Violin Teaching Research Articles

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.

Chinese Reform and Practice of Violin Playing Teaching in Music Colleges based on the Analysis of Big Data under the Background of “Internet +”

The violin is produced in Europe and is recognized by the world as one of the most important Western musical instruments. It enjoys the reputation of “Queen of Musical Instruments”. Since it was introduced to China, it has deeply influenced the music and cultural life of our people and accelerated the development of the violin. At present, many colleges and universities offer violin teaching courses, and the number of students majoring in violin is increasing. Based on this, this paper conducts an in-depth analysis of the current reform trend and current situation of violin-playing teaching in colleges and universities in China through the analysis of big data, and proposes a new reform idea.

Evaluation of the Students' Views on Double Stops and Chord Playing in Violin Education According to the Fields of Learning

Bu araştırma, çift ses ve akor çalma durumlarına yönelik, keman öğrencilerinin görüşlerinin, öğrenim alanları (bilişsel, duyuşsal, devinişsel, sezişsel) açısından incelenmesi amacını taşımaktadır. Araştırma, betimsel bir araştırma olup genel tarama modellerinden olan tekil tarama modelini içermektedir. Bu araştırmada verilerin bir kısmı, literatür tarama yolu ile bir kısmı anket ve uzman görüşleri ile hazırlanmış yapılandırılmış sorulardan elde edilmiştir. Araştırmanın çalışma grubunu, Niğde Ömer Halisdemir Üniversitesi Eğitim Fakültesi Güzel Sanatlar Eğitimi Bölümü Müzik Eğitimi Anabilim Dalı’nda 2018-2019 eğitim-öğretim yılında öğrenim gören toplam 39 keman öğrencisi oluşturmaktadır. Çift ses ve akor çalma durumlarına yönelik öğrenci görüşleri, bilişsel, duyuşsal, devinişsel ve sezişsel alanlarda incelenmiş, elde edilen bulgular istatiksel olarak çözümlenmiş ve tablolaştırılarak yorumlanmıştır. Öğrencilerin çift ses ve akor çalma durumları ile ilgili, bilişsel, duyuşsal, sezişsel alanlarda yeterli düzeye sahip oldukları, fakat devinişsel alanda ise yeterli düzeye sahip olmadıkları sonucuna varılmıştır.

BAŞLANGIÇ KEMAN EĞİTİMİNDE KULAKTAN ÖĞRETİMİN GÖRSEL VE İŞİTSEL REAKSİYON ZAMANINA ETKİSİ

The purpose of this study is to demonstrate the effect of the learning by ear method on the duration of visual and auditory reaction in initial violin education. In the study, pre-test post-test control group model was used from real test models. In the implementation process, the violin lesson in the experimental group was processed without notes based on the learning by ear method, in the Control Group lessons processed using the note. SPSS program was used in the analysis of the data obtained as the result of the measurements. When the findings obtained from the study were evaluated statistically, there was a statistically significant difference (p<0.5). between the reaction time pre-test - post-test scores of all the variables of the test group. While there was no statistically significant difference (p<0.5). between the pre-test and post-test scores of dominant hand-auditory reaction time for the control group; a statistically significant difference was found between pre-test and post-test scores for the other eight variables (p<0.5). When we look at the final tests of both groups, there was a significant difference (p=.008) in favor of the experimental group, as opposed to expected, only between the points related to the left-hand visual reaction time.

BATI MÜZİĞİ KEMAN EĞİTİMİNDE NİHAVEND MAKAMININ KULLANILABİLİRLİĞİNİN ARAŞTIRILMASI

Müzik evrensel bir dildir. Bu sebeple insanların duygu ve düşüncelerini anlatabilmeleri için en iyi yollardan birisidir. Her canlının kendini ifade biçimi birbirinden farklıdır. Bu sebepten her kişi ve topluluğun da müziğe bakış açısı ve müziği icra etme şekli farklılık göstermektedir. Müzik eğitimi, müziğin birikimli ilerlemesi ve bunun sonucu olarak da hem ulusal hem de uluslararası müzik kültürüne katkı sağlaması açısından önemlidir. Müziği en iyi ifade eden çalgılardan biri olan keman, ülkemizde çok önemli bir yere sahiptir. Batı kültüründen ülkemize kazandırılan kemanın, ülkemizin zengin anlatım biçimi sayesinde bambaşka bir ton, çalım tekniği ve anlatım biçimine büründüğünü söylemek mümkündür. Çalışmamız, Türk Sanat Müziğinin icrasında “saz ve söz eserlerinin” özellikle Klasik Batı Müziği keman eğitimi sürecinde kullanılabilmesi yolunda gerekli koşulların ve materyallerin oluşturulması, Klasik Batı müziği başlangıç keman eğitiminde kullanılabilir hale gelmesi konularını irdelemektedir. Bu çalışmanın alanında birçok çalışmaya ihtiyaç duyulması sebebiyle, diğerlerine örnek ve öncülük yapması temennisi ve kanaatindeyiz.

Determining the level of usability the techniques of the Western music violin performer for the field of Turkish music violin teaching

This work has been made in order to see how much the techniques are useful at West music playing violin on teaching Turkish music playing violin. Studying group was formed by the graduate students (n=8) who attends Kafkas University State Conservatory Traditional Turkish Music during Autumn- sprig term.
 Experimental value which contains pre test and final test groups is used in the investigation. The investigation consists of control groups (n=4) and experience groups (n=4). During the experimental process which lasted 8 weeks, Although experience group students were applied a teaching programme which was prepared by the researcher, control group students were applied traditional teaching methods. At the first stage of experimental process equivalance test and then pre test – post test was applied to them. In order to designate musical and technical skills of working group students, performance evaluation scale was used with expert opinions. There was a kind of song during the equivalance test. There were peşrev, saz semâi and a kind of song during the pre test and post test precess. Student`s instrument performance was recorded by a camera and then marked by experts.
 In order to analyze the datas, Mann – Whitney U Test was used to see whether there was a huge difference between pre test and final test between control and experiment groups. Datas were analyzed by using “SPSS 20” pocket programme.
 Considering the outcomes as a whole, we can conclude that the teaching programme which was prepared by the researcher is effective and good outcomes arised.
 ​Extended English summary is in the end of Full Text PDF (TURKISH) file.
 
 Özet
 Bu çalışma, Batı müziği keman çalım tekniklerinin Türk müziği keman öğretimi alanında kullanılmasının öğrenciler üzerinde ne derece etkili olduğunu belirlemek amacıyla gerçekleştirilmiştir. Araştırmanın çalışma grubu, 2015 – 2016 eğitim – öğretim yılı güz – bahar yarıyılında Kafkas Üniversitesi Devlet Konservatuvarı Geleneksel Türk Müziği Bölümünde öğrenim gören lisans öğrencileri (n=8) tarafından oluşturulmuştur.
 Araştırmada ön test ve son test kontrol gruplu deneysel desen kullanılmıştır. Çalışma grubu öğrencileri yansız atama yoluyla kontrol grubu (n=4) ve deney grubu (n=4) olarak belirlenmiştir. Sekiz haftalık süreci kapsayan deneysel işlem süreci içerisinde deney grubu öğrencilerine araştırmacı tarafından hazırlanan bir öğretim yaklaşımı uygulanırken kontrol grubu ile dersler geleneksel yöntemlerle sürdürülmüştür. Deneysel işlem süreci öncesinde ilk olarak denklik testi ve devamında ise ön test – son test uygulamaları gerçekleştirilmiştir. Çalışma grubu öğrencilerinin müzikal ve teknik becerilerinin belirlenmesi amacıyla uzman görüşleri doğrultusunda hazırlanan performans değerlendirme ölçeği kullanılmıştır. Araştırmanın denklik testinde 1 adet şarkı türü, ön test ve son test aşamalarında ise peşrev, saz semâi ile şarkı türlerinden birer esere yer verilmiştir. Öğrencilerin çalgı performansları kamera ile kayda alınmış ve uzmanlar tarafından puanlandırılması sağlanmıştır.
 Elde edilen verilerin analizi için, kontrol ve deney grubu öğrencilerinin ön test ve son test sonuçları arasında anlamlı bir fark olup olmadığını belirlemek amacıyla Mann – Whitney U Testi kullanılmıştır. Toplanan veriler, “SPSS 20” paket programları kullanılarak analiz edilmiştir.
 Elde edilen sonuçlar bir bütün olarak ele alındığında araştırmacı tarafından hazırlanan deneysel işlem süreci üzerinden olumlu sonuçlara ulaşıldığı görülmektedir.

Methods of Planning Home Practice and Lessons in Suzuki Early Age Violin Education

Suzuki Erken Yaş Müzik Eğitimi, Japon kemancı ve pedagog Shinichi Suzuki’nin (1898-1998) II. Dünya Savaşı sonrasında geliştirdiği bir müzik öğretim yöntemidir. Keman için geliştirilmiş, daha sonra başka enstrümanlara da adapte edilmiştir. Eğitim, enstrüman öğretmeye odaklı olsa da ana felsefesi küçük çocuklara müziği sevdirebilmektir. Çocuk psikolojisini ön planda olduğu bu sistem ile küçük yaştaki çocuklara ulaşmak ve becerilerini en uygun zamanda ve en doğru şekilde geliştirmek ise metodun ana fikrini oluşturur. Suzuki eğitimi çocuğu 2 yaşından itibaren derslere başlatır. Enstrüman öğrenmek için en iyi zaman, büyüme çağında kritik dönem dediğimiz 2-7 yaş arasıdır. Suzuki Eğitimi, çocuk ve eğitim psikolojisi barındıran bir felsefeye dayalıdır ve altında çok sistematik bir yöntem vardır. Bu yöntemde hiçbir adımın atlanmadan çalışılması ve eğitimin temel felsefesinin altında yatan tüm prensiplerin uygulamaya adapte edilmesi büyük önem taşır. Ders uygulamalarında bu sistematik örgü çok küçük yaştaki çocuklar için özellikle detaylı bir şekilde çizilmiştir ve doğru şekilde uygulanması şarttır. Literatür tarama yöntemiyle hazırlanan bu çalışma, Suzuki eğitmeni olmak isteyen ya da metodun uygulanışındaki teknikleri verdikleri eğitimlerde kullanmak isteyen eğitmenlere fayda sağlamak için yol gösterici, pratik bir kılavuz niteliğindedir. Amaç, Türkiye’de henüz çok tanınmayan bu metodun işleyişi hakkındaki bilgiler ışığında yöntemin önemine dikkat çekerek metodun erken yaş müzik eğitimine olan katkısını ortaya koymaktır. Çalışmada, Suzuki Müzik Eğitimi Metodu kapsamında genel olarak çok küçük yaştaki çocuklara keman öğretme aşamasında izlenilen yollar, uygulama esasları, ev çalışmaları ve derslerin nasıl planlandığı açıklanmış ve paralel olarak metodun ana prensiplerine değinilmiştir.

The French School of Violin Playing between Revolution and Reaction: A Comparison of the Treatises of 1803 and 1834 by Pierre Baillot

Pierre Baillot (1771–1842) was a central figure in the development of the early nineteenth-century French School of violin playing. This school was itself the source of the twentieth-century Russian and American schools, and all the great players of the modern era can trace their lineage back to Baillot and his colleagues. The French School was the first to systematize violin teaching within an institutional framework with normative aspirations. Its history is bound up with that of the Paris Conservatoire, established in 1795. Work by French scholars of the Conservatoire and its teaching has tended to assert a continuity of ideals and aesthetics across time, even an essential Frenchness, and work by English-language scholars has been more concerned with the influence of the School on developments in playing styles and composition than on the evolution of attitudes to music teaching. This analysis of the language of the two founding pedagogical texts reveals a contested cultural landscape, and explores how a revolutionary institution with lofty principles could be overtaken by cultural change in a few short decades. It finishes by questioning the traditional elision of the French and Franco-Belgian schools, and suggests that Brussels, rather than constituting a mere branch of the Paris school, rescued it from premature irrelevance.

Educators’ views on online/distance violin education at Covid-19 outbreak term

Distance education studies, which are increasing in number of applications every day, have increased its importance especially with the Covid-19 outbreak. Although there are many sub-branches of distance education, it is divided into general lines as synchronous and asynchronous. Online/distance education studies, which are used in music education and instrument education, are used to improve students’ musical knowledge and skills. Thanks to the technology developed with online/distance instrument education as in other fields, it is desired to reach the targeted goal, skill, and acquisition in a shorter time, more permanently, easier and more economically. This research was carried out in order to determine the educator’s views on the use of online, video calling or other distance methods in violin education. The topic planned and started to be investigated before the Covid-19 outbreak. After the outbreak, this topic gained importance with the Covid-19 outbreak and even caused changes in the views of the educators. Interview technique, one of the qualitative research methods, was used in the research. The interview form formed in the semi-structured interview questions as a data collection tool was transferred to the online environment through “Google Forms” in order to reach the violin educators more easily. The study group of the research consists of thirteen educators who teach lessons to violin students aged seven and over working in different institutions. In addition to taking the opinions of the educators about online/distance violin education, it was also tried to determine the use of auxiliary apparatus and materials during violin education. As a result of the interviews, it is found that educators benefit from both innovative materials, internet websites and applications. Also determined that educators have positive and negative opinions about online/distance education but also think that the negativities can be eliminated with face to face education support.

A Brief Narrative of the Third Position as the Initial Position for Beginning-Level Violin Instruction

The necessities of education and human nature call for different pedagogical approaches, schools and methods to be used in beginning-level violin instruction. The choice of the initial position for beginning-level instruction of playing string instruments holds an important place among these differences, and the first position is generally used at the initial stage of traditional violin instruction. It is, however, only one of the chosen methods, which also include the technique of third position for beginning instruction. The focus of this study is to discuss the advantages and disadvantages of the technique of beginning with the third position and studies related to its which have extended from the early 20th century to the present day while placing it within its historical context as much as possible. The study aims to reveal the technique's historical process so as to contribute to its development and diffusion. As a result, it can aid in the increase of awareness of the technique as well as production of material related to it for the benefit of both educators and students. The use of third position for beginning instruction began to attract interest in the early 20th century, which is when its benefits began to be mentioned. Some pedagogues have, in fact, written method books which make use of this technique, applied it in their classrooms and shared the positive results which they experienced. Despite the ongoing debates between educators and performers in the 21st century regarding its advantages and disadvantages, the technique of beginning with the third position has not received much interest as an academic topic, nor has it been adequately studied. An important conclusion from the examination of its historical process and an evaluation of views expressed is that the lack of relevant material creates an obstacle to the use of the technique. As such, there is a need for studies based on the use this technique which also produce related material. Keywords: violin, third position, initial position, string pedagogy, music education, beginninglevel violin education.

An Evaluation on the Instructor Views of the Use of Turkish Folk Musical Pieces in Violin Education

Bu araştırmada; müzik eğitimi anabilim dallarında görev yapan 37 keman eğitimcisinin görüşleri çerçevesinde, keman eğitiminde Türk halk müziği eserlerinin kullanılma durumları incelenmiştir. Araştırma genel tarama modelinde betimsel bir çalışmadır. Araştırmada elde edilen verilerin analizinde frekans yüzde analizi kullanılmıştır. Araştırma sonucunda, keman eğitiminde Türk halk müziği eserlerine yeterince yer verilmediği, Türk halk müziği eserlerin keman uyarlamalarında hem özgün yapıların korunması hem de kemanın evrensel icra biçimine uygun yaklaşımların gerektiği ve keman eğitiminde var olan Türk halk müziği eserlerini çalmayı kolaylaştırıcı alıştırmaların az olduğu görüşleri ortaya çıkmıştır.

Automatic Assessment of Tone Quality in Violin Music Performance.

The automatic assessment of music performance has become an area of increasing interest due to the growing number of technology-enhanced music learning systems. In most of these systems, the assessment of musical performance is based on pitch and onset accuracy, but very few pay attention to other important aspects of performance, such as sound quality or timbre. This is particularly true in violin education, where the quality of timbre plays a significant role in the assessment of musical performances. However, obtaining quantifiable criteria for the assessment of timbre quality is challenging, as it relies on consensus among the subjective interpretations of experts. We present an approach to assess the quality of timbre in violin performances using machine learning techniques. We collected audio recordings of several tone qualities and performed perceptual tests to find correlations among different timbre dimensions. We processed the audio recordings to extract acoustic features for training tone-quality models. Correlations among the extracted features were analyzed and feature information for discriminating different timbre qualities were investigated. A real-time feedback system designed for pedagogical use was implemented in which users can train their own timbre models to assess and receive feedback on their performances.

Analysis and Research on the Combination of Violin Teaching and Local Culture in Local Colleges in Shanxi

The earliest violin with modern significance was born in Europe in the mid-16th century. As one of the most important forms of music in the West, after several hundred years of development, it has already formed its perfect teaching system, and it has developed roots in different countries in the West. Genre. Every brilliant genre is immortal based on the cultural characteristics of its own nation. However, in modern China, China began to develop domestic violin art and education. However, due to long-term wars and social unrest, it has been in the stage of imitation and exploration before the founding of the People's Republic. Since the founding of the People's Republic of China, although a large number of composers have created many excellent Chinese violin works, the Chinese education of violin music has not been perfected in China. Nowadays, the national music education and the improvement and development of nationalization have become the general trend of the development of music teaching in colleges and universities. This paper analyzes the current situation of the development of violin nationalization teaching in some colleges and universities in Shanxi, discusses and studies the necessity of nationalization reform of violin teaching in colleges and universities, as well as the methods and practice of nationalization reform of violin playing teaching in colleges and universities.

Analysis and Research on the Combination of Violin Teaching and Local Culture in Local Colleges in Shanxi

Analysis and Research on the Combination of Violin Teaching and Local Culture in Local Colleges in Shanxi

Особливості та досвід впровадження методики навчання гри на скрипці Colourstrings в Україні

Особливості та досвід впровадження методики навчання гри на скрипці Colourstrings в Україні

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.

Analysis of the Application of “Inspiration-Exploration” Method in Violin Teaching

Analysis of the Application of “Inspiration-Exploration” Method in Violin Teaching

Theory and Solfege Education Supporting Amateur Violin Education "CALF (Cihat Askin and Little Friends) Model" “Afyon CALF Sample”

Bu calisma; muzik kulturu olusturma odakli teori ve solfej derslerine yonelik bir model onerisinde bulunmaktadir. Model; calgi egitiminin niteligini ve verimliligini artiracagi dusuncesiyle hazirlanmistir. Modelde; ogrencinin duyussal, devinissel, bilissel ve sezissel davranislarini gelistirmelerine yonelik calismalarin ortaya konulmasi hedeflenmistir. Ogrencinin aldigi calgi egitimi ve teori solfej dersleri arasinda dolayisi ile gunluk yasantisi ile bag kurabilmesi modelin felsefesini olusturmaktadir. Ayrica bu calisma amator muzik egitiminin teori ve solfej dersleriyle desteklendiginde daha basarili ve etkili bir gelisim surecine donustugunu ortaya koymaktadir. Turkiye’nin en onemli calgi egitimi projelerinden biri olan CAKA (Cihat Askin ve Kucuk Arkadaslari) keman egitimi projesi ozelinde yapilmis olan betimsel ve nitel olan calismada uzman destegi icin yapilandirilmis gorusme yapilarak ve veriler nitel cozumleme tekniklerine gore analiz edilerek yorumlanmistir. Calismanin amator keman egitimi surecine bu egitimi destekleyici derslerin planlanmasina yonelik proje ve arastirmalara kaynak teskil edecegi dusunulmektedir.

The Effect of Using Mind Mapping Technique in Violin Training on the Cognitive, Psychomotor Skills and Attitudes of the Students

In this research, the attitudes of the students towards mind mapping used in violin lessons was determined, analyzing the effect of the use of the mind mapping technique in violin education lessons on the cognitive and psychomotor skills of the students. 20 violin students who study at Bursa Zeki Muren Fine Arts High School were enrolled to the research, using the “Pretest-Posttest Control Group Experimental Design”. The research employed “Test of Cognitive Field Evaluation” and “Performance Rating Scale”, and random experimental and control groups were established according to the pretest scores. The experimental practice phase of the study was designed as six weeks (12 hours of course) and was carried out with each student individually. The violin education lessons of the students in the experimental group were conducted with the mind mapping technique, while the violin education lessons of the students in the control group were conducted with the traditional methods. The cognitive and psychomotor skill scores of the groups were compared upon the posttest measurements performed following the experimental study. 2 months after the posttest measurements, the “Test of Cognitive Field Evaluation” was reapplied in order to determine the retention of the cognitive skill levels of the students. At the end of the study, the attitudes of the students in the experimental group towards the mind mapping technique were determined by means of the “Attitude Scale towards the Mind Mapping Technique Used in Violin Lessons”. In line with the findings of the research, it was concluded that the violin education lessons conducted with the mind mapping technique are effective on the development of the cognitive and psychomotor skills of the students, and mind mapping increases the retention of the theoretical knowledge learned in the violin education lessons. Nevertheless, it was determined that the students developed a positive attitude towards the use of the mind mapping technique in the violin education lessons.

A Study on Developing Learning Strategies in Violin Education

This study was conducted for the purpose of developing a valid and reliable learning strategies scale for students receiving violin education in Departments of Music at Fine Arts High Schools. The scale was applied to 391 violin students receiving education in the 11th and 12th grades in Departments of Music at Fine Arts High Schools in the provinces of Ankara, Eskişehir, Kayseri, Konya, Kırıkkale, Sivas, Niğde, Adana, Mersin, Isparta, Hatay, Osmaniye, İzmir, Aydın, Denizli, Kütahya, Manisa, Muğla, Bursa, İstanbul, Balıkesir, Çanakkale, Edirne, Tekirdağ, Samsun, Trabzon, Ordu, Bolu, Tokat, Malatya, Erzurum and Van. The 5-point Likert scale consists of 67 items. The data obtained after applying the scale were transferred to the SPSS Package Software. Explanatory factor analysis was then carried out on the basis of the data. As a result of the explanatory factor analysis, it was determined that the scale had six factors. In addition, the Cronbach’s alpha internal consistency coefficient of the scale was found to be 0.966.