our proposed object similarity based knowledge transfer methods outperforms the baseline methods. We found strong evidence that visual similarity and semantic relatedness are complementary for the task, and when combined notably improve detection, achieving state-of-the-art detection performance in a semi-supervised setting.

Constructing a “fast protocol” for middle school beginner violin classes in Japan

This study aimed to investigate the process of constructing a “fast-protocol” for violin instruction. Since learning string instruments has not been common, and because there are limited hours for music in Japanese schools, the author, a violinist, collaborated with the general music teacher at a middle school in the Tokyo metropolitan area, and co-created the protocol which contains three lesson units as follows: (1) to play an open string on the violin; (2) to discriminate pitch by string crosses on the violin; (3) to discriminate pitch by using fingers on the violin. As for data collection, the study videotaped students’ learning, and maintained log notes. This study also collected students’ commentary focusing on perceived challenges after each class ( N = 120). Based on all gathered data, after completing the coding process, researcher and teacher co-constructed the narrative. Findings include critical examinations of readiness in violin teaching and learning, and variations on violin-specific challenges associated with enjoyment and satisfaction for beginners.

The Maidstone Movement—Influential British Precursor of American Public School Instrumental Classes

This report describes the developmental path of the Maidstone Movement, a British group violin instructional program for children (1897–1939), and examines the extent of the movement's influence upon the emergence of instrumental classes in American public schools. This study found that the Maidstone Movement directly influenced Albert G. Mitchell's 1911 formation of the first public school violin classes in the United States. Athough the movement does not appear to have had a significant methodological impact on American instrumental classes in general, widely circulated reports of the Maidstone Movement motivated school music educators throughout the United States to develop their own group instrumental programs.

A Comparison of First and Third Position Approaches to Violin Instruction

Violin instruction has begun with the first position ever since the seventeenth century-l The overwhelming number of Ibooks and articles written since string class instruction began in the second decade of the twentieth century have continued to favor the same approach; during the past thirty years, however, certain violin teachers have suggested that instruction beginning in a higher position may offer some advantages. Although some eSorts have been made to study this problem, no carefully controlled research has been conducted within the framework of the violin class to test the possible advantages that an approach beginning with the third position might have in terms of performance achievement. Arguments favoring a third-position approach have presented the following advantages: (a) the half steps and whole steps lie closer together, (b) the fourth finger is used immediately, (c) much of the fatigue resulting from holding the instrument in the first position is circumvented, (d) the body of the violin serves as a reminder when the heel of the left hand is getting out of position, (e) it is possible to test intonation by placing the first finger on all strings except G because the first finger in this position is one octave higher than the next lower open Dstring, (f) the instrument can be held more easily, (g) the tonic of the key falls on the first finger, and (h) some useful rote playing tricks are made possible because the fingers and the tones of the key are called by the same number.

The “New Approach” in the Violin Class

The “New Approach” in the Violin Class

Prerequsites to Violin Class Teaching

Prerequsites to Violin Class Teaching

Violin Class Method, Vol. 3

Violin Class Method, Vol. 3

The Violin Class Method

The Violin Class Method