Academic literature on the topic 'Violin Instruction and study Juvenile'
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Journal articles on the topic "Violin Instruction and study Juvenile"
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Zhou, Jun Rong, Wen Zhang, and Ju Nan Hu. "The Measurement and Application on Point Impedance Characteristics of Violin Resonator." Applied Mechanics and Materials 235 (November 2012): 245–49. http://dx.doi.org/10.4028/www.scientific.net/amm.235.245.
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This paper will study the vibration performance of resonator by using the engineering measurement, and try to quantify the sound quality of violin body with point impedance parameters so to provide an effective instruction method for the traditional manual of slap-up violin making.
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Mio, Vanessa Andrea. "The Need for Remedial Pedagogy in Undergraduate Violin Instruction: A Case Study of Postsecondary Instructors’ Perceptions." Update: Applications of Research in Music Education 37, no. 3 (January 30, 2019): 36–45. http://dx.doi.org/10.1177/8755123319826243.
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Postsecondary violin instructors often implement remedial pedagogy with first-year performance/music education students to holistically nurture individual artistic goals and overall well-being. Using a qualitative multiple case study research design, 10 postsecondary violin instructors from across North America were interviewed to investigate their perceptions of why remedial pedagogy is often required for incoming first-year students. The interview data and external data sources were analyzed through the lens of empiricism, attribution theory, and teacher attribution scaffolding theory. The results indicated that some secondary instructors may require further knowledge in terms of effective communication and pedagogical approach with individual students. Other factors may be equally critical throughout the learning process, including student motivation, resistance, and parental support. The pedagogical expertise presented in this research can inform violin instructors about the factors/challenges that may affect teaching and learning as students prepare for higher education.
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Akutsu, Taichi. "Constructing a “fast protocol” for middle school beginner violin classes in Japan." International Journal of Music Education 36, no. 1 (February 3, 2017): 96–107. http://dx.doi.org/10.1177/0255761417689918.
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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.
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Scott, Laurie. "Attention and Perseverance Behaviors of Preschool Children Enrolled in Suzuki Violin Lessons and Other Activities." Journal of Research in Music Education 40, no. 3 (October 1992): 225–35. http://dx.doi.org/10.2307/3345684.
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The purpose of this study was to examine certain effects of designated activities on attention and persevering behaviors of preschool children. Relationships between teacher reinforcement and student attending behavior were also examined. The subjects, eighty 3- to 5-year-old children, were (a) enrolled in individual Suzuki violin lessons, (b) enrolled in individual and group Suzuki violin lessons, (c) enrolled in creative movement classes, (d) enrolled in preschool activities or classes, or (e) not enrolled in any organized preschool activities or classes. Analysis of classroom and lesson videotapes provided information on teacher and student behaviors. Attention and perseverance behaviors were analyzed through observation of videotape recordings of subjects performing two tasks designed by the experimenter. Both Suzuki groups scored higher on all attention task variables than did children in the other groups. Subjects receiving both individual and group Suzuki violin instruction spent significantly more time on the perseverance task than did all other subjects in the creative movement or preschool group. Teachers of subjects receiving both individual and group Suzuki violin instruction demonstrated significantly more teacher approval than did the preschool or creative movement teachers.
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Gholson, Sylvia A. "Proximal Positioning: A Strategy of Practice in Violin Pedagogy." Journal of Research in Music Education 46, no. 4 (December 1998): 535–45. http://dx.doi.org/10.2307/3345349.
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The research problem for this study was the identification and characterization of patterns of expert teaching practice as they occurred in context. The primary participant, renowned violin pedagogue Dorothy DeLay, was observed in the natural setting of her studio, and her teaching practices were documented through field notes, audiotapes, and contextual artifacts. The theory of proximal positioning represents a dominant theme within the educational environment Delay created. This pattern of teaching practice accounts for the adjustments that a pedagogue makes in order to assist students through zones of proximal development. Two categories of teaching strategies support this theory. Preparatory strategies are characterized by teacher actions that reveal the overall goals of instruction and processes for probing student frames of reference. Facilitative strategies are characterized in terms of lesson-goal development, cognitive magnification of performance details (an attention-directing tactic), the use of metaphor (a cognitive structuring strategy), and the creation of contextual regions of comfort and challenge.
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Coker, David C. "Education, Policy, and Juvenile Delinquents: A Mixed Methods Investigation During COVID-19." Journal of Education and Learning 10, no. 1 (December 30, 2020): 22. http://dx.doi.org/10.5539/jel.v10n1p22.
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COVID-19 mitigation efforts resulted in many schools making the transition to online and remote instruction. Juvenile delinquents, as a group, attained lower academic achievement before the pandemic, and little was known how juvenile delinquents’ education fared after schools ceased face-to-face instruction. Using a mixed methods approach, three steps were conducted to analyze the education of juvenile delinquents in the United States: a qualitative literature review, a grounded theory study of teachers’ concerns in traditional schools, and an instrumental case study of juvenile delinquents’ enrollment during COVID-19. Researchers and experts recommended the development of a community online and in remote instruction, but most teachers felt overwhelmed and unable to rise to the challenge. Juvenile delinquents responded by most students disappearing from school attendance rolls. A grand theme, to shift the nature of online learning, is offered based upon the convergence of the research findings. A theory of humanistic schooling online, centered on a community of learners with the dimensions of academics, physical health, social, and attention to the individual, offers to radically transform practices and past recommendations.
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Visentin, Peter, Shiming Li, Guillaume Tardif, and Gongbing Shan. "Unraveling mysteries of personal performance style; biomechanics of left-hand position changes (shifting) in violin performance." PeerJ 3 (October 1, 2015): e1299. http://dx.doi.org/10.7717/peerj.1299.
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Instrumental music performance ranks among the most complex of learned human behaviors, requiring development of highly nuanced powers of sensory and neural discrimination, intricate motor skills, and adaptive abilities in a temporal activity. Teaching, learning and performing on the violin generally occur within musico-cultural parameters most often transmitted through aural traditions that include both verbal instruction and performance modeling. In most parts of the world, violin is taught in a manner virtually indistinguishable from that used 200 years ago. The current study uses methods from movement science to examine the “how” and “what” of left-hand position changes (shifting), a movement skill essential during violin performance. In doing so, it begins a discussion of artistic individualization in terms of anthropometry, the performer-instrument interface, and the strategic use of motor behaviors. Results based on 540 shifting samples, a case series of 6 professional-level violinists, showed that some elements of the skill were individualized in surprising ways while others were explainable by anthropometry, ergonomics and entrainment. Remarkably, results demonstrated each violinist to have developed an individualized pacing for shifts, a feature that should influence timing effects and prove foundational to aesthetic outcomes during performance. Such results underpin the potential for scientific methodologies to unravel mysteries of performance that are associated with a performer’s personal artistic style.
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Meng, Qiulu, Feng Fu, Jie Wang, Tuo He, Xiaomei Jiang, Yonggang Zhang, Yafang Yin, Ning Li, and Juan Guo. "Ray Traits of Juvenile Wood and Mature Wood: Pinus massonia and Cunninghamia lanceolata." Forests 12, no. 9 (September 17, 2021): 1277. http://dx.doi.org/10.3390/f12091277.
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Ray traits affect secondary xylem development and wood properties. Pinus massonia and Cunninghamia lanceolata, commercially important timber species, were chosen to study the differences in wood ray traits of juvenile versus mature wood. Seven ray traits, i.e., percentage of rays, ray spacing, ray number, uniseriate ray height, fusiform ray height, ray parenchyma cell length and ray tracheid length, as well as eight wood axial tissue traits, were investigated quantitatively. Intraspecific variations in ray traits and axial tissue traits between juvenile wood and mature wood were displayed in violin plots. The results showed that anatomical differences between juvenile wood and mature wood were significant for both ray traits and axial tissue traits. Juvenile wood generally possessed the larger percentage of rays, higher ray spacing and ray number, smaller ray height and shorter ray cells than mature wood. A positive correlation was present between the ray parenchyma cell length and ray tracheid length. Negative correlations of the ray number and ray spacing with uniseriate ray height were found. Additionally, the axial tracheid cell wall thickness all had Pearson’s correlations with ray spacing, ray number and ray parenchyma cell length.
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Mills, Paulette E., Kevin N. Cole, Joseph R. Jenkins, and Philip S. Dale. "Early Exposure to Direct Instruction and Subsequent Juvenile Delinquency: A Prospective Examination." Exceptional Children 69, no. 1 (October 2002): 85–96. http://dx.doi.org/10.1177/001440290206900106.
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In a widely cited follow-up study of disadvantaged preschool attendees, Schweinhart, Weikart, and Larner (1986a) found that graduates of an early childhood program using direct instruction (DI) methods exhibited higher rates of juvenile delinquency at age 15 than did graduates of two other preschool education models. The present research examined juvenile delinquency outcomes for young children with disabilities in a prospective longitudinal study that tracked the long-term impact of two preschool models—one using DI, the other using a cognitively oriented, child-directed model. We followed 171 children who had been randomly assigned to the two early childhood models. At age 15, the groups did not differ significantly in their level of reported delinquency. Analyses suggest that gender differences in delinquent behavior may provide a more parsimonious explanation than program effects for the earlier Schweinhart et al. findings.
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Gruhn, Wilfried, Reet Ristmägi, Peter Schneider, Arun D'Souza, and Kristi Kiilu. "How Stable is Pitch Labeling Accuracy in Absolute Pitch Possessors?" Empirical Musicology Review 13, no. 3-4 (April 18, 2019): 110. http://dx.doi.org/10.18061/emr.v13i3-4.6637.
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Absolute pitch (AP) is the ability to identify or produce a given pitch without a reference. This study examines the stability of pitch labeling accuracy in a broad sample of AP possessors when natural complex tones are compared to modified sound structures (slightly out-of-tune pitches, sounds with missing fundamentals, and pure tones). A passive listening test with single tones was developed (Tallinn Test of Absolute Pitch, TTAP), with 150 items selected, representing 60 synthetic instrumental tones (violin, clarinet, and trumpet) in different octave ranges and dynamics, and 90 electronically modified sounds, each presented in three different octave ranges. Additional information was collected, regarding handedness, start of instrumental instruction, educational status, occurrence of AP in the family, and associations with processing pitch recognition. Results showed a clear decrease of pitch recognition accuracy between natural complex sounds and pure sine tones. A significant main effect on TTAP scores was found for early starts of instrumental instruction. The findings are discussed in the context of the nature-nurture debate (genetic vs environmental factors), as well as the implications of genetic and memory aspects of pitch recognition.
Dissertations / Theses on the topic "Violin Instruction and study Juvenile"
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Villaret, Amanda Louise. "The Franco-Belgian and Russian methods of bowing : a pedagogic study." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/535903.
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Two important parts of violin pedadogy are left hand and right hand technique. Of these two parts, the right hand technique is eminently more complex, and causes greater frustration for the player. Bow technique Is a combination of many diverse functions in the left arm, and requires great agility and cooperation from the arm and back muscles. Because most of the expression and interpretation of the music comes through the bow, it is important that there be no obstacles confronting the player that would hinder a quality performance.How, then, is such a complicated art taught to students of the violin? In the years preceding World War II, the majority of teachers developed their own methods based on personal experience and pedagogic knowledge. Because pedadogic knowledge was often scant, personal experience was the basis of one's technique, which consisted of a system of rules designed to work for that individual. This method could be impractical when applied to others.By the twentieth century, two schools of bowing technique had been developed and proved to be the most successful in producing superior violinists. Both the Franco/Belgian andRussian methods of bowing are grounded in the Viotti tradition, which, through the past two centuries, has proven to contain the basic, fundamental principles of successful bow technique.It took a few more years to commit these methods to paper and be published, which allowed standard bowing technique to circulate beyond the few prominent music schools and conservatories. Yet, even today, many teachers are unaware of these two schools of bowing, and how they can guide both the teacher and pupil to satisfactory results when confronted with bowing problems.This dissertation presents the history of bowing technique from the first appearance of the violin to the development of Franco/Belgian and Russian bowing techniques. It compares and contrasts the two methods, and examines how the use of either bow grip will affect the execution of the bow strokes. Finally, this work analyzes the strengths and weaknesses of each method, and how one determines which method will accomplish the desired results and help each student to develop to his/her full potential by allowing for individual differences.School of Music
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Kalverboer, Kenda. "Parental involvement in private violin lessons : survey of teacher attitudes and practices." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116058.
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The primary research question of this paper examines teachers' philosophies concerning parental involvement and pedagogical practices. Specifically, what are violin teachers' attitudes and practices concerning parental involvement? Secondary research questions were formulated as a result of major topics arising from the review of literature and focused on how and why teachers formed their personal philosophies towards parental involvement. The following research is unique in that it defines the concept of parental involvement directly from the perspective of the teacher. Because anyone teacher oversees the development of many violin students, he/she is in an extraordinary position to comment on factors, conditions and behaviours across a large sample of students with differing types and degrees of parental involvement. Specifically, this study investigates factors of parental involvement that violin teachers believe to have a positive impact on student success.
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Dubach, Joyce Keith. "An encyclopedic index of commonly used etudes catalogued and organized pedagogically by technical difficulty." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063297.
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In the study of the violin, teacher and student are involved in an on-going process of identifying, analyzing and overcoming technical and musical obstacles on the way to complete mastery of the instrument. Etudes often bridge the gap between exercises and "real music," and, as such, are extremely valuable as a step to mastering various playing skills in a musical setting. Nevertheless, without an encyclopedic memory, a teacher may find it difficult to locate appropriate etudes for an individual student with a specific technical problem.The charts from this study are designed to be used as an aid in locating and assigning etudes to students based upon their grade level and the technical difficulty they are having. The etudes selected were determined by their availability in three or more published editions to be those most commonly used.First, each etude was assigned a grade level. Next, each etude was catalogued by performance difficulty. Each performance category was carefully defined and limited. Finally, the writer determined whether the performance problem being studied was a "primary" difficulty of that etude, or whether the problem existed as a "secondary" component.After determining the technical difficulty to be studied, a violinist may consult the list of etudes addressing that particular difficulty. The list of etudes is organized from the simplest to the most difficult, and for each etude it is noted whether the problem is of primary (P) or secondary (S) importance. Finally, each etude is cross-referenced with other technical problems, and a teacher or student may make the decision whether to study the problem in isolation or in conjunction with other technical difficulties.School of Music
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Gao, Jie (Violinist). "The Influence of Chinese Instruments on the Violin: A Practice Guide of Three Violin Techniques." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011757/.
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Contemporary professional violinists face constant exposure to multicultural compositions. For best results, they should be able to understand, capture, and express the subtleties of different styles. The violin and its repertoire spread to China through European missionaries during the late seventeenth century and continued to be developed by Chinese scientists and musicians who studied abroad. During the twentieth and twenty-first centuries, Chinese composers wrote many violin pieces inspired by the unique sounds of Chinese instruments. Additionally, Chinese music scholars wrote numerous essays to discuss the new Chinese style. However, much of this research has been focused on the composers and the structures of the compositions rather than on the details of violin techniques necessary to play the repertoire. The techniques in Chinese violin compositions are unique and are influenced by the traditional instruments including string, wind, and percussion instruments. Furthermore, the style of such compositions is affected by the elements of Chinese culture, such as the language, the elite society and its poetic tradition, and historical legends and events. This dissertation provides examples of Chinese violin repertoire which demonstrate the principles of three main violin techniques in the Chinese style: slides, chords, and pizzicati. In order to help professional violinists better perform Chinese violin compositions, the dissertation also includes a number of exercises covering each technique above.
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Prusky, Kathy Ann. "Developmental preschool music education : a proposed rationale, philosophy and 12-week curriculum for 4-year-old children." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29053.
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Numerous curricula for preschool music education have been developed in the past two decades. For the most part, however, these have not incorporated important evidence from three disciplines which has important implications for how the music education of preschool children should be approached. The first of these is the field of developmental neurobiology, which has provided relevant information concerning early learning and experience. The second is the research pioneered by Jean Piaget, whose insights into cognitive development bear heavily on curriculum planning for preschool music education. The third is research in musical development, which indicates what skills and behaviors can be expected of preschool children in a musical setting.
The goal of this thesis is to demonstrate (a) why an understanding of the major findings from these fields is important to the formulation of a music education program for preschool children; and (b) how this understanding can and should impact on the curricular choices made for the musical education of preschool children. To this extent, a series of developmental and musical objectives for the music education of preschool children, specifically 4-year-olds, have been formulated to serve as a theoretical and practical foundation on which to develop and choose musical activities which are appropriate for this age group. The educational and practical value of each of these activities was tested with a group of 4-year-old children during a 12-week study carried out at the University of British Columbia Child Study Center. The activities which adequately demonstrated this value were then organized into a 12-week music curriculum for 4-year-old children.
Four conclusions are made in this thesis. The first of these is that music education should begin early in life in order to influence the general learning patterns necessary for the development of musical skill. The second conclusion is that early exposure to music will be most effective when the activities chosen are complex and stimulating and allow for interaction with numerous musical stimuli on a variety of different levels. The third conclusion is that developmentally appropriate musical activities may make an important contribution to the enrichment of the learning environment during the preschool years and may subsequently enhance sensory, motor, verbal and nonverbal, social and creative thinking skills. Finally, it was concluded that preschool music education will be most effective when musical tasks reflect the limitations of children's cognitive development.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Madsen, Eric. "The genesis of Suzuki : an investigation of the roots of talent education." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22406.
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In its short history, Talent Education, also known as the Suzuki Method, has had a profound impact on the teaching of music to the young. However, despite continued guidance from its founder, Shinichi Suzuki, misconceptions about the method persist among both its practitioners and critics. One route to understanding of pedagogical theory is to look at its origins. To that end, this thesis makes a study of history of the method and its founder, drawing on available sources. Further investigation is carried out on the philosophy and teaching techniques. An exploration is then undertaken of the possible antecedents of Suzuki's method taking into account the prevailing ideas and practices of his cultural environment as they relate to the history, philosophy and teaching techniques of Talent Education. Findings indicate that, while Suzuki's method is clearly appropriate to contemporary society, it represents, in many of its aspects, a continuation of several beliefs and practices of traditional Japanese arts.
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Núñez, Mario Leoncio. "A Comparison of Aural and Visual Instructional Methodologies Designed to Improve the Intonation Accuracy of Seventh Grade Violin and Viola Instrumentalists." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3122/.
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The purpose of the study was to compare two instructional methodologies designed to improve the intonation accuracy of seventh grade violin and viola instrumentalists. The collection of data was in regard to (1) instructional methodology: aural and aural/visual, (2) performance tasks: A, B, and C; (3) individual pitches (seven from each of the music tasks), and (4) differences between instrument groups: violin and viola. Sixty-eight seventh grade string students from three string classes of two middle schools were randomly assigned to two experimental groups: (a) aural and (b) aural/visual. The instructional period was implemented daily in ten-minute sessions during twenty days by the orchestra instructors of each school. A pretest-posttest format was used to determine if there were any changes in the subjects' intonation accuracy from prior to after the instructional phase was implemented, and if these changes could be attributed to any of the methodologies. The testing material used on both testing sessions included three performance tasks composed of seven notes each. Subjects were recorded on both testing occasions. The data were the scores of absolute pitch deviation, measured in cents from equal temperament, from the pre- and postest; these were treated with analysis of variance. The ANOVA on the posttest scores indicated a non-significant difference between the instructional methodologies in their effectiveness to improve the subjects' ability to play in tune.
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Vannatta, Terrie Lynn. "A study of the effects of self-instruction and alternate response training on oppositional behaviors." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/720349.
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This study investigated the effects of self-instruction and alternate response training on oppositional behavior. Four oppositional adolescent females in a community-based residential treatment facility were taught to self-instruct alternate responses to their oppositional behaviors by participating in a series of Behavior Skills Training (BST) sessions. Subjects were required to role-play situations which subjects indicated evoke the targeted behaviors, that is, swearing/namecalling, noncompliance with rules, and noncompliance with requests. These self-reported situations were a major component in developing the BST. A multiple baseline design across behaviors was used. As an additional experimental control, two nontreatment subjects were included in the data analysis. Although trend analyses were conducted, variability in the data precluded the possibility of drawing conclusions based on statistical correlation. However, functional analyses of the treatment effects indicated that the BST was effective in reducing the oppositional behaviors of the subjects in the treatment group. Thus these results support the efficacy of using self-instruction and alternate response training procedures to reduce the occurrence of oppositional behavior in adolescent females.Department of Educational Psychology
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Lee, Angela Hao-Chun 1963. "The development of school music education in Taiwan (1895-1995)." Monash University, Faculty of Education, 2002. http://arrow.monash.edu.au/hdl/1959.1/8696.
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Freed, Carlin Joi Lynn. "Can you think a little louder?, a classroom-based ethnography of eight and nine year olds composing with music and language." Thesis, National Library of Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq27143.pdf.
Full textBooks on the topic "Violin Instruction and study Juvenile"
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Hunka, Alison. Violin and stringed instruments. London: Franklin Watts, 1992.
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Hunka, Alison. Violin and stringed instruments. New York: Gloucester Press, 1993.
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Landau, Elaine. Is the violin for you? Minneapolis: Lerner, 2011.
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Landau, Elaine. Is the violin for you? Minneapolis: Lerner, 2011.
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Rolland, Paul. The teaching of action in string playing: Violin and viola. [Farmingdale, N.Y.]: Boosey & Hawkes, 1986.
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Schergaut, Cornelia. Fidelino: Begleitendes Lehrbuch zum Violinunterricht. Berlin: Bock & Kübler, 1995.
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Petersen, Marianne. Lara kann geigen: Berichte aus dem Violinunterricht mit Kindern : ein beitrag zur Violindidaktik. Wilhelmshaven: Heinrichshofen, 1999.
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Abbott, Gail. Young Violinists handbook for parents. Houston, Tex. (5703 Bermuda Dunes Drive, Houston, Tex., 77069): Young Violinists, 1991.
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Lewis, Carol. Can aptitude for violin playing be predicted? Silver Spring, MD: Shazco, 1999.
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Arnold, Caroline. Music lessons for Alex. New York: Clarion Books, 1985.
Find full textBook chapters on the topic "Violin Instruction and study Juvenile"
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Sutani, Shizuka, and Taichi Akutsu. "Japanese Special High School Students' Reflections on 9-11." In Advances in Early Childhood and K-12 Education, 36–48. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch003.
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In this study, the authors describe the reflective practices of a violin group instruction session that evolved into a mixed ensemble lesson in which the participants at a Japanese special high shared thoughts and feelings about the 9-11 terrorist attack in New York City. The lesson originally planned for a group violin instruction; however, the students and teacher co-created and arranged the lessons into a mixed ensemble practice in order to share their thoughts concerning the disaster victims. While students were learning the violins, T, by coincidence, found a lyric along with chord progression indicated on a sheet of paper set on a music stand in the corner of the classroom. The name of the song was “Hanamizuki,” the popular Japanese song by Yo Hitoto dedicated to the victims of 9-11. This chapter presents how the teacher's reflective practice and students' active involvement co-created the contents of the class and made an unexpected connection through a song they learned about 9-11.