El Sistema USA: an exploratory study of the pedagogical approaches in beginning violin classes

Transcription

1 University of Iowa Iowa Research Online Theses and Dissertations Spring 2017 El Sistema USA: an exploratory study of the pedagogical approaches in beginning violin classes Timothy Hsu University of Iowa Copyright 2017 Timothy Hsu This dissertation is available at Iowa Research Online: Recommended Citation Hsu, Timothy. "El Sistema USA: an exploratory study of the pedagogical approaches in beginning violin classes." DMA (Doctor of Musical Arts) thesis, University of Iowa, Follow this and additional works at: Part of the Music Commons

2 EL SISTEMA USA: AN EXPLORATORY STUDY OF THE PEDAGOGICAL APPROACHES IN BEGINNING VIOLIN CLASSES By Timothy Hsu An essay submitted in partial fulfillment Of the requirements for the Doctor of Musical Arts Degree in Music in the Graduate College of The University of Iowa May 2017 Essay Supervisor: Associate Professor Katie Wolfe

3 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL D.M.A. ESSAY This is to certify that the D.M.A. essay of Timothy Hsu has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree in Music at the May 2017 graduation. Essay Committee: Professor Katie Wolfe, Essay Supervisor Dr. William LaRue Jones Professor Christine Rutledge Professor Anthony Arnone Professor Volkan Orhon

4 DEDICATION I dedicate this to my family. Thank you, Dad, for letting me pursue my passions. Thank you, Mom, for always taking care of me. Thank you, Grace, my sister, for looking out for me. Thank you, Mimi, my best friend who is family to me, for always believing in me when I doubted myself. ii

5 ACKNOWLEDGEMENTS I would like to share my heart-felt gratitude to all of my mentors and teachers throughout my education, without whom, I might never had made it this far. Thank you particularly to my advisor, Katie, for her patience and guidance throughout this entire process. Thank you also to my friends who helped keep me on track throughout this writing process. Lastly, I would like to extend a very big thank you to all of my El Sistema family, especially Dan Trahey and Nick Skinner, and to those who participated in the survey that made this paper even possible to write. iii

6 PUBLIC ABSTRACT El Sistema USA has grown to become an organization with over 100 programs across the nation in the short span of eight years. It drew its inspiration from Jose Antonio Abreu s El Sistema in Venezuela that was started in Abreu envisioned a music group that would offer free music instruction to the poorest areas of his country. Through music, his students would be able to become contributing members to society and develop into upstanding citizens. Just like its Venezuelan counterpart, El Sistema USA is known for offering free music instruction to the poorest neighborhoods and school districts in the country. The vast majority of these programs offer string programs that focus on ensemble-based learning. What is lacking is a uniquely El Sistema approach for teaching strings. This doctoral essay will discuss the current state of violin pedagogy for beginning violin group classes in El Sistema USA programs, examine areas where there is a lack of unity in teaching styles using information collected from a national survey, and propose a first-year teaching prospectus that incorporates the organization s core values to be used for reference by instructors. iv

7 TABLE OF CONTENTS List of Figures... vi Chapter I: Introduction... 1 Research Methodology... 6 Chapter II: El Sistema in Venezuela... 9 The Fundamental Principles of El Sistema Chapter III: El Sistema USA Movement to the United States Administrator Survey Components and Results Teacher Survey Components and Results Survey Analysis Chapter IV: Suggested El-Sistema Inspired Beginning String Teaching Model Classroom Management Suggested Year 1 Plan Suggestions for Year 2 and Beyond Chapter V: Conclusion Appendix A: El Sistema Administrators/Program Heads Survey Appendix B: El Sistema USA Violin Instructor Survey Appendix C: IRB Assurance Form Appendix D: IRB Approval Memo Appendix E: Exempt Information for Administrators Appendix F: Exempt Information for Teachers Bibliography v

8 LIST OF FIGURES Figure 1. Teacher Survey Question Figure 2. Teacher Survey Question Figure 3. Teacher Survey Question Figure 4. Teacher Survey Question Figure 5. Administrator Survey Question Figure 6. Administrator Survey Question Figure 7. Administrator Survey Question Figure 8. Administrator Survey Question Figure 9. Teacher Survey Question Figure 10. Teacher Survey Question Figure 11. Teacher Survey Question Figure 12. Teacher Survey Question Figure 13. Teacher Survey Question Figure 14. Teacher Survey Question Figure 15. Teacher Survey Question Figure 16. Teacher Survey Question Figure 17. Teacher Survey Question Figure 18. Teacher Survey Question Figure 19. Teacher Survey Question Figure 20. Teacher Survey Question Figure 21. Administrator Survey Question Figure 22. Drawing an "X." vi

9 Figure 23. "Statue of Liberty" posture vii

10 Chapter I: Introduction This doctoral essay will discuss the current state of violin teaching approaches for beginning violin group classes in El Sistema USA programs, examine areas where there is a lack of unity in teaching styles using information collected from a national survey, and propose a first-year teaching prospectus that can be used for reference by instructors. In December 2012, Play On, Philly! hosted a national symposium for El Sistema USA organizations to deliberate a broad range of educational topics. A discussion panel titled, Teaching Track, was led by Eric Booth and focused on analyzing the different instruction methods of the program. One of the issues brought to the table was the absence of pedagogy unique to El Sistema, and the possibility of developing one based on the program s core values. 1 I hope to provide the El Sistema USA network with this material by presenting data from a survey that I created and sent to all programs within the alliance. I will use this information in combination with some of the core values/fundamentals and practices of El Sistema USA that can be utilized in a string classroom setting. The core values that will be considered are flexibility, frequency, use of ensemble, connectivity and accessibility, peer instruction, and the Citizen/Artist/Teacher/Scholar, or CATS, teacher model, to suggest a first-year, group class violin curriculum that can serve as a starting point for instructors. 2 CATS instructors are encouraged to be contributing citizens in their community, performing artists, and excellent teachers in the classroom who are constantly 1 Andrea Shigeko Landín, Teaching Track (panel discussion, Social Action Through Music Symposium, Philadelphia, PA, Dec. 3-5, 2012). 2 Eric Booth, The Fundamentals of El Sistema, Eric Booth (blog), December 2012, accessed September 18,

11 learning and experimenting with their craft. 3 The lesson plan will be structured in such a way that the core values and teaching methods can be utilized for mixed string ensembles as well. Because string classes are offered in nearly all US programs, I believe it is important to investigate the current trends being practiced in the field in a systematic fashion. It is not my intention to diminish the diversity of teaching methods or repertoire that are currently being used, and I certainly would not advocate a monolithic approach for the entire organization since flexible teaching styles are encouraged and each classroom will have a different environment. It is also not meant to eliminate the current curriculum that is being used. This essay will merely be the first to highlight first-year teaching practices for strings and suggest certain goals that can be achieved in that timeline while striving to develop a uniquely El Sistema style of instruction. Since founder José Antonio Abreu began the first program in his Venezuelan garage in 1974, El Sistema has become a global phenomenon with programs in nearly 55 different countries. A large majority of these programs offer free music instruction and are usually run in communities that have limited access to classical music. Oftentimes, the population in these areas are living at or near the poverty level. The United States has over 100 El Sistema inspired programs, and they are part of an organization called El Sistema USA. This network serves as a support and advocacy network for its members, but does not provide grants or funding. Every program is responsible for maintaining their own expenses, which often dictates what kinds of programs are offered. Regardless of funding, the large majority of El Sistema USA participating entities have string classes as part of their 3 Ibid. 2

12 curriculum. According to a 2014 census report distributed by El Sistema USA, 97 percent of programs offer orchestra, 75 percent have string orchestras, 73 percent include high strings sectionals, and 69 percent have lower string sectionals. 4 With such a high percentage of strings being taught, it would be of interest to start the dialogue of reaching some type of teaching consensus without necessarily stifling the individuality of teachers or their teaching styles. My first exposure to El Sistema was in 2009 when I took a community engagement class at the Peabody Institute of the Johns Hopkins University which was taught by OrchKids Artistic Director Dan Trahey. OrchKids was founded in 2008 by the Baltimore Symphony Orchestra s conductor, Marin Alsop, and was modeled after the Venezuelan El Sistema. While there were some financial hardships and resistance from the community in the beginning, it has now grown to become one of the largest El Sistema USA programs with a budget of over one million dollars. 5 In a time when music programs were struggling to survive in public schools, it was surprising to find out that these students met everyday after school for two to three hours. I was even more shocked to discover that summer sessions were offered, and all of these programs were free to the students. One of the basic 4 Joe Hamm, Jason Smith, Stanford Thompson, Mark Churchill, and Albert Oppenheimer, FY2014 Census Report (George Mason University, 2014), accessed September 18, Anne Midgette, WP Magazine, the Education Issue: After Years of Crouching, Arts Ed is Raising Its Hand Again, The Washington Post, posted February 21, 2013, accessed September 18,

13 tenets of El Sistema is to provide students with intense and frequent instruction and this was certainly the case for OrchKids. Because Mr. Trahey was the artistic director, our community engagement class was given opportunities to visit and work within OrchKids. I continued to volunteer and participate in OrchKids after I had finished the college course until I was hired in 2011 as a violin instructor. During my employment with OrchKids I began as a teaching assistant. Later, I became responsible for teaching my own beginning and second year violin group classes in addition to being the occasional teaching assistant for other instructors. By watching and helping these teachers, I borrowed some of their styles and incorporated them into my own classes. On rare occasions, I would provide brief individual lessons to students who were struggling with their repertoire. In the summer of 2012, I had the opportunity to travel to Venezuela and teach in two different El Sistema programs and witness how things were run in the country where it originated. For two weeks, a team of teachers from the United States taught and performed for an intensive summer seminario, which is similar to a summer music festival. Classes would include sectionals, aural skills, orchestra rehearsals, and chamber ensembles. Students would start as early as 7AM and run well past 5PM. The participants dedication and enthusiasm for learning in such a rigorous environment with the most basic facilities and equipment was truly humbling and inspiring. Before discussing different methods of teaching, it is important to describe the current teaching philosophy. El Sistema programs classify their instructors as Citizen/Artist/Teacher/Scholar (CATS), which is a core value. 6 This teacher model is a 6 Booth, The Fundamentals of El Sistema. 4

14 suggestion of what teachers should ideally strive for, but it is not a title in which one may become certified, such as Suzuki trained teachers. Instructors set an example for their students not only in the classroom, but also out in their communities. In fact, it could be argued that students are CATS-in-training because they are expected to contribute to their classroom, perform to the best of their ability, and participate in peer-to-peer instruction. The potential problem of this model is the ambiguity of its definition. Much of my teaching background came from the pedagogy classes that I took at the Peabody Institute, which were taught by the head of the Peabody Preparatory Division, Rebecca Henry. Also, the pedagogy courses I took as an undergraduate, and intensive summer pedagogy training workshops such as the Starling-Delay Symposium at Juilliard and Mimi Zweig s Retreat for Violin and Viola Teachers. The teaching techniques for the pedagogy courses were drawn from many different backgrounds and philosophies, such as Suzuki and Rolland. Because of the close proximity to the Conservatory, many violin teachers hired by OrchKids came from the Peabody Institute, and a large majority adopted most of the same teaching guidelines that were learned in Ms. Henry s class. After experiencing the US and Venezuelan programs first-hand and observing the strengths and weaknesses of both, I began to wonder how string teachers from other El Sistema USA programs taught their beginning violin students. How were these beginning violin students being introduced to note and rhythm reading and how did other factors like class size and classroom management affect the speed of progress? While El Sistema s history, its philosophies, its sociological influence in different communities and broad pedagogical practices have been written about and published, very little had been said about its string teaching practices apart from general classroom activities. I wanted to find 5

15 out what methods, if any, were used by other teachers. I also wanted to know if these teaching practices which mostly developed from one-on-one teaching and designed for people from different socioeconomic backgrounds were the most effective for the El Sistema programs. Many factors such as parental involvement, being able to take the instrument home, and the number of times a week a class meets could be significantly different across the board and have an impact on the approach to teaching and how students learn. Despite all of the different circumstances that may vary from program to program, the core values mentioned in the introduction and later expanded in Chapter II can be the connection that leads to a more homogenous approach to string teaching unique to El Sistema. Research Methodology The histories and general structure and missions of the US and Venezuelan El Sistema programs will be drawn from existing published literature. My first-hand experiences with OrchKids and the summer seminarios in Venezuela will also be used as supporting evidence in this paper. In order to gather information on the current trends of violin teaching, two electronic, online surveys were created through the University of Iowa Qualtrics program. Violin instructors with experience teaching first-year students were the first group considered. However, program administrators or site coordinators had the potential to offer additional insight that instructors could not offer, such as the criteria for hiring new employees. The first survey (see Appendix A), written for violin instructors, covered the following areas of string pedagogy: 6

16 Standing posture How to hold the instrument, Order of introduction of left and right hand techniques Note and rhythm reading Class format (group class or individual lessons) Classroom activities Method books or other literature used for class Number of concerts performed in a year Lesson planning Knowledge of the teaching practices of string teachers in other El Sistema US programs. The second survey (see Appendix B) was sent to program heads and administrators, in which their questions focused on the following topics: Types of criteria used for teacher hiring Sources of funding Outside affiliation or partnerships that could result in help with funding Providing facilities Where their students are coming from. The survey questions used were a mixture of multiple choice (with the option of click all that apply ) and short-answer questions. Certain short-answer follow-up questions would only appear if participants answered in a certain way. For example, many multiple choice questions would offer a choice additional/other. If a responder clicked on this choice a follow-up question would ask them to further explain their choice. This mixture of multiple choice and short-answer would allow those who wished to finish quickly by clicking through answers without the need to write a response to do so. However, it also gave the opportunity for those who wished to explain their specific viewpoints through the shortanswer. 7

17 Potential surveyors were contacted by through the primary contact list on the Programs in the U.S. section of the El Sistema USA website. 7 At the time the survey was administered, 89 primary contacts were ed. Included in the was a letter of introduction (see Appendix C) to let participants know of the anonymous and voluntary nature of the survey and a link to the online questions. The primary contacts were asked to forward the link to the targeted administrators or site coordinators, and faculty. Additional help in electronically contacting potential respondents came from El Sistema USA board members, Nick Skinner and Calida Jones. Surveys were ed around late-september 2015 and allowed about one month to complete. 7 Programs in the U.S., El Sistema USA, last updated 2017, accessed September 18,

18 Chapter II: El Sistema in Venezuela Jose Antonio Abreu is the man credited for starting the organization popularly called El Sistema, which is officially named Fundación Musical Simón Bolívar (FMSB), the National System of Children s and Youth Orchestras of Venezuela in FMSB was formerly known as Fundación del Estado para el Sistema Nacional de las Orquestas Juveniles e Infantiles de Venezuela (FESNOJIV). Abreu states that his motivation for starting El Sistema came from his: strong vocation of service to the country and rebellion against the phenomena of social imbalance that prompted him at 35 years of age, to conceive a project that could synthesize and channel a nationalist experience through economic, educational, and musical knowledge that was part of his teenage years. 8 He believed that music could be tapped into for the purposes of social transformation for the poor. The power of music could be used to foster a sense of community, well-being, and purpose in an otherwise volatile environment. His vision was and still strives to develop a well-rounded individual. In his TEDTalk, Abreu shared his insights about El Sistema: Music becomes a source for developing dimensions of the human being, thus elevating the spirit and leading man to a full development of his personality. So the emotional and intellectual profits are huge: the acquisition of leadership, teaching and training principles; the sense of commitment, responsibility, generosity and dedication to others; and the individual contribution to achieve collective goals. All this leads to the development of self-esteem and confidence. 9 Dr. Abreu studied composition and conducting while in Venezuela early in his academic career and later went to the University of Pennsylvania to receive his Ph.D. in oil 8 Jose Antonio Abreu, El Sistema, last updated 2016, accessed September 14, Jose Antonio Abreu, The El Sistema Revolution, TEDTalks, posted February 18, 2009, accessed September 24,

19 economics. He was a deputy in the Venezuelan congress and also the Minister of Culture and President of its National Council for Culture. These political connections were key to transforming El Sistema into the powerhouse it is today. One of the reasons is that the government is responsible for funding the program, which is different from El Sistema USA. Abreu arranged for the Ministry of Social Services rather than the Ministry of Culture to pay for El Sistema because This[El Sistema] is not art for art s sake; this is art for the sake of social amelioration. 10 According to its website, FMSB s philosophy is to use music to reach as many young Venezuelans in order to offer new possibilities for home improvement and vitality as well as [realizing] dreams of personal and professional fulfillment. 11 It is important to reiterate the fact that El Sistema s original intent is to develop well-rounded individuals through the interaction of the ensemble and Western classical music. However, with many of its members, most notably Gustavo Dudamel, who has exploded onto the worldwide musical scene, there must be something special and unique that El Sistema has to offer. Many famous musicians such as Sir Simon Rattle, Daniel Barenboim, Yo-Yo Ma, and Itzhak Perlman have made visits to Venezuela to watch the program in person. In the most recent literature review of El Sistema Programs led by Andrea Creech and a team of collaborators, they cite the many different observations of the Sistema pedagogy: Some make claims that a Sistema pedagogy is premised on discipline, extensive repetition, and a directive teacher style while others claim that the pedagogy is, by 10 Colin Eatock, From Venezuela to the World: Exporting El Sistema, Queen s Quarterly 117, no. 4 (Winter 2010): Philosophy, Sistema Nacional de Orquestas y Coros Juveniles e Infantiles de Venezuela, last updated 2016, accessed September 24,

20 necessity, innovative and flexible. Critiques focus on the concept of a banking or transmission approach to learning that has been found in some Sistema contexts, seemingly taking little account of the alternative progressive pedagogical approaches to music education that have emerged since the 1970s. A teach as you were taught mentality has been noted, whereby inexperienced peer teachers are charged with responsibilities for guiding young musicians. Others report a pedagogy that is innovative, flexible, and highly reflective. In summary, there are many critical debates around approaches to pedagogy, and the reports indicate that diverse practices may be found. 12 Even with all the written first-hand accounts, there is incredibly little consensus as to the precise Sistema pedagogy. The Fundamental Principles of El Sistema Jonathan Govias, a member of the first group of Abreu Fellows at the New England Conservatory, wrote about the five main fundamentals that govern El Sistema s philosophies and values in order to show the differences between the Venezuelan teaching style and the conservatory-style training. 13 Govias states that even though El Sistema is called a system, there is not a strict sense of curriculum or pedagogy. 14 He then offers the analogy of how health care and justice systems are considered large institutions rather than a governing body that dictate a specific set of policies and procedures that need to be followed. 15 The five fundamentals were developed from Govias : firsthand observation and practical hands-on experience within multiple nucleos [facilities within the physical location where classes are held] across a broad geographic distribution. They are qualitative distinctions only in the sense that they 12 Andrea Creech, Patricia Gonzalez-Moreno, Lisa Lorenzino, and Grace Waitman, El Sistema and El Sistema-Inspired Programmes: A Literature Review of Research, Evaluation, and Critical Debates (San Diego: Sistema Global, 2016), Jonathan Govias, The Challenges of Sistema, Canadian Music Educator 56, no. 1 (Fall 2014): Govias, Ibid. 11

21 attempt to identify and explain the roots of practices without defining the proficiency or sophistication with which that practice is delivered. 16 The five fundamentals encompass social change, ensembles, frequency, accessibility, and connectivity. Eric Booth, an El Sistema Global advisory board member, supplements Govias list by adding a few of his own to the list of El Sistema s core values: flexibility in teaching, the nucleo environment, the CATS teacher model, and ambition and achievement. 17 The idea of social change through music is part of Abreu s founding principles, and remains one of the most important guidelines for all of El Sistema, whether in Venezuela or in different countries whose programs are inspired by it. Abreu wanted to give children in poor communities a chance to enrich their lives with free music lessons and to be part of a musical community. As the program itself expanded it began affecting the communities they were in. Local businesses began donating their facilities for rehearsals or provided any supplies that might be needed for classes. Going to concerts became a community gathering where people could interact with each other. The students themselves would be able to earn wages by teaching or playing in the larger nucleo orchestras after a certain period of time with the program. Govias second fundamental is the ensemble. The two main ensembles that are utilized are the orchestra and choir. Group learning and practice is the primary vehicle for teaching in El Sistema. Orchestras are large groups that work together toward the common goal of performing the music that is in front of them. It is thought of as a metaphor for a community. The goal of the orchestra is to work together to achieve a common goal: the 16 Ibid. 17 Booth, The Fundamentals of El Sistema. 12

22 performance of music. A community s objective is to team up and provide goods and services to the neighborhood. A community relies on its government to set policies. Similarly, an orchestra has its own hierarchy to handle its musical activities. Frequency, the third fundamental, refers to the number of times students will meet for rehearsals and is closely related to the idea of intensity. Govias writes about this balance: The once a week frequency for orchestra or private lessons is deeply ingrained in Western music pedagogical traditions, but bringing a once a week intensity to rehearsals five days a week is a formula for student burnout. Music making in Venezuela is fun and relaxed, precisely because the frequency allows participants and faculty to approach the craft with more patience, humour and far less stress. Yet stress and intensity can be healthy in moderation, as is well known, which is why several times a year nú-cleos may have Seminarios, high-pressure periods never exceeding two weeks, in which students prepare in a very focused way for a special concert. 18 Students typically meet up to four hours a day for as many as six days a week. While there are variations to these numbers, in general, students are practicing with their groups nearly every day. The amount of times that these students meet is different from private lessons in Western culture where teacher and pupil meet once per week. There are many music programs in the United States where students may only see their teachers two to three times a week for an hour whose teachers would love to increase the frequency of classes. The more time in between classes, the higher the likelihood that students will forget techniques learned in a previous rehearsal. Sometimes the frequency increases during special sessions called seminarios. I was able to go to Acarigua, Venezuela and teach at one of the summer seminarios. During the nearly two-week seminar, students would 18 Govias,

23 come as early as 8AM and stay until 5PM working together in rehearsals. There would be breaks between rehearsals, and the students would have lunch on their own. While I was there, I would teach aural skills in the morning and run orchestra sectionals with violins in the afternoon. I also coached different chamber groups every other day in preparation for the concert at the end of the seminario. The fourth fundamental, accessibility, means that all El Sistema programs in Venezuela will not reject a student based on talent-level and it is a free program to all because of government funding. This is very important because it is estimated that about 70 percent to 90 percent of El Sistema participants live in poverty. 19 However, there are factors such as instrument availability that can limit the number of students who are able to join an orchestra. Hard work and good attendance are valued over technical mastery. 20 Other accessibility issues include ineligibility because certain areas are not considered risk conditions, and therefore may not necessarily qualify for enrollment. 21 Aside from offering programs to students, accessibility also means that students are able to graduate to larger nucleos as they progress on their instruments. They have the opportunity to move from nucleo to nucleo based on their level of playing. For example, all Venezuelan El Sistema students are able to study at the Conservatory in Caracas through a selection process based on playing ability and recommendation. 22 This aspect is related to the next fundamental of connectivity. 19 Tricia Tunstall, Changing Lives: Gustavo Dudamel, El Sistema, and the Transformative Power of Music (New York: Norton, 2012), Govias, Creech, et al., Ibid.,

24 Govias last fundamental, connectivity, refers to El Sistema s organizational structure. El Sistema programs in Venezuela are systematized at the urban, regional, and national levels. 23 This connection allows students the opportunity to move from smaller to larger nucleos. In general, there are more opportunities a student can take advantage of at bigger nucleos. For example, there are more chances to be in performances of higher caliber or to have access to international guest artist master classes. Additional Core Values of El Sistema Eric Booth includes all of Govias fundamentals and expands on them with greater specificity. Mr. Booth thinks of flexibility in teaching as a necessary force for evolving and improving the classroom. 24 Experimentation of new ideas is encouraged alongside traditional practices. Factors such as different class sizes, the availability of teaching assistants, and varying levels of playing ability, will all affect how a teacher decides to teach a particular lesson. The teacher is certainly encouraged to tailor his or her class in order to have a successful learning environment. The issue of flexibility also refers to the nucleo and the community at large. For example, if rehearsal spaces are limited, sometimes classes might need to be held outside. During my visit to a nucleo in Guanare, I witnessed music being etched onto the sides of filing cabinets because there were no chalk boards or enough music to be passed around. writes: Another core value Booth indicates is the importance of the nucleo environment. He The nucleo is a physical location, within the neighborhood where students live, that vibrantly embodies the values and goals of El Sistema. It is a haven of safety, fun, 23 Govias, Booth, The Fundamentals of El Sistema. 15

25 joy, and friendship, with an ethos of positivity and aspiration, where all students are encouraged to explore their potential. The nucleo s walls are porous membranes, open to the community, with community members often volunteering, and using the facility often to support other community needs. 25 The nucleo is both a physical and psychological space. Students report to the nucleo for learning, but also draw support from its members and surrounding environment. Booth is one of the first influential CATS type instructors who advocated its development, despite its vague definition. Similar to how The System refers to a structural organization rather than a set of rules, the CATS teacher model offers a guideline for its followers to aspire to. It also relates to how El Sistema encourages its students to be well-rounded individuals who make positive contributions to society that may be outside of music. The CATS teacher model will be discussed further in Chapter III. Lastly, Booth cites ambition and achievement as the fuel for growth in El Sistema. Many nucleos that have regional and national orchestras offer monetary stipends as a form of payment to participants to prevent families from pulling their children out of a program. 26 Whether it is through great performances or contributing to their family s income, participants are driven towards excellence because of these incentives. I witnessed the drive for achievement in performance firsthand at the seminario in Acarigua, Venezuela. The closing concerts were divided into two events since there were so many performances scheduled. My student chamber group was only scheduled to perform at the first event. After the success of their first performance, all of the students pleaded to 25 Ibid. 26 Wayne Peterson, El Sistema: From Venezuela to the USA and Beyond Quest Club Paper (January 27, 2012), Allen County Public Library, Quest Club of Fort Wayne Collection, Fort Wayne, Indiana, 7. 16

26 perform once again at the second concert because of the pride they felt from their initial performance. Every nucleo adopts its own set of classroom activities and pedagogy, but there are threads of commonality that run through each program. According to the FMSB website, there is a specific teaching order and placement for infants (2-6), children (6-12), and youth (12-18). 27 Each group receives its own type of training (instrumental, vocal, rhythmic) and also has a specific repertoire sequence. The youngest group will begin with body movement and rhythm, at age 5 they will join a choir and learn how to play the recorder or a percussion instrument, at age 7 they will be able to pick a wind or stringed instrument. 28 Regardless of level, students can meet anywhere from one to four hours a day for four to six days during the week with classes divided into sectionals, full rehearsal, and a small amount of time devoted to music theory and history. 29 Michael Sy Uy gives his firsthand account of a nucleo s classroom structure and activity: The talleres [sectionals] usually take place two or three times per week, in group classes ranging from two to fifteen students, depending on the instrument and on attendance. The teacher reviews the orchestral music currently being played and is also in charge of the student s technique and applying some of the material taught in the student s theory classes (e.g. scales, rhythms, note reading). The ensayos generales [full rehearsals] usually take place two or three times per week, and sometimes on Saturdays and Sundays. The director of the orchestra rehearses the pieces to be played for the next concert, mostly attending to problems with tuning, playing together, rhythm, tempo, balance and phrasing. The repertoire is a mixture of 27 Methodology, Sistema Nacional de Orquestas y Coros Juveniles e Infantiles de Venezuela, last updated 2016, accessed September 25, Peterson, Michael Sy Uy, Venezuela s National Music Education Program El Sistema: Its Interactions with Society and Its Participants Engagement in Praxis, Music and Arts in Action 4, no. 1 (2012):

27 Western classical symphonic works and Venezuelan and other Latin American orchestral pieces. 30 When I visited a nucleo in Guanare, Venezuela, there were many different classes happening simultaneously. Multiple orchestras ranging from beginners to more advanced with varying sizes of a handful to over one hundred students would play Western classical literature. Since this particular nucleo was very large, there were also choir rehearsals, smaller group classes, and even the occasional private lesson. Probably the most defining feature of the El Sistema method is the fact that students learn in group settings with heavy emphasis on orchestral music, rather than individual lessons. American music educator Melissa Lesniak writes: El Sistema students primarily study specific orchestra repertoire based on their current skill level. However, according to El Sistema alumni in the United States, education on specific technical skills, such as scales, sight-reading, shifting, vibrato, and so on, can be dependent on where a student lives and the resources and leadership available at his or her local nucleo. 31 This emphasis on group learning exemplifies the idea of participation in the nucleo and its community. Mark Churchill, Dean Emeritus of the New England Conservatory s Department of Preparatory and Continuing Education, adds: Pedagogically most of the learning is done in groups. The children are placed in ensembles within weeks of starting to play. Even if they can only play one note, they join an ensemble and play that one note, so there s that feeling of always being a part of the whole. Learning is motivated by participation in a group, which can extend to a kind of model society Uy, Melissa Lesniak, El Sistema and American Music Education, Music Educators Journal 99, no. 2 (December 2012): Eliahu Sussman, Music as a Vehicle for Social Change, School Band & Orchestra 14, no. 1 (January 2011):

28 Part of this group instruction includes older, more experienced players helping the younger students. One example of how this peer-to-peer instruction works is to start with a child who knows four chords is encouraged to teach one chord to a child who only knows three. And in the process of teaching, that child will be better prepared to learn his fifth. 33 The actual teachers themselves usually consist of conservatory students or semiprofessionals. Teachers typically go over the orchestra pieces they are working on and also monitor basic technique (bowings, articulations, etc.). 34 While teachers have a specific repertoire sequence of modified melodies from major classical works, there is little written about the method in which string technique is taught. Influences from former pedagogues such as Shin ichi Suzuki, Zoltan Kodály, and Carl Orff have been adopted into these programs. El Sistema s group learning comes from Suzuki s group class structure. While it is true that the majority of songs that are learned are from the canon of Western classical music, nucleos also have their students learn Venezuelan folk melodies. Kodály s method of teaching young children in their native language and Orff s influence can be seen in the early education of El Sistema children with rhythm and body movement Kim Kowsky, Taking the El Sistema Challenge, Strings 25, no. 2 (September 2010): Uy, Katherine H. Palmer, Social Reform Through Music Education and the Establishment of a National Identity in Venezuela, Master s Thesis, Arizona State University, Tempe, Arizona, 2013,

29 Chapter III: El Sistema USA Movement to the United States Mark Churchill, Dean Emeritus of New England Conservatory s Department of Preparatory and Continuing Education, was one of the key figures who helped build and bring El Sistema to the United States. Churchill first met Abreu in 1999, which was around the time when the country began taking interest in the Venezuelan music program. Ten years after that first meeting, Abreu was awarded the Ted Prize in 2009, which included a monetary award of $100,000. It is customary that recipients of the Ted Prize make a wish to use the money to help solve some of the world s most pressing problems. Abreu made the following wish: I wish you would help create and document a special training program for at least 50 gifted young musicians, passionate for their art and for social justice, and dedicated to developing El Sistema in the US and in other countries. 36 This contribution led to the creation of the Abreu Fellows Program at the New England Conservatory. Those accepted into the Abreu Fellows Program would spend a year immersing themselves in learning about the many types of music programs across the US and would include a twomonth residency in Venezuela. Fellows were expected to help create or aid in cultivating El Sistema programs in the United States after the end of the program. With Abreu s support and the leadership of Churchill and many others, El Sistema USA and the Abreu Fellows Program were born that same year. The creation of the El Sistema USA website would be the medium for uniting the new network. According to Churchill: 36 Jose Antonio Abreu, The El Sistema Revolution, TEDTalks, posted February 18, 2009, accessed September 24,

30 It [the El Sistema USA website] will provide comprehensive information on the El Sistema philosophy and methodology and a variety of resources that will aid those building, expanding, and supporting El Sistema programs in the US and beyond. 37 New and existing programs could now be linked together under the auspices of this governing body. El Sistema USA Core Philosophies and Values As the organization has grown, so has its initial mission. According to its website, El Sistema USA also: Promotes member collaboration in order to leverage members combined resources and strengths, and mediate their differing perspectives and needs towards shared priorities and goals; supports the work of member organizations in providing transformative, ensemble-based, music education and opportunities for performance to the nation s youth with the greatest need and least resources; [and] improves the quality of member programs through increased resources for learning, outcomes measurement, and program growth. 38 As of 2016, the organization has expanded to over 100 programs across the nation. El Sistema USA has adopted many of the practices and philosophies of FSMB, which include ensemble-based learning, accessibility (to some extent), the nucleo environment, social change, CATS teacher models, frequency, and flexibility. Many El Sistema USA programs take place in some of the poorest school districts in the country, and enrollment is limited to the students who attend that particular school. If a program is large enough, then multiple schools within the same district are able to offer access to El Sistema USA classes to reach a wider population. Since the US government does not fund El Sistema USA, there 37 Mark Churchill, El Sistema USA: Transformation through Music, TEDxBoston, posted September 9, 2009, accessed October 10, FAQS: What is the El Sistema USA/the Alliance? El Sistema USA, last updated 2016, accessed October 10,

31 is a loss of connectivity and organization like that of FSMB. This does make it more challenging to introduce a more unified teaching method, but also allows for unprecedented flexibility and different teaching styles to flourish. The goal of this paper will be to incorporate the core values into a beginning violin-teaching method to encourage uniformity for El Sistema USA. Classroom Structure, Activities, and Pedagogical Approaches A typical day for El Sistema USA students can vary greatly from program to program since they are more independent from each other in the US than in Venezuela. During my time with OrchKids in Baltimore, I taught predominantly at New Song Academy and assisted at Lockerman Bundy, the flagship school. At New Song, I met with the kindergarten and first grade students (all of whom were learning violin) for lessons twice a week for about 50 minutes during the school day. Students were only given violins to use during classtime. Instruments were placed in a cart and stored in the basement when not in use. New Song students were not allowed to take their instruments home. However, this was not the case for all OrchKids string students. Other schools within the program would allow students who had been playing for more than a year sign a contract in order to take instruments home to practice. The teachers and administration at New Song were very generous to let OrchKids utilize class time rather than function as an after-school program. There was a basic musicianship class offered after school that was taught by a different instructor. I was given the freedom to create my own lessons while at New Song. While I had an idea of what techniques and pieces to work on in my classes, I approached each class period from week to week instead of having a long-term plan for myself. For example, if I needed to add an extra class period on learning a new note or new 22

32 rhythm, then I would allow myself that time. The site coordinator would also inform me of concert dates, and that would also influence how much material I would cover with my students. Most of my teaching ideas and sequencing came from the pedagogy classes that I had taken at the Peabody Institute, so I had an idea of what pieces to work on and in what order. The instructor for the course incorporated ideas from violin pedagogues such as Mimi Zweig, Paul Rolland, and Shin ichi Suzuki. I also included basic Kodály-based solfège and self-created rhythm and note reading activities to provide some variety in the lessons. While all these methods are excellent in their own right, they are rooted in individualbased instruction and are not El Sistema in origin. At Lockerman Bundy, I spent time helping other instructors with their violin classes, which was helpful because it gave me ideas on how to model my own classroom. Students met every day after school for about three hours and were divided based on the number of years they had spent with the program. There were bucket band rehearsals (percussion class where students learned rhythmic pieces by drumming on top of empty buckets), orchestra rehearsals, musicianship classes, and instrumental sectionals all going on simultaneously. While flexibility is a core value, I believe that my lessons would have benefited if I had been asked to follow a more detailed and systematic set of classroom goals. Dr. Ann Shoemaker, Assistant Professor of Bassoon at Baylor University, visited OrchKids and a Venezuelan nucleo and shared her experience: OrchKids and El Sistema share basic principles of musical pedagogy. Both focus extensively on aural skills and the fundamentals of music theory. While El Sistema tends to use more traditional methods such as solfège, rhythm drills, and conducting practice, OrchKids introduces a broader array of activities such as improvisation, call and response, and movement to music. Both employ markers of progress, introducing more complex experiences as the child shows maturity and mastery of 23

33 certain skill sets. 39 Currently, OrchKids serves over 1000 children from pre-k to tenth grade in six different Baltimore City Public Schools where each school is overseen by a Site Coordinator [synonymous with administrator] who works closely with the community and school. 40 Caitlin Novakowski wrote about her role in developing the musicianship classes at Youth Orchestra Los Angeles (YOLA): The Musicianship class explores music literacy in all its facets with the intention of producing fully musically literate individuals. By focusing on all aspects of music literacy reading, writing (composing), speaking (dictation, performing and improvisation), and listening (ear-training) through creativity and teamwork, students are provided with tools of literacy of historical contexts of classical music and composers. This curriculum provides meaning to the music the children play and organization to the learning process while exploring basic musical concepts at varying levels, revisiting them in increasing complexity. 41 Dr. Tanitra Flenaugh, founder of Southern California Fine Music Center, had similar classroom observations as well, stating that some of the practices that the YOLA teachers are fostering include ensemble development, musicality, music theory, and ear training. 42 Tricia Tunstall, an El Sistema Global Advisor, describes New York s Harmony Program: The fifty children of the Harmony Program stay after school several hours a day, five days a week, learning instrumental technique and music fundamentals in mostly group settings classes and rehearsals are oriented toward group learning, playing 39 Ann Shoemaker, The Pedagogy of Becoming: Identity formation through the Baltimore Symphony Orchestra s OrchKids and Venezuela s El Sistema (PhD diss., The University of North Carolina at Greensboro, 2012), OrchKids: About, Baltimore Symphony Orchestra, last updated 2016, accessed October 31, Caitlin Novakowski, El Sistema-Inspired: The Joy and Goodness of Striving Towards Excellence, Canadian Music Educator 54, no. 2 (Winter 2012): Tanitra Flenaugh, Youth Orchestra Los Angeles (YOLA): Creating Access to Excellent Music Education for Underrepresented Students of Color (PhD diss., University of California Los Angeles, 2012),

34 instruments, and participating in ensembles. 43 YOLA, OrchKids, and Harmony Program share many of the same classroom training activities and are some of the larger El Sistema USA programs. In an interview with the magazine School Band & Orchestra, Churchill shared his initial thoughts about El Sistema and its pedagogy: When I first saw El Sistema, I thought, Well, they re doing it backwards. They re doing the passion and expression first and then they re figuring out the technique. What is intriguing about doing it as they do in Venezuela is that the child is motivated by the desire to express, so they re learning to play because of that, rather than [becoming impassioned because they have the skills to play]. In El Sistema they re very attentive to technique and the physical aspects of playing, as well, but the kids are always aware of why they re playing. Much of that is taught through singing, which is a constant part of the pedagogy. We say we do that here, but, in most cases, we don t really do it enough. Kids should sing everything they play. They internalize the music through singing and movement, and through a nurturing and loving interaction with their teachers. There is also a large involvement with the parents and the community. Again, this is not completely unique. The best programs in the United States also incorporate those aspects, but most of those programs are not in the poorest neighborhoods. 44 Churchill s comments highlight some of the uncertainties that teachers have about El Sistema programs. Because programs try to include as many students as they can within the surrounding area, there can be difficulty in teaching students how to play with the correct technique if there are too many in one classroom. Some programs are lucky to have more than one teacher per classroom, but oftentimes it is just one teacher trying to demonstrate good habits and maintain focus in a group of children at the same time. It is 43 Tricia Tunstall, Changing Lives: Gustavo Dudamel, El Sistema, and the Transformative Power of Music (New York: Norton, 2012), 233, Eliahu Sussman, Music as a Vehicle for Social Change, School Band & Orchestra 14, no. 1 (January 2011):

35 unrealistic to go around to each student if adjustments need to be made within the group class or ensemble setting that El Sistema advocates. When I was teaching at New Song Academy, I did not have a teaching assistant for a few months, and the progression with my students began to slow down. If I shifted my attention to one student for a few seconds, the rest of the class would become restless, and I needed to spend time re-focusing the class. These few seconds added up in lost rehearsal time. Flenaugh noticed that teachers with successful lessons had these qualities: clear expectations about behavior and learning, consistency, correct repetitions, and setting up students for success when new challenges were given. 45 These devices are used not only by music teachers, but all teachers in all subjects in order to have successful lessons. It is not a uniquely El Sistema method, but it can be incorporated into a flexible method. KidzNotes, an El Sistema USA program based out of North Carolina, has shared their music and string curriculum that shows a systematic lesson plan for a school year. 46 They draw from Kodály and Orff, as well as implement a specific method book. These lesson plans are very well thought-out and sequenced in a manageable way. However, it could be used for any aspiring string program, and not necessarily unique to the El Sistema philosophy. Despite that, this systematic guideline is a step in the right direction for helping to unify El Sistema USA s approach to string teaching. 45 Tanitra Flenaugh, Youth Orchestra Los Angeles (YOLA): Creating Access to Excellent Music Education for Underrepresented Students of Color (PhD diss., University of California Los Angeles, 2012), 34, KidzNotes String Curriculum , El Sistema Global, last updated 2016, accessed October 31,

36 Justification for Survey In 2015, I sent out a survey to administrators and instructors in the El Sistema USA network to gather more information about current programs. In general, the survey questions were multiple choice (with the option of selecting multiple answers) and followup questions that allowed respondents to write short answers to clarify certain answers. The goal of this paper is to work towards a more uniquely El Sistema approach to teaching, and by offering the opportunity for feedback on how the site coordinators and instructors viewed their own programs to potentially offer new insights. It was my goal to find similarities and general pedagogical principles in place as well as bring attention to areas that were not as uniform and could benefit from being so. Through my work I hope to bring attention to areas that were not as uniform and could benefit from being so. The complete surveys and results are included in Appendices A and B. Administrator Survey Components and Results 47 Funding Questions 1-5 dealt with the issue of funding. Since the majority of these programs are offered for free to some of the poorest neighborhoods in the country, the administration must be able to find sources of renewable funding to keep their organizations running. Some organizations in the El Sistema USA website listed earned revenue as part of their funding, and it was concluded that earned revenue and fundraising could be synonymous. The purpose for these funding questions was to see if these sources were renewable because it would affect how the programs would operate, with 47 For the purpose of clarity, I have edited the spelling and grammar of the short answer sections. Unedited responses will be included in Appendix A. 27

37 respect to the number of teachers hired, instruments available to students, and access to other supplies. Organization (Inclusivity and Accessibility) Since inclusivity and accessibility are core values of El Sistema and El Sistema USA, it was important to ask how a program accepted students into their organization. Questions 6-8 asked respondents to indicate how students in and around their immediate community were accepted into their programs. For most El Sistema USA organizations, being affiliated with a school district or larger musical organization could potentially widen the pool of students that could apply for such programs and help their program expand their influence within a larger community. Questions 9-12 allowed surveyors to answer whether or not programs had ties with existing organizations, which could include school districts, arts alliances, and symphony programs. These associations could also contribute to funding or other tangible resources, such as rehearsal space. Finally, the last question of the survey, question 17, asked administrators how their programs were different from other music education programs. This was a way for those in charge of their programs to voice their opinions about what is uniquely El Sistema and what is not, and could help to inform the teaching methodology that will be discussed in the following chapter. Hiring Practice/Teachers As mentioned earlier, the CATS teacher model is not a certified position. In questions 13 and 14, administrators were asked to identify some of the criteria they considered when hiring new teachers for their programs. Qualifications such as college degrees or Suzuki certification were included in the list of choices as well as the opportunity to write down other factors. Administrators were asked to provide this 28

38 information in order to see if there truly was a wide variety of teaching backgrounds coming into these programs. El Sistema USA could potentially benefit from a type of teacher training that could include both musical and classroom management topics. Administrators were also asked about teacher student ratios in question 15. For the purposes of running a classroom, it is difficult if there are too many students in one class. Lastly, question 16 asked administrators how often they were able to observe the classes in their programs. If administrators were able to go often they might potentially be able to assist a teacher a few times a month in order to help with classroom management, which was the case for myself at New Song Academy when I worked without an official teaching assistant. Teacher Survey Components and Results Introduction to the Violin Question 1 invited teachers to explain how they introduced parts of the violin and basic posture. Talking to students about the many different components of their instruments can be used as a way for students to begin recognizing the strings and which parts not to touch. This is especially important because some instruments may be shared among different classes and it is important to keep instruments in a suitable playing condition. Questions 2-4 were focused on posture, which included both standing and playing posture. Correcting student posture was something that happened in every class period while teaching at OrchKids. Sometimes students would lean against a wall, cross their feet together, or have too wide of a stance, just to name a few. Teachers were asked how they taught their students to hold their instruments under their chin in questions 6 and 7. 29

39 Introduction of Left Hand Technique The set of questions from 8-12 focused on left hand topics such as left hand placement, usage of tapes on the fingerboard, which fingers were put down first, and how to drop the fingers onto the fingerboard. Questions introduced the subject of vibrato, which is not often taught to beginners, however, there are curricula that introduce the motion of vibrato without placing any fingers down. In questions 22-24, the survey asked if teachers introduced any concept of shifting. Similar to the vibrato questions, most beginning students do not worry about shifting, but can be introduced to the basic motion without the usage of the fingers on the fingerboard. There are many approaches for teaching left hand technique, and while many are effective in a lesson setting, those same methods may not translate well into a group class setting. Introduction of Right Hand Technique Questions 13 and 14 asked instructors about which methods they preferred. Questions examined how students were taught how to hold their bows. Bow grip is an area that needs constant attention and is difficult to monitor in a classroom setting. Rhythm and Note Reading During my time with OrchKids, I discovered that string students fell slightly behind in reading music and counting when compared to woodwind and brass students. Beginning students were usually asked to imitate the teachers, and would not look at printed music until much later. Questions asked teachers to provide their sources for teaching rhythm. Questions focused on sources for teaching note reading. Because El Sistema is an organization that supports the orchestra as its core ensemble, learning how to read music is paramount for performance. I incorporated some rhythm 30

40 activities as part of warm-ups to help prepare students for when they would participate in orchestra, and these questions were included to see how note and rhythm reading were incorporated. Class Format, Activities, and Parent Involvement The remaining questions asked instructors to describe their daily classroom lessons, what types of method books or other literature were used for class, the number of concerts performed in a year, if students are allowed to take their instruments home, class placement, lesson planning, parent involvement, and knowledge of the teaching practices of string teachers in other El Sistema USA programs. These questions were important to discover how group classes were being run across the organization to gauge the structural similarities and differences from program to program. Survey Analysis During the analysis of the data from the distributed surveys, most of the core values mentioned in the previous chapters will be referenced as a guide to help formulate the following chapter of a proposed El Sistema USA violin teaching model for the first year. The core values that will be discussed are as follows: 1) Ensembles 2) Frequency 3) Accessibility 4) Connectivity 5) Flexibility in teaching/cats teacher model to ensembles. Ensembles Figure 1 shows results from questions 36 and 37 from the teacher survey pertaining 31

41 Are classes taught in a group class setting or as individual lessons for your beginners? (Teacher Survey) # Answer % 1 Group class 75.86% 2 Individual lessons 0.00% 3 Both 24.14% Figure 1. Teacher Survey Question 36. Over 75 percent of those who responded said that the group class is the main format, zero percent said that individual lessons was the main form. This suggests that the large majority of El Sistema USA programs are mostly in agreement about focusing on the group rather than the individual, which is in line with its core values. While most programs are adopting the group class environment, the short answer follow up responses show mixed opinions about the effectiveness of this setting. Some wrote that the advantages had to deal with positive group dynamic, teamwork, and motivation. One particular respondent wrote: When in group class, you can really see the development of teamwork and improved social skills as the year goes by. They end up able to help each other out and give positive criticism in order to improve their section as a whole. I emphasize that this is our own orchestra family in which everyone matters, which helps with their selfesteem. The disadvantages, according to the survey, were that there was not enough individual attention, a big discrepancy of playing level, and dependence on the teacher s ability to manage a classroom efficiently. By viewing a small sample from the written answers, it is evident that some teachers struggle with steady progress from every student because of the group structure and whether to teach to the middle (see Figure 2). 32

42 Please feel free to discuss the advantages or disadvantages of having this kind of class setting. (Teacher Survey) When there is a difference of progress, it becomes challenging to help the students that are behind yet challenge the ones who are advancing. Advantages - simple things like parts of the instrument, names of strings and notes on violin, and class games can be taught better in a group social setting. Disadvantages - little one on one attention, you can only teach to the middle, kids who don't thrive in a group setting are left out, kids who are moving quickly aren't challenged enough. Students were able to motivate each other to learn new music and assist with their peers' technique. On occasion, I was able to give individual attention for 5-10 minutes, which helped clear up a lot of confusion for students. It is a horrible setting that mixes students of different levels. Some of them have been playing for three years, some of them have never seen a violin before. They're all thrown in together in groups of 20+ kids sometimes, with only ONE teacher. They don't learn ANYTHING because it's literally impossible to give them any individual attention, correct postures, correct anything. All of the class time is spent on class management and stopping them from attacking each other with their bows. I repeat: it is a terrible system. Anyone who's ever going to learn how to play the violin well, will need years and years of PRIVATE LESSONS. That's the way it is and will always be. Advantages: Students learn from each other. They see how older students play. Disadvantage: One teacher can't get to all the individual students to give them the real help they need so some things go unattended. - Advantages: kids can help and motivate and learn from each other, while also learning to play as a group, as a team - disadvantages: especially if the groups are very large, it is difficult to address each child's problems with particular attention all the time; some children might find one particular thing easier than others; some children might need more time and individual attention and help than a large group class can offer; also, children in a group class have, very often, different levels of playing, and a large group can let some feel bored or not making any progress or not learning anything new, while others might feel overwhelmed with too many things they need to catch up with. A major advantage of group classes is camaraderie between students. The violin sessions are smaller (4-10 students) than their pre-orchestra classes. Students are close, and enjoy playing together outside of class. The individual lessons are no more than 10 minutes, and happen only when students are in need of extra help. The disadvantage is classroom management when students are at different levels. Figure 2. Teacher Survey Question

43 This supports the suggestion that El Sistema USA could benefit from a common teaching method in order to tackle issues of inconsistency. On the one hand, El Sistema philosophy embraces the ensemble, but it also expects high achievement, which some argue can only be attained through individual lessons. This paradox is best summed up by a survey participant s short answer: The difficulty in just having private lessons is this: just private lessons instead of group lessons defeats the purpose of having an El Sistema based orchestra [program]. Frequency Results from questions 35 and 43 in the teacher survey show how often students receive instruction and the number of public performances that are given (see Figure 3). How many days of instruction do your beginning students get during the week? (Teacher survey) # Answer % % % % % 5 5 or more 24.14% Figure 3. Teacher Survey Question 35. Considering that slightly over half of the surveyors said that the number of performances were four or higher, it is surprising to see that the days of instruction were mostly between two and four days a week (see Figure 4). 34

44 How often do your beginning students take part in public performances/concerts? (Teacher Survey) # Answer % 1 Once a year 0.00% 2 Twice a year 31.03% 3 Three times a year 17.24% 4 Four or more times a year 51.72% Figure 4. Teacher Survey Question 43. This raises the question of pacing and how much new material can be covered in such a short amount of time with so many performances. While there are many factors to be considered from program to program (with these factors being outside the realm of pedagogy), it might be worthwhile for El Sistema USA to have a discussion about how often and how long classes can be held. In fact, there are organizations that already require students to commit to the frequency of classes before being enrolled. One administrator responded to Question 6 from the administrator survey, Students must commit to attending the program in full. This means 2 hours a day, 5 days a week. Correct repetition and reinforcement is vital to learning any instrument. It would be to the students advantage to receive more days of instruction. The objective is for a student to learn the necessary skills to play an instrument through excellent teaching in an ensemble setting and meet as frequently as the program can allow. Question 16 from the administrator survey shifts the attention from the classroom and the teacher over to the site coordinators and how frequently they are able to visit a class (see Figure 5). 35

45 How often do you get to observe a class? (Administrator Survey) # Answer % 1 Once a year 0.00% 2 Twice a year 11.11% 3 Three times a year 7.41% 4 Four or more times a year 81.48% Figure 5. Administrator Survey Question 16. Over 81 percent of respondents said that they are able to come into a classroom four or more times in one year. This could be a small, but helpful opportunity for teachers who are struggling; Due to the large number of students in a class, their site coordinators could plan to help with a particular classroom activity. The added assistance could potentially lead to some individual attention that would otherwise not be possible. Administrators and teachers should also have a discussion about a number of concerts that is proportionate to the amount of instruction that is being given. Accessibility In the excerpt of short answers from Questions 6-8 in the administrator survey (see Figure 6) shows how students are eligible to be a part of their programs. Please describe in a few short sentences the criteria used to accept students into your program. (Administrator Survey) Students desire, commitment, ability to fit it into the schedule, and age are the primary considerations. Students must be from low-income families, be enrolled in school, and live within a 5- mile radius of the program site. For our free Boston Public School programming we hold a yearly sign-up that parents must attend. Priority is always given to returning students and we have close to 100% 36

46 retention. We fill our limited slots with siblings or families members first, then from a waiting list of parents who signed their student up at "back to school night." Students must live or go to school in the neighborhood. Students must commit to attending the program in full. This means 2 hours a day, 5 days a week. Students must be in 2nd grade or higher to join the orchestra program. Our pre-orchestra program is for Kindergarten and 1st grade. Student application with essay; parent interview assessing parent/student interest, and availability. Our mission is to provide free music lessons to underserved youth. We focus our work in low-income elementary schools in Seattle's Central District, one of the city s poorest neighborhoods. The opportunity is offered to all 4th and 5th graders at our partner schools, with preference given to people who self-identify as unable to otherwise afford lessons. We are [an] inclusive program. Parent[s] need to fill application for program and scholarship. Returning students as well as their siblings are accepted automatically. If number of new applicants is greater than the number of available spots, we conduct [a] lottery to determine who will be participating. We collaborate with Title 1 (California determination of socio-economic disadvantaged) and ESD resource staff at partner school to identify students most in need of the program. An invitation is sent home to families and then follow up phone calls with translators if needed and registration assistance. Following first priority registration period, the program is opened to the rest of the school population on a first come first serve basis. Figure 6. Administrator Survey Question 6. The vast majority of answers stated that acceptance into the program was based solely on student interest and space availability in the program. However there were organizations that needed students to meet specific criteria such as being within a certain school district, qualifying for certain income brackets, or something as simple as age limits. Some organizations noted that they accepted those outside of their immediate community in an effort to spread access. According to Question 7 in the Administrator Survey, 39.29% of 37

47 respondents allowed participants outside of their immediate community 48. Many respondents expressed selecting students regardless of playing ability which is implied with the tenet of accessibility. A diverse student body from multiple areas will require flexibility, an El Sistema core value, on the part of the teacher. This could mean that instructors include singing, rhythm, and note-reading exercises in addition to playing their instruments in order to cover as many different types of learning styles as possible. Connectivity Connectivity for El Sistema USA works differently than for Venezuelan programs. In the US, students are not able to advance from one nucleo to another. However according to Question 9 from the Administrator Survey, 75 percent of surveyors said that they were affiliated with a larger institution, which could provide a different type of local connection. Some of these institutions included symphony orchestras, school districts, universities, arts alliances, and music festivals. A list of these organization can be seen from Question 10 in the Administrator Survey (See Figure 7). Which organization(s)? (Administrator Survey) Charter School LA Philharmonic, 4 school districts within Los Angeles County, City of Los Angeles Dept. of Recreation & Parks, Boys & Girls Club, Beyond the Bell, LA Community College California Symphony and Downer Elementary School Ravinia Festival A university Philadelphia Youth Orchestra Kalamazoo Symphony Orchestra 48 See Appendix A, Q7, p

48 EBR School system Los Angeles Philharmonic & Los Angeles County High School for the Arts New Jersey Youth Symphony/Wharton Music Center, Paterson Public Schools, Community Charter School of Paterson The New Mexico Philharmonic Dayton Performing Arts Alliance Montgomery Symphony Orchestra Salt Lake City School District, the Utah Arts Alliance Montgomery Symphony Association School district Figure 7. Administrator Survey Question 10. Symbiotic relationships have developed between organizations that have partnered together. Based on survey answers from Question 11 in the Administrator Survey, over 85 percent of these organizations have benefitted from these associations through donated supplies, classroom space, or other free teaching resources. 49 For example, teachers may borrow and copy music books or music-related games for their own classes without needing to spend extra money. If an organization has a volunteer program, administrators or teachers can ask for an assistant in the classroom to help with classroom management so that the instructor can focus on the lesson. Not only does this help the individual program, but it is an opportunity for community connectivity as well. An excerpt from Question 12 of the Administrator Survey for the exact resources being provided can be seen in Figure See Appendix A, Q11, p

49 What kinds of resources are provided? (Administrator Survey) Depending on the partnership: classroom space, instruments, funding for program, onsite staff, tutoring. California Symphony Provides instruments, teachers, music materials, music stands Downer Elementary School provides classrooms, chairs, Academic Enrichment. Classroom space after school, and snacks. Instruments, Supplies, Repairs, Instructor Fees, Uniforms. KSO provides administrative oversight, fundraising support, supplies and materials related to the music instruction, and several KSO members serve as Lead Instructors in the program. Classroom space, after-school snacks, homework tutoring staff, school staff support. Office space, summer program rehearsal space (school year program is on school sites), support staff for setting up/tearing down from events, publicity. Instruments. In Kind facilities, copying, resources. Classroom, performance and storage space at no charge. Figure 8. Administrator Survey Question 12. Flexibility in Teaching/CATS Teacher Model The analysis for this section will begin with the issue of standing and player posture, move to left hand technique, right hand technique, then look into rhythm and note reading, and conclude with classroom policies. Figure 9 and 10 show the wide range of answers when asked questions about the teaching approaches to posture and technique in the teacher survey. Which of these stances best describes the way you teach your beginning students about posture? Click all that apply. (Teacher Survey) # Answer % 1 Feet shoulder width apart 57.50% 40

50 2 Feet shoulder width apart with left foot slightly forward 25.00% 3 Feet slightly apart 27.50% 4 Flexible knees 70.00% 5 Straight but relaxed back 67.50% 6 Other/Additional 35.00% Figure 9. Teacher Survey Question 2. Even though the general consensus from Question 2 in Figure 9 is that instructors advocate relaxed postures, it is clear that there are many variants and little unanimity. For example, 25 percent of surveyors said that they asked their students to place their feet shoulder width apart with left foot slightly forward, 27.5 percent said the feet only needed to be slightly apart, 57.5 percent said that their students feet should be only shoulder width apart, and another 35 percent responded other/additional. It may seem trivial to quibble about the importance of posture, but it is the belief of many instructors that a solid physical foundation is the basis for good violin playing. Please describe the way you approach teaching posture to your beginning students. (Teacher Survey) Posture is not a concern that is meaningful until the child has an opportunity to experiment on her/his own. I talk about being proud to be violinists, so we stand up straight and hold our violins up, proudly on our shoulders (prevents slouching). Our feet are shoulder width apart and left foot is forward. Move from rest position feet to play position feet, sway, bend knees, release tension in shoulders and neck, slide hand on the neck of violin in rest position, tap fingers reaching past the G string, move to a "statue of liberty" pose (Rolland technique) and bring violin down on the shoulder, adjust angle, tap fingers in play position. Feet - left foot may be slightly ahead of right but I do not talk about this at this point. Feet together make a v, take a step and sway like a tree. Tap your high dot 1,2,3 then raise your arm like the statue of liberty...1,2,3,4,5,6,7,8, float down slow and you'll look great. 41

51 The belly should not come out in front in an exaggerated way - the shoulders must also be relaxed and be open - the neck should not push the head forward. Have students imagine they are marionette puppets with a string they can pull from the top of their head to elongate the spine, square but relax shoulders, soften knees, and no sway backs. I go on to talk about violin and bow arm positioning, again with imagery - no "chicken wings" for violin arm, etc. Figure 10. Teacher Survey Question 3. The excerpt of follow-up short answer responses from Question 3 in Figure 10 again shows the many variations of what teachers are asking students to do, and a few answers name different pedagogues from whom they draw their teachings from. 50 The first respondent believes that free experimentation is more beneficial than telling students exactly how to stand while the rest of the answers show that relaxation and a few guidelines work best for their own classrooms. Teachers agreed more about their approaches for bringing the violin into a playing position. Question 5 from the teacher survey in Figure 11 shows that 54 percent of respondents agreed that the violin should be laying against the collarbone and 40 percent said the button should be against the neck. Which of these methods best describes the way you teach your beginning students how to place the violin underneath the chin? Click all that apply. (Teacher Survey) # Answer % 1 Violin button against the neck 40.54% 2 Instrument lying against the collarbone 54.05% 3 4 Right hand placed on the chin rest first and later replaced by the chin Chin rest marked with sticker indicating where chin should be placed 5.41% 0.00% 50 For full response, see Appendix B, Q3, p

52 5 Other/Additional 62.16% Figure 11. Teacher Survey Question 5. However, in the short answer follow-up responses to Question 5, once again there are many different opinions about how to place the instrument under the chin. Figure 12 shows a portion of the written responses to the follow-up question. 51 Please describe how you approach teaching placing the violin underneath the chin. (Teacher Survey) Thank you so much for doing all this, but you are baiting the question by making reference to the chin. I use button against the neck, body of V relatively parallel to the floor and "always be thinking about keeping the scroll closer to your ear than your nose." You look at your music stand, and the scroll wants to look with you. Don't let it. 1. Button comes to Adam's Apple. 2) Violin rests on shoulder - don't raise shoulder, don't put chin on rest yet! 3) Keeping neck/spine straight, turn and point nose down the fingerboard and catch the side of the jaw on the lip of the chin rest, be sure not to lay head down or twist neck. 4) Left hand holds violin at "high dot" position, with heel of hand touching the rib, and fingers making a relaxed "umbrella" over the strings. 5) Take a deep breath and relax Left shoulder. (If the child is squeezing with the shoulder, chin, hand, the violin chin rest/shoulder pad is incorrect for the child and needs to be changed or adjusted). Sometimes I raise the chin rest with [an] extra cork, or change the shape of the chin rest. 6) try to hold the instrument with no hands and a "heavy" head. Eye focuses on button and follows it until teacher aids violin [to] be put in proper place, teacher looks to see that nose can look down between d and a strings, etc. Student memorizes how this feels and practices it many times, with eyes closed, first with lots of teacher assistance and then on their own. It is important that a teacher[,] when burdened with a group[,] take the time to assist each student of the proper placement until they do it on their own consistently. I use a 5 step system for the violin hold. The fifth step is violin on shoulder with a neat left hand position. The violin should be on the collar bone, towards the shoulder, not in front, on the chest - the left part of the chin and the left side of the lower jaw go on the chinrest - the chin itself sits only partially on the chinrest actually - rather than "holding" the instrument between collar bone and head, I would suggest that the instrument rests on the collar bone, while the head tilts a little to rest on the chinrest. 51 For full responses, see Appendix B Q6, p

53 Tilt head back, place violin on shoulder, lower head into place. Emphasize weight of the head as being what keeps the instrument in place. Button to the neck... Jaw on the chinrest...violin on the shoulder. The thin part of the foam shoulder rest under the chin...adjust things slightly to find the "comfy spots"...hover the hand so the violin is sustained by the jaw and shoulder...the scroll pointing to the wall... to develop a solid, violin hold independent of hands... This begins in 1st grade. Figure 12. Teacher Survey Question 6. In fact, one respondent said it is the importance of the neck, and not the chin that should be considered. The largest divergences came from the discussion of the angle of the violin after the chin is on the chinrest. One respondent wrote, turn and point nose down the fingerboard and catch the side of the jaw on the lip of the chin rest, be sure not to lay head down or twist neck, while a different respondent said: The violin should be on the collar bone, towards the shoulder, not in front, on the chest - the left part of the chin and the left side of the lower jaw go on the chinrest - the chin itself sits only partially on the chinrest actually. 52 And still, another stated: Eye focuses on button and follows it until teacher aids violin be put in proper place, teacher looks to see that nose can look down between d and a strings, etc. Student memorizes how this feels and practices it many times, with eyes closed, first with lots of teacher assistance and then on their own. 53 Directions range from very specific points of the body to aim for to a more teacher-guided approach and through physical exploration, rather than a fixed point. While none of these approaches is neccessarily better than the rest, it continues to demonstrate that the violin pedagogy in the programs, while well-informed and based on sound principles, is quite scattered. 52 Taken from Figure Taken from Figure

54 Similarly, the questions asking how teachers taught left hand technique pointed out many degrees of variety. When teachers were asked about beginning left hand placement in Question 7, a little over 71% said they started in first position, 25% placed the left hand on the shoulder of the instrument, 28% had students movable left hands from the shoulder to the nut. 54 The following figure shows the short answer response to previous multiple choice question. Please describe your approach to teaching left hand placement to your beginning students. (Teacher Survey) Second finger to high two in the A string as main contact point to include proper wrist. No left elbows against the rib cage. When you get tired [the] instrument comes down entirely...and you can [reasonably] do this when I start to talk. Then we do Boil 'Em. I am a folk musician and find instrument hold and posture can come along latter. I want sound and groove. I use a "stop sign hand" where they turn they put their left hand out to stay stop, then turn it around and place it under the neck. Violin "rests" on first knuckle of left hand index finger. Teacher places hand in proper place and has student repeat many times. Use moleskin to feel placement of knuckle and thumb. "Mouse House" is space created between thumb and index, under violin. Wrist is the "door" that should remain open so the mouse can get to his house. My students play some plucked songs with the left hand resting on the shoulder of the violin. They also move their left hand down the neck and up again when ready (this varies) and they learn to place the left hand in 1st position after the plucking songs. Wood monster ensuring the thumb remains in proper position. Make a Stop Sign. Have a "mouse hole". Wave at yourself...say hi (student name). First students learn the hand's proper location. With a flat relaxed palm: (I say this sequence in class, students complete the sentences). 1) Finger pointing up to the ski, 2) base of the finger behind the first sticker or tape, 3) Wrist always straight, 3) Don't fall into the pool, (visual... to prevent neck of violin from falling into crevasse of thumb and index), 4) first finger makes a box shape, 5) finger nails looking at me. 54 See Appendix B Q7, p

55 Visual demonstration of hand position without and with my violin. Then have students practice hand position without instruments. Students then position violins and visualize hand position held before putting up violin. Use lots of visual and verbal clues. Figure 13. Teacher Survey Question 8. From the responses, it is apparent that none of the teachers share the same steps when teaching their students about left hand placement. This discrepancy is not necessarily negative to the organization as it demonstrates flexibility. However, in order to move towards a unified El Sistema style, it is important to know the current trends to develop pedagogical unanimity in the future. It is worth noting that in question 12, 100 percent of respondents said that they marked their fingerboards with tape to indicate where the fingers are placed. 55 This was the only time in either survey, where 100 percent of respondents reported the same answer. After indicating the wide variety in the approach of left hand placement, the survey continues to show divergence when teaching students how to place their fingers onto the fingerboard. When asked which finger should be placed down first in Question 9 of the teacher survey, nearly 90% of surveyors agreed that the first finger of the left hand should be learned first, 55% indicated that the second finger, 48% put down the third finger, and 3% wrote the fourth finger. 56 Questions from the teacher survey addressed the issues of vibrato and shifting, two techniques which are typically not covered in the first year of violin instruction. However, there were instructors who did introduce these concepts, and it 55 See Appendix B Q12, p See Appendix B Q9, p

56 would be worth exploring how to incorporate these basic motions into a first-year method. 57 The data from the questions about right hand technique continued the pattern of diversity that has been observed with posture and right hand technique. When asked about when the bow grip is introduced, sixty percent of teachers said before the left hand fingers have been taught, 10% said after the left hand had been taught, and 30% indicated other. 58 Bow grip formation was slightly more uniform, as can be seen in Figure 14. Over 87% taught bent thumbs and nearly 84% asked students to curve their right pinky. Which of these methods best describes how you teach your beginning students about bow grip? Click all that apply. (Teacher Survey) # Answer % 1 Bent thumb 87.10% 2 Curved pinky 83.87% 3 Thumb across from the index and middle fingers 48.39% 4 Right hand fingers marked with an "X" to show placement on the bow 12.90% 5 Pinky house/device to help with pinky placement 29.03% 6 Other/Additional 29.03% Figure 14. Teacher Survey Question 17. While a large majority of surveyors agreed about the general placement of fingers, when given the opportunity for a short-answer response, there were many more varied responses on how to achieve the correct bow hold. Based on Figure 15, some teachers paid great attention to detail about each of the right fingers position and function. Others chose 57 See Appendix B Q 19, 20, 21, 22, 23, and 24, pp See Appendix B Q15, p

57 a broader approach such as the image of bunny ears that allowed students to explore what was comfortable for them. One responder said that they tried many different types of activities without a bow and with the bow to help students get accustomed to the way their fingers should feel. Please describe how you approach teaching the bow grip. (Teacher Survey) Thumb underneath the ferrule and not collapsed. Middle fingers [slightly] spread and on the far side of the frog from you. First finger where ever you want. Pinkie on top as an eventual goal. Make your hand round so you hold a tiny bird without squishing it. Give your bird a name. We use dowels throughout a 3-week paper violin course where they work on curved fingers, dexterity, and correct placement before they touch a violin or a bow. Middle finger and thumb are friends, fourth finger drapes over frog, I use moleskin for thumb and sometimes other finger placement so students can feel where fingers should be. Sometimes a seatbelt rubber band helps kids feel how their fingers should hug the bow. The feel of the bow hold is very important, so I tap and wiggle their fingers and teach them to check for a relaxed feeling in their hand and fingers as much as possible. Curved pinky, bent thumb and pinky house are helpful, but also movement games so the fingers do not get stiff. Bow games separate from the violin are helpful. Open string bowed songs are very helpful. Fingers should be round on the bow, and relaxed - the thumb and the middle finger should form sort of a bird beak shape, with the bow being a stick that the bird is carrying - the wrist should also be relaxed and flexible - exercises without and with the bow, without the violin, can help with this, as it does take a little while for kids to get used to it - fingers should be flexible on the bow, and at any time, any one finger at a time should be able to get up from the bow and back down on the bow, without tension - the arm is also very important, as a tensed arm will prevent from holding the bow in a relaxed and effective way. We start by making "bunny ears" with middle and ring fingers together, touching a bent thumb. I say these in class: Bumpy thumb, curved pinky, relaxed resting index finger, middle and ring fingers draped over the frog...tip of bent thumb on the stick next to the frog (not inside the frog cave!) I also use the imagery of a bunny, when teaching beginning bow 48

58 hold. If you me I can send you an article I submitted to the Florida Music Educator's Music Director Magazine depicting this particular process and sequence. As students play together, I will remind them to be mindful of their bow grip and review inverting method as necessary. Also talk about and demonstrate the use of "push and pull" of the right wrist for flexibility. Figure 15. Teacher Survey Question 18. Because of the flexibility of teaching, teachers in El Sistema USA feel comfortable borrowing from written material to help teach rhythm and note-reading. Questions 28 and 32 from the teacher survey asked responders to list any printed sources they used to teach rhythm and note-reading. These answers include traditional sources such as Kodály, Orff, and Suzuki, as well as more contemporary methods such as Mark O Connor. Figure 16 and 17 show some of the printed sources that teachers used in their classrooms. 59 Which sources, if any, do you use for teaching rhythm? Write N/A if you do not use any sources. (Teacher Survey) Mark O'Connor Kodaly Music Mind Games, Kodaly, Orff Suzuki, plus all teachers bring their own ideas that we incorporate. All For Strings I Can Read Music by Joanne Martin; Kodaly ideas; Gordon Music Learning Theory ideas. Rhythmic training by Robert Starrer For beginners i use the Suzuki method books, including the" I can read music" books. I use my own exercises Essential elements Suzuki has rhythm pages set up/maia-bang Violin Course/percussion rhythm book from college 59 See Appendix B Q28 (p. 115) and Q32 (p. 118.) 49

59 Magic Carpet for violin, folk songs, Suzuki violin book 1, Conversational Solfege Picardy (picardylearning.com) Figure 16. Teacher Survey Question 28. What sources do you use for teaching students how to read music? Write N/A if you do not use any specific source. (Teacher Survey) Essential Strings I Can Read Music Drawing a staff on the board, doing one string at a time. Have them say the note name, then what finger, then they pluck when I point. Music Mind Games We make worksheets and scale sheets, and all students learn music reading with their private teacher. Essential Elements books All For Strings I Can Read Music; flashcards; homemade pages of large, simple notes; tunes from various books as appropriate. Essential Elements, Pamela Hayes After rhythm exercises, then I use Essential Elements which is an excellent method. I also use "I Can Read" from the Suzuki literature. Essential elements Rhythm and reading is taught in pre-orchestra classes Suzuki will repeat same notes over and over play and say and so will our text book Essential Elements 2000 I Can Read, All For Strings, Suzuki books, Essential Elements, Strictly Strings, O'Connor Method, self-created scale exercises and worksheets. Conversational Solfege Picardy (picardylearning.com) This is done in the musicianship classes taught by other instructors. Figure 17. Teacher Survey Question

60 With such a diverse list, it would be helpful to publish such a list on the El Sistema USA website for other teachers to use a resource for their own classrooms. A future project for the organization would be to create a centralized literature that would echo the core values being utilized for El Sistema USA. Having older mentors is a hallmark of the El Sistema programs in the US and Venezuela. If possible, teachers should take advantage of this to help give students more individual time when it is needed. According to Figure 18 taken from question 50 of the teacher survey, over 72 percent said that they utilize more experienced students to help with beginners. These peer mentors will play a role in the proposed methodology in Chapter IV. Do you have more experienced students help with teaching younger students or their own peers? (Teacher Survey) # Answer % 1 Yes 72.41% 2 No 27.59% Figure 18. Teacher Survey Question 50. After having discussed the broad technical components behind violin instruction, left and right hand technique, classroom texts, and note and rhythm reading, it is worth looking into the planning and synthesis of all these factors. When asked if they needed a lesson plan for themselves, a little over 65 percent of teachers responded no and only 34 percent indicated that they needed one. 60 Public school teachers are certainly required to have a timeline and plan of how the year s lessons will proceed and a very large majority of 60 See Appendix B Q44, p

61 El Sistema USA programs are either after-school or in-school activities. It is not to say that the organization should start requiring lesson plans, but having a guide would certainly be helpful. In Question 45, surveyors who answered no to the lesson plan question were given the opportunity to clarify their answers. Again, the responses ranged from absolute freedom from class to class to having curriculum goals and coordinating with all the different levels to make sure that their students were progressing in a systematic fashion (see Figure 19). What kinds of factors play into your teaching plan if you are not required to have a lesson plan? (Teacher Survey) We have frequent juries and student performance opportunities that propel progress. We discuss pedagogical strategies and priorities as a staff in order to coordinate the material in private lessons and group classes and reinforce a consistent set of goals. I usually have about four options of what I can do for every day I teach because the environment I teach in and the team I teach with changes constantly, so I have loosely defined goals and multiple options of how to achieve them depending on where I'm teaching (inside/outside) and what I have available Second grade beginners follow a set of curriculum goals - they will learn to use the bow and left hand to play hot cross buns by the end of their first year, and all the posture and skills required to do so. They also learn open string parts to 3 specifics. All Play Songs that we do as a program every year, each year students learn a harder part. If students can, then the entire D scale is learned, preparing them for the following year of private lessons, chamber music orchestra, theory and improv. We follow the curriculum of the lesson book using supplemental materials to help with a given lesson. The biggest factor in planning the lesson is the group of students. It is interesting how each class has its own personality. I do plan what I will do, but no one has ever asked me to produce a plan. I don't require a detailed plan for a lot of these activities, but do need to plan for the time allotted to various things. I only require students to enjoy playing. That is my lesson plan, basically. I keep a progress chart in the room so students (or anyone) can see what students are doing. I have taught for over 40 years...there are 1000s of lesson plans in my head. I pull them up as necessary. 52

62 I have lesson notes that I've made for myself. I'll often mix up different elements of lessons I ve used in the past, or give a similar lesson multiple times, but gradually increase the difficulty of the activities. - The level of each student in particular, as well as the general average level of the group class - the amount of time for lessons (each lesson, each week, each semester, etc.) - making aware that they improve with every lesson - never let the students feel bored or stuck without learning anything new, as that will make them lose interest Preparation for the next concert. Communicating with orchestra and pre-orchestra to see what would be best for the students in violin lessons. We learn scales based on songs they are learning; in the beginning violins, the music is often complimentary to what the students are learning in other classes. The other instrumental (winds) teacher and I coordinate songs to play. We arrange the pieces so that our students play pieces together. We prepare the pieces to be performed at the set concert date. I have a long term plan that includes the fundamentals and a draft of the concert repertoire. We have a general plan of what musical goals we should be achieving, and a concert piece to be preparing. I also have extensive experience teaching beginners, and I rely on that to ensure that the students are learning what they need to be successful. Figure 19. Teacher Survey Question 45. Probably the most telling piece of data from the survey was that almost 50% of teachers said that they were not aware of how other El Sistema programs teach their first- year violin students classes. 61 Even though El Sistema USA acts as a unifying entity for all programs in the country, the results from this particular question support the notion that the lack of knowledge about other classroom teaching methods is a cause for concern. In order to build an El Sistema USA style of teaching, the organization must be aware of the current trends. In Question 52, respondents who said they knew how other teachers were 61 See Appendix B Q51, p

63 teaching their beginning violin students were given the opportunity to share their observations (see Figure 20). Please feel free to describe any methods that you have seen or heard about from other programs. (Teacher Survey) Paper violins is the biggest thing I have changed that I didn't use before but have seen multiple programs that use it I have heard and seen videos on Baltimore's Orch Kids and Juneau Alaska JAMM programs. Pairing students who enjoy 'teaching' with those who wish for help works well for our classes. My understanding is that these programs are not all the same. I have seen videos and done in person observations of a few programs. Some of them do have private lessons included. Some place no emphasis on a good initial set up, and that is unfortunate. I have too little experience with El Sistema programs to know what the basic model is, or whether there really is one. From what I've sent, most Sistema programs don't seem to use one particular approach, although Suzuki seems to be the most common influence. I follow the El Sistema Pinterest page which contains a lot of great materials on lesson plans, games, and fun activities. I also access the Repertoire archives on El Sistema Global to see what levels of music other programs are using. Figure 20. Teacher Survey Question 52. Finally, when administrators were asked how their programs differed from existing music programs in Question 17, it was apparent that each respondents idea of what made El Sistema unique were very different from each other. Figure 21 shows a sample of the short answers from this question. Most answers included one or more of the core values that have been written about, and some were not able to make any distinctions at all. One surveyor responded that they were unsure of how they were different from other non-el Sistema based music programs. Perhaps this confusion among the administration of El Sistema USA should be addressed in future symposia in order to establish a clear identity 54

64 that can lead to a unique El Sistema approach to teaching that would apply to all disciplines. How do you feel your program differs from non-el Sistema based music programs in the United States? (Administrator Survey) I believe each program has its own focus/essence. Ours has an improvisation component as well as orchestra. This is such a difficult question! It completely depends on which program you are asking about. Our program is much more intensive than a regular Suzuki program that a violin student may be enrolled in, but perhaps not all that different than an excellent school band program (where that may still exist. Texas, etc). Our program engages and advances students across 4 levels of ability. Our program provides Academic enrichment as a key support class. We are focused on both musical and social goals with our students. We also focus on the entire Symphony Orchestra as opposed to just band or strings. Students get intensive instruction 9 hours a week which is higher than most Music Education programs. It includes children coming from underserved communities. We model ourselves to be all inclusive, customizing a season to fit the needs of our participants utilizing composition and highly sought-after performers to organically foster a community of young performers. Specifically, developing successful approaches to connecting various neighborhoods within Philadelphia is unique to Tune Up Philly's programming. We offer greater access to disadvantaged students and those who are not already excelling academically. Our orchestra better reflects the demographics of our school than any of our school-based orchestra or community-based orchestras. We also engage our students in more sophisticated music, focusing on themes from orchestral masterworks. Our students experience the power of great music from the beginning. Intensity Frequency Amount of performances. Some focus on developing socialemotional skills within students (this is just as important as musical skills). Mixed ages. Mixed levels in same ensemble sometimes. Some distinctions within repertoire possibly. I would say that our program is 'El-Sistema influenced' or 'inspired' but not a true El Sistema program. Participating students receive two lessons each week: one afternoon of one-on-one lesson (led by a volunteer mentor from the community) and one small group / ensemble lesson. 55

65 Not much difference minus more frequent contact with students, as we see them 5x per week. Meaningful relationships are formed with the students and their families, who have become close with all of the teachers. Frequency of instruction and performance, focus on community pride and families, quality and pay of teachers, quality of instruments, subsidized tuition for 100% of students and full scholarships for any student who applies and demonstrates need. We emphasize working, playing, performing with peers; reaching out into the community; meeting more than once per week; becoming good citizens first, musicians second. Having visited a handful of programs, I feel we are very similar in the most important aspects- we seem to all have the same goals, of course, similar program structure, similar hurdles in finding appropriate rep, good teachers, etc. All students, regardless of ability or previous musical experience, are invited to join our program. No audition is necessary. Our classes are a mix of students from 5th year veterans to brand new students. Our focus on community building and our diversity. We offer generous scholarships (up to 95% of tuition) to make the program affordable to any student who wishes to participate and provide an instrument free of charge to all program participants. We also recruit and teach at various locations across town to reach a diverse geographic, socioeconomic, and ethnic background. All of our students gather on Saturday mornings at a central location to make music together. Apart from it being tuition free, I have no idea. Figure 21. Administrator Survey Question 17. It is worth re-mentioning that the Venezuelan government funds El Sistema as a social program, and not a music program. Abreu s original goal was to improve the quality of life for those in the poorest neighborhoods, and the fact that so many exceptional musicians have been produced was a product of their training and hard-work. The following chapter will explore how to synthesize the core values of El Sistema USA and the details from both surveys into a comprehensive beginning methodology. 56

66 Chapter IV: Suggested El-Sistema Inspired Beginning String Teaching Model The discussion of El Sistema s core values in previous chapters has allowed for an introduction and familiarization of the program s operating philosophies. This methodology will focus on four values: ensembles, frequency, connectivity, and the flexibility of the CATS-teacher model. These four were chosen for the practical usage in a classroom, which is not to say that the others will not play a role in these programs. A reminder that while this teaching approach will be focused on violins, different aspects can be applied to the other stringed instruments. Before exploring the possibilities for the proposed methodology, a few considerations should be addressed. This model assumes that the class format will be a group setting with one teacher per classroom which satisfies the ensemble core value. It will adopt the 16-week semester or 32-week school year with classes meeting at least twice a week for at least forty-five minutes or longer. The number of days of instruction was chosen from Question 35 in the Teacher Survey. Considerations for In-Service days and holidays have been included in the weekly count. Each El Sistema USA class will of course be different, but this basic assumption of classroom set-up will serve as a recommended guideline. The remaining core values that will be considered in this methodology are connectivity and the flexible teaching styles for the CATS model. Connectivity will be considered in the form of access to other classes within the program, parent involvement, and possible participation with any existing musical institutions within the community, such as a local symphony. If there are different string classes, students from more experienced classes can be invited to perform or help mentor. Even non-string students could be asked to share their own insights about rhythm or other aspects about music. 57

67 There are many El Sistema USA programs that also have woodwind, brass, percussion, and vocal classes. Students from these areas can cross-collaborate to teach new rhythms or songs that they are learning to each other. For example, a trumpet student might be learning a jazz-influenced piece that a string student would probably not have learned before. A peer-to-peer activity could include a day where students can perform and teach this piece to a new set of ears. Certain parent activities could be planned in preparation for concerts, such as making posters for the performances. If a program is connected to a symphony, then special events such as side-by-side concerts could be programed into the school year or symphony members could volunteer to teach a class. In earlier discussions about the CATS-teacher model, one key point was the idea of flexibility within teaching styles. Probably the most unique aspect about El Sistema programs is the utilization of peer-to-peer teaching. Chapter I proposed the idea that every El Sistema student is potentially a CATS teacher-in-training, and it is this proposal that has the potential to launch new avenues for future El Sistema methodology. If possible, I suggest saving some time at the end of a class period to utilize the peer-to-peer help in smaller groups of two to three students rather than asking a student to stand in place of the teacher. These students should be given one or two goals to work on during the allotted time. For example, the teacher may ask the student helper to focus on good string crossings. The student helper should avoid attempting to correct other issues, such as standing postures or left wrists being squashed. Teachers can also consider training the whole classroom by playing a short passage the correct way and one the incorrect way. After the demonstrations, the teacher can ask the class to point out which one was correct and why. These activities will be suggested in the methodology that will follow. Peer-to- 58

68 peer activities are a great tool for reviews. Any new techniques or material, however, should always be introduced by the teacher. Many teachers use external markers on the instrument to help beginners see where their hands should go. All teachers, according to the survey data, place tapes on the fingerboard. In addition to the finger tape, a sticker can be placed on the halfway point of the fingerboard, and assign it a name such as the high dot. This dot will show students where to place their left hand in rest position, and will also be used for pre-vibrato and shifting exercises. It is also suggested to put a marker on the halfway point on the bow. Additional markers may be used per the discretion of the teacher. This suggested approach is a synthesis of the many different influences that have formed my education (such as Rolland and Suzuki), other El Sistema curriculums, preparatory curriculums (such as the Peabody Preparatory), and the short answers from the survey that I collected. Admittedly, this methodology is heavily influenced by classical training and does not explore the techniques of alternative styles. These styles could also be used to introduce repertoire employing various bowing and rhythm patterns according to the teacher s expertise. All copies of the suggested repertoire may be found online. Repertoire substitutions that cover the same techniques can be found on the El Sistema Global website, or any other internet search of arranged music. I recently saw a performance of the E String Concerto with a hip-hop influence complete with choreography from the students at OrchKids. Even though these students had become less than enthusiastic while playing this piece repeatedly, everyone could barely contain their excitement over the new version. While correct repetition is vital for learning, it is 59

69 essential that students maintain interest in their activities, as well as relate what they are doing to the music they encounter around them in other settings. Something as simple as adding a backtrack to a song that has been practiced in nearly every class period can breathe new life and excitement without having to change pieces. The El Sistema Global website has arrangements of South American folk songs that are both familiar to the Venezuelan students and functional for classroom purposes. All suggestions can be modified to fit the needs of your own classrooms. If a class has mixed strings, change these activities accordingly to make sure all instruments can play the pieces on the same string. While this methodology gives a one-year overview, there are many unexpected factors that could either deter from getting through to the end or leave extra time for additional pieces. Events such as extra holidays, illnesses, or disciplinary issues, the presence of teaching assistants, or extra class days, can delay or speed up the learning process. Sometimes a new technique might prove more challenging than expected, and a few more class periods will be needed to grasp it. As a former El Sistema USA teacher, I remember what an achievement it was to perform the majority of Twinkle Variations from Suzuki without stopping at the end of the first year. Another class immediately progressed through the same piece at the beginning of the second semester. Flexibility along with foresight should be the basis for one s teaching strategy. Classroom Management After watching many successful teachers and developing my own teaching strategies, it is arguable that without good classroom management, even the best methodology will be difficult to get through. Students are eager to learn in the program, but it is important for the teacher to be in control of the learning environment at all times. 60

70 First and foremost is to establish simple rules and consequences, or as one of my former teachers called it, Policies and Procedures. One should keep the rules few, simple, and concise. For example, my guidelines for teaching were to treat everything and everyone with respect, to raise your hand if you would like to speak, and to only play your instrument when asked to. If any of these rules were not followed, there would be certain consequences. Students would usually receive one or two verbal warnings, but if a rule was broken the student would be asked to have a time-out. By establishing clear expectations from the first day, you will have an easier time for the remainder of the year. Consistent follow-through (similar to the process of learning the violin) will be your most important tool. Goals and Objectives: Suggested Year 1 Plan Weeks 1 and 2 (Fall Semester) 1. Introduce students to the different parts of the violin and the bow as well as proper maintenance and care. 2. Learn how to sing a scale with body solfège. 3. Teach students about quarter notes and eighth notes through aural repetition. 4. Teach students about good standing and playing posture. 5. Learn how to properly hold the bow. 6. Introduce the martele stroke in the upper half of the bow. 7. Recognize the note open E on the staff. 8. Learn the Birdie Song. Terminology: Pizzicato, forte, piano, up bow, down bow I. Warm-Ups a. Focus the room by doing some stretching exercises and incorporate breathing exercises as well. b. <ACTIVITY> Body solfège: Sing a scale using solfège and utilize the body. For example: point to your feet and sing Do. When you sing Re you point to the ankles, then move to the knee when singing Mi. Ask students to point to their 61

71 thighs on Fa, place their hands on their stomachs for Sol, the hands should be placed on their shoulders for La, Ti should correspond to their hands on their head, and then their hands should be in the air for Do. c. <RHYTHM> Clap and speak simple 4/4 meter rhythms for students to repeat. Use quarter notes and eighth notes. You may want to assign specific syllables to help students remember these note values. Choosing student names is another great way to develop rhythm. II. Introduction of the Violin a. Presenting the Different Parts of the Instrument and Bow III. Posture a. Standing i. The teacher may choose which parts of the violin to highlight and may include but are not limited to: pegs, chinrest, bridge, tailpiece, and neck. ii. Have students point to them on their own instruments for help with memory. iii. Be sure to tell students not to touch certain parts of the violin and bow so as not to damage it. iv. If students have access to their own instruments, a demonstration of proper care and storage can be made. v. If both the bow and the violin are being introduced in the same day, show the students the procedures one at a time to reduce wandering attention. vi. Demonstrate how to open and close the case, put the violin and bow in the case, clean the strings, rosin the bow, and how to tighten and loosen the bow hair. i. Without the instrument, tell students to stand with feet shoulderwidth apart with flexible knees that can bend, and upper bodies that can sway back and forth. ii. Ask students to slowly rock their heads from side to side and then up and down to make sure that these areas are relaxed. b. Rest Position 62

72 i. Before holding the violin, mark an x with washable marker/pen on the base joint of the left index finger, on the side closest to the thumb (see Figure 1). Figure 22. Drawing an "X." 62 ii. With the instrument, tell students to only hold the instrument from the neck, shoulders, or bottom of the instrument. Then demonstrate the rest position under the right arm with the thumb on the button and the left-hand fingers covering their high dot. IV. Left Hand and Arm Exercises a. <ACTIVITY> Rhythm Tapping Pre-Vibrato Exercise: Tap a simple four-beat rhythm with the left fingertips while the hand is hovering over the high dot and ask students to repeat that rhythm. The movement should come from hinging your wrist and not just from your fingertips. You may use rhythms that will be played with the bow in later classes. Sometimes assigning little phrases like, Pepp-er-oni Pi-zza! or Down wig-gle, Up wig-gle helps students remember them better. This helps develop their sense of rhythm as well as mimic the larger motions of vibrato. b. <ACTIVITY> Sliding up and down the neck: Move the left hand onto the neck, making sure that the marked x s touch the neck. Glide up and down the neck 62 Magic X, String Pedagogy, last updated 2017, accessed February 27,

73 without leaving the x s, and make sure not to squeeze any part of the left hand. Start slowly and relaxed and check for any tension in the left hand. This prepares students for shifting and reminds them that their hands and arms can be mobile in the future. Ask students if their hands are moving easily or if it is getting stuck along the way. It is possible that there is too much tension in the left thumb and index finger joint if students are having difficulty moving up and down the neck. c. <ACTIVITY> Statue of Liberty : To help build stamina in the left arm, have students place their left hand over the high dot and raise their arms, holding the violin upright and the fingerboard pointed away from them towards the teacher. Count to ten while their arms are raised. Repeat as necessary. Have students pair off with one another while doing the Statue of Liberty activity. Ask one student to perform the activity and the other student to watch. The student who is watching should count and check that the other student s free arm is not rigid but relaxed (see Figure 23). Figure 23. "Statue of Liberty" posture. 63 d. Holding the Instrument (this process should be repeated often until finding a comfortable position to hold the violin is second nature). 63 Michael Hopkins, String Technique, last updated 2015, accessed February 27,