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A COMPARISON BETWEEN TWO STRINGS METHODS: ESSENTIAL ELEMENTS FOR STRINGS AND NEW DIRECTIONS FOR STRINGS

By

MIRLYNEZ IGLESIAS-MENDEZ

SUPERVISORY COMMITTEE:

RUSSELL L. ROBINSON, CHAIR SILVIO DOS SANTOS, MEMBER

A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS

OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF MUSIC

UNIVERSITY OF FLORIDA

2011

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© MIRLYNEZ IGLESIAS-MENDEZ

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To my grandmother, mother and brother for their love and support

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ACKNOWLEDGEMENTS

I thank the Music Education faculty at the University of Florida for their hard work and

dedication to seeing this last class of Summer Masters in Music Education accomplish their

goals.

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TABLEOFCONTENTS page

ACKNOWLEDGEMENTS ......................................................................................................... 4

ABSTRACT................................................................................................................................... 6

INTRODUCTION......................................................................................................................... 8

Problem of the Study ...................................................................................................................... 9 Purpose of the Study ..................................................................................................................... 10 Null Hypothesis ............................................................................................................................ 10 Research Hypothesis ..................................................................................................................... 11 Delimitations................................................................................................................................. 11

REVIEW OF LITERATURE .................................................................................................... 12

Introduction................................................................................................................................... 12 Teaching Beginning String Students ............................................................................................ 12 Teaching Methods......................................................................................................................... 14 Instrumental Techniques............................................................................................................... 16

METHODOLOGY AND PROCEDURES ............................................................................... 21

Introduction................................................................................................................................... 21 Procedures and Research Design .................................................................................................. 21 Data Collection ............................................................................................................................. 22 Data Analysis ................................................................................................................................ 23

DISCUSSION AND CONCLUSION ........................................................................................ 25

APPENDIX A .............................................................................................................................. 27

APPENDIX B .............................................................................................................................. 28

APPENDIX C .............................................................................................................................. 32

REFERENCES............................................................................................................................ 34

BIOGRAPHICAL SKETCH ..................................................................................................... 36

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Abstract of Project in Lieu of Thesis Presented to the Graduate School of the University of Florida

in Partial Fulfillment of the Requirements for the Degree of Master of Music

A COMPARISON BETWEEN TWO STRINGS METHODS:

ESSENTIAL ELEMENTS FOR STRINGS AND NEW DIRECTIONS FOR STRINGS

By

Mirlynez Iglesias-Mendez

December 2011

Chair: Russell L. Robinson Major: Music Education

This study evaluates the achievement of sight-reading skills in beginning string players,

by comparing two strings methods: Essential Elements for Strings (Allen, Gillespie, & Hayes,

2000) and New Directions for Strings (Erwin, Horvath, McCashin, & Mitchell, 2007). The study

was conducted over the course of the first 9-week grading period of the school year and was

guided by the following two questions: What is the effect of method on sight-reading accuracy?

To what extent does the supporting material provided by the Essential Elements and New

Directions for Strings methods contribute to sight reading accuracy? Two beginning orchestra

classes, from the researcher’s work place, were selected for the purpose of this study. The study

examined a total of 55 participants, boys and girls from the secondary level (grades 6-8) ranging

from 11 to 14 years old with no previous experience in string playing. Students were separated

by sections: violin, viola, violoncello, and double bass. One class, identified as Group A (N =

25), received instructions from the strings method: Essential Elements for Strings as the other

class, Group B (N = 30), received instructions from a second strings method: New Directions for

Strings. All students participated in a pre- and post-test to attain achievement score data. Data

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was collected through a rubric designed by the researcher stating the note accuracy of the player

at the time of the sight-reading exam. Results revealed statistical significance (p = .02) between

the two groups; therefore, the null hypothesis was rejected. Although, the group using the

Essential Elements reported better gain scores than the other group, data analysis indicated a

measurable improvement in both groups achievement scores from the pre-test to the post-test.

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INTRODUCTION

Selecting method books for string instruments is a challenging task. String orchestra

directors currently employ in their programs either one or a variety of method books for strings.

I have found that many string instructors around the country find it difficult to find a method

book that covers every single aspect beginning students need to know and learn in one book.

Many times instructors find themselves jotting ideas from diverse sources in order to fulfill the

needs of their young students. Nevertheless, some methods are more in demands than others.

Essential Elements for Strings, for example, is favored over others by many teachers and school

districts. In the Miami Dade County (MDCPS) school district, string orchestra directors have

been using the Essential Elements for Strings as part of their annual curriculum for many years,

even though, there are other string methods available, such as, All for Strings Anderson, & Frost

(1985), Strictly Strings (Dillon, Kjelland, & O’Reilly, 1996) and more recently String Explorer

(Dabczynski, Meyer, & Phillips, 2002) MDCPS string teachers have used the Essential Elements

as part of their annual curriculum.

Recently a new methodology book for strings has been published: New Directions for

Strings. Some string orchestra directors consider this book more attainable for students to

achieve better sight reading than the one currently in use. For the past two years, music

supervisors from MDCPS district have been introducing this new method through professional

development sessions and have encouraged teachers to use it in their classroom. Although, it has

been said, during these professional developments, that the new method book will help students

develop better sight-reading, no studies has been conducted proving this or otherwise.

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Problem of the Study

Colprit (2000) describes that a number of researchers have examined the effects of

teaching methodologies on student performance achievement in beginning string classes. Other

studies about first versus third position instruction, beginning bow hold at the balance point

versus beginning bow hold at the frog, and homogenous versus heterogonous class instruction

have been published; nevertheless, the results of these studies mentioned above indicate no

significant difference in student performance achievement. To which Colprit asks if teaching

methodologies are not responsible for student performance achievement, then what are the

variables that affect positive change in the performance of string students? In answering to this

question, Colprit mentions that there is not enough research in the area of string teaching toward

student achievement through certain methodologies perhaps because it is difficult describe

precisely the complexity of the teaching-learning process.

Sight-reading in beginning string players depends on various factors. Learning how to

read notes may not be enough for a student to achieve confidence when sight reading music.

Therefore, the method of instruction chosen by the teacher for beginning students is essential in

order to achieve good sight-reading skills overall. Basic string techniques have to be covered

before students are introduced to note reading. Techniques such as bow holding and left-hand

position which are always stated on the first pages of the method book students use in the

classroom.

Therefore, especial attention should be paid to the way each methodology presents these

technical aspects. The two methodologies describe and guide students through the basic

techniques of string playing. Both methods present graphs, pictures, students’ exercises and

others in order to aid teachers and students develop the basic technique requirements for each

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instrument of the orchestra. Thus, based on the exercises and narrative of the book, the teacher

develops the instructions moving eventually into note reading.

The Essential Elements for Strings presents the notes on the staff with the letter name in

the middle of the note. Later after a series of exercises, the letter names start disappearing until

leaving only the notes on the staff. The New Directions for Strings presents a color code system

along with the letter name in the middle of the note. Each string has its own color code and the

student associates the notes from each string with the color given to each string individually. The

colors are the same for all four instruments; for example, the A string is blue, D string is yellow,

G string green, E string pink, and C string orange. This method provides color codes and letter

names for a longer period of time before disappearing all together.

Purpose of the Study

The purpose of this study was to evaluate the achievement of sight-reading skills in

beginning string players. The study was guided by the following questions:

• What is the effect of method on sight-reading accuracy?

• To what extent does the supporting material (for basic technique skills) provided by the

methods contribute to sight reading accuracy?

Null Hypothesis

There will be no statistically significant difference between beginning string orchestra

students’ sight-reading skills using one method or the other.

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Research Hypothesis

Students will develop the same sight-reading skills by the end of the study. There will not

be any difference between the sight-reading skills of the students using the Essential Elements

for Strings or New Directions for Strings.

Delimitations

The methods used for the purpose of this study are:

- Essential Elements for Strings 2000

- New Directions for Strings

The following will not be accounted for in this study: Gender, ethnicity, and

socioeconomic background of the students participating in the study.

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REVIEW OF LITERATURE

Introduction

The strings provide us with the most expressive and appealing medium (with

perhaps the exception of the human voice) that exists in the whole range of music.

A good string orchestra can attain a degree of pianissimo which amounts to little

more than an attenuated whisper, and is also capable of a robust and solid

fortissimo which is almost ‘brassy’ in its effect (Jacob, 1931, p. ).

The purpose of this literature review is to investigate different teaching experiences,

methods, technique, and repertoire choices beginning string teachers utilize. This research aims

to provide a variety of information about what former and current educators have experienced

within this profession in a classroom setting. Teaching beginning string classes is not an easy

task for instrumental instructors. Its main objective is the creation of a solid foundation on the

development of new string skills acquisition. With a solid foundation, students will be able to

acquire the essential skills to participate in great programs that resemble the quote found above.

Therefore, students can have a positive experience in the field of music and continue to play

music for years to come.

Teaching Beginning String Students

The different problems affecting the teaching of beginning string players has been studied

for a long time. In her study about the problems teachers face, Rush (1936) describes that there

are many things to consider when following the proper procedures to train beginning students in

an orchestral or band instrument. The amount of time available to be spent by both teacher and

pupil comes into the problem in no small way. Among the things to be considered are the age of

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the students to be trained, the amount and kind of equipment to be used, the financial outlay, the

technical and physical equipment of the instructor and many other problems before the actual

start can be made.

Developing an effective string education system should be the goal of string educators.

Hamann (2000) explains that in order to do this educators need to be made aware of how

students learn, what students attitudes affect learning and retention, and how effective programs

address the many issues facing string educators. She also believes that the goal of string

programs should be to improve string instruction in general. Effective string teaching begins with

the involvement of both teacher and learners.

In matters of class organization, Mishra (2000) notes that there are different ways to

organize a beginning string class. Some teachers prefer to teach homogeneous setting while

others prefer to teach in heterogeneous classes. The difference is that while the homogenous

setting will be focusing on techniques and problems presented by one instruments, the

heterogeneous classes offer the ensemble experience. The opinions about this subject are divided

since many people have favored the ensemble setting over the other.

String instructors find themselves teaching not only different age level (middle school)

but also different levels of experience. Block (2011) describes her experience teaching mixed-

experience classes. She decided to have the “old kids” work with the new ones on beginning

skills and getting them through the first few pages in the method book. They did this for a couple

of weeks to catch the beginners up as the rest of the class would work on more complex music.

The experienced students taught things such as posture and the proper way to hold the

instrument.

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While some teachers face these difficulties when teaching beginning string classes, others

describe the benefits and drawbacks of starting to play a string instrument in sixth grade. Berger

(2004) believes that the benefits of starting string instruction in middle school far outweigh the

drawbacks. Since in middle school student meet their teacher daily, she can closely monitor the

development of matter such as posture, finger position, bowing, and note reading. Also, sixth

graders learn faster since they’re more physically and mentally mature than elementary students.

However, she notes that one of the drawback is students won’t be able to learn the skills they

need to in such a short time.

Teaching Methods

Paper (2006) identifies important points for teachers to keep in mind for a

string/orchestra programs to be successful. She explains that for the middle and high school level

is crucial daily instructions, the teacher must understand the pedagogy for teaching students’

playing skills, the teacher demonstrates the playing skills students should learn, the teacher

should be an excellent musician and should relate to the students successfully (good classroom

management).

String teachers use all kinds of teaching or pedagogical methods in order to accomplish

better results in beginning string students. It serves as an aid in the formation of the correct left-

hand shape. One of these methods is the “finger placement markers” (FPMs). Bergonzi (1997)

describes this approach as a way of providing a visual/kinesthetic reference for finger placement.

In his study, Bergonzi mentions that this pedagogical approach is not actually new. His studies

track back to the pedagogical tutorial of Corrette, Giminiani, and Leopold Mozart. Also,

recommendations to use the FPMs are also evident in contemporary literature on teaching

beginning strings such as Anderson & Frost, Johnson, Kohut, and Matesky & Rusch. He also

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observed that as part of the Suzuki methodology, the FPMs are implemented. It has not only

served as an aid to develop a proper left-hand position but also as a guide for parents and as

being of secondary importance to the ear in matters of intonation.

Hamann (2000) also agrees that one of the instruction methods most often associated

with beginning string teaching is the Suzuki method. Therefore, several researchers have

conducted a number of studies in regards to Suzuki instruction and its effects on music learning

in young students. Rather to its effect in music learning, Hamann explains that the Suzuki

method has an effect on student achievement and attitude toward music learning. The Suzuki

training not only affects the behavior of students, but it also influences the behavior of the

teacher.

In selecting instructional methods for beginning string ensembles, Rush (1936) explains

that it could be selected from a wealth of teaching methods. This decision is largely up to the

individual instructor as to what text should be used I the classroom. To him, a good teacher can

use almost any method and develop real players. What is important, according to Rush, is that

the instructor understands the instrument being taught and should be able to demonstrate to a fair

degree how to produce tone and what a good tone should sound like. The first mental image of

true tone quality as well as the proper technique should come first from the teacher to later be

sought after by the students.

Applebaum (1979) explains that there is beautiful literature at every age level. However,

beginning string instructors need to know what to look for since works for young string students

should only include quarter notes, half notes, pizzicato, various little rhythmic patterns, open

strings, playing in the back of the bridge, tapping on various parts of the instrument, and a piano

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accompaniment that could provide effects to make the music interesting. Later, eighth note,

dotted quarters, and so on can be added.

Kapuscinski (1979) had experienced that in addition to materials from eastern and middle

Europe, there were two to other developmental approaches [names not mentioned in the article].

One featuring “tunes” ingeniously created with piano accompaniment and the other, most recent,

[at the time] features the use of a cassette recording coordinated with the book. These two

methods had seemed to capture the imaginations of many beginning and intermediate students as

well as their teachers. Therefore, Kapuscinski concludes that any method that inspires students to

communicate, to create a pleasing sound and a rhythmic organization of those sounds while

holding their [students] attention, pleases him.

Rabin (1979) says that contemporary music is a rich resource of alternative sources of

repertoire for beginning and intermediate string players. He mentions that the natural

involvement of educators and musicians with the music written from the past is crucial to our

maturation and understanding of music, but students’ interest must be generated by an ongoing

involvement with contemporary music. He notes that fiddling music and folk music also

deserves attention and they could be attractive to our students.

Instrumental Techniques

One of the most important aspects of learning how to play an instrument is not only the

acquisition of skills but how to acquire those instrumental skills. The skills or instrumental

techniques enable the students to perform at a high technical level and provides them with the

freedom to express the music. Many string pedagogues have researched and studied the best

approach to teach beginning students. For example, Paul Rolland was an American violinist and

violin instructor who analyzed all aspects of string playing, both physical and psychological. He

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focused his studies in learning how beginning students acquired these instrumental techniques

and develop them thereafter. According to Kovacs (2011), Rolland’s aim was to reduce tension

in the performer’s body by encouraging tension-free movements. Furthermore, Rolland applied

the principles of Gestalt Theory and incorporated them into his violin pedagogy by taking into

the account the total body involvement for every technical action. Rolland was interested in the

physical movements required for specific techniques and more importantly on how the balance

and movement of the entire body affected the acquisition of the skills. Rolland created different

activities and exercises for teachers and students to develop the basic foundations of string

techniques such as rhythmic activities in which the students would use their physical attributes to

feel and produce rhythmic patterns. In addition, Rolland’s teaching pedagogy included

movement, foundational balances and leverage, and control and regulation of voluntary

movement. The underlying principal was the total body action toward a specific learning of

instrumental techniques for the right or left hand.

Mishra (2000) notes that a number of influential pedagogues have suggested ways of

teaching beginning string students a relaxed bow hold. In her study, she mentions different

methods that seem to be in popular use these days. Working with Suzuki bow technique, the

student is asked to place the right thumb under the frog of the bow. Rolland’s method is more

inclined to start beginning students by holding the bow at the balance point first and gradually

moving the hold towards the frog. Other string teachers favor the traditional method which is

starting the students with the normal bow holding as we know it.

Regarding the left-hand position, Mishra includes three types of technique approaches

string teachers implement. A number of popular method books suggest start beginning violinists

and violists in a transverse (guitar) position before the instruments are moved into place under

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the chin. Other teachers like to start their violinists with small hands in third position rather than

first position. This procedure aids the development of the left-hand position as well as

intonational accuracy. Whereas other beginning string teachers advocate placing markers on the

fingerboard (FPMs) much like frets on the guitar. Lastly, she mentions that many teachers utilize

piano accompaniment to aid the development of accuracy in intonation and rhythmic

consistency.

Bergonzi (1997) claims that the ability to hear the sound before engaging in the

mechanism of pitch production is essential to development a good intonation. For this reason

acquitting this ability may be more challenging for beginning string players than other beginning

instrumentalists due to the fretless fingerboard these string instruments possess. Thus, the

“unlimitedness” of the fingerboard has led many string teachers to provide students with finger

placement markers for the fingers.

Bresette (2010) advises beginning string instructors who are not string players to seek for

local professional aid if they’re asked to teach beginning string ensembles. Asking professional

string players to supplement the school music director in technical and string-specific issues

helps tremendously in accomplishing orchestral goals. These respected professionals can help

with bowings, string warm-up, fingering, articulation and modeling.

Other professional string performers and music educators as well have been concern with

the fact that many of our school string teachers are violinists without experience in other

instruments such as cello and string bass. Karr (1979) explains that violinists must be aware of

the fact that the bow draw of the lower instruments is considerably slower than that of the violin.

Since the bow is drawn so slowly, every technical maneuver will seem to occur in very slow

motion. All movement will be greatly reduced, including wrist motion, string crossing, the speed

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of shifting, and bow directional changes. He also advises that beginning string instructors should

know that people with short arms do better with the French bow and long-armed people with the

German. According to Karr, another obvious problem with the double bass is that is not tuned in

fifths. Therefore, since the bass is tuned in fourths, the violinists teaching double bass should

learn to finger the bass intervallically rather than chromatically.

Kempter (1979) continues on the topic of cello-double bass teaching by saying that the

correct left-hand position and bow technique is dependent on many thing such as height, angle,

and slant of the bass, regardless of whether the player is standing or sitting. The correct left-hand

position calls for the same space between the fingers one and two, and two and four, and it can

only be achieved with a correct thumb-two relationship and with the first finger pointing toward

the peg box. He also gives a detailed explanation about the bow technique and the bad habit of

teaching bass students to “use all your bow.”

According to Kempter, the cello section also suffers of misguidance when violinist

teachers are not aware of the correct technique of this instrument. The cello section needs

especial attention to correct position including chair height, length of end-pin, and body posture.

Cellists should sit on the edge of the chair and the lower peg should be approximately even with

the ear. The cello should be held so that the student can see the right knee and not the left with

the instrument slanted slightly to the right. The student should lean into the instrument so that

both hands can easily touch the bridge.

Applebaum (1979) advises violinists as well as violists teaching beginning string

ensemble to learn about other instruments to teach them with authority. To him, a teacher should

use methods developed by or in consultation with cellists and bass players, and attend workshops

given by other instrumentalists. Teachers should also have a cello and bass at home so that they

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can try out different techniques. He believes that string majors who are teaching these

instruments within school ensembles that undermine these advises are a bit permissive, allowing

students to develop bad habits in the left hand and bow arm.

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METHODOLOGY AND PROCEDURES

Introduction

This study was based on the comparison of two method books for string orchestra

instructions: Essential Elements for Strings and New Directions for Strings. The data collected

during this study was taken from a researcher-constructed sight-reading test.

Procedures and Research Design

The methodology of selecting the participants was nonrandom convenience and

purposive sampling. Convenience-sampling since the participants for this study were the students

from my beginning orchestra classes. Purposive sampling, to better account for the results of the

study, was more appropriate as the two methods being studied were tested in students who did

not know how to read music.

Two beginning orchestra classes were selected for the purpose of this study in which

Group A (N = 25) received instructions from the Essential Elements for Strings and Group B

(N = 30) from the New Directions for Strings. Students were separated by instrumental sections:

violin, viola, violoncello, and double bass. The two classes consisted of mixed-grades students-

that is, students in 6th, 7th, and 8th grades. The demographics consisted of boys and girls between

the ages of 11 to 14 years old with no previous experience in string orchestra field.

Instructions were planned strictly from the method books. Students meet for orchestra

class every day for 50 minutes. Instructions took place for approximately 40 minutes every day

for each class. The process of learning how to read music took about two months (8 weeks)

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before the students could take the sight-reading assessment prepared for the purpose of this

project.

Data Collection

During week 1 of class, students in both classes were administered a pre-sight reading

test (See Appendix C) to measure their knowledge in music reading. Later on the semester once

the students had received class instructions and were able to read the notes with no aids (letter

names and color codes); a post-sight reading test, using the same music excerpt as during the

pre-test, was administered in order to measure the students’ sight-reading achievement.

The results from the pre-test/post-test sight-reading assessment (researcher-constructed)

served as the primary source to compare both the students’ sight-reading achievement and the

two methods being studied in this project. The sight-reading test administered to the students

included the same level of difficulty presented in the method books (level 1) such as note range,

string crossings, rhythm, and articulation. Also, the music excerpt used during the sight-reading

assessment did not include letter names or color codes.

As the students performed through the sight-reading assessment, the researcher collected

the data by using a scoring sheet in which the students had 20 possible correct notes

(See Appendix A). Correct notes would receive a plus sign (+) and incorrect ones an X (See

Appendix B).

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Data Analysis

This study compares two strings methods currently in use for string instructions through

the sight-reading achievement of beginning string students. Data was collected through a pre-

and post- sight-reading test. Since the purpose of this study is to compare the two strings

methods mentioned earlier, the main focus of the analysis of data was on the gain scores of the

post-test for both Group A and B. The two gain scores were analyzed using the unpaired t-Test

for the significance of the difference between both groups using each a different method.

However, the gain scores from the students’ pre-test to the post-test for each group was only

taken into consideration just to observe the students’ achievement in sight-reading skills. The

data was also analyzed using the unpaired t-Test results.

In Table 1, the P value equals 0.6647. By conventional criteria, this difference is

considered to be not statistically significant. The mean of Group A minus Group B equals -0.30.

There was a 95% confidence interval of this difference from -1.68 to 1.08. Immediate values

used in calculations were t = 0.4359, df = 53, and the standard error of difference = 0.688.

In Table 2, the P value equals 0.0983. By conventional criteria, this difference is

considered to be not statistically significant. The mean of Group A minus Group B equals 1.23.

There was a 95% confidence interval of this difference from -0.24 to 2.70. Immediate values

used in calculations were t = 1.6829, df = 53, and the standard error of difference = 0.733.

In Table 3, the P value equals 0.0289. By conventional criteria, the results show statistical

significance. The mean of Group A minus Group B equals 1.533. There was a 95% confidence

interval for the difference from -0.0214 to 3.0874. Immediate values used in calculations were

t = 1.9396, df = 53, and the standard error of difference = 0.775.

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Table 1: Unpaired Students’ t-Test Results of Pre-Test from Group A and Group B

Test Group A Group B Mean 1.00 1.30SD 2.42 2.64SEM 0.48 0.48N 25 30P-Value = 0.6647 T-Value = 0.4359 Table 2: Unpaired Students’ t-Test Results of Post-Test from Group A and Group B

Test Group A Group B Mean 17.40 16.17SD 2.20 3.06SEM 0.44 0.56N 25 30P-Value = 0.0983 T-Value = 1.6829 Table 3: Unpaired Students’ t-Test Results of the Gain Scores from Group A and Group B

Test Group A Group B Mean 16.40 14.87SD 2.57 3.18SEM 0.51 0.58N 25 30P-Value = 0.0289 T-Value = 1.9396 *Group A: Essential Elements for Strings Group B: New Directions for Strings

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DISCUSSION AND CONCLUSION

As seen in Table 3 the results suggest that the Essential Elements for Strings method

reveals not only better results in sight-reading achievement but also better gains scores in the

students using the New Directions for Strings. The results have shown a statistical significance

(p = .02) between the two groups. Therefore, the null hypothesis is rejected, i.e., “there will be

no statistically significant difference between beginning string orchestra students’ sight-reading

skills using one method or the other.”

Nevertheless, it is important to mention that both classes showed measurable

improvement from the pre-test to the post-test results regardless of the method being used. All

students showed growth from the beginning of the school year until the time of the assessment

whether they used one method or the other. The supporting material presented in both methods

includes graphs, pictures showing hand positions and postures and exercises to help them

develop the basic technique skills, instructions for the care of the instruments and bow, and

others. Also, the methods provide the instructor with a teacher manual which includes students’

forms, rubrics for assessing the students, the same pictures/graphs/exercises provided to the four

instrumental books (violin, viola, cello, string bass), and an annual sequence of the curriculum to

help the teacher plan for the lessons.

Even though both classes showed measurable improvement on students’ sight-reading

skills during the course of this study, with the Essential Elements students had has had better

gain scores. I personally experienced that students using the New Directions for Strings were

dependable of the colors in order to identify the string in which they had to play the notes.

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Therefore, once the color codes disappeared, students felt a little disoriented struggling with

sight-reading thereafter.

To conclude, using only one of the methods mentioned in this project should not be the

only teaching/sight-reading source teachers should provide our students with in the classroom.

For music instructors should not be enough to rely on one method to develop sight-reading when

a variety of musical sources should be introduced to our students. Furthermore, students will

develop a greater understanding about the different music styles and instrumental skills required

in the performance of any musical instrument. Also, their sight-reading skills will improve

preparing them for a higher level of performance.

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APPENDIX A PRE- AND POST-TEST SCORING SHEET

Musical excerpt with 20 notes: every student is playing the same excerpt

Individual Testing

N.1 N.2 N.3 N.4 N.5 N.6 N.7 N.8 N.9 N.10 N.11 N.12 N.13 N.14 N.15 N.16 N.17 N.18 N.19 N.20 *N.1 = Note 1, etc.

+ = Correct Note

x = Incorrect Note

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APPENDIX B

Table B-1: Pre-Test

Group A: Essential Elements for Strings

ST 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 T 1 0 2 0 3 + + + + 4 4 0 5 0 6 0 7 0 8 0 9 + + + + + + + 7 10 0 11 0 12 0 13 0 14 0 15 0 16 + + + + + + + + 8 17 0 18 + + + + + + 6 19 0 20 0 21 0 22 0 23 0 24 0 25 0 *ST = Student 1 = Note 1, etc. T = Total of Correct Note + = only correct notes

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Table B-2: Pre-Test

Group B: New Directions for Strings

ST 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 T 1 0 2 0 3 + + 2 4 0 5 0 6 + + + + + + + + 8 7 0 8 0 9 0 10 + + + + 4 11 0 12 0 13 0 14 0 15 0 16 + + + + + 5 17 0 18 0 19 0 20 0 21 + + + + + + + + 8 22 0 23 0 24 0 25 0 26 0 27 + + + + + + + + 8 28 + + + + 4 29 0 30 0 *ST = Student 1 = Note 1, etc. T = Total of Correct Notes + = only correct notes

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Table B-3: Post-Test

Group A: Essential Elements for Strings

ST 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 T 1 + + + + + x + x + + x + + x + + + + + + 16 2 + + + + + + + + x + + + + x + + + + + + 18 3 + + + + + x x + + + + + x + + + + + x + 16 4 + + + + + + + + + + + x x x x + + + + + 16 5 + + + + + + + + + + + + + + + + + + + + 20 6 + + + x + x + x + + + + x x + + + + + + 15 7 + + + + + + + + + + + + + + + + + + + + 20 8 + + + + + + + + + + + + x x x + + + + + 17 9 + + + + + + + + + + + + + + + + + + + + 20 10 + + + + x + + + + x + + x x x + + + + + 15 11 + + + + + + + + x + + + x x + + + x + + 16 12 + + + + x x + + + x + x + x + + x + + + 14 13 + + + + + + + + + + x x + + + + + + + + 18 14 + + + + + + + + + + + + x + + + + + + + 19 15 + + + + + x + + + x + + + x + + + + + + 17 16 + + + + + + + + + + + + + + + + + + + + 20 17 + x + x x + + x x x + + x x + + + + + + 12 18 + + + + + + + + + + + + + + + + + + + + 20 19 + + + + + + + + + + + + + + + + + + + + 20 20 + + + + + x + x + + + + x x + + + + + + 16 21 + + + + + + + + + + + x x + + + + + x x 16 22 + + + + + + + + x + + + + + + + + x + + 18 23 + + + + + + + + + + + + + + + + + + + + 20 24 + + + + + x + + + + + x + + + + + + + + 18 25 + + + + + + + x x + + + + + + + + + + + 18 *ST = Student 1 = Note 1, etc. T = Total of Correct Notes

31

Table B-4: Post-Test

Group B: New Directions for Strings

ST 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 T 1 + + + + + + + + + + + + + + + + + + + + 20 2 + + + + + x + x x + + + x x x + + + + + 14 3 + + + + + x x + x + + + x x x + + + + + 14 4 + + + + + + + + + + + + x + + + + + + + 19 5 + + + + + + + + + + x x x + + + + + + + 17 6 + + + + + + + + + + + + + + + + + + + + 20 7 + + + + + + + + + x + + + x + + + + + + 18 8 + + + + + x + x + + + + + + x + x + x + 15 9 + + x + x x + x + + + x x x x + + + x + 11 10 + + + + + + + + x + + + x x x + + x + + 15 11 + x + + x x + + + x + + x x x + + x + + 12 12 + x + x + + + + x x x + + + + + + + + + 15 13 + + + + + + + + + + + + + + + + + + + + 20 14 + + + + + x + + x x x x x + + x x + + + 12 15 + + + + + + + + + + + + + + + + + + + + 20 16 + + + + + x + + + + x + + x + + + + + + 17 17 + + + + + x + x x + + + + x + + + + + + 16 18 + + + + + + + + + + + + + x x + + + + + 18 19 + + + + + + + x + + + + x x + x x + + + 15 20 + + + + + + + + + + + + + + + + + + + + 20 21 + + + + + + + + x + + + + + + + + + + + 19 22 + + + + x + + + x + + + x + + x x + + + 15 23 + + + + + + + + + + + + + x + + + + + + 19 24 + + + + x x + x + + x + + x x + x x + + 12 25 + + + + + x x + + x + + + x x + + x + + 14 26 + x x x x + x + + x + + x x x + + x + + 10 27 + + + + + + + + + + + + + + + + + + + + 20 28 + + + + + + + + + + + + + x + + + + + + 19 29 + + + + + x + x + + + x + + + x + + + + 15 30 + + + + x + x + x x + + + x x + + + + + 14 *ST = Student 1 = Note 1, etc. T = Total of Correct Notes

32

APPENDIX C

33

34

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36

BIOGRAPHICAL SKETCH

Mirlynez Iglesias-Mendez was born on June 27, 1979 in La Habana, Cuba. The older of

two children, she graduated as a professional violinist from the Music Conservatory “Amadeo

Roldan” in 1998. She started her studies in music at the age of seven in the Music Conservatory

“Alejandro G. Caturla” where at the age of eleven was founder of the first Youth Symphony

Orchestra in the island.

In the year 2001, she arrived to the United States of America where she continued her

studies in music receiving her Bachelor’s in Music from the Florida International University in

Music Performance with emphasis in Violin. As a student in FIU, she took several courses in

music education. She is currently employed by Miami Dade County Public Schools system as a

Director of the Strings Program at Glades Middle School. At Glades she is in charge of the guitar

ensembles as well as the string orchestras, beginning and advanced.

Mirlynez was recently working on her Master’s in Music program at the University of

Florida. Upon the completion of her program, she will continue to work in Glades Middle School

and will start working in obtaining the National Board Certification.