Violin Students Research Articles

Equal Temperament and Interval Sizes of Ascending and Descending Intervals

Stringed instruments are known to be flexible regarding intonation. This suppleness is arguably at the root of the many discussions concerning tuning and intonation that have taken place in the past. Historical authors have, depending on the era, advocated for the use of just intonation, as well as tempered and Pythagorean, thus deepening the controversy regarding this issue. Similarly, contemporary studies on intonation in the realm of stringed instruments have reached a variety of conclusions, despite observing an apparent adherence to the Pythagorean system and, to a lesser extent, equal temperament. Given this discussion, this paper explored to what extent performances of 53 violin students conform to equal temperament (ET), as well as to what extent alignment or misalignment to ET is a product of chance. In addition, we asked whether the direction of an interval has an impact on its size, as well as whether there is any association between the sizes of different ascending and descending intervals. We also asked whether the academic year of participants had any impact of the size of intervals. Results suggest that the intonation of participants does not match ET, and that differences in interval size regarding ET occur for reasons other than chance; namely, in the case of ascending and descending minor seconds, descending major seconds, descending augmented seconds, ascending and descending minor thirds, descending major thirds, and descending diminished fourths. Furthermore, results not only show that interval direction may have an impact on interval size, but also that there is association between sizes of different intervals. The academic year of participants seemed to have an impact on ascending minor thirds.

Real-Time Visual Feedback Based on MIMUs Technology Reduces Bowing Errors in Beginner Violin Students.

Violin is one of the most complex musical instruments to learn. The learning process requires constant training and many hours of exercise and is primarily based on a student-teacher interaction where the latter guides the beginner through verbal instructions, visual demonstrations, and physical guidance. The teacher's instruction and practice allow the student to learn gradually how to perform the correct gesture autonomously. Unfortunately, these traditional teaching methods require the constant supervision of a teacher and the interpretation of non-real-time feedback provided after the performance. To address these limitations, this work presents a novel interface (Visual Interface for Bowing Evaluation-VIBE) to facilitate student's progression throughout the learning process, even in the absence of direct teacher intervention. The proposed interface allows two key parameters of bowing movements to be monitored, namely, the angle between the bow and the string (i.e., α angle) and the bow tilt (i.e., β angle), providing real-time visual feedback on how to correctly move the bow. Results collected on 24 beginners (12 exposed to visual feedback, 12 in a control group) showed a positive effect of the real-time visual feedback on the improvement of bow control. Moreover, the subjects exposed to visual feedback judged the latter as useful to correct their movement and clear in terms of the presentation of data. Although the task was rated as harder when performed with the additional feedback, the subjects did not perceive the presence of a violin teacher as essential to interpret the feedback.

THE COLLECTION OF STUDIES “VIOLINSCHULWERK” IN KLAUS HERTEL PUBLISHING HOUSE - ULFERT THIEMANN - METHODICAL APPROACHES TO VIOLIN TECHNIQUE

The education of technical-interpretive skills from various methodical perspectives, with disciplinary tangents, represents a topic of great importance and topicality of instrumental pedagogy. The collection of studies “Violinschulwerk” edited by the renowned pedagogues and performers Klaus Hertel and Ulfert Thiemann welcomes violin students, future teachers, with a selection of studies and caprices of great variety and technical complexity, belonging to prominent representatives of the main violin schools. The included contents guide the instrumentalist towards a complete approach in interpretation, with the inherent realization of the correlation between technique - musical theory - style.

Significance of Preventive Behaviour in the Context of a Correct Body Posture in Violin Students

One of the important elements of musical education is correct body posture and the ability to properlay use the motor organ to play. This work presented the possibility of applying biomechanical tests to support and enhance the education of playing instruments. The results showed that it is possible to perform such an assessment based on measurements of the body’s centre mass (COM) and loads exerted on the feet. The measurement data collected in this way enables quantitative evaluation of the body posture and the COM movement during the playing activity.

Metacognition in musical practices: two studies with beginner and expert Brazilian musicians.

Metacognition is essential in the musical learning process as it involves understanding the purpose of each task, its planning, execution and evaluation. Considering the relevance of metacognitive processes, our objective in this study was to investigate how expert and beginner musicians manifest and verbalize their metacognitive processes in the context of preparing repertoire for a performance. The method used was a multi-case study carried out in two different contexts: with the five members of a brass quintet made up of professional musicians and with three beginner university violin students. The results obtained indicated that even at different levels of expertise, metacognitive processes were present in the musical practices of participants in the two contexts investigated. It was found that in both cases time management is a component of the preparation process in metacognitive regulation, however, for the beginner violinists in our sample it was a significantly more complex task than for the professional brass players. Regarding the learning monitoring and evaluation processes, it was possible to verify that beginner instrumentalists as well as professional musicians used declarative, conditional and procedural knowledge to carry out and reflect on their musical practices. These results have implications for both the individual and collective study process and for teaching processes. It is also observed that reflective thinking must accompany the processes of individual and collective interpretative-musical practices, considering that the musical results desired by musicians are related to the quality of cognitive, behavioral, affective and motivational undertakings pertinent to control and regulation of metacognitive processes.

Expressive semitones: Music students’ perceptual preferences for melodic intonation on the violin

Studies of performance intonation and musicians’ own statements suggest that classical string instrumentalists often deviate in their intonation from equal temperament for expressive purposes. However, it is not clear to what extent corresponding perceptual preferences for intonational deviations might rely on listeners’ instrumental expertise or such contextual aspects as the metrical placement of tones. We investigated higher-education music students’ perceptual preferences for melodic intonation of local leading tones in unaccompanied classical violin performances. Recordings of 12 excerpts were manipulated in the size of ascending semitones (110, 90, or 70 cents) leading to tones that were more stable in the tonal context. Groups of violin students and music education students listened to pairs of excerpts differing only in the size of semitones and chose the intonation variant that they preferred. In the comparison between 90- and 110-cent semitones, violin students showed a stronger group consensus for preferring 90 cents. However, greater instrumental expertise did not result in a stronger overall preference for the sharpest 70-cent variant. Instead, the violin students showed an expertise-related connection between intonation preference and meter, which was not observed for the music education students. In particular, the violin students more often preferred 70-cent intonation (i.e., the sharpest leading tones) in metrically unaccented than in accented positions. In effect, this is to prefer an expressive intonation that colors the music while not challenging the harmonic structure at metrically salient tones. It is argued that understanding expressive intonation in musical performance requires consideration of the metrical context.

A Violinist's Viewpoint: Performing J. S. Bach's Chaconne in Bobbi Jene Smith's Broken Theater

Abstract: This article brings together my personal reflections on performing J. S. Bach's Chaconne from the Violin Partita No. 2 in D Minor BWV 1004 in the work of choreographer Bobbi Jene Smith, with critical discussions of the Chaconne's nineteenth- and twentieth-century pedagogical and reception history. While my performance of Bach's movement has over the last decade favored a modern, historically informed style, witnessing the emotional and narrative potentials of this choreographed Chaconne prompted me to revisit nineteenth- and twentieth-century editions, recordings, and commentary on the work. I make connections between the physicality of the dancers (Or Schraiber, Yaya Logothetis, and Mouna Soualem), Smith's choreographic establishment of personal psychology and interpersonal relationships, and Romantic-violinistic ideals of tone as a marker of subjective interiority. In contexts of both dance and violin practice, I point to the ways in which the idealistic potentials of Bach's music—so lauded in nineteenth- and twentieth-century accounts—are in fact carefully cultivated effects generated by corporeal means. By connecting these pedagogical ideals to my own experiences as a violin student and professional performer, I draw attention to the enduring relevance of these material and pedagogical histories. And, in drawing together Smith's choreography with contexts of the Chaconne's generic prehistory, composition, and performances, I advocate for imaginative and interdisciplinary interpretations of Bach's Chaconne, which nonetheless maintain critical perspectives on the work's spiritualization and canonization.

ملامح تشكيل المهارات الأدائية لطلاب آلة الكمان في نظام التعليم الموسيقي العالي

Modern music pedagogy aims to develop progressive forms of learning and create new technologies to modernize the educational process and increase its effectiveness. The main task for music-pedagogical educational institutions is to bridge the gap between artistic ideas, interpretive intentions, and technical abilities in the professional training of students, in order to achieve a well-rounded development of all performance qualities. Under these circumstances, the issue of developing the performance skills of violin students in music-pedagogical education systems holds significant global importance and requires urgent research and development. Solving this task will contribute to improving vocational training for students in educational institutions and universities that train performers and teachers. Additionally, it will enhance the development of effective teaching methods by providing students with practical experience not only in performance but also in teaching the violin. Drawing from foreign experiences in this field can have a positive impact on the productivity and validity of research aimed at modernizing local education, making it an additional source for development and enrichment. Although resources may currently be scarce and insufficient, the global trend is to continuously increase and reevaluate existing resources and methods. Examining the techniques, approaches, and studies of violinists helps in developing more effective performance techniques. The techniques of the violin instrument have a long history of development and have always been of interest to musicians and methodologies. Methods have evolved and improved based on various factors, such as the development of music, its relevance to different musical periods and cultural contexts, and advancements in the design of the instrument. These methods are constantly evolving to meet specific technical requirements and specifications. It is important to emphasize that contemporary performers are often not limited to rigid interpretations of musical texts. They strive to find their own unique interpretations, which may at times diverge from the original ideas and intentions of the composer.

The Emergence and Application of Violin Virtuosity During the Romantic Period

Musicians used virtuosity to showcase the pinnacle of human mastery over musical instruments, and the violin, known as the king of instruments, excels in terms of its range, tone, and flexibility. The combination of the violin and virtuosity allows for an infinite range of possibilities in musical expression. The virtuoso style emerged during the Romantic period, an era that celebrated the beauty of humanity and freedom, and it propelled violin artistry to unprecedented heights. This phenomenon was not a coincidence but the result of the interplay of musical style inheritance, advances in violin-making techniques, social change, and commercial development. The historical context imbued violin virtuosity with unique significance, determining the characteristics of virtuoso musical genres, composition styles, and performance contexts. This holds a special place in the history of Western music and violin development, profoundly influencing the philosophy of violin music performance. However, the ultimate goal of virtuosity is not just to perform fast and seamless notes flawlessly but to use technique as a means to showcase a unique style and evoke musical emotions. Violin students, when practicing and performing virtuosic music, should possess a certain understanding of virtuosity as an art form and endeavor to uncover the musical depth behind the technical prowess.

Development of the Effective Musical Notation Reading Strategies Scale in Learning Violin and Factors That Affect the Level of Using Such Strategies

This correlational study consisted of 396 undergraduate violin students studying at three different types of faculties in 18 universities in the 2016-2017 academic year in Turkiye. Data collection was made by using the Effective Musical Notation Reading Strategies Scale (EMNRSS) developed by the researcher and a personal information form. The data were subjected to exploratory and confirmatory factor analysis for construct validity, and in order to determine the internal consistency of the scale within the framework of the reliability tests, the Cronbach’s Alpha coefficients were calculated. The three-factor structure that emerged in the exploratory factor analysis was confirmed according to the fit index values obtained as a result of the confirmatory factor analysis (X2/SD = 2.38; NFI = 0.93; CFI = 0.96; GFI = 0.84; RMSEA = 0.059). The alpha value for the first factor of the scale (post-play) was calculated as 0.89 whereas such value was 0.87 for the second factor (during-play) and 0.83 for the third factor (pre-play). The alpha value calculated for the total scale score was 0.92. As a result of the analyses, a 34-item five-point Likert-type scale with three factors was developed. The EMNRSS may be utilized in future research to explore the factors that affect students’ level of using such strategies. The applicability of the EMNRSS to levels other than undergraduate level may also be explored.

Challenges and Solutions in Developing Right Hand Techniques in Amateur Violin Education

Amateur music education, which individuals pursue with a hobbyist spirit based on their own desires and interests, can be defined as music education received for personal enjoyment. In Turkey, it is observed that individuals engaged in amateur music education mostly focus on instrumental training, with the violin being one of the most preferred instruments. In the process of violin education, which holds significant importance in both professional and amateur instrumental training, the identification and resolution of issues related to the right hand is crucial for a healthy progression of the education process. This study, which aims to examine various right-hand problems encountered by amateur violin students and to offer solutions, uses a mixed-methods approach that collects and analyzes data from both qualitative and quantitative sources. The related literature was examined in the qualitative portion of the research to identify the right hand-based challenges faced in amateur violin education and to expose the current state of the problem. The quantitative data utilized in the study were gathered by the researcher’s examination of the participants’ video recordings (n=10)in which they perform assigned musical exercises that require different bowing techniques. The six relevant items of the “String Performance Rating Scale” developed by Zdzinski and Barnes (2002) were used in the evaluation of the participants’ video recordings. Based on the obtained data, solution proposals were developed for resolving the issues related to the right-hand technique.

Seeing Sounds: The Effect of Computer-Based Visual Feedback on Intonation in Violin Education

The fact that the violin is a fretless instrument brings along intonation problems both in its performance and in its education. The introduction of technology into educational environments day by day, has led to the need to try different methods besides the traditional methods for solving intonation problems. The aim of this study is to examine the effect of computer-based visual feedback on the student’s intonation on the violin. For this purpose, an 8-week experimental process was carried out with 8 violin students studying in the 2nd, 3rd and 4th grades of the music teaching undergraduate program in the 2021-2022 academic year. In the quantitative dimension of the research, which was designed with mixed method design, a pretest – post-test single-group experimental design was used. The quantitative data were collected with the intonation evaluation form and the qualitative data were collected with diaries and a semi-structured interview form. The dependent samples t-test was used in the analysis of the quantitative data, and descriptive analysis technique was used in the analysis of the qualitative data. In the implementation process of the study, students were given visual feedback only with Cubase VariAudio software. At the end of the study, it was seen that computer-based visual feedback contributed positively to the intonation skills of the students. The students stated that the study made an abstract situation concrete, offered an opportunity to make self-evaluation, contributed positively to the motivation and limited class hours, and that they wanted to use it while practicing on their own.

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.

Remembering My Teachers—Bruno Nettl and Sabri Khan: Society for Asian Music 2022 Keynote Address

Remembering My Teachers—Bruno Nettl and Sabri Khan: Society for Asian Music 2022 Keynote Address Daniel M. Neuman (bio) In 1984, I organized an SEM panel called “Things Our Gurus Taught Us.” Even then I was aware of the unique relationship that can be established between teacher and student and the significant impact an exceptional teacher can have on students generally. I was blessed by two such exceptional teachers, who each in their own way had a major impact, not just on me, which by itself wouldn’t be so interesting, but on a host of others. Bruno Nettl is of course well-known to all of you, in many cases directly. Sabri Khan was a world-class sarangi player, generally regarded as one of the top three sarangi players in India, and the most sought-after accompanist. For those working in India, his name will be recognized, not only as my teacher but also as Regula Qureshi’s teacher. By way of introduction I would like to draw some comparisons between Bruno Nettl’s and Sabri Khan’s lives. They both aspired and succeeded to become among the very best in their fields. As young men, both experienced the trauma of war; Bruno when he had to leave Prague because of Nazis targeting those of Jewish descent and Sabri Khan because of the communal riots in Delhi up to and through partition in which Muslims were targeted. What draws them most closely together, however, was their dedication to their students. Bruno not only guided innumerable students through their dissertations but worked ceaselessly to get them placed in academic positions. Sabri Khan not only guided his offspring, which is what hereditary musicians do, but had them all educated, including his daughters, at a time when this was very rare for this community of hereditary Muslim musicians, known as [End Page 4] Mirasis. He also taught many others and succeeded in getting them placed at All India Radio and later at the television station and other local institutions. Click for larger view View full resolution Bruno Nettl (March 14, 1930–January 15, 2020) and Sabri Khan (May 21, 1927–December 1, 2015). Photos by Daniel M. Neuman. First Steps It has been almost sixty years since I first met Bruno Nettl in the autumn of 1965, just a year after he had joined the faculty at the University of Illinois in 1964. I was introduced to him by William Kay Archer, a linguist and Persian-language specialist who taught in the anthropology department at Illinois. New to the department in 1965, I told Archer that I had a great interest in music and anthropology, and he said I must meet Bruno Nettl, who was an ethnomusicologist, which was then quite a new word for me. I met Sabri Khan just four years later in the winter of 1969. Having been a violin student, I was interested in studying a bowed instrument, and the Indian sarangi was the obvious choice. Mr. Keshev Kothari, then the general secretary of the Sangeet Natak Akademi, recommended Sabri Khan as a teacher and introduced him to me. My sarangi lessons began with Sabri Khan coming to my place in Green Park extension in New Delhi along with Faiyaz Khan to provide tabla accompaniment (see fig. 2). Bruno Nettl came with his family to Delhi in early summer and visited me in Green Park extension. In figure 3 you see him (with the cook who came with the rented house); his wife, Wanda; and his daughters, Becky and Gloria. They were there for several [End Page 5] Click for larger view View full resolution Figure 2. Sabri Khan and Faiyaz Khan in my Green Park extension rental. Photo by Daniel M. Neuman. Click for larger view View full resolution Figure 3. The Nettl family in Delhi in 1969. Photo by Daniel M. Neuman. [End Page 6] Click for larger view View full resolution Figure 4. Ahmad Ebadi. Photo by Daniel M. Neuman. days, and I provided a guided tour of Delhi, but I don’t recall that Bruno Nettl and Sabri Khan met at that time. William Kay Archer had just arranged an exchange program with Teheran...

Violin Teaching Improvement Strategy in the Context of Intelligent Internet of Things

With the progress of science and technology, the construction of intelligent teaching is also developing and making progress. Intelligent teaching is a kind of teaching mode with the help of emerging information technology such as the Internet of things, cloud computing, and big data to build a diversified classroom. The construction of intelligent teaching is one of the important parts in the field of education informatization, and it is also an active field. The research in this area is beneficial to China’s growth of information education. Online education has progressed significantly in the context of the intelligent Internet of Things. The focus of this paper is on violin online education. In the course of the research, it was discovered that violin teachers have little control over their students’ after-school practice results, and that parents of violin students have little time to supervise their children’s practice at any given moment. To solve this problem, the mixed speech composed of speech and violin accompaniment is selected as the research object. Audio signal analysis and neural network algorithm are used for analysis and research. The time domain and frequency domain characteristics of various audio signals are analyzed, including sparsity of speech signals and repeatability of music signals. The logarithmic power spectrum of audio signal is selected as the characteristic parameter, the sample is preprocessed and the feature is extracted, and the sound source separation model based on deep neural network is realized. The PESQ index was used to evaluate the separation results after using the audio source separation model to separate the mixed speech consisted of speech and violin accompaniment. By comparing the PESQ evaluation results of 40, 50 and 60 iterations, the model converges when the number of iterations is 50. The comparison between the model and L-MMSE algorithm shows that the performance of the model is better in speech source separation. The system will serve for the automatic evaluation of violin teachers’ homework and the remote practice supervision of teachers and parents.

Multiple Factors Influencing Healthy Performance for Pre-professional and Professional Classical Violinists: An Exploratory Study Focusing on Physical Health.

Musculoskeletal complaints are common in pre-professional and professional classical violinists and these complaints can affect violinists’ performance. Therefore, it is important to identify the factors that contribute to healthy performance in this population. Qualitative studies with a variety of stakeholders are able to provide insights from different perspectives into factors influencing healthy performance for the pre-professional and professional classical violinist. In the current small-scale, exploratory study, semi-structured interviews were conducted with various stakeholders; two classical violin students, one classical violin teacher, a physiotherapist, a professional classical violinist, who is also a performance coach, and a health specialist who also graduated as a professional classical violist. Thematic analysis was conducted using Atlas.ti 9. We identified six themes that were indicated as important by the participants in terms of ensuring healthy performance for the pre-professional and professional classical violinist. The themes were: (1) physical aspects (involved in playing the violin); (2) practice routine and techniques; (3) interaction between physical and mental aspects; (4) culture; (5) role of the main subject teacher; and (6) preventive measures. Furthermore, when asked specifically about the development of a physical screening tool, the participants indicated that such a tool should include multiple factors covering various regions of the body, the inclusion of a questionnaire on risk-factors, and follow-up measurements. Also, collaborations between health professionals and main subject teachers were recommended as part of the screening tool to increase commitment of participating students. The results of the current study are based on the opinions, attitudes, and ideas of a small, selected group of participants only and cannot be generalized to a wider group of violinists. More research is needed regarding factors influencing healthy performance, before conservatoires and professional orchestras can develop programs for a healthy playing environment for pre-professional and professional violinists.

“Unlearning and Relearning”: Adolescent Students’ Perspectives on Transitioning to a New Teacher and Environment

Throughout the learning process, it is common for students to transition to a new teacher, whether they relocate, decide to change teachers, or study at a summer program. During this transition, students must adapt to a potentially different pedagogical philosophy, language, and performance expectations. Using a multiple case study research design, we explored the perceptions of four adolescent violin students who experienced this transitional process while studying with Mimi Zweig at the four-week Indiana University Summer String Academy. We analyzed the interview data, observations, and external data sources through the lens of attribution theory. Results indicated that the participants not only acquired greater self-efficacy and motivation after studying with a new teacher but also endured performance anxiety. These findings inform studio instrumental instructors of the challenges students experience when studying with a new teacher and the physiological and emotional challenges that often accompany change.

Idris Sardi’s Influence on Musical Development and Education in Indonesia

Idris Sardi is known as a music maestro in Indonesia. This study aims to reveal the influence of Idris Sardi on the development of music and its implications in music education. This study uses a qualitative method with a narrative approach. The data were collected through observation, in-depth interviews, and documentation. The research informants were carefully selected from the family, violin students, and colleagues of Idris Sardi in Jakarta and Bogor, West Java. The data were analyzed by organizing data and creating codes, describing codes in chronological categories and themes, developing interpretations, and visualizing data. The results showed that Idris Sardi was influential in developing (1) keroncong music by varying the tempo and expanding the repertoire; (2) the violin playing techniques included unique characters such as vibrato, glissando, and octave variations; (3) ethnic and popular music were made through orchestrations and collaboration with orchestral music. The implications in music vocational education were (1) problem-based learning by creating a new keroncong style to be accepted by society; (2) the improvement capability by exploring skills to play the violin; (3) life-based-learning by raising local and popular music to be qualified while enhancing the level of society’s music appreciation. In conclusion, Idris Sardi provided a strong influence on the music development in Indonesia, and the implication could be a new strategy to improve the quality of music education.

Музыкально-художественные и педагогические принципы профессоров кафедры скрипки М.И. Фихтенгольца и В.О. Рабея в современной скрипичной культуре

The article is dedicated to the centenary of the birth of Mikhail I. Fikhtengolts (1920–1985) and Vladimir O. Rabei (1922–2009)—professors of the Department of Violin and Viola with an outstanding track record of effective teaching in Gnesin music education institutions. Both of them were trained by and continued the traditions of the famous Russian teacher Abram I. Yampolsky, who produced a plethora of first-class performing musicians with a global impact. Tatyana N. Kazanskaya (1937–2021) was Mikhail Fikhtengolts’s student and Vladimir Rabei’s wife. Paying tribute to the memory of people dear to her, she shares interesting facts of her creative biography and reveals the details of their unique approach to teaching. Through retrospective analysis, she makes an attempt to get insights into the originality of performing, artistic, and aesthetic principles of the two iconic musicians. Her analysis shows similarity and, at the same time, apparent individuality of the two approaches to student training carefully preserved in a modern setting to encourage their continuity. This solid foundation of the art of violin playing ensured a high level of skill in all the violin students of Gnesin educational institutions. It has become an everlasting quality benchmark in music education in Russia and beyond.

Keman Eğitiminde Kullanılan Yay Tekniklerinin Öğretiminde Türk Müziği Motiflerinin Etkisinin İncelenmesi: Haydar Tatlıyay Örneği

This study was carried out to analyse the impact of Turkish music motives on teaching bowing techniques used in violin education. In the study one-group pretest posttest design, one of the experimental designs was used. The study group of the research consists of 4 violin students studying at Ataturk University within Kazım Karabekir Faculty of Education in the department of the Fine Arts Education Music Education Program in the spring semester of 2018-2019 academic year. In the study, five forms (three for the study group, two for expert academicians) were used. In the experimental process of the research, the pretest performances of the students in the study group on performance of violin bowing techniques were recorded on the rating forms, and then an 8-week experimental program was applied. At the end of the experimental program, the posttest performances of the students in the study group performing the violin bowing techniques were recorded on the rating forms. A statistical package program was used to analyze the data. As a result of the research, upon examing the pretest and posttest results of the students in the study group, it was concluded that the program applied in the experiment process had a positive effect by increasing the performance of the bowing techniques of the students in the study group.