Atjaunināt sīkdatņu piekrišanu

Teaching Strings in Today's Classroom: A Guide for Group Instruction [Mīkstie vāki]

(The University of North Carolina at Greensboro, USA)
  • Formāts: Paperback / softback, 148 pages, height x width: 254x178 mm, weight: 294 g, 4 Tables, black and white; 85 Line drawings, black and white; 83 Illustrations, black and white
  • Izdošanas datums: 20-Dec-2018
  • Izdevniecība: Routledge
  • ISBN-10: 0815368674
  • ISBN-13: 9780815368670
Citas grāmatas par šo tēmu:
  • Mīkstie vāki
  • Cena: 63,81 €
  • Grāmatu piegādes laiks ir 3-4 nedēļas, ja grāmata ir uz vietas izdevniecības noliktavā. Ja izdevējam nepieciešams publicēt jaunu tirāžu, grāmatas piegāde var aizkavēties.
  • Daudzums:
  • Ielikt grozā
  • Piegādes laiks - 4-6 nedēļas
  • Pievienot vēlmju sarakstam
Teaching Strings in Today's Classroom: A Guide for Group InstructionPalielināt
  • Formāts: Paperback / softback, 148 pages, height x width: 254x178 mm, weight: 294 g, 4 Tables, black and white; 85 Line drawings, black and white; 83 Illustrations, black and white
  • Izdošanas datums: 20-Dec-2018
  • Izdevniecība: Routledge
  • ISBN-10: 0815368674
  • ISBN-13: 9780815368670
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780815368670.html
Keywords:
Teaching Strings in Todays Classroom: A Guide for Group Instruction assists music education students, in-service teachers, and performers to realize their goals of becoming effective string educators. It introduces readers to the school orchestra environment, presents the foundational concepts needed to teach strings, and provides opportunities for the reader to apply this information. The author describes how becoming an effective string teacher requires three things of equal importance: content knowledge, performance skills, and opportunities to apply the content knowledge and performance skills in a teaching situation.

In two parts, the text addresses the unique context that is teaching strings, a practice with its own objectives and related teaching strategies. Part I (Foundations of Teaching and Learning String Instruments) first presents an overview of the string teaching environment, encouraging the reader to consider how context impacts teaching, followed by practical discussions of instrument sizing and position, chapters on the development of each hand, and instruction for best practices concerning tone production, articulation, and bowing guidelines. Part II (Understanding Fingerings) provides clear guidance for understanding basic finger patterns, positions, and the creation of logical fingerings. String fingerings are abstract and thus difficult to negotiate without years of playing experiencethese chapters (and their corresponding interactive online tutorials) distill the content knowledge required to understand string fingerings in a way that non-string players can understand and use.

Teaching Strings in Todays Classroom contains pedagogical information, performance activities, and an online virtual teaching environment with twelve interactive tutorials, three for each of the four string instruments.

ACCOMPANYING VIDEOS CAN BE ACCESSED VIA THE AUTHOR'S WEBSITE: www.teachingstrings.online
Preface xiii
Acknowledgments xv
List of Videos xvii
Part I: Foundations Of Teaching And Learning String Instruments 1(94)
1 An Introduction to the Orchestra Classroom
3(7)
Why Teach Strings?
3(1)
Culturally Responsive Pedagogy
4(1)
String Teaching Overview
4(2)
Classroom Setup
6(2)
Learning Activity 1: Online Observation
8(2)
2 Fundamentals of Teaching String Instruments
10(7)
Instrument Position
10(1)
Developing Musicianship Skills
11(2)
Pulse, Meter, and Rhythm
11(1)
Pitch
12(1)
Improvising
12(1)
Creating
12(1)
Preferred String Teaching Strategies
13(2)
Imitation
13(1)
Non-Verbal, Co-Verbal, and Verbal Instruction
13(1)
Teacher Modeling During Student Performance
14(1)
Modeling
15(1)
Pedagogical Touch
15(1)
Learning Activity 2: Method Book Review
15(2)
3 Preparing Your Classroom
17(7)
Parts of the Instruments
18(1)
The Bow
19(1)
Instrument Sizing
19(3)
Sizing the Violin and Viola
21(1)
Sizing the Cello
21(1)
Sizing the Bass
21(1)
Preparing the Instruments
22(1)
Tuning
22(1)
Finger Placement Markers
22(1)
Learning Activity 3: Budget Proposal
22(2)
4 Instrument Position
24(20)
Removing the Instruments from Cases
24(1)
Violin/Viola Instrument Position
25(5)
Guitar Position
25(1)
Shoulder Position
26(1)
Sequencing Instruction for Shoulder Position
27(3)
Violin and Viola Position Assessments
30(1)
Cello Instrument Position
30(2)
Sequencing Instruction for Cello Instrument Position
30(1)
Cello Position Assessments
31(1)
Bass Instrument Position
32(5)
Standing Position
32(1)
Sequencing Instruction for Standing Position
32(1)
Bass Assessments for Standing Position
33(1)
Seated Position
33(1)
Sequencing Instruction for Seated Position
34(2)
Bass Assessments for Seated Position
36(1)
Introducing the Open Strings
37(3)
Tuning
37(1)
Teaching the Open Strings
38(2)
Open-String Songs
40(2)
Learning Activity 4: Write a Lesson Plan
42(2)
5 Developing the Left Hand
44(14)
Finger Placement Markers
44(1)
Shaping the Left Hand
45(5)
Violin/Viola
45(1)
Violin/Viola Left-Hand Assessments
46(1)
Cello/Bass
47(1)
Cello
48(1)
Bass
48(2)
Cello/Bass Left-Hand Assessments
50(1)
Establishing the Left Hand Frame
50(6)
Freedom of Motion
52(2)
Interactive Warm-Ups
54(1)
Three-Note Songs
54(2)
Learning Activity 5: Choose One or More of the Following Teaching Activities
56(2)
6 Developing the Right Hand
58(9)
Forming the Bow Hold
58(3)
Violin/Viola Bow Hold
58(2)
Cello/Bass-French Bow Hold
60(1)
Bass-German Bow Hold
61(1)
Transferring the Bow Hold to the Bow
61(1)
Common Elements and Checkpoints
62(2)
Violin/Viola Bow Hold Assessments
62(1)
Cello/Bass (French) Bow Hold Assessments
63(1)
Bass (German) Bow Hold Assessments
63(1)
Flexibility Exercises (influenced by Rolland, Mutchler, & Hellebrandt, 2010)
64(1)
Additional Recommended Activities
65(1)
Learning Activity 6: Bow Hold Assessment
65(2)
7 Tone Production
67(14)
The Basics
67(1)
Rosin
67(1)
Bow Motion
68(1)
Bow Placement
69(1)
Bow Distribution
69(4)
Learning Activity 7a: Tone Exercise
73(1)
Three Variables of Tone Production
73(7)
Bow Speed
74(2)
Bow Weight
76(1)
Contact Point
77(3)
Learning Activity 7b: Discussion Questions
80(1)
8 Basic Articulations
81(8)
Pizzicato
81(2)
Pizzicato Without the Bow
81(1)
Pizzicato With the Bow
82(1)
Detache
83(2)
String Crossings
83(2)
Colle
85(1)
Martele
85(1)
Legato and Slurs
85(1)
Hooked and Linked Bows
86(1)
Off-the-String Strokes
86(1)
Spiccato
86(1)
Sautille
87(1)
Learning Activity 8: Interview a String Player
87(2)
9 Bowing Guidelines
89(6)
Principle 1: Play Down-Bow on the Downbeats and Up-Bow on the Upbeats
89(2)
Retake
90(1)
Add an Up-Bow
90(1)
Double Down-Bow
91(1)
Add or Remove a Slur
91(1)
Principle 2: Up-Bow to Crescendo and Down-Bow to Decrescendo
91(1)
Principle 3: The Even/Odd Rule
92(1)
Principle 4: Uneven Rhythm Patterns Are Often Hooked or Linked
92(1)
General Considerations
93(1)
Learning Activity 9: Practice Choosing Bowings
93(2)
Part II: Understanding Fingerings: Patterns And Positions 95(50)
Commonalities Among the Four Bowed Instruments
95(1)
Instrument Ranges
95(1)
Fingerboard Geography
96(1)
The Positions
96(3)
Shifting
99(2)
10 Violin and Viola Fingerings
101(13)
The Four Basic Finger Patterns
101(2)
Learning Activity 10a (Online Tutorial 1: Practice Violin and Viola Finger Patterns)
103(1)
Fingerboard Geography
104(1)
The Positions
104(2)
Learning Activity 10b (Online Tutorial 2: Combining Patterns and Positions)
106(1)
Choosing Logical Fingerings
106(1)
Six Guidelines for Violin and Viola Fingerings
107(5)
Learning Activity 10c (Online Tutorial 3: Practice Choosing Violin and Viola Fingerings)
112(2)
11 Cello Fingerings
114(11)
Cello Finger Patterns (Positions 1/2-IV)
115(2)
Learning Activity 11a (Online Tutorial 1: Practice Cello Finger Patterns)
117(1)
Fingerboard Geography
117(1)
The Positions
117(1)
Learning Activity 11b (Online Tutorial 2: Practice Combining Positions and Patterns)
118(1)
Choosing Logical Fingerings
118(1)
Six Guidelines for Cello Fingerings
119(5)
Learning Activity 11c (Online Tutorial 3: Choosing Cello Fingerings)
124(1)
12 Bass Fingerings
125(16)
Bass Finger Patterns
125(2)
Learning Activity 12a (Online Tutorial 1: Practice Bass Finger Patterns)
127(1)
Fingerboard Geography
128(1)
Learning Activity 12b (Online Tutorial 2: Practice Bass Patterns and Positions)
129(1)
Combining Patterns and Positions for Bass Players
130(5)
The D Major Scale
131(1)
The G Major Scale
132(3)
The C Major Scale
135(1)
Choosing Logical Fingerings
135(4)
Six Guidelines for Bass Fingerings
135(4)
Learning Activity 12c (Online Tutorial 3: Choosing Bass Fingerings)
139(2)
13 Shifting and Vibrato
141(4)
Teach Shifting From the First Year
141(1)
Pre-Shifting Exercises
141(1)
Common Shifting Elements
142(1)
Teach Vibrato From the First Year of Instruction
142(2)
Pre-Vibrato Exercises
143(1)
Combined Vibrato Activities
144(1)
Index 145
Rebecca B. MacLeod is Associate Professor of Music Education at the University of North Carolina at Greensboro, where she directs the string education program and conducts the UNCG Sinfonia. She has served on the American String Teachers Association National Board and is past president of the ASTA North Carolina chapter.