selected pedagogical needs of the string
TRANSCRIPT
SELECTED PEDAGOGICAL NEEDS OF THE STRING
CLASS AS ADDRESSED IN THE COMPOSITIONS
OF CAROLD NUNEZ
by
JAN KAREN DANIEL GARVERICK, B.A., M.Ed.
A DISSERTATION
IN
FINE ARTS
Submitted to the Graduate Faculty of Texas Tech University in
Partial Fulfillment of the Requirements for
the Degree of
DOCTOR OF PHILOSOPHY
Approved
Accepted
December, 1998
toe. 1^^
^LS
©Copyright 1998, Jan Karen Daniel Garverick
ACKNOWLEDGMENTS
I express my thanks to Dr. Donald R. Tanner, chair of my dissertation
committee, for his advice, patience, and encouragement during my years of study.
I also thank the committee members Professor Frederick B. Christoffel, Dr. Eric J.
Fried, Dr. Paul H. Randolph, and Dr. Michael C. Stoune. Deepest appreciation is
extended to Carold Nunez and his wife, Becky.
This study is dedicated to my mother, Lorine Everett Daniel, for her
unceasing and loving support of my endeavors.
11
TABLE OF CONTENTS
ACKNOWLEDGMENTS ii
ABSTRACT vi
LIST OF TABLES viii
LIST OF FIGURES ix
CHAPTER
I. INTRODUCTION 1
Need for the Study 1
Purpose of the Study 5
Description of the Study 8
Definition of Terms 8
Organization of the Study 10
Limitations of the Study 11
n. REVIEW OF RELATED LITERATURE 12
History of the String Class in America 13
Five Selected American Pedagogues 32
Merle Isaac 1898-1996 33
Samuel Applebaum 1904-1986 37
Elizabeth A. H. Green 1906-1995 41
Paul Rolland 1911-1978 43
Carold Nunez 1929-present 53
Selected Professional Music Organizations 57
Music Educators National Conference (MENC) 1907 57
Texas Music Educators Association (TMEA) 1920 59
American String Teachers Asscxiiation (ASTA) 1946 65
ill
National School Orchestra Association (NSOA) 1958 72
Texas Orchestra Directors Association (TODA) 1962 75
Summary 79
m. BIOGRAPHY OF CAROLD HARDY NUNEZ 83
Selected Events in the History of the Texas Coast at the Tum
of the Twentieth Century 84
The Childhood Years 1929-1947 86
The University of North Texas Years 1947-1953 90
The Beaumont Years 1954-1961 93
The University of Texas Years 1961-1963 96
The Copperas Cove Years 1963-1965 98
The Wichita Falls Years 1965-1970 99
The Denton Years 1970-1985 101
The Denton Years 1985-present 107
IV. METHODOLOGY 112
Design of Survey Instrument 112
Design of Survey Analysis 114
Summary 116
V. RESULTS OF SURVEY INSTRUMENT 117
Pedagogical Needs as Identified by the Survey 119
Summary of Survey Results 123
Four Selected Compositions 125
Discussion of the Compositional Techniques 125
Discussion of the Compositions 133
Funny Fiddlin' 134
String Swing 141 iv
M to the Third Power 147
Jazz in D from Uni-Tunes 152
Summary 155
VI. CONCLUSION AND RECOMMENDATIONS 158
Conclusion 158
Recommendations 160
BIBLIOGRAPHY 164
APPENDIX
A. SURVEY INSTRUMENT 181
B. LETTERS OF PERMISSION FROM MUSIC PUBLISHERS 183
ABSTRACT
In this study, the author designed a single research document to encompass
three areas of concern: research in the history of the American string class,
identification of several pedagogical needs in the string class, and historical research
about a Texas music educator, Carold Nunez, whose compositions have produced
successful results in the string class. The author conducted a survey in order to
seek verification of Nunez' compositions as means of meeting particular needs of
the string class. The open-ended survey was conducted by the author at the Texas
Orchestra Directors Association convention in August, 1997. After an 80% retum
of surveys, the examination of data identified eighteen pedagogical needs of the
string class, which were then grouped into six more clearly defined categories:
rhythm, bowing style, ensemble skill, intonation, compositional techniques, and
basic reinforcement of skills. From the results of the survey, the three predominant
categories (rhythm, bowing style, and ensemble skill) were analyzed in the four
most frequently taught Nunez compositions: Funny Fiddlin', String Swing, M to
the Third Power, and Jazz in D from Uni-Tunes.
In conclusion, the study confirmed the author's experience that Nunez'
compositions are successful works for integrating technical skills in the string class.
Documentation also revealed that the works are enjoyed by students.
The study is organized into six chapters. Chapter I includes an assessment
of needs and purposes, a description of the study, definition of terms, and
limitations of the study. Chapter E contains related literature about significant
events in the history of the American string class, highlights of the lives of five
selected American string pedagogues (Isaac, Applebaum, Green, Rolland, and
VI
Nunez), and a brief historical discussion of selected American professional music
organizations. Chapter IH presents a biography of Nunez, including historical,
social, and economic trends which occurred during his life. Chapter IV defines the
survey instrument. Chapter V contains the report of the survey and pedagogical
analyses of the four Nunez compositions identified in the survey. Chapter VI
reports the conclusion of the study as well as recommendations for further study.
A bibliography and appendices are included after Chapter VI.
vu
LIST OF TABLES
5.1 Teachers who Taught Nunez Compositions 118
5.2 Number of Nunez Compositions Taught by Individual Teachers 119
5.3 Identification of Pedagogical Techniques from Remmed Surveys 122
5.4 Consolidation of Techniques from Surveys 123
5.5 Nunez Compositions Read at TODA Reading Sessions 133
vm
LIST OF FIGURES
5.1 Funny Fiddlin', measures 80, 81, 82, 83 136
5.2 Funny Fiddlin', measures 48, 49, 50. 51 138
5.3 Funny Fiddlin', measures 64, 65, 66 138
5.4 Funny Fiddlin', measures 88, 89, 90, 91 140
5.5 String Swing, measures 1, 2, 3, 4 142
5.6 String Swing, measures 23, 24, 25, 26 142
5.7 String Swing, measures 31, 32, 33 144
5.8 String Swing, measure 16 144
5.9 String Swing, measures 10, 11, 12 145
5.10 5^rmg 5wm^, measures 36, 37, 38 145
5.11 M to the Third Power, measures 21, 22, 23, 24 149
5.12 M to the Third Power, measures 85, 86, 87, 88 149
5.13 M to the Third Power, measures 68, 69, 70, 71 151
5.14 M to the Third Power, measures 120, 121, 122, 123 151
5.15 /azz mD, measures 2 and 5 154
5.16 Jazz in D, measures 9, 10, 11, 12 155
IX
CHAPTER I
INTRODUCTION
Need for the Study
This study evolved from a desire and need to document solutions to
pedagogical problems unique to the string class, having learned from experience
that teaching a string class requires a different set of teaching techniques from those
of the private lesson. Green (1966) provides an analogy in the following
statements:
Teaching the several stringed instruments simultaneously is like plaiting a braid. Each strand must be handled skillfully, must progress logically in its own direction, and must be kept moving forward so that the final product is both symmetrical and secure. There must be no thin spots along the way. (preface)
The "thin spots" mentioned by Green are the pedagogical problems for which
conscientious string teachers seek solutions. Persistent needs that require
addressing have become strikingly obvious as the author engages in teaching string
classes in the public schools. Awareness of the need for pedagogical problem-
solving by other public school orchestra directors across the state was recognized
by the author who was asked many times for advice and/or invited to present in-
service clinics and regional workshops across the state. Public school string
faculties most frequently requested help in selecting pedagogically-based music for
the string class. Literature is needed that teaches and reinforces string techmque(s)
for students, grades six through twelve.
After attending the 1996 American String Teachers Association (ASTA)
National Convention in Kansas City, Missouri, in conjunction with the Music
Educators National Conference (MENC), and hearing Vincent J. Kantorski (1995)
1
deliver his study A Content Analysis of Doctoral Research in String Education,
1936-1992, the author became acutely aware of the critical need for doctoral level
scholarship in the area of the string class (pp. 288-89). Kantorski (1995) reported
that "computer and manual searches of Dissertation Abstracts International index
resulted in finding 252 dissertations written between 1936 and 1992, which
concerned string education" (p. 290). From nine selected categories in his
research, Kantorski documented that the most-researched topics among these 252
string education dissertations (62.19%), from 1936-1992, concerned
techniques/skills in single instruments (predominantly violin), performance
practices, and information resources. Twenty-six percent of dissertations written
during the same time period dealt with etudes/exercises/excerpts, and methods and
instructional strategies for single instruments, that "could be integrated into
numerous string education settings" (Kantorski, 1995, p. 295). Finally, the least-
researched topics (11.67%) in Kantorski's study (1995) are (a) the string class
(5.17%), (b) teacher education (3.40%), and (c) string program evaluation (3.10%)
(p. 289, p. 294). According to Kantorski (1995), no dissertations pertaining to the
string class were written during the 1930s and 1940s. In the 1950s, three
dissertations about the string class were written; in the 1960s, ten; in the 1970s,
twelve; in the 1980s, eight. From 1990-1992, two dissertations were written.
Kantorski (1995) found that from a total of 252 dissertations conceming string
education, only thirty-five studies about the string class were conducted in
dissertation form between 1936 through 1992 (p. 295). Statistics from Kantorski's
research support the need for further study of the string class at the doctoral level
through all types of written doctoral research, such as dissertations, doctoral
essays, and doctoral theses as listed in Dissertation Abstracts International (DAI).
In June, 1998, the author searched DAI for further dissertations conceming
the string class from 1993-1998 period, since Kantorski's study, and found none.
Further research in successful string programs/string classes across the nation is
also recommended by Gillespie and Hamann (1998, p. 85). Smith (1997b)
additionally cites the need for the music education profession to research the access
to string instruction in the public schools (p. 662). String class research is
necessary for improving teaching techniques for optimum student learning.
Implementing the successful results of such research in the classroom should, in
tum, raise the overall quality of string students and string programs.
Also at the 1996 MENC, the author attended three sessions presented by the
MENC Historical Research in Music Education division, with special presentations
from the History Special Research Interest Group (HSRIG), which emphasized the
immediate need for more historical research about American music educators in
order to prepare a current and comprehensive history of American music education
in the twentieth century. National Chair Sondra Wieland Howe urged those in
attendance to find primary sources in their local communities or states, document
such local music education history, and disseminate the information through
dissertations, music education journals/historical joumals, thus adding to
American's national history of music education. Howe made several points
conceming the need for historical research. As the twentieth century draws to a
close, music educators need to reflect on the past, writing down the history of their
art, noting the relationship between music teaching, the culture of the time, and
political and economic conditions of the time. Second, doctoral dissertations can be
major sources of this much-needed historiced research, and professors should
persuade graduate students that these are worthwhile topics. Third, primary
sources are preferred for an historical paper. The best source is live communication
with the person who has made worthy contributions to music education during the
twentieth century. In such an instance, one does not have to surmise the intent,
purpose, or meaning of the contribution. The researcher can document the
individual's own words and ask for further explanations.
Two of the researchers in 1954 and in 1960 who cited needs for study of
the string class were Shepard and Grover, respectively. Shepard (1954) in his
thesis entitled Principles of Method in Group String Instrument Instruction, stated:
There is almost a complete absence of studies which approach the problem of methodology in group string instmmental instmction in the public schools by a comprehensive and specific formulation of objectives and by the application of sound educational and musical principles to the group string learning situation, (p. 13)
Grover (1960) further emphasized the need for study of string class
teaching in his thesis entitled The History of String Class Instruction in American
Schools and Its Relationship to School Orchestras. Grover pursued his study
"particularly since no previous studies have dealt with this string class instmction
problem" (p. 6). His study covered the period from 1911-1960. In this work, he
found that, as early as 1922, most string class instmction books had been written
for heterogeneous string classes. He cited a need for experimental research not
only in methodology of class instmction but also in evaluation of materials. The
method books contained drills and exercises but did not contain any pieces.
The author resolved to contribute a dissertation that would meet these three
well-defined needs: to produce research in further study of the string class; to
provide historical research about an American music educator; to document the
pedagogical contributions of the identified string music educator in relationship to
the needs of the string class. Although the author felt that these needs existed
earlier in her career, the tme catalyst was hearing these specific research needs
identified at the national level by professional music educators as important and
immediate at the joint meeting of ASTA and MENC.
In selecting a music educator for the study, the author developed the
following criteria: (a) a native Texan, (b) a successful public school string teacher
with experience in grades six through twelve, (c) one who has made a positive
difference state-wide in attempting to help students and other string teachers solve
string class pedagogical problems, and (d) one who has distinguished
himself/herself by coming from the grass roots level of Texas music education.
Though there are many professional string educators in Texas who meet the above
criteria, there was only one person whom the author felt had endeavored to follow
through with his ideas in order to improve student leaming, to create a valuable
result, and to disseminate the information to help other string teachers or students.
Many colleagues have dreamed of writing their own method books and exercises
that help students improve their technique; most merely talk about the dream and
never write it. The above criteria are met by music educator and composer, Carold
Hardy Nunez. Nunez exhibits the energy and perseverance to develop a
composition from a "felt need," submit it to pubhshers, refuse rejections, and
submit again, confident from his classroom experience that his material can fulfill a
need in the string class.
Purpose of the Study
The purpose of the study is three-fold: (a) to identify several pedagogical
needs of the string class in Texas public schools, (b) to add to the history of string
education in the Texas public schools by documenting through primary sources the
life of Nunez (b. 1929): a native Texan, a published composer of educational string
literature, and a successful Texas public school orchestra director, now retired, and
(c) to analyze the compositions of Nunez from a pedagogical perspective,
specifically determining how his compositions meet the identified pedagogical
needs in the string class.
As an experienced Texas public school orchestra director, the author
understands the importance of selecting music that not only affords a pleasing
performance but also addresses pedagogical needs, especially persistent ones.
Replacing negative criticism of a student's poor technique(s) in a repetitive etude
with positive instmction of an interesting melodic line and/or rhythm pattems in a
string ensemble piece offers more likelihood for student success. According to
Kjelland (1981), "one of the most persistent problems facing the string class
ensemble director is that of music selection. In fact, one could argue that it is
perhaps the biggest part of the job in terms of student motivation, success in
performance, and ultimately the success of the ensemble program" (pp. 44-45).
The author adds that in her experience, selection of music that addresses immediate
pedagogical needs is one of the most important areas of leaming. Great care must
be taken in recognizing pedagogical weaknesses and strengthening the "thin spots"
as noted by Green (1966, preface), within the string class. The critical needs
identified will be those defined by Texas orchestra directors since these persons are
the author's primary sources for research.
Common consensus among Texas orchestra directors is that the
compositions of Carold Nunez are pedagogically-based teaching pieces for the
string class. The author sought documentation of this knowledge. The author also
analyzed the Nunez compositions from a pedagogical perspective to identify what
techniques each piece addresses. The MENC publication Teaching Stringed
Instruments (1991) offers guidelines for teachers to follow in selecting quality
music:
Good music reinforces the skills and concepts being taught. The music presents technical challenges for all string instmments and is interesting for all instmments to play. Elements of contrast, expressiveness, and originality are contained in the composition, (p. 15)
Three questions emerge with regard to quality assessment: (a) Do the Nunez
compositions contain critical pedagogical skills? (b) Has any other orchestra
director in Texas experienced success in meeting pedagogical needs in the string
class through teaching a composition(s) by Nunez? (c) Can this information be
verified?
Encouraged by members of the MENC History Special Research Interest
Group, the author sought to provide current historical research about a Texas
composer and his contributions to the field of string orchestra literature. Of primary
importance is the positive difference that study of his music can make in the string
class. Nunez is recognized throughout the state and nation for his pedagogical
compositions (teaching pieces) and has distinguished himself with a sole national
publisher, Kjos Publishing of California. Documentation of his life may provide
inspiration for others to pursue careers in music as teachers, performers, and/or
composers and encourage researchers to document lives of other Texas music
educators. Significant contributions to historical research in Texas music education
could then be made for both the twentieth and the twenty-first century.
Description of the Study
In this study, the author has compiled information conceming the
pedagogical needs of string classes through a survey instmment. Professional
string educators continually search for new music and pedagogical exercises that
will motivate students and help both teachers and students address persistent needs
in string class techniques. A survey instmment was designed with open-ended
questions regarding the pedagogical expertise of Nunez compositions. It was
distributed at the 1997 TODA Convention. From the information gathered, the
author analyzed Nunez compositions that meet pedagogical needs, if any are
identified. Through documented discussion of the related literature, analysis and
interpretation of information and possible discovery of new information, the author
intends to contribute this study to application in the string class and to historical
research.
Definition of Terms
In order to develop a common vocabulary and to establish clarity for the
reader, the following terminology is defined as it is used throughout the study.
1. Detache bowing refers to a broad bow stroke, unslurred and smoothly
connected. The word detache means detached only in the sense of "not
slurred." It does not mean detached in the sense of staccato, or spacing
between notes. The smoothness and continuousness of sound as the bow
changes direction is part of the skill of the detache. Flexibility of wrist and
fingers is essential (Green, 1966, p. 69).
2. Intrinsic motivation is a student's motivation from within himself, stemming
from the music compositions being studied. Lyne (1991) discusses
8
intrinsic motivation as the "act and results of playing the instmment,
generating the desire in the student to play and practice the instmment"
(p. 8).
3. Martele bowing refers to the staccato stroke. The student depresses the bow on
the string, maintains the pressure until the initial movement of the bow
occurs, at which time the student releases most of the pressure
instantaneously. The stroke begins with a bite that resembles a small
explosion of tone. This bowing is the foundation on which ultimate clarity
of style is built (Green, 1966, p. 58).
4. Pedagogical techniques refers to skills taught to students who are leaming
violin, viola, cello, and string bass in heterogeneous string classes.
5. Primary source interview refers to a live, person-to-person interview conducted
by the author with the person interviewed.
6. Slurred staccato bowing or hooked bowing refers to a series of two or more
stopped bow strokes in a single bow direction. The bow does not leave the
string between notes, but it does stop between notes (Green, 1966, p.
59).
7. String class and/or string orchestra/string ensemble refers to heterogeneously-
designed class or group lessons, including violin, viola, cello, and string
bass, grades six through twelve.
8. String class pedagogy refers to the art of teaching young persons, grades six
through twelve, how to play violin, viola, cello, and/or string bass in a
class/group setting rather than in a one-on-one, private lesson situation.
9. String education refers to the processes and materials used when teaching
stringed instmments.
10. String ensemble techniques refers to balance of parts, unanimity of attack,
articulation, matching of style in bow strokes, phrasing, the ability to listen,
following rhythmic pulse together, following fundamentals of tempo,
dynamics, and style. Ensemble technique is teamwork.
11. String instmments refers to modem-day (not Baroque) violin, viola, cello and
string bass.
12. String teacher/orchestra director refers to anyone who teaches a heterogeneous
string class, grades six through twelve.
Organization of the Study
The study is organized into six chapters. Chapter I includes an assessment
of needs and purpose, a description of the study, definition of terms, and
limitations of the study. Chapter II contains related literature about important events
in American string class music education, a brief history of the background and
philosophies of selected American string class pedagogues, and concludes with a
discussion of professional music organizations and their important roles. A
discussion of pertinent research work and dissertations of applicable string
pedagogy is also included. Chapter III is a biography of Nunez. Chapter IV
defines the survey instmment as the methodology for the study. Chapter V
contains the report of the survey and pedagogical anyalses of particular Nunez
compositions. Chapter VI reports the conclusion of the study as well as
recommendations for future research. A bibliography and appendices then follow
the six chapters.
10
Limitations of the Study
This study is limited to the sixteen published compositions of Carold Nunez
which were used in the survey instmment. It is also limited to specifically selected
pedagogical techniques contedned in the published compositions as determined by
the survey. No attempt will be made to provide a formal harmonic analysis of the
published compositions.
11
CHAPTER n
REVIEW OF RELATED LITERATURE
In order to assess current needs in string pedagogy, one must review the
historical development of the string class in America. In the MENC publication
(1998) A Research Agenda for Music Education, one fmds direction. "As we look
to the future, we need to study past practices and review current practices to
determine their relevance to current and future programs" (p. 15). In a review of
related literature, the author summarized the past practices with regard to string
classes and answered the following questions. What are the significant events in the
history of the string class in America? What organizations and pedagogues have
been important in the development of the string class in this country? Is there any
available research conceming the string class and pedagogical issues? If there is
available research, what information is given? Library searches were conducted at
Texas Tech University, the University of Texas at Austin, Trinity University in San
Antonio, University of the Incarnate Word in San Antonio, and at the University of
Texas at San Antonio in order to find current and applicable related literature. The
author searched ERIC, Dissertation Abstracts International, and Music Index.
Chapter Two consists of three parts: history of the string class in America,
discussion of five selected American pedagogues, and a brief historical summary of
selected professional music organizations, with a discussion of applicable research
studies referring to the string class in the United States.
12
History of the String Class in America
In researching the history of the string class, the author found the most
significant historical contributions in the dissertations of SoUinger (1971) who
researched the string class methods in the United States from 1800-1911, Grover
(1960) who researched string class instmction in American schools from 1911-
1960, Hoisington (1980) who researched the development of American public
school elementary string classes and orchestras from 1800-1950, and in the essay
of Humphreys (1995) who researched instmmental music in American education
from 1892-1992. Although these dissertations and essay are not specific solely to
the string class, each comprehensively covers a period of music education in
America and contains valuable information about string class history. The author
also studied Birge's (1966) History of Public School Music in the United States
and Hitchcock and Sadie's (1986) The New Grove Dictionary of American Music.
Wassell's six articles in the American String Teacher {\96A-\961) conceming string
class history and instmction were also consulted.
According to Hitchcock and Sadie (1986), "only vocal music was taught in
the schools until the end of the nineteenth century" (p. 13). Several citations of
string instmction on a private basis in homes and academies or extracurricular basis
outside the public schools are noteworthy. Sollinger (1971) documents the first
string class teaching in America by Lewis A. Benjamin and his family:
For more than half a century, from 1847 until the second decade of the twentieth century, the Benjamin men and their wives taught vocal and instmmental music to students in their academies in New York, Brooklyn, Philadelphia, Camden, and Pittsburgh.... The Benjamins organized orchestras of as many as five hundred juvenile string players, taught by class methods, decades before the Maidstone movement in England, (p. 9)
13
The instmction was somewhat like the children's singing schools for vocal music
with the specialty being instmmental music, primarily violin, for dancing and for
church services. Lewis Benjamin, Sr. wrote the earliest known string class method
book called The Musical Academy, published in New York City in 1851 (Sollinger,
1971, p. 10). There were seven volumes of 77ie MM /CA/Academy. Only volume
seven, number one, is extant. According to Sollinger (1971), Lewis Benjamin,
Sr. was the earliest "music man" to teach orchestra instmments, primarily the
violin, successfully in classes in the United States (p. 10). Benjamin was a
colleague of Lowell Mason, William Bradbury, and Thomas Hastings, foremost
teachers of the day (p. 9). The Benjamins were among the few musicians who
used the violin class teaching method. Lewis Benjamin, Jr., followed his father's
example as a musician, music teacher, instmment salesman, and publisher of
music.
Another advocate of class instmction was Eben Tourjee who began teaching
violin classes in 1851, in Warrick, Rhode Island. His fee was one dollar for
twenty lessons. With such low tuition, lessons were available for many persons.
Hitchcock and Sadie (1986) cite that Tourjee used the class method of teaching in
the 1850s in Massachusetts, "perhaps the first of its type in America" (p. 404).
Sixteen years later Tourjee and Robert Goldbeck established the New England
Conservatory of Music (1867). Sollinger (1971) also mentions violin classes in
Cotton Plant, Arkansas, during the 1850s, taught by James and Joseph Howell,
using their own New-Class Book of 1859 (pp. 11-12). The Library of Congress
owns the only known copy of Howell's New Class-Book (p. 12). Wassell (1964)
cites that there were full orchestras in schools in Wichita, Kansas, in Richmond,
Indiana, in 1889, and in Indianapolis (p. 30). String instmction normally consisted
14
of private lessons with the full orchestra rehearsals held after school. School credit
for orchestra was not offered to participants.
Unlike Sollinger, the authors Birge (1966, p. 194), Grover (1960, p. 37),
and Hoisington (1980, p. 43) denote the year 1911 as the beginning of string class
history with Albert G. Mitchell. According to Grover (1960), Mitchell "migrated
with with his wife and children to America in 1890," and accepted an organist's
position with a church in Watertown, New York (p. 38). Grover (1960) reports
that Mitchell became supervisor of music in the Boston Public Schools in 1903, and
in 1909, also began teaching violin master classes for high school students after-
school (p. 38). Mitchell heard of the Maidstone Movement, a method of violin
class teaching, in Maidstone, England. According to Wassell (1964), Mitchell was
allowed a year's leave of absence to go to England in order to study the Maidstone
Movement (p. 32). Mitchell was successful with the violin class method upon his
retum to Boston. In 1912, he published his own book entitled The Mitchell Class
Method for the Public School (Bmnson, 1969, pp.3-4; Hoisington, 1980, p. 44).
According to Sollinger (1971), this was the "first string class method written and
published specifically for public school instmction" (p. 28). Soon thereafter,
heterogeneous classes of violin, viola, cello and bass developed. In 1913, string
classes were added to the regular school day in Boston. Mitchell claims, as stated
in Wassell (1963) and Sollinger (1971), that Boston was the first American city to
introduce systematic violin class instmction to the public schools (p. 3; p. 17).
Wassell (1965) suggests that Mitchell be acknowledged as the "Father of Class
Instmmental Teaching in America" (p. 41). Wassell (1965a) noted that Mitchell
deserved this title "because he (Mitchell) made the first serious study of class
instmmental teaching, he successfully taught such classes, he wrote a successful
15
method book, and he invented ways to improve children's string playing (p. 41).
Grover (1960) states that Mitchell's Class Method for the Violin "enjoyed a status
of almost unchallenged leadership throughout most of the 1920s" (p. 77). Bmnson
(1969) recognized that "among the contributors to string class literature following
Mitchell were Nowal Church, Joseph Maddy, Paul Herfiirth, Merle Isaac, George
Bomoff, Gilbert Waller, Fred Muller, Samuel Applebaum, and Ralph Matesky" (p.
4). Their publications span the past four decades, 1920-1960. Bmnson (1969)
predicted that these string class methods would be supplemented as new and
revised pedagogies were introduced (p. 4). This was exactly what happened in the
development of American string pedagogy.
In 1917, Joseph Maddy visited a violin class modeled after the Mitchell
method in Ithaca, New York. He liked what he observed and began using the same
class method in Rochester, New York. Maddy then went to the University of
Southern Califomia in 1922. With his colleague Thaddeus Giddings, Maddy
designed a similar class method in 1923 called The Universal Teacher, which
included all stringed instmments in class instmction. Humphreys (1995) documents
that Maddy and Giddings "published the first heterogeneous instmmental method
book in 1928" (p. 54). Maddy returned to Michigan where he and Giddings
established the National Music Camp in 1928 at Interiochen, Michigan. Britton
(1962) observed the following:
The new body of string teachers seems to be much more closely attuned to the practical realities of the school situation than were most of their predecessors. They are more adept at 'class teaching.' They are showing signs of developing the organizing techniques necessary to development and maintenance of large ensembles. String teachers seem to be profiting from the successful example set for all string teachers by Joseph Maddy who organized Interiochen. (p. 58)
16
The appearance of string classes became prevalent in the late 1920s.
However, Grover (1960) found that "almost no music for string ensembles was
published in American prior to 1930" (p. 83). According to Grover (1960), only
two series were noted: Gordon's Orchestra Training Series for String Ensemble
published in 1922 and Leopold Auer /Gustave Saenger's First Ensemble Folio
published by Carl Fischer in 1926 (p. 80). These series of ensemble books were
designed to give students the opportunities to play independent parts within the
string class.
From 1930 until 1950, there was a decline in interest and participation in
string instmments due to the depression, the stock market crash, and the end of live
music for the silent films. Grover (1960) cited several reasons for the decline of
string instmment classes: the rising popularity of the school band, the depression,
World War II, and the lack of competetent string teachers to handle class instmction
(p. 146). With this decline, publishers were not interested in ensemble
compositions for the string class. Grover (1960) noted the 1930 publication of the
Gamble Class Method for Strings published by Fischel and Bennett in Chicago, the
1934 Don Morrison String Class System published in Boston, the 1936 publication
by Carl Fischer, New York City, of The Aeolian String Ensemble Method written
by George Dasch and Aileen Bennett which contained four-part harmony pieces for
string class, and the 1938 publication of the Merle Isaac String Class Method by M.
M. Cole of Chicago (p. 118). The Isaac book also contained four-part harmony
selections for the string class in addition to the basic string instmction.
Sollinger (1971) cites that "the lack of sufficient bibliography has hindered
historical research on instmmental teaching, in general, and on instmmental class
teaching, in particular" (p. 19). According to Sollinger (1971), only one
17
dissertation (Grover, 1960) "deals directly with the history of string class
instmction in America" (p. 8). During the nineteenth century, authors of method
books did not specifically mention class instmction. However, a good instmmental
method book was considered usable for either class or private lessons. Sollinger
(1971) compiled a comprehensive, annotated bibliography of American method
books (pp. 23-71). The author counted the annotations in order to get a better
perspective. From 1851-1911, sixteen method books were published: 9 for violin
and 7 for class study; from 1912-1918, eight violin class method books were
printed; from 1919-1929, a period of great expansion of string classes in public
schools, sixty-one method books in graded series were published: 51 for violin, 2
for cello, and 8 books for mixed classes. During the depression years, 1930-1940,
a total of seventy-one bibliographic entries were made: 33 books for violin, 34 for
the string class, 2 for cello, one for bass, and one for viola. From 1941 to 1946, a
decline in string teaching occurred due to World War n. Only 8 violin method
books and 2 books for class instmction were noted. One of the class method books
during this period was Waller's String Class Method. Waller (1948) states that he
was one of the first teachers to show that class teaching could be successful (p. 2).
The period from 1950-1960 is often called the "String Renaissance" in the
history of the string class. It occurred after string teachers organized to confront the
issue of the declining^public interest in string education as well as the declining
interest of publishers in printing string music. With the founding of ASTA in
1946, string advocates and string teachers sought direction for a rebirth of their
profession. Grover (1960) cites the formation of the National String Planning
Committee in cooperation with Music Educators National Conference (MENC),
American String Teachers Association (ASTA), Music Teachers National
18
Association (MTNA), and National Association of Schools of Music (NASM). Its
chief goal was to support/coordinate the efforts of all string teachers (p. 153). This
committee also worked with manufacturers of string instmments to determine
minimum quality standards for instmments. Teacher-training institutions improved
their courses in string pedagogy as a result of MENC recommendations. Jacquelyn
Dillon and Casmier Kriechbaum (1978) wrote that "it was not until the early 1950s
that anyone actively promoted the concept of heterogeneous string class teaching..
. . the 1960s, however, blossomed into a period of great activity with many
advocates of string class teaching" (p. 278). Slowly, string instmment sales began
to increase across the nation as string programs were established or re-established.
From the National School Orchestra Association (NSOA), founded in 1958, public
school string teachers received more encouragement and knowledge of effective
class methods. With the support of MENC, ASTA, and NSOA, teachers were
beginning to experience positive results in the string class.
The decade of the 1960s has often been described as a time of change and
reform. According to Leonhard (1979), "between 1963 and 1970, the U.S. Office
of Education funded some sixty-four projects in music education from pilot studies
to immense curriculum projects" (p. 61). Hoffer (1979) reflects that
the beginning of the curriculum reform movement was furthered by the launching^of Sputnik in 1957 and the National Defense Education Act of 1958. By 1963, music and arts were somewhat behind in developing new curriculum, (p. 26)
Several important programs and symposia were funded: the Young Composers
Project which later became the Contemporary Music Project, the Yale Seminar, the
Tanglewood Symposium, and the Juilliard Repertory Project.
19
In 1959, the Ford Foundation initiated the Young Composers Project which
was proposed by composer Norman Dello Joio. The project was administered by
the National Music Council and placed young composers (under the age of thirty-
five) in public schools in order to compose for the school ensembles such as band,
orchestra, and choir, and offer contemporary music to public school students.
Mark (1986) reports that the project had three major benefits: (a) the composer
would be paid to write music for specific performance levels with the agreement
that the music would be leamed and, hopefully, would be performed, (b) the school
system would benefit from having music tailored to the students needs, (c) a new
collection of music would be added to the school repertoire (p. 36). During its fu-st
year, the program placed twelve composers into twelve public school systems
around the country. From 1959 through 1962, thirty-one composers participated in
the program. Music educators began to feel that they did not have proper training to
teach the contemporary music compositions and felt that a training program for
teachers was needed to develop concepts regarding contemporary compositional
techniques. The young composers agreed that many teachers were poorly prepared
to teach contemporary music. According to Wemer (1979), MENC proposed to
sponsor seminars on contemporary music for teachers and to develop pilot projects
in the public schools (p. 53). In 1963, the Ford Foundation again funded the
Young Composers Pfoject which became titled Composers in the Public Schools.
The grant expanded the project to three components: (a) to continue placing
composers in public schools, (b) to provide opportunities for teachers to study
contemporary music, (c) to develop projects to promote contemporary music in
public schools. The overall name of the project then became the Contemporary
Music Project for Creativity in Music Education. The Ford Foundation renewed the
20
grant for the Contemporary Music Project again in 1968 for a five-year period for
the same three programs previously funded. However, the three components were
re-named Professionals-in-Residence to Communities, the Teaching of
Comprehensive Musicianship, and Complementary Activities. The program was
administered from 1963 by MENC until its completion in 1973.
During the 1960s, several symposia were held to discuss issues and
problems in American music education. These organized meetings provided means
to analyze strengths, weaknesses, and pursue direction in the string teaching
profession. The free interchange of ideas and opinions at such gatherings made an
impact in music education. In 1963, Claude Palisca, a musicologist from Yale
University, obtained a federal grant from the United States Office of Education-
Cooperative Research Program to organize and direct a conference of thirty-one
participants and thirteen observers for the investigation of music leaming in public
education. The conference was called the Yale Seminar on Music Education. It
was held June 17-28, 1963, on the campus of Yale University in New Haven,
Connecticut. It was the first government-sponsored conference on any of the arts.
Steele (1988) reports that sectional meetings addressed six areas of leaming:
problems of music reading and writing, music repertory, music literature,
musicians-in-residence, educational media, and programs for talented students (p.
2). Included in the final report entitled Music in Our Schools: A Search for
Improvement (hereafter referred to as the Final Report) were recommendations
which affected music education and led to further federally funded research into
school music problems. The recommendations made to improve music instmction
were: (a) to produce a new repertory designed to develop musical taste, (b) to
encourage inductive teaching, (c) to incorporate improvisation and composition
21
techniques, and (d) to establish more visiting artists and composer-in-residence
programs. Bennett Reimer (1979) applauded the fact that contemporary music had
found its way into the classrooms and into performance repertoire (p. 7). Ethnic
music and jazz were also beginning to attain high visibihty. Steele (1988)
commented that participants found American jazz to be representative of "a highly
developed form of popular art that should be used as any other music, not just for
entertainment" (p. 73). The Yale Seminar, according to Steele,was instmmental in
spurring music educators to include jazz in the curriculum (p. 142). The Final
Report deplored the appalling quality of school music which was "cormpted by
tasteless arrangements, chosen according to the limitations of the classroom
teachers, constricted in scope, and condescending to children" (Reimer, 1979, p.
14). Werner (1979, p. 55) and Arberg and Palisca (1964, p. 117) advised that the
report stated that music education needed expanded repertory to include non-
Westem music, jazz, and folk music; more creativity using improvisation; more
development of sequential listening activities during which children can learn more
about music literature; and the use of more community resources. Leonhard (1979)
adds to this list of recommendations from the Final Report: the development of a
musicians-in-residence program in the public schools, addition of high schools of
performing arts, and the design of more individualized instmctional materials for
teachers (pp. 62-63). Arberg and Palisca (1964) state that "all music teaching
should be in the hands of musically trained teachers, from the first grade on" (p.
116). According to Arberg and Palisca (1964), a "greater emphasis in teacher-
training programs upon theoretical and historical studies would be needed to
support such a program" (p. 117). Ringer, in Arberg and Palisca (1964), suggests
that retraining of teachers is necessary as well as the retraining of teachers of
22
teachers (p. 123). The Final Report can be counted as a major document in the
history of music education, according to Reimer (1979, p. 14).
A concem about the delegates to the Yale Seminar was that few music
educators were involved. According to Barresi (1981), conferees were
predominantly composers, performers, conductors, musicologists, college faculty
and only a few music educators (p. 252). MENC representatives were invited but
only as observers. Steele comments (1988) that MENC officials, including
President Paul Bodegraven, felt that the United States Office of Education was
ignoring those who were actively engaged in the field of public music education
(pp. 99-100). Despite the controversy over who was chosen to participate in the
Yale Seminar, the fact remains that for two weeks "distinguished authorities in
music analyzed what and how music is taught and should be taught in the schools
(Steele, 1988), including the training of teachers for the schools" (p. 144). This
govemment-sponsored activity was a "first" in the United States.
Was the Yale Seminar worthwhile? Leonhard (1979) answered "Probably"
(p. 64). He continued to say that it was a benefit to the participants; it encouraged
the formation of other seminars; it proclaimed that musicians and music educators
were a force to be dealt with . . . and it identified some issues of importance (p.
64). Wemer (1979) commented on the outcome of the Yale Seminar and the
Contemporary Music Project:
Both events sounded a new note of critical urgency and made an uncompromising demand for musical excellence. Both brought together musicians to consider and cooperate in trying new approaches. They caused musicians, textbook publishers, and curriculum experts to revise the materials used in our schools to include a wider view of the world and of the century in which we live. (p. 57)
23
One of the outgrowths of the Yale Seminar was the Juilliard Repertory
Project proposed by Gideon Waldrop and funded by the United States Office of
Education. The grant of $308,310 was for a collection of music and materials
suitable for kindergarten through sixth grade school music programs. Steele (1988)
reports that the project director was Vittorio Giannini, member of the Juilliard
faculty (p. 98). Steele (1988) also reports that project members were Gustave
Reese, early monody; Noah Greenberg, Renaissance music; Claude Palisca,
baroque music; Paul Henry Lang, classical music; Alfred Wallenstein, romantic and
post-romantic music; Peter Mennin, contemporary music; John Jacob Niles,
American folk music; Nicholas England, foreign folk music (p. 98). As Hoffer
(1979) reports, "the most significant result of the Yale Seminar was the subsequent
grant to the Juilliard School for the development of new materials" and a library of
music that would help any music teacher (p. 29). The library collection consisted
of 230 vocal and instmmental works which was published in 1970. As an example
of how the music was disseminated, many orchestra selections from the Juilliard
Repertory Library were presented in a reading session on July 29, 1971, at the
Texas Orchestra Directors Convention in San Antonio, Texas. As part of the
Bicentennial celebration in 1976 and with the aid of a federal grant. Canyon Press
offered 6500 sets of music from the Juilliard repertory to the schools for the cost of
handling. According to Steele (1988), Allison Fahrer, founder of Canyon Press,
indicated that the vocal portion of the Juilliard collection received wider
dissemination than the orchestra works due to the existence of fewer string
ensembles in elementary and junior high schools (p. 111). Several of the music
critics of the Juilliard project stated that the impact was limited because the materials
developed were too difficult for the students for whom they were designed.
24
Additionally, the materials were not diversified for the different ensemble situations
across the country (Hoffer, 1979, p. 29; Wendrich, 1967, p. 36; John, 1979, pp.
37-38; Steele, 1988, p. 111).
Gillespie summarizes symposia since the 1960s. Gillespie (1997) reports
that two Tanglewood String Symposia were held in August, 1963, sponsored by
the Boston Symphony, and in August, 1964, sponsored by the Martha B.
Rockefeller Foundation (p. 62). The 1963 meeting, according to Reed and Stenger
(1996) was concemed with the shortage of players to fill symphony orchestra
positions (p. 43) and the need to improve the image of the string profession. The
1964 String Symposium, according to Reed and Stenger (1996), was concemed
with the issues of improving string instmction, interesting children in playing
stringed instmments, and educating the public about the importance of strings to
society (p. 43). Gillespie (1997) also points out that the discussion also involved
"the need to revise teacher training curricula in universities" (p. 62). Reed and
Stenger (1996) report that the Tanglewood publication from this symposium was
titled String Problems: Players and Paucity (p. 44). The topic of inadequately
trained string teachers also appeared at the Loyola Symposium of 1986, according
to Gillespie (1997, p. 62). A crisis in string education due to frequent financial
cutbacks in school string programs was also identified. Gillespie (1997) reports
that the recommendation of the symposium urged "unification of professional
organizations in order to protect the string teaching profession" and that colleges
prepare string teachers in an adequate manner (p. 62). A 1995 Symposium at
Loyola University was titled National Music Standards: Implication for String
Education. The discussion centered on the National Music Standards from the
Goals 2000 legislative act of the federal govemment. Both of the Loyola symposia
25
were organized by Dean Angeles of Loyola. Likewise, an ASTA Symposium at
Wichita State University in 1996, addressed the need for improving university
string teacher training, for developing respect for the study of music education, and
for encouraging more students to enter the string teaching profession. According to
Jacquelyn Dillon-Krass (1996b), the title of the Wichita symposium was String
Teacher Training for the Twenty-First Century (p. 8). Several ASTA brochures
about the string teaching profession resulted from this meeting. The improvement
of teacher training has emerged as a need at several conferences dating back to
1961, as conferees recognized a lack of properly trained string teachers and
reported many string teacher vacancies.
The MENC response to the Yale Seminar was the Tanglewood Symposium
held for ten days, July 23 through August 4, 1967, in Lenox, Massachusetts. This
symposium was sponsored by MENC, the Presser Foundation, Berkshire Music,
and the School of Fine and Applied Arts of Boston. The delegates were composed
of educators, artists, composers, businessmen, anthropologists, psychologists,
philosophers, sociologists, musicians, and govemment personnel. The diverse
group of participants was chosen in order to obtain a wide range of opinions and
views of music education in American society. Choate (1967) cited the objectives
as being "to assist music teachers and to explore the maximum potentials of music
education; to prepare-statements and publications which will clarify objectives and
assist administrators, supervisors, and teachers in interpreting and supporting an
effective program in music education" (p. 39). The theme of the symposium was
Music in American Society. Basically, the goals were to determine how to broaden
the repertoire, reach new audiences, integrate music into the total school curriculum
for all students, and apply developments in educational technology to music study
26
and research. The suggested expanded repertory included music of all periods,
styles, forms and cultures as well as popular teenage music, jazz, and avante-garde
music. Ross (1994) states that the Tanglewood Symposium of 1967 was
"probably the most successful national meeting ever sponsored by MENC" (p.
124).
As a result of the processes of analyzing and brainstorming solutions that
developed during the various symposia of the 1960s, new directions in music
education occurred for the 1970s. Mark (1986) asserts that "the willingness of
music educators to consider and to accept new approaches" is largely because of the
Yale Seminar, the Tanglewood Symposia, and the Contemporary Music Project
(pp. 62-63). There were direct influences on string classes. The call for broader
and more challenging repertoire, improvement of class teaching methods, methods
for teaching children with special needs, and for a contemporary music experience
in the classroom mandated changes. Who was going to add to the string literature?
Who had time to research and constmct efficient methods of teaching strings in
classes? Were string teachers aware of innovative teaching strategies for
contemporary music? How could string teachers across the nation be trained in
new methods? Would string teachers consider any new ideas? Although there
were many questions and negative comments, progressive and innovative
pedagogues emerged: Bomoff (1960) commented on the need "to find the qualified
teachers who know the string instmments well, who are solidly grounded in
sequential pedagogy, and who can produce good string players" (p. 56).
For the three decades of 1960 through 1990, new developments in string
teaching ideas occurred as well as legislative attacks on music, including strings, as
an unnecessary component in a child's education. According to Erwin (1996), the
27
1970s were a time of research and experimenting with the ideas of the 1960s, with
music educators trying to digest the issues and trends in string teaching (p. 38).
With the publication and active promotion of method books and articles by Waller
{Waller String-Class Method), Muller-Rusch {String Method), Applebaum {String
Builder Series), and Elizabeth Green {Teaching String Instruments in Classes),
national awareness of the successful string class approach spread during the 1970s.
During the 1970s, 1980s, 1990s, interest and participation in string programs
continued. Progress has continued despite Adelson's (1997) remarks that the
1980s and early 1990s were "tough years, as state legislatures, arts councils, and
local school boards drastically cut arts budgets as a part of initiatives to balance state
and local budgets" (p. 14). Music educators realized that their pleas for maintaining
music in the schools were largely ignored by the public. Music educators also
recognized that a local voice was not strong enough for the arts battle.
A unified effort of advocacy by the arts education organizations resulted in
1991 with the formation of the National Coalition for Music Education (NCME);
such advocacy has been continued through the 1990s. The members of NCME
include the National Academy of Arts and Science (NARAS), the National
Association of Music Merchants (NAMM), and MENC. The major document of
this group. National Coalition for Music Education: Growing Up Complete, was
presented to the Bush administration in 1991, emphasizing that music is basic to the
well-rounded education of every child. The document also stated that by January,
2000, every child will study music as part of the basic school curriculum.
According to Persellin (1997), TCME president, the Texas Coalition for Music
Education (TCME) became an active extension of the national group in 1992 and
continued to gain strength (p. 13). In December, 1997, the TCME became an ally
28
with the Texas Coalition for Quality Arts Education to serve when needed as a
common voice for arts education in Texas. The arts membership includes the
education organizations in music, dance, visual arts, and theater arts. TCME, states
Persellin (1997), will continue to operate as an independent organization to serve
Texas music students, teachers, and music merchants (p. 13). TCME's goal is to
ensure that all students from pre-kindergarten through the twelfth grade have access
to a high quality, comprehensive and sequential education in music. Advocacy has
become an essential tool for successful music programs, in particular, during the
past few decades.
Since leaming to play a string instmment originated in private lessons, then
in homogeneous violin classes, why was the change made to include viola, cello,
and bass instmments in the same class? Several string educators have addressed
the question. Even though Maddy and Giddings published the first heterogenous
instmmental method book in 1923, the organization of string classes did not occur
rapidly. Shepard (1954) identifies two "early misconceptions about string
pedagogy: first, that strings are difficult to teach and require longer time for
mastery and second, that string instmments cannot be successfully taught in
groups" (p. 152). Shepard believes that these common misconceptions may have
prevented successful development of the string class programs in American
schools. Wassell (1967) reiterates that many private teachers maintained that "no
class instmmental instmction has been successful, that school instmmental music is
a result of propaganda on the part of public school music teachers and that class
instmction is harmful... as it develops bad technical habits" (pp. 11-13). Private
and class teachers have been slow to adapt to modem educational methods.
However, class teachers have made more progress than private teachers. Wassell
29
(1965b) quotes Earhart as saying, "Class teaching does not always succeed in
developing good habits; but neither does private instmction. No instmction is
always successfiil" (p. 48). Wassell points out an important philosophical change
(1967), stating that "for too long teachers sought an ultimate goal of teaching as
technique. Today, the teacher's goal should be to teach pupils to love and
appreciate music. Mastery of the instmment is secondary" (p. 13).
MENC president Britton (1962) evaluates that the string teachers and
orchestra conductors "seem closer attuned to the realities of teaching in a school
situation than were their predecessors" (p. 58). The teachers are able to teach
classes successfully and show signs, according to Britton (1962), of organizational
skills necessary to the development and maintenance of large ensembles (p. 58).
The new breed of school string teacher is finally benefiting from Maddy's example
of the 1920s.
Many significant reasons were given for teaching strings in classes.
Wassell (1967) includes the following advantages for class teaching: (a) more
frequent lessons, (b) competition as a motivating factor, (c) group spirit, (d) low
cost of instmction, and (e) use of enjoyable melodies (p. 13). Wassell (I965d) in
part V of his articles quotes Arthur Williams in a 1935 statement that "predicts the
future instmmental class as a carefully balanced class of violins, violas, cellos, and
basses. Finer music material than we have now will be written for them" (p. 24).
Eventually, this forecast was realized in the United States.
Bmnson (1969) cites several valid reasons for string class instmction (p.
5).
30
Sununarized, these are:
1. Based on the premise that children enjoy doing things together, studying strings in a group presents a desirable social situation.
2. The shy child may be more at ease in a group than alone with a private teacher.
3. Competition involved in a class induces greater intrinsic motivation on the part of each child.
4. Leaming is facilitated by the students being able to observe and listen to the teacher work with others during the class. This is another reinforcement of what to do and what not to do.
5. Time can be used more efficiently in class teaching since the teacher can demonstrate proper technique to the group, as opposed to the use of individual instmction.
6. Class teaching provides the opportunity for the teacher to work with the students more times per week as opposed to a weekly private lesson.
7. A more interesting class atmosphere is achieved with students hearing the different octaves and timbres, with four-part harmony eventually included.
8. School administrators are more apt to include the class in the curriculum if all of the instmments can be successfully taught in one class instead of in four. (pp. 5-7)
Silverman (1981) states that the class process "enhances the sense of ensemble and
develops a sense of aesthetics as students leam to listen for and hear other
instmments, adjusting in response to the requirements of the music" (p. 130).
Godfrey (1989) reports from the "string class" philosophy of music educator
Stanley Nosal that:
the string class is an extremely effective way of starting and developing musicians. A class situation not only saves the teacher's time and energy, but also provides a wholesome leaming situation in which the leamers can be highly motivated, leam from each other, lose their self-consciousness, and generally have a psychologically satisfying experience with music, (pp. II-1)
Rolland (1959) discusses the merits of class teaching and private teaching.
Private teaching in America can be defined as the student being alone with the
teacher for instmction. The student is "deprived from association with colleagues"
(p. 40). Rolland continues that "possibly it is the severity of the strictly private type
of instmction that contributes to the relative popularity of class instmction" (p. 40).
31
Although Rolland says that neither system has the perfect answer to instmction, he
lists the advantages of string class instmction as:
1. social stimulus
2. time-saving
3. greater variety in curriculum through ensemble experience
4. more confident handling of the instmment
5. better sightreading development (p. 40)
The author examined five American pedagogues who are advocates of
string class teaching, who have developed and used sequential pedagogy with
positive results, who were problem-solvers, risk-takers, and who have left
important legacies for all string teachers. Each one experienced the string
Renaissance of the 1950s and the reforms of the 1960s, with an open mind and
desire to research and to develop new ideas. Each had a "fascination" for pedagogy
as defined by Wendt (1966): "It (the study of pedagogy) is the unsolved problem,
the unanswered question that spurs us onward as teachers to improve the approach,
to leam more efficient techniques . . . and to keep in mind the most important
objective of all: fostering the love of music through playing a string instmment" (p.
63).
" Five Selected American Pedagogues
Bomoff (1960) reminds one that "the idea of teaching strings through the
medium of classwork, as advocated by some music educators, was regarded with
great skepticism" (p. 56). He continues:
The impetus for string emphasis originated largely at the 1946 MENC Convention in Cleveland, Ohio. Music educators deserve great credit for their breadth of vision giving them the courage to state an interest in seeing the string class approach demonstrated. The majority of string leaders were traditional and mostly conservative in their reaction to the
32
proposal. Private teachers actually scoffed at the idea! Therefore, the string class teacher of today should look back with gratitude upon those pioneering colleagues, (p. 56)
The author selected five outstanding American string pedagogues who were
pioneers in stmcturing successful string class methods. These pedagogues were
among those who discovered how to maintain student interest as well as teach
sequential string class lessons with simultaneous class activity for all string
instmments. The search for appropriate string literature to meet classroom needs,
not only of the growing beginning string classes, but also of the more technically-
prepared string classes, has continued throughout the history of string class
instmction in America. These pedagogues found solutions. The five pedagogues
discussed in this study are Merle Isaac (1898-1996), Samuel Applebaum (1904-
1986), Elizabeth A. H. Green (1906-1995), Paul Rolland (1911-1978), and Carold
Nunez 1929-present).
Merle Isaac 1898-1996
Merle Isaac was a foremost composer and arranger of orchestral music, and
string editor. His published repertoire includes literature for school orchestras,
choirs, and bands. He was a string teacher, high school orchestra director,
clinician, adjudicator, and conductor at festivals, contests, and chnics across
America. Many persons recognize him as the Dean of School Orchestras in
America. He was honored during his lifetime by the American Society of
Composers, Authors, and Publishers, the American String Teachers Association,
the VanderCook College of Music Alumni Association, the MENC Tri-M Music
Honor Society, and the Midwest Clinic: An International Band and Orchestra
Conference.
33
His boyhood was spent living in the mral community of Pioneer, Iowa,
attending a one-room school. Later, his family moved to Chicago where his
musical training began in the fourth grade. His parents bought him a piano; he took
piano lessons for twenty-five cents each and organ lessons until he finished eighth
grade. According to Isaac himself (Lenzini, 1998) in a 1976 speech given to
students in the NSOA Youth Orchestra, "I sang in the Crane High School glee club
for two years, but my fascination for playing in the orchestra compelled me to buy a
wooden flute from Sears and Roebuck" (p. 79). Isaac taught himself how to play
the flute and then played in the high school orchestra. He began his musical career
as a theater organist for the silent movies. In the late 1920's, silent movies were
replaced with "talking pictures." As a result, Isaac had to find other employment.
At the encouragement of Lewis Brown, music director of the Chicago public
schools, Isaac studied violin and tmmpet in order to become a high school orchestra
director. For fourteen years he was director of instmmental music at Chicago's
John Marshall High School. During his first year of teaching, he realized that he
needed to know more about playing the instmments in order to teach them
effectively. He spent many Saturdays at VanderCook College in classes, leaming
how to play all of the wind instmments of the orchestra reasonably well. During
the week, he took private lessons on viola, cello, and string bass. He became
skilled on each of the string instmments.
When Isaac started teaching at Marshall High School, he found some
published music in the orchestra library, but little of it could be used. Harley
(1997) states that "some music was too difficult, and some music was too easy"
(p. 25). The string parts needed editing by a string player who knew string
technique and the students' abilities. Harley (1997) again states:
34
Isaac began to write music because he needed certain kinds of music that were not readily available. His famous string class method, one of the first to be published, was written to meet the specific needs he found in his classes at Marshall. Most of the students had leamed to play their instmments in his classes during their first year of high school. Several generations of students have now successfully experienced the Merle Isaac String Class Method. The method, still published by M. M. Cole Publications, features harmonized material with all four parts in every book, making it possible for beginning players to play full four-part harmony with any combination of four instmments.
Throughout the years at Marshall High School, Isaac always wrote a special piece for each orchestra concert. These pieces were later published for school groups throughout the country. Since 1934, hundreds of Isaac's compositions and arrangements for choms, band, full orchestra, string orchestra, and solos have been published. His compositions have, as a hallmark, interesting and educational elements in every voice. He wanted to make every part readable, playable, and interesting to each player. Isaac became the greatest provider of quality music for student orchestras in America, (pp. 25-27)
In 1943, Isaac became the principal of Talcott Elementary School in
Chicago. He served as principal for twenty-one years. He continued to be active
as a clinician at many conferences, as a guest conductor across the nation, as a
lecturer at music conferences, and as a music joumalist. He wrote numerous
articles for Etude, School Musician, Instrumentalist, Orchestra News, NSOA
Bulletin, and wrote a book called Practical Orchestration. According to Harley
(1997), Isaac was a member of MENC from 1930-1996, making him one of the
longest continuing members in the history of MENC up to that time (p. 28). He
received many honors throughout his career. Three are especially noteworthy: the
ASTA Distinguished Service Award in 1970, the creation of the NSOA Merle J.
Isaac Lifetime Achievement Award of which he was the first recipient in 1993, and
his induction in 1996 to the MENC Music Educators Hall of Fame for his
extraordinary contributions to music education.
Isaac's pedagogical philosophy is published in numerous joumal articles
that he wrote throughout his career. He was an advocate of a relaxed, flexible wrist
35
for bowing as well as overall tension-free playing. In an article describing how to
build a string orchestra, Isaac (1951) states:
We must use materials in music education that are interesting to the child at his age, and at his level of achievement.... We must always start with the child where he is. (p. 26)
The bow arm should receive great attention since time, rhythm, dynamics, style, and expressions are almost entirely the result of the bowing. Inventing rhythmic bowing variations adds interest to leaming. (p. 26)
The first thing to consider in music selection is the musical education of the girls and boys. The experience should be satisfying. Students should play music that has those qualitites of melody, harmony, and rhythm that make it enjoyable and even thrilling. We cannot expect anyone to practice with enthusiasm, music that is dull and uninspiring, (p. 34)
In his famous four-and-a-half minute speech at the 1981 NSOA Summer
Conference in Holland, Michigan, he emphasized that music selection is one of the
most important responsibilities of the orchestra director. The music should have
interesting, playable parts, be sufficiently challenging, but not difficult enough to be
discouraging. Young players enjoy music that is lively and rhythmic and that
contains some technical difficulties. The teacher should consider the grade of
difficulty, the interest level, the instmmentation, the availablity of the music, the
budget, and the purpose. According to Harley (1997), Isaac felt that the students
should experience successes rather than failures (p. 31). The Merle Isaac String
Class Method was one of the books used by the author at age five. The author still
remembers the excitement and feeling of success in playing the four-part pieces
included in the method book. Mullins (1985) verifies that "an excellent example of
multiple parts in a beginning book is the Merle Isaac String Class Method. This
approach allows faster students to leam four parts to a song while slower children
can leam one part thoroughly" (p. 17). Isaac, according to Mischakoff (1995), was
36
also one of the first writers to recommend and include rote teaching exercises in his
method book (p. 52). This early method book served as a model for future
pedagogues.
Samuel Applebaum 1904-1986
Samuel Applebaum was bom in Passaic, New Jersey, and spent his youth
in East Orange, New Jersey. According to Arazi (1969a), Applebaum's home was
"culturally oriented" (p. 12). He began private study of the violin at the age of
seven with Alexander Bloch. His subsequent violin teachers were Louis
Svecenski, Franz Kneisel, and, finally, Leopold Auer at the Juilliard School of
Music from which he graduated. Applebaum was an accomplished violinist,
teacher, author of over four hundred study books and collections of etudes, pieces
and chamber music for strings and numerous articles on strings. His compositions
include works for string and full orchestras, and his string methods books are
widely used in the United States. Wassell (1967), in an interview with Applebaum,
asked why he chose to work with music educators instead of continuing as a private
teacher. Applebaum's answer was:
I realized then, and I certainly do now, that the future of any science or art is in the sphere of public education. Forty years ago I realized that the future of musical performance would be developed in the school systepi. Time has confirmed this. (p. 20)
Applebaum started the string classes in the Newark, New Jersey School system.
He also taught for several years in East Orange, New Jersey. He served as a string
consultant to school districts in various American cities. According to Wassell
(1967), Applebaum felt that a string teacher should be trained to teach string classes
in homogeneous as well as heterogeneous groups (p. 24).
37
In the same interview, Applebaum suggested that "there is a great deal of
merit in the rote approach. Developing skills by rote, in groups, with short,
interesting material, is very desirable (p. 22). His String Builder class method
book is part of the Belwin Course for Strings. Arazi (1969a) relates that
Applebaum told him that String Builder is based on the Auer principle of adequate
preparation (p. 12). Applebaum described Auer as a master at "diagnosing faulty
habits and prescribing a counter-measure to be used" (p. 12). Warrick (1988)
describes the various Applebaum materials that are correlated for a complete string
program curriculum including technique, ensemble, and program books, as well as
solo books (p. 79). The author has used a variety of the Applebaum series and has
appreciated the logical, organized manner in which the concepts are presented.
Rote drills are included as well as string ensembles for the class. In 1967, the
University of Wisconsin Extension Division produced a series of twelve films in
which Applebaum lectures and demonstrates ways to solve the basic problems of
tone production, study of positions, shifting, vibrato, and bowings. This film
series provides further information and help to string teachers and students.
One of Applebaum's favorite theories, according to Arazi (1969a), is that
"there are more ways than one road to Rome" (p. 15). One must have a variety of
approaches to solve pedagogical string problems. Applebaum personally
interviewed many famous string performers, finding out their ways to improve
string technique. He wrote a series of articles about these interviews. The
collection of articles was published in his book called With The Artists: World
Famous String Players Discuss Their Art which provided insightful perspectives
and solutions to common string problems. Applebaum and his wife, Sada,
completed volume two of With the Artists, involving different string performers
38
than the first volume. Applebaum also wrote a multi-volume set of fourteen books
entitled The Way They Play. This series developed as a result of additional
personal interviews with nearly all of the great string players of three generations.
Applebaum ((1973) explained his purpose in volume two: "to show how great
string players of the world achieve their interpretations, to reveal the personalities of
string artists and teachers for deeper understanding of them, and to display current
views on various technical problems" (p. 3). Applebaum and his wife wrote
volumes one through four of The Way They Play, Applebaum and Henry Roth
wrote volumes five through ten of The Way They Play; Applebaum, Henry Roth,
and Mark Zilberquit wrote volume eleven of The Way They Play. Volumes twelve
and fourteen were written by Applebaum and Zilberquit. Volume thirteen was
written by Applebaum, Theo Saye, and Zilberquit. From the numerous interviews
with performers, Applebaum absorbed diverse ways of creating solutions to string
problems. As a result of forty years of teaching and conducting clinics for teachers,
Applebaum wrote down his observances and compiled a book containing the most
frequently asked questions about string technique. This resource for students and
teachers is titled The Art and Science of String Performance. According to Arazi
(1969a), "Mr. Applebaum's big hobby is writing on subjects in his own field" (p.
15).
Applebaum'sT)edagogical philosophy emphasizes a relaxed bow arm from
the beginning of instmction. Applebaum (1986) defined the freedom of motion as
when the "hand, arm, wrist, elbow, shoulder, and upper arm work together in a
flexible manner" (p. 82). He also connected breathing with exercises to develop
freedom of motion in bowing (p. 84). "The right arm should move freely and
lightly in the shoulder joint, as though the entire arm is airbome" (p. 74). In
39
addressing bow changes, Applebaum (1986) suggests for one to lower the hand in
the wrist joint "as though changing to the next higher string" (p. 85). If the bow
ch£uige is smooth, the bow should create an action that is "similar to that of the tail
of a fish as it swims" (p. 85). The feeling might also be that one is creating a slight
circle with the right hand.
Applebaum's method books are included in Johnson's dissertation (1994).
Her evaluation of beginning method books offers a detailed "cumulative content
summary" in Table 12 of her study, which examines eleven method books. The
books range from Isaac's String Class Method, published first in 1938 to Strictly
Strings, published in 1992. The following are observations made from Johnson's
study in Table 12. The Applebaum String Builder (1960) contains rote projects at
the bottom of certain pages in the books. The Applebaum String Method (1972)
uses rote games extensively in the method. According to Johnson (1994), there are
seventy-seven rote games in this book (p. 32). Applebaum calls his method a
conceptual approach which he defines as "the development of technical skills by
rote before their application to actual note reading" (p. 32). He refers to this
method as one of anticipating problems. According to Johnson (1994), the material
in this book is carefully graded (p. 32).
Applebaum eamed national awards for his excellence in teaching. In 1963,
the National Federation of Music Clubs cited Applebaum in recognition of his
outstanding contributions to string pedagogy through his publications and working
with students and teachers. In 1967, Applebaum received the ASTA award as
Distinguished Teacher of the Year.
40
Elizabeth A. H. Green 1906-1995
Elizabeth Adine Herkimer Green was bom in Mobile, Alabama, in 1906.
She began violin studies with her father at age three. She graduated from Wheaton
College in 1928 and spent the next fourteen years as a junior and senior high
orchestra director. She received a Master of Music in 1939 from Northwestem
University. In 1942, she became director of the Arm Arbor High School Orchestra,
the concertmaster of the Ann Arbor Symphony, and an assistant professor of music
education at the University of Michigan. She has written many articles and books
on teaching and conducting. Her texts Orchestral Bowings and Routines , first
published in 1949 and re-published in 1990, and Teaching Stringed Instruments in
Classes (1966) are currently available from ASTA Publications Library. These
texts are used in many college and university teacher training programs today.
Other books written by Green are Hohmannfor the String Class (1959),
Musicianship and Repertoire for the High School Orchestra (1962), and The
Dynamic Orchestra (1987). Her years of teaching and experimenting with various
methods of string pedagogy resulted in successful approaches in the string class.
According to Feigelson (1995), ASTA President Jacquelyn Dillon-Krass stated :
When I began teaching, Elizabeth Green's books were the only resources available to teachers who wanted to create string programs in schools. She was the first to really believe and advocate the idea that beginning strings could be taught in groups.... She was a role model for women in the profession at a time when very few women held positions as conductors and directors of string programs, (p. 21)
Green (1966) stated that:
the class-method approach to instmmental music in the public school has provided the profession with a vast laboratory for research on how children leam to become proficient on musical instmments. It has brought together many divergent pedagogical ideas, correlating and refining them, until today there is much more agreement on what comprises good technique and what are the important things in building it. (preface)
41
Her purpose in writing Teaching Stringed Instruments in Classes is to
explain how a heterogeneous string class can be taught with as little waste of time
as possible. Green (1966) used a very thorough, sequential class methodology
which she explains in her book as a series of small, logical steps that will lead
"everyone in the class from here to there without losing any steps along the way"
(p. 5). When teaching a string class, the teacher must cover every step in the
process. All technique needs to be built from an easy, understandable starting point
with every child. The most important aspect to Green is following a logical
sequence, not finishing each lesson at each class period. Other important elements
which she explains in her book are various ways to teach students how to play "free
of tension," and how to count rhythms correctly. She emphasizes that "correct
manual habits should precede correct rhythmic habits" (p. 37). Her philosophy
maintains that the teacher must be sure that the child is ready for adding new
techniques. Green's string class methods are just as applicable today as they were
thirty years ago. Her text and teaching experiences in developing heterogeneous
classes are major contributions to the music profession. In her conclusion. Green
(1966) reaffirms her thesis that "precise knowledge of what to do and how to do it
is the basis of all fine teaching; that precise knowledge of what to do and how to do
it is the basis of all intelligent leaming" (p. 85). In her years of teaching strings,
she developed a unique ability to discem pedagogical problems in playing, to define
an effective approach, and to apply proper pedagogical techniques for mastery of
the leaming. There are no "thin spots along the way" in her thorough text
conceming teaching strings in classes. Just as meticulous in presentation is
Green's Orchestral Bowings and Routines, the result of twenty years of study,
research, and teaching of the material contained in this book. Orchestral Bowings
42
and Routines is now in its seventeenth printing as of 1995. Green's pedagogical
efforts were directed toward providing methods for training teachers as well as in
teaching students to play. The profession is indebted to Green for her contributions
to string teaching in the United States. Green received the ASTA Distinguished
Service Award in 1976. In 1997, the ASTA School Educator Award was renamed
the Elizabeth A. H. Green School Educator Award in honor of the renowned
conductor and string pedagogue.
Paul Rolland 1911-1978
Paul Rolland, a native Hungarian, studied violin at the Liszt Academy in
Budapest. He played in the Budapest Symphony and formed the Pro Ideale Quartet
which was invited to perform in the United States in 1938. The quartet stayed at
Westminster Choir College at Princeton for a two-year engagment. When the
members parted, Rolland became a United States citizen. He taught strings in
several colleges, settling at the University of Illinois in Urbana in 1945, where he
served on the faculty of the University of Illinois School of Music for thirty-three
years. In an interview with Smith (1973), Rolland relates how he became
interested in string class teaching:
Two years after arriving in this country from Hungary, I found myself teaching in a small college in Iowa. During that year, I attended a MENC Regional Conference in Des Moines and heard a talk by Marjorie Keller on teaching children in classes. This one-hour lecture changed the course of my professional life. As a conservatory-trained, performance-oriented teacher, I tried and liked teaching violins in classes. After figuring out what and how to teach (in classes), I soon had violinists and cellists in my class . . . I was eager to continue teaching string classes, (p. 84)
Atwood (1996) reports that Rolland "dedicated himself to pedagogy and
string activism" (p. 67). Rolland organized Saturday string classes for children
43
which led to the organization of the Illinois Summer Youth Music Program in the
early 1950s. The Summer Youth Music Program led to Rolland's research project,
the University of Illnois String Research Project. He became an intemationally-
known string advocate.
Rolland was one of the founders of ASTA in 1946. He served as the first
editor of American String Teacher from 1950-1960, as president of ASTA from
1964-1966, and as ASTA publications chair from 1966-1974. In 1959, Rolland
was commissioned by MENC to prepare Basic Principles of Violin Playing as part
of new MENC guidelines for American public school music programs. In 1962, he
served as chairman of the Research Committee for ASTA and felt that string
teachers needed a syllabus~a graded list of technical goals, etudes, and solos for
each year of study for each stringed instmment. The committee produced the String
Syllabus in 1963. In 1965, he facilitated the production of Suzuki Teaches
American Children, a film on Suzuki's work. Atwood (1996) states that "he was
always teaching, teaching-refining, adding teaching materials, writing about
teaching (p. 68). In 1973, he received the ASTA Distinguished Service Award.
He was awarded the Bronze Medal from the Ysaye Foundation in 1975. His
archives are housed at the University of Illinois at Urbana.
Rolland received a grant from the U. S. State Department and the Office of
Education to support ills pedagogical ideas in the 1960s. With a State Department
grant (1960-61), Rolland traveled to Austria, Hungary, Yugoslavia, Turkey, and
Israel as an American string specialist lecturing on U.S. string education and
performing contemporary American music in concerts. In 1966-1969, he was
awarded another grant from the U.S. Office of Education, according to Smith
(1979), to develop his string teaching ideas and methods (p. 7). The project
44
involved string students, string educators, and resource persons. According to
Rolland and Colwell (1966), the purpose of the research was "to develop a course
of study which will systematically present the requirements necessary to establish
tension-free and natural playing movements, good tone production and a firm basic
technique for the string student" (p. 36). Rolland hypothesized that faster leaming
and better playing would result from an organized plan of string instmction coupled
with relaxed physical motions. Reed and Stenger (1996, p. 46) as well as
Fischbach (1972, pp. 167-169) report that the study coordinated a series of
seventeen 16 mm color films (1968) with a textbook (1968), a three-record set of
"Our First Exercises" plus a single recording of "Tunes for the String Player," a
handbook containing musical examples and a sequence of contemporary pieces.
The films illustrate each chapter of The Teaching of Action in String Playing by
Rolland and Mutschler (1974). The violin/viola book is combined and displays
both violin and viola clefs. The cello book is co-authored by Rowell; the bass book
is co-authored by Krolick. The research project was initiated from the
recommendations of two Tanglewood Symposia in 1963 and 1964 and Rolland's
personal observations (1966) of "American children's poor approach to string
playing as evidence by their inferior tone quality, poor intonation, poor positions,
and uncoordinated angular movements" (p. 38). Rolland and other string teachers
were also concemed that the string students rarely continued playing beyond high
school. Fischbach (1972) reports that the situation could be the result of poor
string teaching (p. 27). Rolland continued (1966):
It is the opinion of this writer, based on over 25 years of teaching experience, that the problems can be significantly improved by a direct approach that treats the playing mechanism as an organic unit.... By acquiring the kinesthetic sensation necessary for performing the various motion pattems needed in playing, a surprising improvement can be effected in the learner,
45
helping him to achieve a more natural, tension-free approach to playing and a better tone and technique, (p. 38)
Because the need for violinists in the schools was so great, Rolland
conducted the study with violin classes in selected public and laboratory schools.
He designed the results, however, to benefit the other string instmments as well.
The developmental project consisted of ten specific phases of research. Rolland
included teacher training in his project in order for teachers to understand the
process. Perkins (1995) states that "many of Rolland's ideas were considered
revolutionary when he presented them in teacher training workshops in the 1970s"
(p. 26). Today, his methods of string pedagogy are widely accepted.
Fischbach (1972) includes a letter from Rolland in which Rolland wrote "I
believe we have proved the point that an awareness of the body and its movements
will benefit the well-being, comfort, and free movement of the player... beautiful
movements and beautiful sounds" (p. 164). In comparing Suzuki, Havas, and
Rolland, Perkins (1995) advises that Rolland's technique "is the most accessible of
the three" and can be "successfully implemented into a public school setting,
provided the teacher has received proper training in the method" (p. 204). Lyne
(1991) reports that Rolland and Mutschler described the teaching process in their
study as one in which "the student's actions must be identified (assessed), sensed
(diagnosed), and the correct action applied (prescribed)" (p. 56). The process
becomes more seamless with increased teacher experience and knowledge of what
to expect (p. 94). Lyne (1991) continues her explanation that "if the student's need
is remedial, then a prescription is designed to alleviate the problem. If the need is
developmental, a prescription is developed to further advance the level of the
student" (p. 100). When the need is met, the process begins anew.
46
In September, 1968, Farish and Rolland published their Final Report of a
study for developing performance materials in the contemporary idiom for the early
stages of string instmction. They received a grant for this study from the United
States Department of Health, Education, and Welfare based on research findings
that virtually no suitable contemporary music was published in the United States for
the early stages of string instmction. The original project was titled "A Plan for
Developing Performance Materials in the Contemporary Idiom for the Early Stages
of String Instmction," directed by Rolland and assisted by Farish. Standard string
method books were examined to identify the skill levels of young students.
Included in the project was a composer's guide, constmcted in order to give
prospective composers criteria for technical skill to include for the elementary string
students. Farish, who was responsible for writing the composer's guide (Farish
and Rolland, 1968), explained that "at the present time, beginning string students
are confined to a repertory which is singularly lacking in variety and imagination ..
. the music must be easy but need not be trite" (p. 2). No restrictions were placed
on musical style. Farish and Rolland (1968) advised the composers that "the
idioms of the twentieth century are as suitable as those of any other period as long
as the idioms are in the hands of a composer who understands the musical abilities
and the technical limitations of the children" (p. 2). In the composer's guide,
Farish and Rolland (1968) made these suggestions for the stage one elementary
level compositions:
1. Short pieces of strong rhythmic character are best. 2. The beginner can play open string double-notes if short, firm bow
strokes are used. Students can also play these as string-crossings in a repetitive figure.
3. Current repertory is limited by absence of instmmental effects, such as colorful sounds. New pieces and new sounds are urgently needed.
4. Pieces need more dynamic contracts and changes of tempo. 5. Assume that all pieces will be played without vibrato, (pp. 12-18)
47
Smith (1971) explains the characteristics of "music in the contemporary
idiom" as applied by Rolland and Farish. For young contemporary string
ensembles, students would experience mdimentary techniques using pizzicato,
glissandos, intervals of the fourth, fifth, and seventh (p. 14). Further experience
with contemporary techniques might also include rhythmic combinations of
syncopation, cross rhythms, tmncated rests, and changing meters, creating new
and exotic sounds. Smith (1971) adds that percussion instmments (wood block,
tambourine, triangle, and dmm) are unique contemporary additions which are used
in order to maintain the pulse of the music with the players (p. 14). According to
Farish and Rolland (1968), these small rhythm instmments can be played by
children (p. 4). Smith reports (1971) that it was found that many of the string
players did not have sufficient rhythmic strength to handle problems in the music.
Playing odd-numbered note groupings was difficult (p. 14). Rests created
problems for students as did re-joining the musical phrase after a break (p. 14).
However, Farish and Rolland (1968) believed that "almost any clearly defined
rhythmic pattern can be leamed by children" (p. 13).
Farish and Rolland (1968) also concluded that the absence of contemporary
student repertory was not due to the disinterest of composers (p. 15). Because
Farish and Rolland felt that teachers might be resistant to the new pieces, a teacher's
manual was prepared for teachers and for others who wished to introduce
contemporary music to students. Even with support from the composers, the music
required the support of teachers in order to be played by the children for whom it
was written. Farish and Rolland recognized that teachers needed to leam a
successful approach for teaching the new compositional practices. Early in 1967,
"an informal testing program was initiated to explore problems encountered by
48
teachers introducing twentieth century musical idioms to children" (Farish and
Rolland, 1968, p. 6). This program failed because "the teachers did not give the
pieces adequate trial and did not respond to the invitation to consider new teaching
procedures" (p. 7). According to Farish and Rolland (1968), the standard
"repertory of folk songs and simplified transcriptions did not develop the
musicianship needed for the performance of the project compositions" (p. 1).
Furthermore, according to Farish and Rolland (1968),
the string player trained exclusively in the music of the 18th and 19* centuries determines relationships of pitch by reference to a tonal center and rhythm by conventional metrical divisions. His ability to read fluently is based upon these concepts. The idiomatic pattems of the music he has studied are built into his technical skills. Much new (contemporary) music seems enormously difficult because he becomes quite literally lost, technically and musically, (p. 2)
In 1971, Rolland wrote a method book called Prelude to String Playing for
individual or heterogeneous classes. This book employs many graphics, an
innovative idea, instead of words for emphasis. Rolland (1971) states in the
preface that Prelude "offers new ideas for teaching the fundamentals of string
playing to persons of any age.. . . Prelude presents sequenced materials and
illustrations for leaming the basic skills" (p. 1). His main goal was to develop the
concepts of "balance in both right and left hands and body alignment into a cohesive
method," according to Mischakoff (1995), so that teachers could use the method
with beginning students as well as with older remedial students (p. 55). The
method consisted of a series of exercises called "Action Studies" designed,
according to Fischbach (1972), "to develop the proper motion pattems free of
excessive tension, for the various elements of viohn and viola technic" (p. 11).
Both treble and alto clefs are used simultaneously for violin and viola players as in
The Teaching of Action in String Playing. New Tunes for Strings, a two-volume
49
companion book of string pieces by Stanley Retcher, is available with a recording.
According to Fischbach (1972), each new song in the companion book is
Fletcher's musical solution to a technical problem suggested by Rolland (p. 58).
Sheila Johnson, a teaching assistant with Rolland in the University of Illinois String
Project, was appointed to revise Prelude to String Playing after Rolland's death in
1978. The revision is named Young Strings in Action (1985) and contains the
same Rolland pedagogical material and sequenced heterogeneous approach in an
expanded form with more pieces and exercises. Johnson (1980) states that all of
the book is "stmctured to encourage students to think" (p. 17). Sheila Nelson
(1976) states that the children in the Project enjoyed the up-to-date idiom of the
Fletcher tunes (p. 11). According to Johnson (1994), who examined Rolland's
Young Strings in Action, revised by Sheila Johnson in 1985, Rolland advocates
that "the establishment of proper motions from the very first lesson reduces the
occurrence of incorrect actions" (p. 150). Rolland's "actions" were unique and
were considered as radical departures from traditional leaming. Smith (1989)
reports that the "results of public school field tests indicate that Rolland's approach
to movement training promotes rapid kinesthetic skill development in beginning
string students" (p. 47). Fischbach (1972) cautioned that "in its present form, the
Prelude is too difficult for an uninitiated teacher to use without a great deal of
training by Rolland or someone familiar with Rolland's teachings" (p. 102).
Fischbach (1972) in his study designed to compare the approach developed
by Paul Rolland with the approach of Samuel Applebaum states:
Historically, one can view the Applebaum books as some of the last refinements of one pedagogical school, and the Rolland method as one of the first of a newer school. It is appropriate to point out that both approaches are excellent, and both are very similar in terms of what is taught. The important differences between the two approaches concem how it is taught, (pp. 10-11)
50
Johnson (1994) examined method books of three of the string pedagogues
discussed in this chapter. The author points out that neither Elizabeth Green nor
Carold Nunez published a string class method book. Green's primary emphases
were on training string teachers and teaching students. Nunez' primary emphasis is
on writing pedagogically-based compositions which strengthen string class
techniques. A brief summary of Johnson's findings (1994) follows. Each of the
method books by Applebaum, Isaac, and Rolland are currently published in the
United States and are readily available. All have merit, according to Johnson (p.
306). The author agrees as she has used each of these method books in public
school string class teaching. Several common characteristics exist among the
books: all use scales in the texts, proper string editing is apparent, all use folk
songs, classical selections, and traditional songs, original compositions and
arranged compositions, as well as ear training exercises. This information is found
by studying Johnson's Table 12 (pp. 299 - 305). The Isaac book, Applebaum
String Builder, and the Rolland book are appropriate for use with any age in the
public school. Johnson (1994) suggests that the Applebaum String Method be used
for older students because the vocabulary is too sophisticated for elementary
students (p. 309). All of the methods reinforce new leaming with at least one
exercise of musical selection (p. 296). Adequate repetition of a skill is essential in
developmental leaming as well as remedial leaming. The success of the Applebaum
String Builder of 1960 may be due to the great deal of repetition presented with new
concepts. Whereas later publications were written for students beginning in the
sixth and seventh grades, Applebaum String Builder was written for younger
children (third, fourth, and fifth graders) who require more frequent repetition for
learning (p. 297).
51
In examining the method books, several differences do appear. For
example, Applebaum String Method and Rolland Young Strings in Action begin
with rote reading; Isaac and Applebaum String Builder begin with note reading.
One must realize that Isaac was published in 1938 and Applebaum in 1960. When
Applebaum String Method was published in 1972, Applebaum had added rote
reading as a starting point instead of note reading, indicating a change in his
pedagogical philosophy. Likewise, the early String Builder does not address bow
preparation in detail, and the later String Method does address bow preparation.
The earlier String Builder does not include posture activities to the extent that the
later String Method emphasized posture and total body movement while playing.
The Rolland book also advocates posture and total body movement while playing.
The String Method and Rolland's book use extensive left-hand pizzicato which
encourages proper left-hand finger angle and elevation. Merle Isaac does not
include left-hand pizzicato. Because Isaac was one of the pioneering writers, he
wrote the basic fundamentals of leaming for string instmments. Probably the idea
of left-hand pizzicato had not occurred to him. The later pedagogues explored
variations on the fundamentals and found new ideas. Despite the differences in the
method books, students can be successful in leaming from any of the material
written by Isaac, Applebaum, and Rolland. Until Johnson's study (1994), there
was a complete absence of literature that evaluated string class methods with regard
to style, form, and content (p. 321).
Gillespie, string pedagogue from Ohio State University (Gillespie, personal
communication, 8-1-98), commented on the status of string class methods today:
In my estimation, pedagogues have spent most of their time on class violin techniques with a significant amount of time spent on viola pedagogy. Cello pedagogy appears to be in a stage of refinement across the nation. However, bass pedagogues are still experimenting
52
and discovering the best techniques for young bass players. The next pedagogical explosion will be in the area of the string bass.
Carold Nunez 1929-present
Carold Hardy Nunez, whose life will be detailed in Chapter HI, is a native
Texan, a graduate of the Texas public school system and of a state university. His
music education began with the study of piano at the age of five. He leamed about
harmony, chord symbols, and improvisafion at an early age. During high school,
he worked as a jazz pianist at a night club. As a youngster, Nunez knew that he
wanted a career in music as a composer. After completing a Bachelor's degree in
composition and a Master's degree in music education, Nunez taught for twenty-
nine years in several public school systems in Texas. During his years as a string
teacher, he encountered many pedagogical problems which he solved through his
own trial and error creativity in the classroom. He responded to these right and left
hand problems by writing melodic exercises which eventually became the motives
for string compositions. The works of Nunez are unique because they have been
developed primarily from a "felt" need(s) within the string class. Nunez follows a
sequential leaming theory in assessing the problem, diagnosing the problems, and
prescribing a solution. According to Allen (Allen, personal communication, 8-1-
97), "Nunez' music sells because it is interesting and meets an immediate need in
the classroom." Nunez also diversifies the interest of all parts in the string
orchestra. Because of his background in jazz, rhythmic figures are challenges in
each composition. Each piece is special. Nunez has been honored as Texas
Orchestra Director of the Year. Many of his compositions have been included in the
MENC and NSOA highly selective composition lists as well as cited in the Texas
53
University Interscholastic League lists, along with selected compositions of Isaac
and Applebaum.
The intent of the five pedagogues was to improve the string teaching
profession, especially with regard to teaching string instmments in classes, for both
teachers and students. Several common threads are apparent: (a) the desire to
respond to "felt needs," (b) the ability to identify, diagnose, and prescribe
solutions, (c) the willingness to explore various resources with an open mind
coupled with a sense of vision, a sense that ideas are unlimited, and (d) the
responsibility to follow through with a response. Each was resourceful and could
discem pedagogical problems. Isaac needed appropriate music for his high school
students. His response was to write a new composition for each high school
concert with his students, solving the need for interesting music that contained
educational elements in every voice. He addressed public school string class needs
by composing, arranging, and writing method books for all ages. He also
responded to his personal need to be able to play each string instmment by taking
private lessons at VanderCook College. Applebaum, an accomplished violinist,
chose the field of education because he felt a need to improve string performance
and knew that effective training began in the school systems. From his teacher,
Leopold Auer (a diagnostician), he leamed diverse approaches to solving string
problems. Applebaum used his resourcefulness to help young string students and
put his solutions into practice. Green felt a need to develop teaching methods for
string teachers and to train teachers to be effective in the class approach. For
example, she was fmstrated because the Hohmann Violin Book was written only
for violins and did not include instmctions for the teacher on how the book should
be used. Because she needed this book for viola, cello, and bass instmction, Green
54
wrote a modem edition for all string instmments which included specific
instmctions for teachers. Published by Carl Fischer, Inc., the Hohmann books are
examples of Green's response. Rolland also chose string class education as a
career, even though he was an accomplished performer. Rolland recognized the
need for producing better string players in the United States. He had an idea that a
tension-free approach to the instmment might overcome inferior tone quality in
string students. He conducted research to verify his solutions. The natural
movements were productive. He documented his results through string class
research sponsored by govemment grants. Nunez responded to a need for
compositions that would strengthen string class techniques for all string
instmments. He also responded to a personal need to leam the string instmments
by taking violin and violas lessons as an adult. Thus, one sees five pedagogues
who recognized needs, responded to needs, experimented and researched possibile
solutions, followed through with solutions, and maintained vision for future needs.
Each of the five pedagogues has demonstrated successful methods with
string students and teachers in America. Each has been nationally-recognized for
dedication to the art of teaching string instmments and for meaningful contributions
to the string education profession. Each has been active in promoting strings
through articles, clinics, and workshops across the nation. Each has come from a
different historical background, arriving with his/her pedagogical methods through
personal desire, research, and experience. As string pedagogy is always in the
process of being refined, changes in methods are inevitable. Innovative,
progressive teachers will adapt to changing ideas and be able to offer several
approaches to teach a certain technique in order to connect with the many leaming
styles of children in string classes today. Isaac, Applebaum, Green, Rolland, and
55
Nunez are significant models and resources for string educators. If a certain
method did not solve a technical problem, then each would seek another way in
which to help a child leam how to play a string instmment. These music educators
were and are persistent problem-solvers. According to Wendt (1966), string
teaching is a "fascinating occupation, and the more one delves into it, the more
involved one becomes with the work" (p. 63). Today's open-minded string teacher
has a better opportunity for success in the string class, thanks to the examples of
these five American pedagogues who have defined modem-day string teaching.
According to Lloyd (1996), "most string teachers today are eclectic in their
approach, adapting pedagogical ideas from Paul Rolland, Elizabeth Green, Phyllis
Young, Applebaum, and Isaac, just to name a few" (p. 65).
The lasting contributions of these five pedagogues to American string
education have been supported and disseminated through several of the American
professional music organizations. String education in the public schools could not
have progressed without the advocacy, critical foresight, and emphasis on
pedagogy from the professional music organizations. For many string teachers, the
organizations' conventions and publications are their only sources for new
techniques for classroom instmction, reviews of research, and reviews of string
literature (Erwin, 1996, p. 21). According to Dillon and Kriechbaum (1978),
"much can be leamed at conventions and clinics . . . the most useful information is
found by talking to successful string teachers and visiting with clinicians in
informal situations" (pp. 283-284). A review of selected American music
organizations follows.
56
Selected Professional Music Organizations
The support given to string education by state and national professional
organizations for music education in America can be traced through an overview of
their histories and a discussion of the current ways in which the respective
organizations assist music educators, particularly string educators. The
organizations to be discussed are MENC and TMEC, TMEA, ASTA and
TexASTA, NSOA, and TODA. By networking, sharing current ideas, and
designing research, these groups of music educators provide resources to keep
orchestra directors informed and motivated.
Music Educators National Conference (MENC) 1907
Music Educators National Conference (MENC) was called the Music
Supervisors National Conference from its inception in 1907 until it became Music
Educators National Conference (MENC) in 1934. It was organized by Phillip C.
Hayden. Hitchcock and Sadie (1986) state that "MENC is to some degree research-
oriented, thereby encouraging investigation into problems of music education,
including the theory of music instmction, leaming, and teaching processes, and
effective primary and secondary music programs" (p. 20). MENC is an important
lobbying organization for music at the national level. Following World War I,
MENC became one of the first professional education associations to develop a
stmcture of state, divisional, and national units. National membership meetings are
held bi-annually in even years, with region conferences held bi-annually in odd
years. There are six regions of MENC. MENC was active during both world
wars, according to Hitchcock and Sadie (1986), and assisted with the adoption of
the Service Version and the Code for the National Anthem (p. 310). MENC
57
leaders are dedicated to the support of all professional music educators: band,
orchestra, choir directors, general music specialists, college professors and
students, music administrators, and retired music educators as well. MENC
membership is also open to any profession related to music. MENC was
instmmental in the establishment of school credit for the study of music, in the
establishment of the International Society for Music Education, in music education
research and in disseminating information to its membership. The official MENC
publication is the monthly Music Educators Joumal, pubhshed from 1914-1934 as
the Music Supervisors Joumal, which addresses critical issues, pedagogy,
research, and new trends in music education. Other MENC publications are
Teaching Music, Joumal of Research in Music Education, General Music Today,
Joumal of Music Teacher Education, UPDATE: Applications of Research in Music
Education, and Society/or Research in Music Education. A variety of music
resources, publications, and videos is available through MENC. One essential
resource for string educators is the MENC String Committee's Minimum Standards
for String Instruments in the Schools. MENC sponsors Music in Our Schools
Month, Tri-M Honor Society for high school students, outreach programs, in-
service conferences, conventions, task forces on current issues, and develops
National Standards for Music Education. MENC has conducted projects for the
Ford Foundation, the-Presser Foundation, and the U.S. Department of Education.
Since 1965, the archives of MENC have been placed at the University of Maryland.
The 1998 membership of MENC is 65,000.
The Texas unit of MENC is named Texas Music Educators Conference
(TMEC). The state publication is Connections, which features articles written by
Texas music educators, news from state leadership, and articles conceming reforms
58
and innovations in music education. Texas also has collegiate chapters of TMEC.
Membership for 1998 in TMEC numbers approximately 500. According to the
Executive Secretary Stevanson, TMEC members are "educators who look for
positive solutions to problems, educators who challenge students and themselves,
and educators who seek diligently to find different approaches in order for each
student to experience success" (Stevanson, personal communication, 2-13-98).
Texas Music Educators Association (TMEA) 1920
Texas Music Educators Association (TMEA), first organized as a band
association in 1920, serves the Texas music educators by holding an annual
convention/clinic, sponsoring inservice workshops for teacher training, and
organizing symposia for the development of ideas and assessment of music
programs. The organization interacts with other state agencies on behalf of music
education and provides a vehicle for the dissemination of research in music
education in Texas through its joumal (TMEA Archives, 7-14-98). The official
TMEA publication is the Southwestern Musician combined with the Texas Music
Educator, published ten times per year. The TMEA archives are housed in the
TMEA office in Austin, Texas. All of the information in this brief history of TMEA
was gathered by the author from the TMEA archives which includes original
minutes from 1924 to the present, brochures, various documents, dissertations,
scripts, and a video produced by Bill and Anita Cormack entitled Texas Music
Educators Association: 75 Years of Excellence, 1920-1995. TMEA is an
organization of over 8500 music professionals united by common goals:
1. to stimulate professional growth 2. to promote public awareness of music education in the Texas public
schools 3. to maintain communication among Texas music teachers
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4. to foster productive working relationships with other organizations having similar goals
In 1920, James E. King, director of the Waxahachie Lone Star Band, called
a meeting at his home in Waxahachie. He invited nine bandmasters to start a
bandmasters' organization to develop contest guidelines for band contests in
communities throughout Texas. The organization was officially incorporated in
1924, as the Texas Band Teachers Association (TBTA). King's idea was to
determine contest guidelines and organize band contests to be held under the
auspices of TBTA. King was elected the first president. Dues were fifty cents; the
total active membership was twenty-nine for the first year. The first contest was
held for three municipal bands. Not only did TBTA sponsor band festivals and
contests, but it also proposed college degrees in band teaching. The main goal was
to promote better bands in the community. In 1933, Clyde Garrett became the
editor of the offical TBTA publication entitled the Southwestern Musician.
In 1930, the stmggle began to include music as an accredited course in
Texas. Eskridge (1943) reports that the State Accrediting Board refused to grant
the request until a means of accountability could be devised along with a textbook
so that "all students could gain equal understanding of the subject, thus entitling
them to equal credit like all other subjects taught under statewide supervision" (p.
28). D. O. Wiley and N. J. Whitehurst headed the TBTA Committee on
Standardization which was charged with finding a suitable text. In 1932, Wiley
urged that a text written by John F. Victor, entitled The Victor Method of Class
Instruction for Band and Orchestra (eight volumes) be used. This text was a four-
year, unison course of instmction for all instmments. In August, 1933, the State
Accrediting Board accepted The Victor Method as the state music course of study
and also authorized two units of college entrance credit for all students completing
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four years study of band or orchestra in schools that affiliated the subjects (p. 30).
On April 1, 1940, state-fiimished textbooks for band and orchestra became a
reality.
At the 1936 convention held in Abilene, Mr. Willman moved that the
association invite the orchestra directors to join TBTA. The motion carried; the
organization became the Texas School Band and Orchestra Association (TSBOA).
Dr. Julian Blitz, head of the music department at Texas Tech, became the fu-st
orchestra chairman (TMEA Fiftieth Anniversary script, 1970, p. 8). A new
publication called the Texas School Band and Orchestra Magazine entered the scene
in 1936. It soon changed to the Texas Music Educator, a foremnner along with the
Southwestern Musician. The editors were Col. Dunn and Shirlireed Walker of
Bryan. The publisher and business manager was Coulter Hoppess of Bryan. Mr.
Hoppess furnished the money; Col. Dunn was the liaison to the band and orchestra
directors; Miss Walker did the work (TMEA Fiftieth Anniversary script, 1970, p.
8). The publication was not owned or operated by the organization, but was
privately owned. It was a service to the music teachers of Texas. Beautifully
printed, it represented the state music program very well. The publication lasted
four years, then stopped just before the war due to low income. The magazine was
used as a sounding piece for the TSBOA.
In 1938, the vocal division became a part of TSBOA. Ward Brandstetter
called a meeting where a great debate took place. It was decided that the association
would become the Texas Music Educators Association. The Committee on
Reorganization drafted a constitution and by-laws for a proposed TMEA to
supersede TSBOA. According to Eskridge (1943), the constitution and by-laws
were adopted in the summer of 1938, by the State Board of Control (p. 30).
61
Brandstetter was the first president of TMEA. Cobby DeStivers, choral director at
Waco, became the fu st vocal chairman.
Because of the war, TMEA conventions were not held from 1942 until
1946. While America went to war, TMEA raised money for the war effort. TMEA
pledged to aid in the sale of war bonds and stamps by the departments of music in
Texas public schools through the performances of regularly scheduled Victory
Concerts. According to Eskridge (1943), these concerts would be given
simultaneously across the state in cooperation with the State Department of
Education (p. 48). At the end of the fifth in a series of eight Victory Concerts, the
sale of stamps and bonds amounted to $2,491,003.65 across the state ( Eskridge,
1943, p. 49). TMEA also agreed to standardize high school marching band
instmctions so that all instmctions would conform to the United States Infantry
Drill Regulations.
At the 1951 convention/clinic held at the Baker Hotel in Mineral Wells, the
elementary music teachers and college music educators were invited to join TMEA.
The addition of these two divisions finally gave TMEA a voice in every music
classroom in the state and every member a voice in TMEA. Bryce Taylor and the
TMEA Executive Board brought TMEA into the 1960s by hiring a fuUtime
executive secretary, restmcturing the magazine, and having Dennis Brothers
Printing of Lubbock print the joumal. In September, 1964, TMEA combined the
Texas Music Educator with the Southwestem Musician. The magazine officially
became known as the Southwestem Musician combined with the Texas Music
Educator. It includes articles on current issues, legislation, and State Board of
Education information.
62
Membership growth and development of music programs have continued
since the 1960s. TMEA is active in lobbying for music education interests in
Texas. TMEA has fought several legislative battles in order to maintain music
education in the Texas schools. Prompted by major issues, several symposia have
also been held. Symposium I occurred in 1975 to address the question What Is
TMEA About! The participants took an inventory of TMEA and prioritized their
needs as a non-MENC affiliate. Symposium n was held at Southern Methodist
University in Dallas in June, 1979. The issue was advocacy, namely, how to keep
public school music programs in the public eye. The participants in the symposium
authored a handbook entitled Public Relations and the Music Educator: A Detailed
Guide to the Development of Effective and Profitable Public Relations Skills in
Dealing with Seven Basic Constituencies. According to Henry Schraub, President
of TMEA in 1979, the Handbook (1980) "details specific actions that music
educators may use to develop a successful professional relationship with the school
administration and general public of a community" (p. 7). It is used by many Texas
colleges as a teaching source for education majors. It is also used by many Texas
school districts as a reference.
The third Symposium was held in June, 1985, at the University of Texas in
Austin. According to the 1995 Cormack video, this event gave state and national
stature to TMEA. The title of the symposium was Music Is Essential to Quality
Education. The purpose of the 1985 meeting was to clarify the place of music and
the arts in the total education of students in Texas. In Texas, as elsewhere in the
United States, music education, along with visual art education, was under serious
attack as a "frill," by legislators and school boards and was not considered basic to
quality education. Symposium delegates addressed two multi-faceted topics: (a)
63
analyzing public opinion about music education and determining ways to shape that
opinion, and (b) defining ideal music curricula and music education programs.
Speakers for the symposium were Frank Hodsoll, chairman of the National
Endowment for the Arts; Elliot Eisner, education theorist; Amy Freeman Lee,
philanthropist; Vito Pascucci, president of Leblanc Corporation; Charles Fowler,
education editor of Musical America/High Fidelity; Philip Seib, political analyst,
arts advocate, and writer; Arthur Jacobs, member of National Council on the Arts.
The author was a delegate from Region 12, TMEA, to the symposium and
experienced the positive energy of such a gathering. The publications and statewide
publicity which resulted from this symposium forged a new spirit among music
educators, as well as among the general public. Active participation in arts
advocacy became an essential element for all Texas music educators.
Symposium IV was held July 7 through 9, 1998, in Austin, Texas. Entitled
TMEA 2000: Serving Music Education into the Twenty-first Century, the
participants met to review the relevancy of the present TMEA goals and purposes
and to consider new directions and priorities for the twenty-first century.
Participants included a representative from each of the twenty-three regions in
Texas, plus state TMEA officers and several appointed participants in order to
balance representation among band, choir, orchestra, college, and elementary
school divisions. The author was elected as the delegate to represent TMEA Region
12 at this conference. The cross-section exchange of ideas revealed common
concems in many areas such as the need for teachers to set standards before the
politicians set them for teachers and school districts, for legislative lobbying, and
for recmitment and mentoring of new teachers. Delegates were urged to expand
their vision beyond their respective divisions in order to see the "whole" of music
64
education. The participants, guided by Dr. Bob Skinner, developed a fifteen point
program in a prioritized plan. The delegates also developed a mission statement in
order to identify specific goals and direction for the membership. Until this time
(1998), TMEA had never had a mission statement, according to the author's notes
during the moming session on July 9, 1998, TMEA 2000. The fifty-six
participants agreed that formulating a mission statement was necessary in order to
know "who TMEA is, what TMEA is doing, and where TMEA is going" as a state
organization. A publication of the TMEA 2000 proceedings will be available in
early 1999.
TMEA has grown from a membership of twenty-nine bandmasters who
organized a contest for three bands to a membership of 8500 music educators
dedicated to concerted action for the advancement of music for thousands of Texas
children. The public school music program in Texas in the late 1990s has been
developed through the unceasing efforts of TMEA since 1938, in cooperation with
all groups and movements who seek the betterment of music education. TMEA
sponsors and established requirements of All-Region and All-State student
organizations. All-State band, orchestra, and choir performances are part of the
annual convention/clinic. As a result of the professional activities of TMEA, there
is a legislative voice for every music teacher and student in Texas.
American String Teachers Association (ASTA) 1946
The American String Teachers Association (ASTA) has been promoting
string education in the United States since 1946. From a group of nineteen teachers
who met in a hotel room in Cleveland, Ohio, March 30,1946, during MENC, each
of whom contributed one dollar to join the organization, ASTA, according to
65
Ritsema (1996), has grown to "an organization with an annual budget of $400,000"
(p. 64).With membership numbering 11,000 in 1998, there are forty-nine state
units and twenty-seven student chapters, according to G. J. Smith (1983, p. 56).
Such an organization was needed in 1946, to address the many problems
conceming the recmitment of students and string teachers following World War EI
when interest in string classes declined. String teachers felt that they needed
support for recmitment as well as sources for pedagogical information and
materials for string class teaching. Thus, ASTA was founded on the premise that it
would work through and with the other organizations to help promote and develop
quality string playing in America, provide high-quality publications about teaching,
and organize interesting convention sessions and educational programs. ASTA
continues to operate on this premise. ASTA is affiliated with other string advocates
such as the European String Teachers Association (ESTA), Japanese String
Teachers Association (JASTA), and the Australian String Teachers Association
(AUSTA).
ASTA founders were Duane Haskell, Frank Hill, Gilbert Waller, Howard
Koch, and Paul Rolland. According to Smith (1983), they met "to voice concem
for the future of string playing in the United States" (p. 56). These founders
recognized the need for the organization and had the vision and ability to organize
over one hundred string teachers a year later at the Music Teachers National
Association convention in St. Louis. On March 1,1947, members adopted the
official constitution and elected officers. The first officers were Duane Haskell,
president; Paul Rolland, vice-president, Marjorie Keller, secretary-treasurer. The
purpose of ASTA as stated in the official publication American String Teacher was
"to support and encourage better and more performance of the literature for strings,
66
including music for solo, ensemble, and orchestra at all levels of achievement and
to establish the highest artistic and pedagogical standards in stringed instmment
teaching" (Haskell, 1951, p.l; Rolland, 1951, p.4). ASTA became the only
national music organization devoted exclusively to serving and promoting the cause
of string teaching in performance, research development, planning, and teacher
training. According to Smith (1983), membership represented "private teachers,
college/university teachers, amateur players and to some extent, public school
teachers" (p. 56). ASTA developed a network of state and regional conferences
and met jointly with Music Teachers National Association (MTNA) until 1960,
when it began an altemating plan of meeting one year with MTNA and one year
with MENC until the 1970s. ASTA awards for individual contributions to string
teaching were initiated in 1959. At each convention, ASTA presents awards for
outstanding Artist-Teacher, Distinguished Service, and School Educator awards.
Awards are also given for exceptional leadership and merit. For example,
recipients of ASTA awards have been Samuel Applebaum, Artist-Teacher in 1967;
Merle Isaac, Distinguished Service in 1970; Paul Rolland, Distinguished Service in
1973; Elizabeth A. H. Green, Distinguished Service in 1976.
One of the landmark events in the history of string teaching was the
appearance of Shinichi Suzuki and his students at the 1964 ASTA convention in
Philadelphia. "Wereit not for the efforts and arrangements made by ASTA, Suzuki
may never have come to the United States" (Reed and Stenger, 1996, p. 45).
According to Suzuki (1983), the spark behind Suzuki's trip to American was Kenji
Mochizuki, a student of Clifford Cook at Oberiin College (p. 103). In 1958,
Mochizuki showed a film of an annual Suzuki Concert in Tokyo to one of Cook's
music classes. The film featured children playing Bach's Double Violin Concerto
67
as a group. As a result of seeing the film, John Kendall, Music Director of
Muskingum College (Ohio) went to Matsumoto, Japan, in 1959, for a month-long
observation tour of the Suzuki Talent Education School. He received grants from
Presser and Bok Foundation in 1959, to study the Suzuki movement. Later,
Clifford Cook also went to Matsumoto for research at the Talent Education School.
Kendall and Cook were convinced that Suzuki must bring students to the United
States. In 1964, Suzuki toured the United States with a party of nineteen, giving
concerts and lectures. The ten performing students were ages five to thirteen.
Suzuki (1983) stated that "during the two-week tour they gave twenty-six
concert/lectures in sixteen cities" (p. 104). The children electrified their audiences
as was proclaimed in Newsweek, March 25, 1964, and reported by Suzuki (1983):
"ten tiny Japanese children playing Bach and Vivaldi... drew bravos from a
highly critical audience of Juilliard students and faculty" (p. 104). Ritsema (1972)
included the following in ASTA's history:
It was agreed by all attending that this demonstration was one of the greatest highlights of all ASTA annual meetings. Paul Rolland gave an accurate appraisal of the impact of the Suzuki demonstration and its effect on the string scene in the United States: 'It was the playing of the Suzuki group which made this convention possibly a turning point in our string education. We heard the enthusiastic reports of highly reliable witnesses (Cook, Kendall, Casals, Szigeti) of Suzuki's teaching, yet we still had to hear this group to grasp the magnitude of excellence in the playing of these young children.... After this amazing dernonstration, our string teaching fraternity, collectively red-faced, is invited to go into a period of soul-searching and self-appraisal, (p. 35)
Suzuki retumed to the United States during the summer of 1965. ASTA
organized a series of summer string clinics in cooperation with the following
institutions: the University of Washington, Southern Illinois University, Peabody
Conservatory of Music, and Oberiin College Conservatory of Music. In the spring
and early summer of 1967, Suzuki again retumed to the United States for several
68
ASTA-sponsored workshops. Following Suzuki's American appearances, ASTA
organized a twenty-four day tour for thirty music educators to go to Matsumoto in
order to observe Suzuki's Talent Education School and to attend the Matsumoto
Summer School for Suzuki Teachers. Ritsema (1972) reports that this tour became
an annual event open to string teachers in the United States (p. 44).
Through its publications, ASTA provides its membership with valuable
resources that string teachers cannot find elsewhere. "Produced by string teachers
for string teachers" states Reed (1996), ASTA's publications continue to serve the
specialized needs of string teachers (p. 38). The official joumal is American String
Teacher which is published quarterly. The latest ASTA publications resulted from
the Committee on School Strings which met in Baltimore during the 1997 ASTA
National Convention. This committee authorized a re-printing of a brochure entitled
A Career Invitation which encourages high school string players to major in music
education in college, designed a document on how to start a string program in the
public schools, and compiled "Tricks of the Trade" collected at the 1996 and 1997
conventions. Oliver (1997) reports that "by publishing articles on teacher training
generated from a pool of university and public school teachers, and printing articles
about how private studio and public school teachers can work together toward
common goals," ASTA continues to give support to string education (p. 17). The
ASTA Publication Library contains nearly thirty publications. Many of these
materials can be purchased; rental videos are also available from the ASTA Media
Resource Center. ASTA publications are essential to the advancement of string
education.
Sunmier workshops provide opportunities for sharing information and for
networking. According to Gerald Fischbach (1996), the summer string workshop
69
movement is younger than ASTA, and . . . is in "large measure a child of ASTA"
(p. 22). The first official ASTA summer workshop was in 1951 at Interiochen, in
cooperation with the University of Michigan Extension Service. Summer
conferences are still held throughout the United States, most with partial funding
from ASTA. Continuing in a global perspective, the ASTA International
Workshops began in 1972 in Gmunden, Austria. The curricular centerpiece was,
and continues to be, Rolland pedagogy (Fischbach, 1996, p. 22). Fischbach,
chair of the String Division at the University of Maryland, has designed and
directed the twenty-six ASTA Intemational Workshops. The author has attended
five of the summer workshops ( Hawaii, Austria, Belgium, England, and
Scotland); the educational value and intrinsic motivation from such workshops is
unsurpassed. The format of the International Workshops is now cross-
disciplinary, with concurrent groups in strings, piano, art, orchestral conducting,
choral conducting, and general music education.
The ASTA leadership has maintained an ongoing history of the
organization. The ASTA Archives are housed at the University of Maryland, in
College Park, Maryland. The history of the first twenty-five years of ASTA
became the 1972 dissertation topic of Robert Ritsema (1996), who states that he
"discovered that most of the ASTA founders were still actively teaching and
performing," and that his interest was "piqued by the possibility of leaming about
the kinds of people able to define a need, have the vision to organize, and have the
persistence and fortitude to make it work" (p. 63). Paul Rolland and Ralph
Matesky were responsible for the printing of Ritsema's history by Theodore
Presser Company in time for ASTA's twenty-fifth anniversary. For the fiftieth
anniversary of ASTA, a four-part history of the organization was designed by four
70
respective guest editors and published in four consecutive ASTA joumals
throughout 1996, in the four issues of Volume 46. ASTA continues to thrive, in
the author's opinion, due to the outspoken passion of the leadership for high
standards of professional string teaching, both private and public.
The Texas Chapter of ASTA is called TexASTA. The current membership
numbers 550 plus sixteen members from NSOA, resulting in a total of 566
members as of July 30, 1998. Its publication is entitled the TexASTA Newsletter,
published semiannually in Austin by GoodAVood Associates. Through the
newsletter, important information is disseminated. For example, a requirement for
the merger of ASTA and NSOA was the ratification of a new constitution by the
membership. The proposed constitution was printed in the TexASTA Newsletter
(Spring, 1998), for membership consideration before the voting occurred on July
30, 1998, at the TODA convention in San Antonio. Members had several months
to review the new constitution before voice-voting occurred at TODA.
TexASTA meets twice a year: once during the Febmary convention/clinic
of TMEA in San Antonio and once during the July TODA convention in San
Antonio. Special projects include a bi-annual selection of the Texas Outstanding
Administrator Award given during TMEA, the publication of a new teacher
handbook distributed at TODA, and mentoring throughout the year to new teachers,
whether new to the profession or new to Texas, through the TexASTA School Task
Force Committee. The state chapter supports the various activities of ASTA,
including the solo competition for students to represent Texas at the regional and
national ASTA competitions each year. Current president of TexASTA is Ruth
Kurtis, orchestra director at Berkner High School in Richardson, Texas. TexASTA
71
is in the process of creating a history and archives in response to membership
requests.
National School Orchestra Association (NSOA) 1958
Traugott Rohner, the founder of National School Orchestra Association,
cited (1957) that a "need existed for an organization for school orchestra directors
(p. 36). At that time, Rohner thought that ASTA appeared to be "concentrating on
interest of private teachers and college/university professors, offering little for the
school orchestra directors" (p. 36). According to Reed and Stenger (1996),
Rohner wrote that "the absence of a national orchestra association is deplorable" (p.
42). Rohner, responding to enthusiastic support of music educators, called an
organizational meeting at Interiochen in August, 1958, with forty-one school
orchestra directors from thirteen states (Smith, 1983, p. 57). Registering one
hundred thirty-three charter members, the first summer conference was held the
following August, 1959. NSOA continued as an independent organization until
1971, when it became a unified affiliate of MENC. As a part of MENC, all NSOA
members were required to join MENC as well.
NSOA meets the needs of orchestra directors in many ways. The official
publication of NSOA is the NSOA Bulletin, published four times a year. It is the
only national publication dedicated to the special interest of orchestra directors.
NSOA sponsors the National High School Honors Orchestra which is held at the
MENC Biennial In-Service Conference. Since 1959, NSOA has sponsored a
composition contest which is devoted to promoting original compositions suitable
for school orchestras. The contest was suspended for a few years during the early
1980s but successfully resumed in 1985. NSOA also circulates a special set of
72
New Music Reading Folders designed to give NSOA regional and state groups an
opportunity to sightread the latest music from publishers. Smith (1983) observes
that "NSOA members are most interested in mdimentary string technique, i.e., how
to teach strings effectively to large groups in either homogeneous or hetereogeneous
settings and especially how to handle string playing problems in mixed groups" (p.
57). Two of NSOA's most important purposes are to disseminate information to
the membership about successfiil teaching techniques and to provide opportunities
for exchange of ideas, both written and verbal, through publications, clinics, and
conferences.
NSOA has advocated that events for school orchestras be included in
national music meetings. According to VanSickle (1962), with the encouragement
from NSOA and the stringed instmment merchandisers, the Midwest National Band
Clinic added an "orchestra day" to its convention in Chicago in 1962 (p. 1). The
clinics for educators were planned by NSOA members and NSOA president. Forest
Etling. Topics concemed problems and challenges of school orchestra/strings
directors. Both outstanding string and full orchestras from Ohio and North
Carolina were invited to perform concerts. Program planning was arranged by
Gilbert Waller and Frederick Muller. According to Humphreys (1995), the
Midwest National Band Clinic had been held annually in Chicago since 1947, as a
showcase for new compositions, industry products, clinicians, and outstanding
ensembles (p. 56). In 1962, with the inclusion of orchestras, the clinic was then
renamed the Midwest Intemational Band and Orchestra Clinic. The addition of
strings to this intemational music convention might never have happened without
the urging of NSOA and the willingness of NSOA members to organize the clinics
and performances. According to VanSickle (1962), "orchestra day" on December
73
19, 1962, provided additional evidence that the development stage for school
orchestras was definitely at hand (p. 1). Invitations for strings to perform at
Midwest Intemational Band and Orchestra Clinic have become quite prestigious
since 1962. NSOA has sponsored string and full orchestra sessions at the annual
Mideast and Midwest Intemational Band and Orchestra Clinics, and at national and
divisional MENC meetings.
As NSOA tumed forty, it merged with ASTA in July, 1998, and is now
called the American String and Orchestra Teachers Association. Doris Gazda,
NSOA president (1998) states:
In order to maintain our equilibrium and increase our energy, we, the teachers, need the support and nurturing of our colleagues, our professional organizations, the music industry, and those in the world of performance.... By unifying NSOA with ASTA, we are enlarging our circle of support to 12,000 colleagues." (p. 3)
As a first step toward a possible merger of ASTA and NSOA, a preliminary fifteen
point plan of shared activities was signed by the presidents of the two organizations
during the Midwest Intemational Band and Orchestra Clinic in Chicago, December
17, 1995. A full page advertisement in American String Teacher, 46 (1) 1996,
stated that after a period of two years of shared projects, the membership of both
organizations would be polled for permission to proceed (p. 70). The vote of both
memberships in 1997 was in favor of the merger. As reported by Racin (1998a),
ASTA's recently adopted mission statement in 1998, includes both teachers and
performers : "ASTA is dedicated to the enrichment of life through the promotion of
excellence in string teaching and playing" (p. 3). Another source of this mission
statement can be found in the ASTA history as reported by Perkins (1996, p. 35).
74
Texas Orchestra Directors Association (TODA) 1962
The Texas Orchestra Directors Association (TODA), now in its thirty-sixth
year, is dedicated to the professional and musical growth of orchestras and
orchestra directors in Texas. The membership includes orchestra directors, teachers
of all levels from elementary school through college, private teachers, supervisors
and music administrators as well as repair specialists throughout the state and
neighboring states as well. TODA's major activity is the New Music Reading
Clinic held in the summer, concurrently with the meeting of the Texas Choral
Directors Association (TCDA) and immediately following the summer clinic of the
Texas Bandmasters Association (TBA). Other activities provided as part of the
convention program include special workshops presented by guest clinicians and by
qualified TODA members, combined reading sessions with TCDA, performances
by guest artists, discussions of recmiting and teaching techniques, exhibits by the
instmment industry, and the sharing of teaching tips with colleagues.
TODA also sponsors the Texas Orchestra Director-of-the-Year award and an
annual composition contest for school orchestra music. The Director-of-the-Year is
customarily an outstanding director who is reaching the end of a long and
productive career. The director's primary impact should be in the classroom~not in
the music industry or at the administrative level. The director's influence should
also have reached beyond the school to the district, region, and state levels.
Nominations are submitted by TODA members only. In 1989, Carold Nunez was
honored with the prestigious Texas Orchestra Director-of-the-Year award.
The TODA composition contest altemates annually with string orchestra
and full orchestra compositions for elementary, junior high/middle school, and high
school orchestra levels. The purpose of the composition contest (initiated in 1993)
75
is to encourage the composition, publication, and performance of music of quality
for the benefit of school orchestra programs. A prize of five hundred dollars is
awarded the winner. The winning composition is then performed at the next TODA
convention. Interest is high in this competition. For example, in 1995, there were
thirty-six entries from nineteen states. In 1996, there were fifteen entries of
composers, representing eleven different states. In 1998, there were twelve entries
from five states and one from Italy.
The tme value of the TODA convention stems from the members having an
opportunity to communicate on a personal level with other orchestra directors and
with people who are concemed and involved in the growth and improvement of
Texas orchestra programs. The convention provides a chance for members to solve
problems and exchange information. Because this convention occurs just before
the public school year begins, the orchestra directors can hear the newest music at
the reading sessions, receive a surge of enthusiasm, and start the upcoming school
year with a positive attitude about music. A 1992 survey conducted by the TODA
goveming board revealed three main reasons that directors attend TODA (listed
according to priority): (a) to hear and play the new music at the reading sessions,
(b) to attend clinics, (c) to talk to colleagues about teaching (Juvenal, personal
communication, 11-97).
Dan Wood became TODA Executive Secretary in 1985, and currently
maintains an office for TCDA and TODA in Austin, Texas. The TODA Archives
now consist of four cardboard boxes (two for scrapbooks and two for letter files);
these have been stored in the garage of Dan Wood and were loaned to Jan
Garverick, from October, 1997, until January, 1998. The remainder of the
information that the author has re-constmcted was found by examining the contents
76
of the four large boxes and studying, primarily, the convention programs from
1962-1997, the membership rosters, and scant copies of minutes, beginning with
the organizational meeting in 1962.
In 1978, Karan Pitts, newly-elected member-at-large officer of TODA,
accepted the assignment of collecting and compiling information for a TODA
scrapbook which would include "the history and heart, stmggles and successes of
TODA" (Pitts, personal communication 1-2-98). A survey form was sent on
August 14, 1978, to the charter members and to those who were members during
the 1960s as a search for past knowledge of the organization. The following is an
excerpt from the four-paragraph history written by Karan Pitts in 1978:
The idea of a Texas Orchestra Directors Association, although first conceived in the minds of a few orchestra directors, was actually pushed to reality by members of the Texas Choral Directors Association who wished to have a sister organization that would meet during the TCDA summer convention time. The TCDA board asked Joe Lenzo and J. B. Furrh to talk to Harry Lantz and to John Bell (then mnning Southem Music Company) about the possibility of starting a state orchestra directors organization. The first step was a meeting of Joe Lenzo, Harry Lantz, and John Bell in San Antonio early in the summer of 1962. Mr. Bell agreed to help with music and to promote the idea among prospective exhibitors. Joe Lenzo acted as the Executive Secretary, and Harry Lantz headed the group as its Acting Chairman. As a result, the First Annual New Music Reading Clinic of the Texas Orchestra Directors Association was held in San Antonio, Texas, on August 2nd and 3rd of 1962, in the Gunter Hotel. Music from 54 possible selections was read by the San Antonio High School Youth Symphony; Pennis Brothers Printing Company of Lubbock, Texas, printed the first clinic programs. An organizational luncheon took place with the 24 charter members electing Harry Lantz of Houston as the first official President: George Webber of El Paso as Vice-President; George Robinson of Lubbock as Secretary-Treasurer. Joe Lenzo agreed to serve as Executive Secretary. Weldon Wendland of Dallas and Al Coen of Edinburg were named Members-at-Large. The first suggested constitution was written by Joe Lenzo and Harry Lantz, giving the organization its present name and stating its purpose: to promote the development of orchestras in Texas by providing a medium for the professional growth of orchestra directors, through annual sponsorship of a new music reading clinic and workshop. The official constitution was adopted in 1964. The first constitutional revision occurred in 1966 and was adopted on August 4, 1966.
77
In 1968, the clinic moved to Trinity University due to the National School Orchestra Association Convention being held in conjunction with TODA. Part of the convention events were held at the downtown convention center, but due to Hemis Fair also operating downtown, most music events were held at Trinity University. Since 1969, the TODA clinic has been held at the Convention Center in downtown San Antonio in conjunction with the Texas Choral Directors clinic. The last revision of the constitution was in 1995, which included a revision of the purpose: to promote the development of orchestras in Texas by providing for the professional growth of orchestra directors through annual sponsorship of new music reading session, clinics, workshops, and exhibits. (Pitts, TODA Archives, personal communication, 10-15-97)
In the November, 1962, Texas Choirmaster publication of TCDA, Harry
Lantz, the first president of TODA, stated the names of the charter members.
LaFalco Robinson wrote the names on the back of a manila file folder (TODA
Archives, 12-97). Charter members were Fred Bums, San Antonio; Mrs. J. P.
Bloomer, Belton; G. H. Carson, Fort Worth; Helen Combs, Corpus Christi; Dr.
Kenneth Cuthbert, Denton; Gilbert Fierros, San Antonio; Irene Havekost, Temple;
Richard Kole, San Antonio; M. G. Kelley, San Antonio; Patsy Ruth Lancaster,
Waco; J. M. Montgomery, Austin; LaFalco Robinson, Austin, David W. Sloan,
Wichita Falls; V. J. Tkac, San Antonio; James Wattenberger, San Antonio; Robert
Wright, San Antonio; Donna Thorman, San Antonio; Maurice Thorman, San
Antonio, and J. L. Patterson, Houston (pp. 19-20). In the early days, LaFalco
Robinson and Barbara Eads worried about getting thirty or forty members for
TODA, and having enough musicians to play at the reading sessions (Robinson,
personal communication, 8-31-97). TODA membership has grown steadily since
1962 with the twenty-four charter members. The TODA archives membership
roster for 1966 lists ninety members; 1975 lists 1(X) members; 1990 lists 243
members at the convention; the 1998 membership is 400. Another example of
growth is that the first TODA convention program was three printed pages; the
78
1997 program was thirty-six pages in length. The number of clinics has increased,
the number of exhibitors has increased, and the amount of music read in the
sessions has increased. With the strong leadership of TODA, public school
orchestras in Texas have been strengthened through the three areas of development:
the summer reading convention, the composition contest to ensure that new music
continues to be written for school orchestras, and the Texas Orchestra Director-of-
the-Year award to honor those who have dedicated their lives to the public school
orchestra profession and had exemplary careers for others to model. TODA News,
the group's official publication, is published three times each year. TODA is an
example of a beneficial grass-roots organization that serves the needs of its
membership with only the highest quality programs.
Summary
In Chapter n, the development of string class instmction in America has
been reviewed. The significant contributions of five selected American pedagogues
have been discussed as well as a brief discussion of their methods and
philosophies. The strong support given to string education by the state and national
professional organizations has been acknowledged. The current research discussed
in Chapter II also provides insights into the development of the string class in
America. Beginning^ith violin classes, the string class has emerged as a
purposeful entity in American music education. One sees dedicated teachers
throughout the pioneering effort of the introduction of the string class into the
public school curriculum.
Equally important are the efforts of American pedagogues who wrote
method books for the string class and documents for training teachers. Music
79
educators who also saw the need for string ensemble compositions as essential
supplementary materials for leaming and reinforcing string technique are
recognized. The lives and experiences of the five selected pedagogues span the
twentieth century; they live(d) in the time of progress in string teaching and its
inevitable change. From the basic string class foundation constmcted by Isaac in
his 1938 publication to Applebaum's first method book in 1960 and his second
method book in 1972, which contained changes in his teaching design, to Rolland's
so-called radical ideas of 1971, to Elizabeth Green's texts which continue to serve
music education and the training of teachers, the profession has advanced in
pedagogical applications. The compositions of Nunez have provided opportunities
for contemporary musical experiences for young players. Teachers have more
options for teaching techniques and helping students leam to play string instmments
than ever before. As string educators recognized their need for string ensemble
music and made their need known, string orchestra music began appearing.
Refinement of pedagogy in method books and in string ensemble music continues
into the twenty-first century due to the sustained efforts of the pedagogues of the
twentieth century. These five pedagogues cited in Chapter II never allowed
themselves to get behind the leaming curve, in the author's opinion. The author
cites an observation by Lyne (1998): "By studying the teachings of great...
pedagogues and music methods, new insights can occur to teachers. The creative
mind of the string teacher knows no limits when it is on the quest for better teaching
strategies" (p. 81). Isaac, Applebaum, Green, Rolland, and Nunez have spent their
careers dedicated to this quest.
State and national organizations are essential to the success of string classes
and all music classes in the schools. MENC, TMEA, ASTA, NSOA, and TODA
80
were founded as results of recognized needs by professional music educators.
From the brief histories given in Chapter II, one recognizes the important responses
to issues that have threatened maintaining music as a basic element in the schools.
Advocacy by these organizations kept the study of school music in the foreground
instead of the background. Legislative lobbying is an important priority of MENC,
ASTA, and TMEA. The fact is that lobbying provides a voice for music as
legislative decisions are voted, with regard to curriculum and national/state
standards, for examples. Waller (1960) applauds the fact that information on
instmment guidelines is readily available to teachers from MENC, ASTA, NSOA
(p. 93). As noted in Chapter II, research articles published in the joumals of the
organizations and the publications of pedagogical resource books by the
organizations have served as means of disseminating pertinent information
conceming string classes to the membership. The need for improved string
literature has been addressed by the organizations and supported with composition
contests for school string literature. The organizations encourage research and
development in pedagogy as well as in the composition of appropriate string
literature.
In order to move unerringly into the twenty-first century, not only must the
national and state music organizations remain strong, but also string educators must
recmit students, must update their own pedagogical skills, and must involve
contemporary literature in the string class. More string teachers must be recmited to
solve the existing teacher shortage. Advocacy and political activism by all music
educators must continue in order for the value of music to stay in the minds of the
public. As an example of continued advocacy, MENC has announced their next
symposium. Vision 2020: Directions for Music Education in the October, 1998,
81
issue of Teaching Music. MENC's goal is to "chart a course for music education
into the year 2020" (p. 20). The final presentation of Vision 2020 will occur at
MENC's National Biennial In-Service Conference in Washington, D. C, in the
year 2000. MENC wants the recommendations of this symposium to have the
same dynamic effect on music education as the recommendations of the 1967
Tanglewood Symposium have had on the last half of the twentieth century. These
activities necessitate the energetic support of the professional music organizations
discussed in Chapter II.
82
CHAPTER m
BIOGRAPHY OF CAROLD HARDY NUNEZ
In Chapter HI, the author will present an examination of the life of Carold
Nunez, a living composer of string orchestra literature who has designed
compositions to meet the needs of today's string students and teachers. This smdy
will describe the socio-economic times which prefaced his childhood, the primary
influences in his life, and his education and experience as a Texas music
educator/composer. The detailed portrayal is intended to set the stage for the
circumstances by which Nunez became an adult. These early circumstances
ultimately shaped his goals.
Primary source interviews were conducted with composer Carold Nunez of
Denton, Texas; LaFalco Robinson of Austin, Texas, employer of Nunez during
the Austin years (1960-1963); Sallie Juvenal of Austin, Texas, colleague of Nunez
during the Wichita Falls years (1965-1970); David Sloan of Austin, Texas,
longtime orchestra colleague of Nunez; Michael Allen of Tallahassee, Florida,
protege of Nunez at Denton High School in Denton, Texas; Sharon Veazey of
Denton Texas, current orchestra director at Denton High School. These persons
were selected for live interviews because they have personal knowledge of Nunez at
different times in his career. These persons were quite willing to be interviewed
and share their perspectives about Nunez and his music. The first-hand information
gained through these six primary source interviews revealed a comprehensive
picture of Nunez and his compositions. The author's informal visits with
colleagues throughout Texas also led to a general consensus of the value of Nunez'
works.
83
Selected Events in the History of the Texas Coast at the Tum of the Twentieth Century
In order to increase one's understanding of the socio-economic times
surrounding Nunez' background, a brief history of Beaumont, Port Arthur, Port
Neches, and Groves, all located in Jefferson County, Texas, must be cited from the
tum of the twentieth century until 1929, the birth year of Carold Hardy Nunez.
Through a review of this history, one gains a sense of the effect of the oil boom on
all classes of people employed along the Texas coast. The socio-economic
environment in which a person spends his early years has a profound influence on
his later life.
Jefferson County, Texas, formed in 1836, was one of the original counties
in the Republic of Texas. Jefferson County is located on Interstate Highway 10 in
the coastal plain of Texas. It is bounded by Orange County on the northeast, by
Hardin County on the north, by Liberty and Chambers counties on the west, and by
the Gulf of Mexico on the south. According to Tyler (1996), the first public school
system was established in the county in 1881 (p. 927). The Spindletop oilfield,
discovered on a salt dome formation south of Beaumont in eastem Jefferson
County on January 10, 1901, marked the birth of the modem petroleum industry
not only in Texas but also in the nation (Tyler, 1996, p. 29). A few months later,
six more gushers werfe producing oil at a rate exceeding the total output of the rest
of the world (Babin, 1987, p. 2). Storage facilities, pipelines, and major refining
units were built in the Beaumont, Port Arthur, Sabine Pass, and Orange areas
around Spindletop. By 1902, there were more than 500 Texas corporations doing
business in Beaumont. The emption of Spindletop secured the future of this coastal
84
area. Gulf Oil Corporation (Chevron), Humble, Magnolia Petroleum (Mobil), and
the Texas Company (Texaco), emerged from the Spindletop oilfield boom.
Port Arthur, seventeen miles southeast of Beaumont in southeast Jefferson
County, became a municipality in 1895. The city was founded by Arthur E.
Stilwell, who envisioned Port Arthur as a major tourist resort as well as an
important seaport (Tyler, 1996, p. 271). Port Arthur became an official port of
entry in 1906; by 1908, the Sabine-Neches canal had been deepened and extended
up the Neches River to Beaumont and Orange. By 1914, Port Arthur was the
second largest oil refining point in the nation. From 900 residents in 1900, Port
Arthur expanded to a population of 7,663 in 1910 and 50,902 in 1930 (Tyler,
1996, pp. 271-2). The county was served by four railroad systems—the Atchison,
Topeka, and Santa Fe; Kansas City Southem; Missouri Pacific; Southem Pacific.
Port Neches, ten miles southeast of Beaumont, and Groves, eleven miles southeast
of Beaumont, were both heavy industrialized towns on the Kansas City Southem
Railway near the Gulf Intracoastal Waterway. In 1902, the Central Asphalt
Company plant was established near Port Neches and was later purchased in 1906
by the Texas Company (later Texaco). Port Neches was also the site of Pure Oil
and Texaco oil refineries. In 1925, the coastal economy was strengthened when the
Yount-Lee Oil Company stmck oil on the edge of the Spindletop salt dome, which
people thought was nearly depleted. According to Babin (1987), the boom
continued until the effects of the Great Depression were felt around 1931 (p. 63).
The Atlantic Refining Company began operations in Groves in 1936. The Jefferson
County labor force became a melting pot of persons from all walks of life who
moved to the Texas coastal plains in order to cam a living.
85
Along with the petroleum industry, shipbuilding grew twenty-fold (Tyler,
1996, p. 1030) between 1909 and 1925, largely as a result of the Worid War I
demand for merchant shipping. Several shipbuilding and ship-repair yards opened
in Jefferson County. The yards constmcted cargo ships for the United States
Maritime Commission and private shipping businesses. Although there were
wealthy enterpreneurs in the area, most of the people were working class refinery
employees or workers in the shipbuilding industries. The majority of employees
were hardworking, but not highly educated, persons. It was into this working
class environment that Nunez was bom.
The Childhood Years 1929-1947
Carold Hardy Nunez was bom in Port Arthur, Texas, on November 14,
1929. His parents were Lloyd Louis Nunez and Georgia Nunez, both of whom
were from Louisiana: Lloyd from Erath; Georgia from Amaudville. Lloyd and
Georgia met in Port Arthur, Texas, where they married and worked at the Busy Bee
Cafe (Nunez, personal communication, January 3, 1997). According to Nunez, his
parents eamed approximately $25.00 per week. "Both mom and dad always had to
work hard to make a living.... both of them knew how to cam an honest dollar"
(Nunez, personal communication, January 3, 1997).
At great sacrifice, his parents purchased an old upright piano when Nunez
was five years old. "The idea that we owned a piano was incredible, as I look back
on it," Nunez commented (personal communication January 3, 1997). Nunez'
father enjoyed playing the piano by ear; he could pick out any melody and loved
dance band melodies. Hearing these tunes ultimately had an influence on the young
Nunez. His parents, again at great sacrifice, provided piano lessons for Nunez
86
before he was old enough to begin public school. His first piano teacher was Mrs.
Monroe, who used a sequential teaching method. Nunez' next teacher was Mr.
Wright, who taught harmony and chording for jazz tunes; he did not use a method
book. Part of each lesson was spent harmonizing a tune which Mr. Wright jotted
down.
Mr. Wright was more like an old dance band musician, and he played the piano very well. I remember specifically that he wrote out a tune called Maria Elena, and I had to write out the chord symbols. I did not know a great deal about harmonizing, but I leamed a great deal about harmonizing from Mr. Wright. He would correct whatever mistakes I made in the harmony. We would go from there. (Nunez, personal communication, January 3, 1997)
Through his experience with Mr. Wright, Nunez was exposed to improvisation and
chording jazz tunes at an early age. Wright's approach was a little "unorthodox." in
Nunez' words (Nunez, personal communication, January 3, 1997).
Nunez attended elementary school in Groves, Texas, Port-Neches-Groves
Independent School District. He described himself as a youngster with many
interests: "I had very scattered activities when I was a young boy" (Nunez,
personal conmiunication, January 3, 1997). He liked to fish and to spend hours
playing outside in the large pasture by the house. It was eventually this quiet
solitude in nature that provided the best moments for capturing compositional ideas
for the adult Nunez. In addition to helping, in general, with the family restaurant,
Nunez' first opportunity to cam money was shining shoes in their Busy Bee cafe,
from age seven through age eight (Nunez, personal communication, 1-3-97). His
next job was caddying at the Port Arthur Country Club, eaming eighty-five cents
for eighteen holes of golf, which involved approximately four hours. The desire
and ability to find employment began at a young age for Nunez and continued
throughout his adulthood.
87
The Nunez family opened their own restaurant known as Atlantic Lunch in
Groves, across from Atlantic Refinery (established in 1936). Owning their own
business had been a family dream since the early days at the Busy Bee Cafe.
Although Nunez saw his parents fulfill one of their goals, he knew that he did not
want a career in mnning a business. He knew, even as a young boy, that he
wanted a career in music (Nunez, personal communication, January 3, 1997).
Still living in Groves, Nunez attended high school at Port Neches-Groves
High School, Port Neches-Groves ISD, Port Neches, Texas. At age fourteen, he
joined the Port Arthur/Beaumont Musicians Local Union in order to find
employment as a pianist. At this time, all working musicians were Union members
along the coast. Nunez related the following:
Harry Vaughn, a student at Port Arthur High School, needed someone to play the piano with his dance band. He had heard about me, called me; I declined at first because I did not think that I could read the charts and play the music. I discussed the situation with my dad; he encouraged me to take the job. His advice was always to find a way to make a dollar, but make sure that it was an honest dollar. I joined the Harry Vaughn Orchestra, named after Harry Vaughn, the lead tmmpeter from Port Arthur High School. We played every Friday and Saturday night at the Black Cat Night Club. Although I was pretty young to be driving my dad's car, I drove over to the Black Cat between Groves and Port Arthur, located right by a cemetery. We played from 10:00 p.m. until 2:00 a.m. The crowd was usually just common, every-day people; they enjoyed our music. (Nunez, personal communication, January 3, 1997)
The band instmmentation consisted of the usual rhythm section of piano,
string bass, and dmms, three saxophones, two tmmpets and trombones. Homer
Smith, Nunez' cousin, was the singer. Smith had a beautiful baritone voice. Two
of the songs that he enjoyed singing the most were Moonlight Serenade and
Moonglow. The other band members were also from Port Arthur High School
because most of the adult musicians were off at war at this time. The $I0.00-per-
night that Nunez eamed was more money than he had ever had in his life.
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Although Nunez could not read the dance band charts, he played a great deal by ear
and eventually leamed to read charts quite well. He was very happy to be eaming
money by playing the piano.
The war years played havoc with everything. Texans sacrificed for "our
boys overseas." Unfortunately, school districts experienced the economic
pressure. Generally, the first courses in the curriculum to be dropped were the
music classes. Port Neches-Groves was no exception.
Our school system in Port Neches-Groves had stopped offering instmmental music programs during the war. Finally, when the war was over in 1945, the school district hired a band director. This situation in music programs occurred all over the over the country. I started playing comet in my junior year at Port Neches-Groves High School. Thus, I had two years as a band member... .My dad had an old Silver-tone tmmpet, so I started on that instmment. I leamed the tmmpet as a C instmment because I found the pitches on the piano and related tmmpet to the piano. It was quite a revelation to me when I joined the band, and the band director told me that my fingers were all off! As far as I was concemed, C was first and third fingers. I was just playing from the piano. The interesting thing — serendipity—about it was that my method was a marvelous second nature for mastery of tenor clef, even though it wasn't the scholarly way to leam it. (Nunez, personal communication, January 3, 1997)
Carold Hardy Nunez was the first person in his family to graduate from
high school. He graduated in the Class of 1947, Port Neches-Groves High
School, Port NechesrGroves Independent School District. His mother finished the
second grade; his father finished the seventh grade. The Nunez family realized the
value of education for their son. Nunez was determined to attend college and study
music although he did not know exactly how to go about it. During his senior year
in high school, however, he received good advice from the new band director, Mr.
Frank Gioviale. Gioviale was a graduate of the University of North Texas. He
was a war veteran who had finished his college degree at the University of North
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Texas. The position at Port Neches-Groves High School was Gioviale's first job
as a band director. He told Nunez that if he (Nunez) really wanted to write music
and if he were a teacher, then he would have a music ensemble to play his
compositions, a very important factor in composition. Thus, Gioviale gave Nunez
very important counseling which Nunez did not consider at the time. The music
education idea lay dormant because Nunez wanted to pursue a degree in music
composition. Nunez did not know if he wanted to write band or orchestra music.
He just knew that he wanted to write music.
The University of North Texas Years 1947-1953
Carold enrolled at the University of North Texas (formerly North Texas
State University) in Denton, Texas. He pursued a degree in music composition and
would not consider a degree in music education. Little did he realize that
employment for composers was almost non-existent (Nunez, personal
communication, January 3, 1997).
Nunez was the first person in his family to graduate from college. He
received a bachelor of music degree in Composition in 1951 from the University of
North Texas. The draft law was still active; the Korean war was going strong.
Nunez had the feeling that once he left college, retuming for further study would be
quite difficult. He decided to remain at the University of North Texas for a
master's degree in music education, at the encouragement of Dr. Roderick Gordon,
a professor of music education. Nunez recognized the fact that he was working at a
disadvantage while at the University of North Texas. He simply did not have the
instmmental background that most music majors had at the university level since he
only had joined the band for the last two years of high school. He saw the self-
90
discipline and music reading ability that other students had as a result of their
ensemble experiences as well as the advanced technical training for their
instmments. He knew that he lacked the basics, but his desire for the degree
remained alive.
If I had had the counseling and the guidance to know how to nurture my desire for a career in music, I would have had a foundation upon which to build and more self-confidence in my college studies. Knowing what I know now, I tell students: * take private lessons, start with the basics, leam several instmments well, leam what the instmments can do, leam what makes the orchestra tick, instead of leaming orchestration from an orchestration book, which is what I did until I came to the method classes at the University of North Texas.' (Nunez, personal communication, January 3, 1997)
Dr. Gordon evaluated Nunez' situation and was convinced that Nunez could
be successful with a Master's degree in music education. TmthfuUy, Nunez felt
that Gordon's encouragement did not make-up for the fact that he had not played in
the concert band or in the orchestra and had not mastered one particular ensemble
instmment. However, he did perform as piano soloist with the North Texas State
Symphonic Band, under the direction of Maurice McAdow, playing Repartee by
Eric Wild, and also with the North Texas State University Symphony conducted by
Dr. Walter Hodgson, performing the first movement of the Concerto No. 1 in B
Flat Minor by Tschaikowsky. Another disconcerting fact which affected Nunez'
self-confidence was that he had a type of leaming disability which made
concentration difficult; he could read a paragraph and not know what he had read.
Thus, he attributes his master's degree to Dr. Gordon's continual patience and
guidance, giving him much-needed self-confidence along the way. Another of
Nunez' mentors at the University of North Texas was Dr. Robert Ottman, theory
professor and Bach specialist. Dr. Ottman was Nunez' theory teacher from
freshman theory through graduate school. Nunez dedicated Prelude and Fugue,
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published in 1991, by Shawnee Press, to Dr. Ottman, whom he considered to be a
master teacher. One sees the positive influence that Nunez' teachers had on his
studies in music. His own fortitude and the encouragement of his teachers enabled
him to continue to pursue his ambitions.
During the summer of 1952, Nunez needed a reprieve from his studies as
well as he needed sununer employment. He accepted a job as pianist in a combo
consisting of piano, string bass, and accordion. He drove his old Chevrolet from
Denton to Cheyenne, Wyoming, where the trio rehearsed and began their two-week
engagements across Wyoming and the Northwest. Often their engagements
extended for two additional weeks in one location, and they would also have time to
enjoy the beautiful country. This sununer job provided the necessary change-of-
pace for Nunez; it was not the type of career that he sought, but being in Wyoming
gave him a fresh outlook towards his education. He retumed to Denton in order to
finish his master's degree in the fall semester and felt fortunate that he could do so.
While Nunez was finishing his master's degree, both his father and mother
had serious health problems. In November, 1952, Nunez' father died at the young
age of 47 from the complications associated with high blood pressure. Nunez'
mother came to Denton from Groves in order to stay with Nunez, her only child,
while he finished school. Nunez graduated in Febmary, 1953, and was drafted
into the United States Army in March, 1953. He wanted to serve his country and
would have felt incompetent had he not been accepted in the United States Army
(Nunez, personal communication, December 27, 1997). After basic training, he
was home on leave; the Koreans stopped shooting; a tmce was declared. Instead of
being sent to Korea, he was then sent to San Francisco, assigned to the 518th
Operations Detachment of the United States Army which tracked aircraft in the area.
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His mother, who had terminal cancer, went home to Groves where her sister. May
Dell, cared for her (Nunez, persorial communication, November 13, 1997). Nunez
received a hardship discharge in October, 1953. Georgia Nunez died in November,
1954. Nunez remarked (personal communication, January 3, 1997) that although
his parents lacked education, they both had the vision of a better life for their son as
well as a compelling work ethic which they instilled in him. With these two
attributes from his parents, Nunez has been able to achieve his goals.
The Beaumont Years 1954-1961
A brief historical perspective of music education in the public schools along
the Texas coast is essential to one's understanding of the beginning of Nunez'
career. The development of music education in Beaumont had been led by Dr. Lena
Milam who was supervisor of music for the Beaumont schools from 1919 to 1955.
Through her efforts, music became an integral part of the curriculum rather than a
luxury limited to extracurricular hours. The Beaumont High School orchestra and
band (organized by Milam in 1917) were well-known across the state for their
excellence. There were two junior high orchestras-South Junior Orchestra and
North Junior Orchestra-in the early 1920s. These schools were renamed in 1928:
Dick Dowling Junior High School and David Crockett Junior High School,
respectively.
During the Depression, economic times were difficult; many residents had
to apply for federal relief programs. The development of music education in the
schools was slowed. Many school districts had to eliminate music programs due to
financial reasons and lack of teachers. Babin (1987) reports that the effects of the
Depression were felt well into the 1940s (p. 66). Rationing became a way of life
93
with stamp books for meat, sugar, coffee, shoes, mbber, auto parts, and eventually
gasoline (Tyler, 1996, pp. 1077-82).
With the significant impact of World War n on the Texas coastal economy,
Beaumont-Port Arthur-Orange became known as the golden triangle in the 1950s.
Along the Gulf Coast from the Beaumont-Port Arthur area southward to Corpus
Christi, the greatest petrochemical industry was built to refine fuel for the American
War Machine. The increase in industrial output resulted in more job opportunities
and phenomenal growth in population. Bethlehem Steel, Southem States Steel,
Goodrich and Firestone synthetic mbber plants as well as Sears, Roebuck and
Company moved into the area. The Beaumont Music Commission and the
Beaumont Symphony Society were organized in 1950, as well as the Beaumont
Symphony. With the inclusion of band classes in the elementary schools in 1953,
the music program was complete, offering instmction in vocal and instmmental
(band and orchestra) at all levels. The elementary program was initiated by Amold
Whedbee, Beaumont High School Band Director. Amold Whedbee received the
Bachelor of Music degree from the University of Wichita (Kansas) and the Master
of Music degree from Colorado State University in Greeley (Babin, 1987, p. 162).
After being discharged from the Navy in 1946, he taught band at Beaumont High
School for twenty years, resigning in 1966, to become the district's supervisor of
music. Whedbee was also the orchestra director at Beaumont High School as of
1948, when Lena Milam relinquished the post. Although Whedbee inherited a
strong program, he estabhshed his own innovations, such as summer instmmental
classes for elementary and junior high students. The David Crockett Orchestra,
directed by Margaret Ridley, consisted of seventy-five students in 1949; there were
fifty-nine sttidents enrolled in band, indicating a healthy balance between band and
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orchestra. It is within this public school environment that Nunez began his teaching
career.
Nunez' fu-st teaching position was in the Beaumont Independent School
District as band and orchestra director at David Crockett Junior High School. His
supervisor of music in Beaumont was Mr. Amold Whedbee-a professional giant, a
very organized administrator and a sincere person. Nunez' principal was Mr.
Harvey Smith, through whose understanding and guidance Nunez was able to
complete his first year of teaching. Coping with his mother's illness as well as her
death seemed to have put Nunez at loose ends, especially as a single young adult,
and made his first year in public school music education more than a challenge.
Nunez told Harvey Smith, after the death of his mother in 1954, that he felt that
teaching was his grasp on reality, "that if I didn't teach music, I would slip off into
being a dance band musician because that was the easiest way to make money.
But, I wanted to become a good music teacher" (Nunez, personal communication,
January 3, 1997).
Evidence of Nunez' skill in teaching during these first years in the
Beaumont schools was his being invited to present his orchestra at a regional
educational conference where he demonstrated his own method of the teaching of
rhythm and sightreading to other teachers. His procedure incorporated the use of
foot-pattems, divisiofi of the beat, and regular use of the keyboard to teach interval
relationships. He was quite skilled in teaching rhythm and designing rhythm
pattems. This strength continued in his compositions.
During the Beaumont years, Nunez kept in touch with a young music
teacher, Rebecca Breining, from Lefors, Texas, whom he also saw each year at the
Texas Music Educators Convention. She had been teaching in Arlington, Texas,
95
when they married in June, 1956, in Denton, halfway between Lefors and
Beaumont. Both of their children- Georgina, bom in 1958, and Kirby Lloyd, bom
in I960, were bom in Beaumont. Nunez supplemented the family income by
playing in his own trio of piano, string bass, and dmms at Beaumont countty clubs
and also at clubs in Port Arthur and the surrounding area. He also played string
bass in the Beaumont Symphony conducted by Edvard Fendler. Nunez always
found ways in which to tum his music ability into income. His ambition drove him
back to college in 1961 in order to study educational administration (Nunez,
personal communication, January 3, 1997).
The University of Texas Years 1961 -1963
The young Nunez family moved to Austin where Nunez enrolled at the
University of Texas to study junior college administration through a Kellog Grant,
hoping to cam more money eventually as an educational administrator. He had an
assistantship in the string project directed by Phyllis Young at the University of
Texas, and he taught theory as well as music appreciation for non-music majors.
He made several discoveries during this time: that he could be a better teacher, that
the world of administration was not satisfying, and that he was discouraged about
the poor salaries for teachers. While attending the University of Texas, Nunez
talked often with Clifton Williams, a prominent composer of band music. "Clifton
Williams was someone that I knew who had actually submitted compositions to
publishers. I still had a dream of writing music and having compositions
published" (Nunez, personal communication, January 3, 1997).
Financial times were hard for the Nunez family in Austin until Nunez could
find a dance band with which to play in order to supplement his income as a
96
teaching assistant at the University of Texas. He was hired by LaFalco (Corky)
Robinson to play piano in a dance band called Corky Robinson and the Keynotes.
"Carold was an excellent jazz pianist who kept a very steady beat," according to
Corky Robinson (Robinson, personal communication, August 1, 1997). Robinson
did not hire anyone who could not keep the steady beat required for dancing. The
Keynotes consisted of 4 or 5 persons: piano (Nunez), woodwinds (Robinson),
dmms, string bass, and tmmpet. Most of the employment for the Keynotes was in
the Austin area at University of Texas functions, but they also played at many Fort
Hood functions in Killeen and at Bergstrom Air Force Base in Austin. During the
1960s in Austin, the dance band jobs were 3 hours long, with pay approximately
$40 to $50 per night per person (Robinson, personal communication, August 1,
1997).
Carold never played the same thing in the same manner twice. From the moment he joined our band, Carold knew practically everything we played. We followed ballroom standard repertoire, dance/jazz standards. Any time that we were playing together, we were constantly improvising tunes on the spot. Carold was exceptionally good at improvisation. 'Just listen to this,' he would say . . . and we'd eagerly take our tums with the new tune. (Robinson, personal communication, August 1, 1997)
Some of these tunes, years later, were published as string compositions for
orchestra from the pens of both Robinson and Nunez. Original tunes existed in
their heads, especially during the dance band jobs several nights each week.
We just didn't write them down. Teaching and performing didn't allow time to compose or write any notes down from the improvisations. We were just trying to make a living and feed our young families. (Robinson, personal communication, August 1, 1997)
97
LaFalco (Corky) Robinson and his wife had two children, Kevin and
Beverly, who were close in age to the Nunez children. The Robinsons hved in a
small house west of the University of Texas campus, often having outdoor
barbeques with the Nunez family. All of their financial means were limited.
Robinson was band/orchestra/choir/jazz band director at O. Henry Junior High
School in Austin, 1956-1961, in the Austin Independent School District. In 1961,
he became director of the concert band, jazz band, and orchestra at Stephen F.
Austin High School from 1961 to 1988, when he retired from public school
teaching and concentrated on a career as a composer, still maintaining his dance
band schedule at night. Nunez and Robinson leamed a great deal about music
improvisation from their dance band experiences and about music education as they
discussed their various teaching experiences. They became lifelong friends
(Robinson, personal communication, August 1, 1997).
In 1963, Nunez completed the administrative certificate but did not
complete the Ph.D. program in administration for junior college, rather he sought
employment in the Texas public schools.
The Copperas Cove Years 1963-65
Nunez interviewed for the high school band director position with Mr.
Williams, superintendent at Copperas Cove School District, twenty-four miles
southest of Gatesville in southem Coryell County. During the interview, Mr.
Williams called Mr. Shannon, assistant superintendent in Beaumont. Following the
phone conversation, Mr. Williams asked Nunez on-the-spot if he wanted the job.
Nunez said, "Yes." The Nunez family moved to Copperas Cove; Nunez was the
band director there for two years. He enjoyed directing the concert band but did not
98
enjoy the marching band activities. As he watched the band perform on the field,
he would often ask himself what he wanted to be doing ten years down the road.
He definitely did not want to be a marching band director (Nunez, personal
communication, January 3, 1997). The idea of composing never left his mind. In
1965, he was interested in retuming to music education in a public school orchestra
program, which meant leaving Copperas Cove.
The Wichita Falls Years 1965-70
Nunez heard about a full-time orchestra director position in Wichita Falls.
He interviewed and was hired as orchestra director at Hirschi High School in
Wichita Falls. In Wichita Falls, Nunez taught high school and elementary school
strings for two years, then added Wichita Falls High School, teaching at two high
schools for three years. Both orchestras won UIL sweepstakes during his tenure.
However, the subject of composition kept nagging Carold. While in Wichita Falls,
he started taking composition classes at the University of North Texas with Dr.
William Latham.
I'd drive to Denton to class in the aftemoons with permission from the school district during the school year; in the summer, I enrolled in regular summer school classes, working toward a Ph.D. in composition. Composition would not let me sit still. (Nunez, personal communication, January 3, 1997)
Whenever Nunez was not in summer school, the Nunez family camped in
Colorado. They loved nature and being outdoors. Nunez appreciated the solitude
as time for enjoying his family as well as for thinking about melody and harmony.
According to Dr. David Sloan, who taught orchestra in Wichita Falls (1959-
1964), the orchestra directors worked hard; they had no supply money and no
99
capital outlay money (Sloan, personal communication, August 1, 1997). The
Wichita Falls School District bought some used string instmments from the Graham
Independent School District (located between Wichita Falls and Fort Worth) when
the Graham string program ceased to exist. The string teachers in Wichita Falls
simply had to work with what they had, all the while being creative and
conservative. The string program was begun by Dale Bmbaker, a violinist, and Joe
Castle, a guitar player. Bmbaker conducted the orchestra at Wichita Falls High
School. Sloan taught orchestt-a at Barwise Junior High, then went to the new 3A
Rider High School when it opened. Sloan was a graduate of Wichita Falls High
School in 1955, attended the University of Texas for his Bachelor's degree and
rettimed as orchestt-a director in Wichita Falls in 1959. In 1964, Sloan left Wichita
Falls in order to pursue a Ph. D. at the University of Texas in Austin. Hirschi High
School was a newly built 2A high school in 1961-1962; the orchestta was initially
directed by Karrell Johnson before Nunez was hired. The Wichita Falls string
teachers helped each other; together they wrote goals in terms of string technique.
The string teachers taught each other's beginning students which was especially
helpful to those teachers who did not have a string background (Sloan, personal
communication, August 1, 1997). "We just made things work; put together a
summer orchestra and played concerts in the park, created a spring festival and built
an effective recmiting program" (Sloan, personal communication, August 1, 1997).
The orchestta faculty in Wichita Falls at that time consisted of Dick
Affannato (orchestta director at Rider High School), Carold Nunez (piano), Mary
Butler Lawler (violin), and Achilles Balabanis (cello). Balabanis was the lead
teacher after Bmbaker left; Eddie Lake Bunton was the school district music
supervisor (Sloan, personal communication, August 1, 1997). The coordinator of
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the string program in Wichita Falls at that time was also Dick Affannato, according
to Sallie Juvenal, who was the orchestra director at Barwise Junior High School in
1967-68. She recalled that Nunez was very quiet and modest. At that time,
Juvenal had no idea that Nunez was a jazz pianist (Juvenal, personal
communication, December 26, 1997). According to Nunez, Affannato and Nunez
worked closely together during the Wichita Falls years and remain close friends
(Nunez, personal communication, 10-1-98).
The Denton Years 1970-1985
Nunez was still quite serious about continuing a Ph. D. degree program in
composition at the University of North Texas in Denton. In 1970, both Carold and
Becky Nunez interviewed for music positions in the Denton Independent School
Disttict. Becky was hired as a full-time junior high choir director, and Nunez was
hired for a half-time orchestra position. This position would give him time to
continue classes at the University of North Texas for his advanced degree in
composition where he studied composition with Merrill Ellis, Martin Mailman, and
William Latham.
The first year (1970) that Nunez was at Congress Junior High, Dr. Carl
Seal was the orchestra director at Denton High School. Dr. Seal then moved to the
University of Texas at Edinburg as orchestta director. Nunez became the orchestta
director at Denton High School (1971), where he taught orchestta and was
coordinator of the stting program for fourteen years. There was little time for
further study of composition. He did not continue in the Ph. D. program at the
University of North Texas. Nunez recognized that he had a problem as an
orchestta director in not being able to play violin, viola, or cello very well.
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Whereas in Wichita Falls, the teachers had helped one another, the situation was
different in Denton. There was only one high school, and Nunez was the only high
school director. On his own initiative, Nunez decided to take private lessons. He
studied viola at the University of North Texas with Dr. George Papich and studied
violin with Dr. James Lerch. Conceming Dr. Lerch, Nunez said, " I was his
oldest student and the only one with bursitis in both elbows" (Nunez, personal
communication, January 3, 1997). After taking violin and viola lessons, Nunez
still felt that he really needed to leam more, especially about the cello. "A person
needs skill in playing each of the stting instmments in order to be an effective string
teacher" (Nunez, personal communication, January 3, 1997).
Nunez' achievements as a music educator in the Denton school system were
many. As coordinator of the Denton string program, Nunez developed the
Orchestta Festival, which involved all orchestra students as instmmental performers
and the entire fifth grade student body as singers. As a result of this effort, he
received a commendation from the Denton Independent School District
Administration and School Board. The Denton High School Orchestta won eleven
sweepstakes awards at UIL contests during his tenure. While at Denton High
School, Nunez wrote three string orchestra compositions that were published by
Shawnee Press: Funny Fiddlin' (1980), String Swing (1980), and Bluegrass
Country (1981). These three compositions were written in direct response to the
needs of the students in his orchestra.
In 1989, Nunez was chosen as Texas Orchestta Director of the Year, the
state's highest honor for orchestta directors. During his teaching career, Nunez
also served many years as orchestta chairman for Regions II and V of Texas Music
Educators Association. He served on the TMEA Resolutions Committee, the UIL
102
sight-reading selections conunittee, and many times on audition panels seating all-
state players at TMEA. Besides judging UIL contests in many regions, Nunez also
served as conductor/clinician for many TMEA Region Orchesttas in Texas and
conducted the Fort Worth All-City Junior High Orchestta at different times. In
addition to being active in Texas Music Adjudicators Association, TMEA, and
TODA, he holds memberships in Phi Delta Kappa, ASTA, MENC, and TSTA. In
addition to music publishing credits, Nunez had an article published in the
Southwestem Musician, March, 1965, entitled Correlation of Theory and
Technique Studies in Instrumental Classes. Nunez also continues to be a member
of the American Federation of Musicians and is active as a professional pianist in
the Denton and Mettoplex area.
In 1982-83, Michael Allen was a doctoral student at the University of North
Texas. He performed several of Nunez' compositions as a young orchestta director
in South Carolina, specifically in the public schools of Spartanburg, South
Carolina, where he taught for eleven years. Allen wanted to know Carold Nunez
(her), when he discovered that she was he. Allen went out to Denton High School
with David Saunders, of the Denton Youth Orchestta, who inttoduced Allen to
Nunez. Nunez appreciated Allen's compliments about Funny Fiddlin' and String
Swing. Nunez went on to say that he needed a cellist to conduct cello sectionals on
Thursday momings. Since he was a cello major, Allen agreed to teach the
sectionals and eventually taught a number of the cellists privately in order to
supplement his income as a graduate student. Allen also provided mini-workshops
for the orchestta at Calhoun Junior High. A mentor relationship between Nunez
and Allen developed by the spring of 1985, when Allen was finishing his doctoral
program. Nunez advised Allen that the job at Denton High School was going to be
103
available due to Nunez' retirement and asked Allen if he would be interested in the
position. Of course, Allen was very interested, interviewed for the job, and was
offered the position of orchestta director at Denton High School. Allen accepted the
position; thus, he was able to stay in the Denton area to finish his dissertation and
teach in an outstanding orchestta program (Allen, personal communication, July
31, 1997).
Allen characterized Denton High School in the 1980s as a slice of America-
-a single high school town at that time, a student body composed of all types of
young people, from every conceivable background. All types of teenagers were
represented in the orchestta program as well. Many were above-average musicians;
some were mediocre; all enjoyed music. About 1988-89, the hot ticket item in the
high school orchestra world was "strolling sttings." Resistance to this pop
program was 100% by the Denton High School orchestta students. This reflected
Nunez' influence; he only taught the best-of-the-best music, no cheap
arrangements. Nunez' taste for quality repertoire was ingrained in the students, no
matter what their economic background or family status. According to Allen (8-1-
97), Nunez' legacy was his ability to communicate the concepts of musical style to
young people. He had the insightful tools with which to teach teenagers "how to
understand fine music—all teenagers, not just the musically gifted" (Allen, personal
communication, July 31, 1997).
Allen related that following a legend like Nunez was not easy. Even though
there were the normal problems of being a "new" director, his memory of that first
year, 1985, concemed how easy Nunez made the position for him (Allen, personal
communication, July 31, 1997). Nunez always seemed to have a sixth sense about
knowing when Allen needed help at the high school. For example, Allen knew that
104
he had inherited a rather marvelous orchestta, but he had never taught in Texas and
did not know one thing about the UIL sightteading process. Nunez appeared about
two weeks before UIL contest to ask about sightteading practice and showed Allen
exactly what to do during the ten-minute instmctional time. Allen has always said
that having access to Nunez was uncanny; it was similar to having access to one's
father. Nunez had age, wisdom, experience, and not only the ability to explain but
also the ability to listen. Nunez would not tell Allen the answer to any problem, but
he helped Allen determine the solutions on his own.
During Allen's first year as orchestta director at Denton High School, the
orchestra was chosen as the TMEA High School Honor String Orchestta, the
highest award for string orchesttas in Texas, which also meant that the orchestta
would represent Texas at the prestigious Midwest Intemational Band and Orchestta
Clinic in Chicago. Nunez said that Allen was the spark that took the Denton High
School Orchestta to the state level (Nunez, personal communication, January 3,
1997). Allen said that 99% of the hard work and instmction, had been done in the
previous fifteen years by Nunez (Allen, personal communication, July 31, 1997).
Under Allen's direction, the Denton High School String Orchestta appeared in
concerts at the Texas Music Educators Association Convention in 1986, 1988,
1990, and 1992 as the TMEA High School Honor String Orchestra. The orchestra
also performed at the 1986 Midwest Intemational Band and Orchestta Clinic and the
1988 MENC National Convention in Indianapolis, both by invitation. Allen is
most proud of his Nunez premieres: Friday Night, premiered at the Texas Music
Educators Convention/Clinic in 1986, DejaVu, premiered at the Midwest
Intemational Band and Orchestta Clinic in Chicago, December 17, 1986;
Convergence, premiered at the 1988 Indianapolis MENC Convention, Chapter
105
One, premiered by the 1989 South Carolina Junior High All-State String Orchestta
conducted by Allen, April 9, 1989; Movement Three from Suite for Strings,
premiered at Texas Music Educators Convention/Clinic, Febmary 9, 1990, by
Denton High School Orchestra as the Texas High School Honor String Orchestta.
Allen served as string coordinator for the Denton ISD and director of the Denton
High School Orchestta for eight years.
Allen currently serves as Assistant Professor of music education at Florida
State University in Tallahassee, Florida. His education includes a bachelor's
degree from the Cleveland Instimte of Music, a master's degree from Case Western
Reserve University, and a Ph. D. in music education from the University of North
Texas. Allen is a Past President of the Texas Orchestta Directors Association and is
the founding President of the Texas Chapter of the National School Orchestta
Association. He currently serves on the editorial committee for the Florida Music
Director, the editorial committee for the American String Teacher, and as chairman
of the NSOA Composition Contest. Allen has published articles in the
Instrumentalist, American String Teacher, Update: Applications of Research in
Music Education, Florida Music Director, The Bulletin for the Council for Research
in Music Education, and Orchestra News. In addition, Allen is co-author of
Essential Elements for Strings, a comprehensive string method book series,
published by the Hal Leonard Publishing Corporation and serves as an educational
consultant for the Glaesel Stringed Instmment Division of the Selmer Company.
He has conducted student orchesttas and presented workshops for teachers at
national and state music educator conferences in nineteen states and Canada. Allen
credits Nunez as his most influential mentor (Allen, personal communication, 8-1-
97).
106
The Denton Years 1985-Present
Nunez retired from the Denton Independent School District in 1985, after a
remarkable career as a Texas high school orchestta director. He wanted to take care
of his health, realizing the past history of family heart complications that took the
lives of his father (age 47) and his grandfather (age 54). Nunez also wanted to
pursue his personal interests, particularly in composition. He envisions making
significant contributions to music education through ways other than public school
teaching. Since his retirement, Nunez has devoted a major portion of his time to
composing, conducting region orchesttas, and judging contests.
One of my fmsttations was not achieving my academic goals, beginning two Ph.D. programs and finishing neither. I was simply not successful in that area. But, I can compose; I can continue to serve music education in the public schools through my compositions. My greatest satisfaction is knowing that my compositions are meeting the needs of teachers and students. (Nunez, personal communication, January 3, 1997)
Allen feels that Nunez, since his retirement, has become increasingly appreciated in
several areas: for his role in the musical life in the community, for his role in the
continuing development of school orchestras in Denton, and for his far-reaching
influences on young people (Allen, personal communication, July 31, 1997).
Nunez was honored for his contributions to music in the fall of 1996, at the fiftieth
reunion of his Port Neches- Groves High School graduating class, held in
Nederland.
In direct conttast to Nunez' childhood, his family has experienced different
lives from his parents. His wife, Becky, was privileged to serve as an assistant
superintendent in the public schools until her complete retirement in 1996. Both
Nunez children are graduates of the University of North Texas. Having completed
a master's degree, daughter Georgina (Gina) now is a special education teacher in
107
the Carrollton-Farmer's Branch Independent School District. Son Kirby pursued
studies in stting bass performance after college by studying with Eugene Levinson,
principal bassist in the New York Philharmonic, at Peabody Conservatory for three
years in order to prepare for professional auditions. Kirby joined the New World
Symphony in Florida for two years. He is currently the principal bassist in the
Honolulu Symphony in Hawaii. He has been a member of the Honolulu
Symphony for nine years. Because of the Nunez' vision and desire to work hard,
dreams and opportunities for themselves and their children have been fulfilled.
This was the vision and work ethic given to Nunez by his parents, even though
their socio-economic conditions were different.
Nunez is active in the First United Methodist Church of Denton and is a
member of the church choir and serves on the Worship Commission. His hobbies
still include golf, fishing, and backpacking/camping. He continues to serve across
the state as a University Interscholastic League judge, TMEA Region
conductor/clinician, in addition to being active in Texas Music Adjudicators
Association, TMEA, TODA, ASTA, MENC, and the American Federation of
Musicians. Nunez performs as a professional pianist in the Denton and Mettoplex
area and is a member of the Greater Denton Arts Council. He is a professional
composer whose publishers are Neil A. Kjos Music Company of San Diego,
Califomia and Shawnee Press of Delaware Water Gap, Pennsylvania. He has had
seventeen works published, including Uni-Tunes, with a sequel, Uni-Tunes II, in
progress as well as a stting orchestta piece commissioned for 1998.
Nunez' music has been chosen as exemplary stting literature by MENC and
NSOA. Mayer (1993) cites that the MENC String Orchestra Super List was
compiled and published in 1993 "to assist orchestta directors in selecting music
108
appropriate for string orchestras" (p. v). The music selection committee
membership included officers from ASTA, MENC, NSOA, Suzuki Association of
American (SAA), and Music Industry Conference (MIC). Ten of Nunez'
compositions were selected for the MENC Super List: Funny Fiddlin', String
Swing, M to the 3rd Power, Bluegrass Country, Chapter One, Convergence, Deja
Vu, Friday Night, Prelude and Fugue, and Suite for Strings. The 1998 NSOA
Sure-Fire Orchestra Music List is a graded list designed to help the beginning
teacher as well as the experienced director with music selection. Nunez'
compositions that are included in the Sure-Fire publication are Funny Fiddlin',
Little Symphony, Chapter One, M to the Third Power, and Deja Vu. The current
Texas University Interscholastic League list includes seven of Nunez'
compositions: Funny Fiddlin', String Swing, M to the Third Power, Chapter One,
Deja Vu, Prelude and Fugue, and Convergence. It is an honor for a composer to
have even one composition selected for these graded lists for stting teachers.
Sharon Veazey (Veazey, personal communication, 10-97), current director
of the Denton High School Orchestra, remarked that the "string students in Denton
grow up with Nunez literature. Nunez pieces have those special qualities that keep
students interested in leaming their instmments and teach them fundamental
bowings and rhythm pattems in orchestral music." Veazey concluded that Nunez'
string pieces build a firm foundation for finger pattems, detache and martele
bowing, and introduce string ensemble techniques (Veazey, personal
conrununication, 10-97).
In a discussion of vision, the author asked Nunez, "Where are you going in
your career as a composer?" Nunez' answer was the following:
109
I see continuation of my string orchestta compositions and see myself branching into full orchestra compositions. My full orchestra compositions may be experimental; I may not be able to get full orchestta published if it is not quality. I want to create interesting sounds in the orchesttation I would say a judicious use of materials in such a way that a full orchestta piece could come together in a wide variety of colors. I would like to do for school orchestta literature what the great composers have contributed to our symphony orchestta literature, in using different sounds. I don't know that I can be successful, but I will give it a shot.
I am very pleased and excited about the prospects for future work. At my age, to be excited about something is fortunate. The ttagedy would be to retire and wait to die. (Nunez, personal communication, January 3, 1997)
The future for Nunez continues with a new personal design for
contributions to music education as we enter the twenty-first century.
Of all people involved in the art of music, the most cmcial to the endeavor are composers, without whom performers and listeners could not exist. Yet composers for the most part are invisible, laboring in solitude and not present when their works are performed (except in special circumstances). Being out of sight, they are generally out of mind.... But for the most part, composers are unknown outside the professional music community. (Reimer, 1989, p. 208)
Nunez today is known by thousands of string students who have performed his
works, who have been under his baton at Denton High School and in many string
workshops, whom Nunez has conducted in region orchestras throughout the state,
and in several All-State Orchesttas in other states. Nunez is also known to string
educators and audiences across the nation through his pedagogically-based
compositions, published by Shawnee Press, Inc. and Neil A. Kjos Music
Company. Nunez characterizes such persons described by Ritsema (1996) as those
who are "able to define a need, are able to visualize an answer to the need, and who
have the persistence and fortitude" to follow through with a solution (p. 63).
110
Nunez as a pedagogue, composer, clinician, adjudicator, and performer is
important to the string music education in Texas and in America.
I l l
CHAPTER IV
METHODOLOGY
The methodology for the dissertation was an open-ended survey insttnment
which was designed by the author. The author chose this type of insttnment in
order to discover candid opinions of other orchestra directors, rather than have the
directors choose an opinion from a word-bank. In the author's experience, open-
ended survey insttnments yield more thorough information, even though they take
longer to tabulate and analyze. The survey was distributed on August 1, 1997, to
orchestta directors attending a reading session for string orchestta literature at the
Texas Orchestra Directors Association Convention. The author chose the procedure
of "live, in-person distribution" as opposed to mailing the surveys, hoping to
receive a higher percentage of rettim. The survey was disttibuted at this particular
reading session for string literature as opposed to a full orchestta literature reading
session, because the persons attending the stting session would have both the
interest and a certain amount of background in stting literature for grades six
through twelve. The author was searching for a high degree of accuracy in this
survey instmment.
Design of Survey Instmment
The survey was designed to solicit three responses for each composition:
first, identify which Nunez piece(s) the string teacher had taught (if any); second,
state the specific pedagogical technique(s) that the teacher felt was critical to the
respective composition(s); third, state the reaction(s) of students to the respective
composition. The written questionnaire was designed for open-ended responses to
112
the same set of questions by both middle school and high school orchestta
directors. Since Nunez's pieces offer pedagogical challenges at both levels, the
author felt that one set of questions would suffice for stting teachers of students
grades six through twelve. The questionnaire listed all of the published Nunez
compositions through 1997, citing the publisher and year of publication. Seventeen
compositions were listed. The scores of all the compositions were available in the
exhibit hall of the convention in case a respondent needed to check a score for
information. Several teaching techniques were suggested, but not limited to, bow
style, bowing pattems, rhythm, intonation, ensemble techniques, shifting,
dynamics, and phrasing. If a respondent marked a piece, he/she must have actually
taught the named piece in the stting orchestra class. The respondents were
encouraged by the author to be completely candid in their responses. Surveys were
unsigned.
One correction was made to the survey by the author. Diversity, published
in 1997 but not available across the state, was deleted from the survey. At the time
of survey preparation, the author did not realize that Diversity was unavailable in
the retail stores until July, 1997; directors could neither have purchased the music
nor taught it by the time of the survey. Thus, sixteen compositions were
considered in the analysis instead of the seventeen as printed in the survey. Sixteen
compositions are discussed in the study.
The survey instmment was distributed to members of the Texas Orchestta
Directors Association (TODA) at the annual convention in San Antonio, Texas,
August 1, 1997. Two requirements for the survey group were that each respondent
had to be a current Texas Orchestta Directors Association member, and a teacher of
stting orchestta from any of the grades six through twelve. No music supervisors.
113
5th grade-only teachers or teachers who taught only private lessons participated in
the survey. The author personally verified information with each respondent as she
disttibuted the questionnaires in order to be sure that he/she were qualified for
participation. The survey was unannounced prior to the reading session. This
session was advertised as a New Music Reading Session for String Orchestra
Compositions and was not for the sole purpose of completing a survey. Prior to
the convention, the author obtained official permission from the TODA officers to
distribute the survey at this reading session. Because TODA is a state organization
whose convention attracts teachers from throughout the state, the survey responses
would be representative of orchestra directors with varying degrees of teaching
experience, from different Texas public school districts. The surveys were
distributed to fifty orchestta directors attending the Texas Orchestta Directors
Association New Music Reading Session No. 7, 8:00 a.m. on Friday, August 1,
1997, in the Convention Center Fiesta Room A, San Antonio, Texas. Directors
began arriving at 7:30 a.m. By 7:45 a.m., fifty questionnaires had been disttibuted
to qualified respondents. A box for the completed questionnaires was placed at the
exit door when the reading session ended at 9:30 a.m. The author asked for the
surveys to be retumed by noon of the same day, August 1, 1997, allowing ample
time for directors to consult scores in the exhibit area, if they desired. The autiior
collected the responses at noon on August 1,1997, from the survey-retum box in
Convention Center Fiesta Room A.
Design of Survey Analysis
Fifty surveys were disttibuted at the reading session. Forty were retumed
to the survey box by noon. The author followed a step-process for analyzing the
114
information from the survey. First, each retumed survey was assigned a number.
Second, the tiUes of all compositions from the survey were listed across the top of
the chart in columns. The survey numbers were listed down the left-hand side of
the chart. Each composition identified as having been taught was marked with a
tally mark in the respective column on the proper line of the numbered survey. This
chart reflects which compositions and how many Nunez compositions each survey
participant taught. From the analysis of these two steps, it is also possible to
determine how many teachers, if any, taught the same composition(s). Next,
another chart was constmcted in order to determine if any teachers taught the same
composition(s). This ratio will show percentages of how many pieces and exactiy
which pieces the teachers chose to teach. The sixteen compositions were listed
down the left-hand side of the chart with two headings across the top of the chart:
number of teachers and percentage of responses. A third chart was constmcted in
order to list each of the open-ended answers which identified pedagogical
techniques. Because there were many pedagogical techniques listed by the string
teachers which overlapped in meaning, the author developed six major categories of
techniques from the original eighteen pedagogical responses. Finally, a fourth chart
was constmcted of the six categories of pedagogical techniques found in the Nunez
compositions and includes the percentages of techniques found throughout the
compositions. The author's step-process will result in four charts of the survey
information and will determine which, if any, Nunez composition(s) the responder
has taught, if he ascertains pedagogical value in a particular composition(s) by
Carold Nunez, and what specific pedagogical technique(s) is contained in that
piece. The information conceming pedagogical techniques will be grouped into six
major headings for application to the composition(s) should such results occur.
115
The third category of responses to the compositions from students and teachers will
be compiled in a paragraph in Chapter V.
Summary
In order to obtain the most accurate results, the author chose the
methodology described in this chapter. The open-ended, unsigned questionnaire,
hopefully, will allow persons to state what they think about the pedagogical
techniques, if any, found in the Nunez music. With this method of unbiased
response, answers will not be contrived; they will be creative and probably will
reflect a diverse pedagogical vocabulary. The author feels that this type of survey
instmment is most applicable to the information sought for analysis. Chapter V will
provide the results of the survey instmment with the information analyzed
according to the step-process as outlined in Chapter IV.
116
CHAPTER V
RESULTS OF SURVEY INSTRUMENT
This chapter will provide an analysis of the information given by the
respondents in the survey. The results of the survey may or may not validate the
author's experience with Nunez compositions as meeting critical pedagogical needs
in the string class. The step-process for analysis was followed as described in
Chapter IV. Four tables have been designed from which pedagogical needs
emerged. The pedagogical needs met in particular compositions will be discussed
in detail by the author. The author will cite specific examples from the Nunez
score(s).
Forty of the fifty surveys were retumed, representing an 80% retum. The
results reflect the number(s) of pieces taught, how many teachers taught each
specific piece, and the pedagogical techniques thought to be addressed in each
piece. From this survey, three most-valued stting pedagogical needs emerged as
well as four representative compositions that fulfill the pedagogical needs. The
results will be analyzed in order of the first survey response in Table 5.1 and Table
5.2 and the second survey response in Table 5.3 (identification of pedagogical
needs) and Table 5.4 (consolidation of needs into six major categories). Selected
survey responses from students and teachers will be cited for the representative
compositions in a paragraph summary of results.
The first response on the survey was the report of how many pieces, if any,
the participating respondents had taught. Thirty-nine of the forty responders (98%
of tiie directors surveyed) had taught at least one Nunez composition. See Table
5.1. The subsequent data is based on thirty-nine responders. Table 5.1 notes the
117
number of teachers who taught a Nunez composition(s) and which compositions
were taught, including corresponding percentages of the thirty-nine qualified
responders. These results tell the frequency of selection by those string teachers
surveyed. One sees that the most frequentiy taught composition is Furmy Fiddlin'
(67%), Nunez' fu-st-published composition. Second place is M to the Third Power
(49%), foUowed by String Swing (38%) and Uni-Tunes (36%). A significant drop
in percentages occurs from Uni-Tunes (36%) to 15.3% for Chapter One, Apache,
Little Symphony, and 15% for Bluegrass Country.
Table 5.1 Teachers who Taught Nunez Compositions Composition Number of Teachers Response (%) (N=39)
67.0 38.0 15.0 49.0
2.6 12.8 10.2 15.3 7.7 2.6 7.7
15.3 15.3 2.6 5.1 0.0
36,0
Table 5.2 lists the number of Nunez compositions taught by each teacher
from the sixteen compositions surveyed. Several outcomes are noteworthy. One is
that in the category of three compositions, five out of the eleven directors or 45% of
die string teachers taught tiie same three pieces: Funny Fiddlin', String Swing, and
M to the Third Power. The three pieces taught by the remaining six directors were
118
Funny Fiddlin' String Swing Bluegrass Country M to the Third Power Friday Night DejaVu Convergence Chapter One Suite for Strings Festival Prelude and Fugue Apache Little Symphony Introspection Locust Stteet Rag Diversity Uni-Tunes
26 15 6
19 1 5 4 6 3 1 3 6 6 1 2
deleted 14
(Director 1) Funny Fiddlin', String Swing, and Chapter One; (Director 2) Furmy
Fiddlin', String Swing, and Suite for Strings; (Director 3) Funny Fiddlin',
Bluegrass Country, and Uni-Tunes; (Director 4) M to the Third Power, DejaVu,
and Uni-Tunes , (Director 5) M to the Third Power, Prelude and Fugue, and Little
Symphony; (Director 6) M to the Third Power, Bluegrass Country, and Chapter
One. In the category of two compositions, five out of the six directors or 83%
taught Funny Fiddlin' as one of the two compositions with the second composition
being M to the Third Power (2 directors). Little Symphony (one director), String
Swing (one director), and Uni-Tunes (one director). The sixth director taught M to
the Third Power and Uni-Tunes. Only one survey was retumed marked as never
having taught a Nunez composition.
Table 5.2 Number of Nunez Compositions Taught by Individual Teachers Number of compositions Taught by teachers Responses (5) (N=39) 10-16 0 0 9 2 taught 56% of pieces 5.1 8 1 taught 50% of pieces 2.6 7 1 taught 44 % of pieces 2.6 6 2 taught 37.5% of pieces 5.1 5 2 taught 31 % of pieces 5.1 4 1 taught 25 % of pieces 2.6 3 11 taught 19% of pieces 28.2 2 6 taught 12.5% of pieces 15.3 1 13 taught 6% of pieces 33.3
Pedagogical Needs as Identified by the Survey
In plotting the information conceming technique(s) from the surveys in
Table 5.3, die author listed die eighteen general categories of pedagogical value as
identified by the stting teachers: counting, rhythm, mixed meter, jazz
feeling/syncopation, ensemble/playing togetiier, ensemble changing finger pattems
119
for key changes, basic note reading reinforcement, bow distribution/bow style,
dynamics, active and independent parts in all string instmments, third position
option available for first violins, tone, string crossings, compositional form,
unusual chords/harmonic interest, flexible bow arm emphasis, intonation, and
opportunites for developing listening skills. The author narrowed these eighteen
pedagogical categories to six major headings: (1) rhythm (counting, mixed meter,
jazz/syncopation), (2) ensemble techniques (dynamics, playing together, listening,
discovering independent melodic lines within a piece, maintenance of steady
rhythmic pulse in a string class setting), (3) intonation (changing finger pattems in
different keys, high second fingers/low second fingers, third position options,
finger placement for accurate intonation), (4) bowing (style, pattems, distribution,
tone production, string crossings, flexible bow arm, adapting bow style to tempo
changes), (5) compositional techniques (form, interesting harmonic
progressions/unusual chords), and (6) basic reinforcement of pedagogy (note
reading and sequential inttoduction of new keys). From the six categories, a more
clearly defined picmre of the responses can be viewed in Table 5.4. The author
then selected die three most often identified pedagogical needs for specific
discussion later in this chapter.
Table 5.3 is a listing of the eighteen pedagogical techniques individually
named by the responders. On the left hand side is a vertical listing of the techniques
in random order. Across the top of the table are alphabetical letters representing the
names of the Nunez compositions surveyed. The letter codes are listed below Table
5.3. Each number placed within the chart indicates a written response(s) by tiiose
orchestta directors surveyed. Several of the techniques require a more thorough
explanation. For example, "finger pattems" means that die opporttinity to change
120
finger pattems for different keys within a piece, or for accidentals, and/or
opportunities for high second finger/low second fmger, high third finger, extended
fourth finger exist in the piece. "Reinforcement" refers to the reinforcement of
basic skills such as note reading and introduction of new keys within a piece.
"String crossings" means the occurrence of bowing pattems back and forth across
two strings, changing arm levels and developing right hand/arm coordination.
"Independent parts" indicates the presence of independent instmmental parts in the
composition, with each string section playing the melodic line during the piece.
"Independent parts" also means that the pedagogical skill of "listening" for the
melodic line as it occurs within the orchestra exists within a given composition.
"Harmonic interest" indicates interesting chord progressions within the
composition, and/or the presence of unusual chords in the composition. See Table
5.3.
Table 5.4 is a more efficient grouping of the responses in Table 5.3,
narrowing the field of eighteen to the ranks of six more clearly defined headings.
Table 5.4 provides a clearer picture of the teaching opportunities in the
compositions. The results indicate that rhythm as well as bowing style are
identified as critical pedagogical techniques which are specifically covered in 100%
of Nunez' works or 16 out of 16 pieces. Development of ensemble skill is also
recognized as a significant teaching tool in 75% of the Nunez compositions
according to the survey. The twelve out of the sixteen pieces that emphasize
121
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ensemble skill are Funny Fiddlin', String Swing, Bluegrass Country, M to the
Third Power, Deja Vu, Convergence, Chapter One, Festival, Apache, Little
Symphony, Locust Street Rag, and Uni-Tunes. Particular techniques for intonation
practice were indicated in nine out of sixteen pieces (56%). The nine pieces are
Funny Fiddlin', String Swing, M to the Third Power, Friday Night, Convergence,
Chapter One, Suite for Strings, Uni-Tunes, and Little Symphony. Also 56%
surveyed offered the opportunity for teaching students about compositional
techniques as they mastered the music. These nine pieces are Little Symphony,
Uni-Tunes, Prelude and Fugure, Suite for Strings, Chapter One, Convergence,
Funny Fiddlin', Deja Vu, and Introspection. Reinforcement of the fundamental
skills of notereading and leaming key signatures was noted as a critical pedagogical
skill in five out of the sixteen pieces (31%). The five pieces so indicated are Uni-
Tunes, Festival, M to the Third Power, String Swing, and Funny Fiddlin'. The
examination of the six major categories developed from the survey indicate the
presence of pedagogical techniques in the Nunez compositions.
Table 5.4 Consolidation of Techniques from Surveys Techniques % of Techniques as valued in compositions (N=16)
16 16 12 9 9 5
Rhythm Bowing Style Ensemble Skill Intonation Compositional Techniques Basic Reinforcement of Skills
100 100 75 56 56 31
Summarv of Survev Results
From studying these four tables of survey results from current stting
teachers, the author determined that the three priorities of pedagogical needs that are
123
consistently met in the Nunez compositions are rhythm, bowing style, and
ensemble skill. The analysis reveals that pedagogical answers to these respective
pedagogical needs are, in fact, the important skills valued in the compositions of
Nunez. Significant pedagogical emphasis on rhythm/rhythm pattems are found in
100% of the compositions as reported from the survey group; 1(X)% of the
compositions address bowing style(s); 75% are valued for teaching techniques of
ensemble skills; particular intonation emphasis is found in 56% of the
compositions; 56% of the compositions offer models for teaching compositional
techniques; 31 % of the compositions offer basic reinforcement of pedagogical
skills. The strength of each survey is that all information is fu:st-hand, directiy
from the source—the person who actually taught the composition(s), except for the
person who had never taught any of the Nunez compositions. The survey validates
that current string teachers recognize the fact that significant pedagogical needs are
addressed in the compositions of Nunez and that the three most-valued pedagogical
techniques to be addressed through the compositions are rhythm/rhythm pattems,
bowing style(s)/pattems, and ensemble skills.
In the survey, the final open-ended response was a statement by the teachers
conceming student reactions to the respective compositions. In every response,
each of the compositions was well-liked by students and provided a positive
leaming experience for the stting class. Special comments about Funny Fiddlin'
included "each stting section has a time to shine," "cellists finally have a soli part,"
and "the rhythm and new bowing pattems are a challenge." Comments about
String Swing centered around its being the "perfect inttoduction to jazz style
tiu-ough syncopation and off-beat accents." Shifting for basses and use of slurred
staccato bowing make String Swing unique. The remarks about M to the Third
124
Power began with "students love this piece," "this is their favorite piece," and
"students beg to play this piece." Reactions to Jazz in D were also positive.
Students enjoyed the instant success that they experienced in Jazz in D. Leaming
about the jazz "blue note" is fiin. Everyone has the opportunity to play the melody
throughout Jazz in D. Quite significant are the responses by 100% of the directors
who met the survey criteria that students overwhelmingly enjoyed each Nunez
composition that was evaluated. In the words of one director, "I have never taught
a Nunez piece that was not a winner. Texas is lucky to have Nunez!"
Four Selected Compositions
Four compositions were identified from the survey results as among the
most often taught and as the pieces which also contained the most value in
addressing the pedagogical needs of rhythm, bowing, and ensemble techniques for
the heterogeneous string class. A pedagogical analysis and comments regarding
student reactions of these four selected compositions follows a general discussion
of Nunez' compositional techniques. The four compositions to be discussed are
Funny Fiddlin', String Swing, M to the Third Power, and Jazz in D from Uni-
Tunes. According to the survey, these are the four Nunez pieces which are most
frequentiy named as meeting the highest percentages of pedagogical needs (rhythm,
bowing, and ensemble skill development) in the string class. Permission to publish
score excerpts has been granted to the author from the publishers.
Discussion of the Compositional Techniques
Before examining the four pieces, the author will provide a general
discussion of Nunez' compositional ideas. The works of Carold Nunez are unique
125
because they are primarily compositions derived from a "felt" need(s) within the
string class. The melodic and rhythmic motives are not contrived; the motives have
been created in order to solve pedagogical problems that Nunez experienced in the
actual classroom teaching situation (Nunez, personal communication 1-3-97) or to
offer reinforcement of styles of rhythm and bowing to young string players.
Nunez, as a public school teacher for twenty-nine years, has assessed many
pedagogical problems. Often through trial and error, he has arrived at effective
solutions which he was able to refine in the classroom. Because Nunez wrote his
compositions to address existing needs, his perspective is one of the teacher trying
to assess a real problem and prescribe a remedy. An important sequential leaming
process is defined by Lyne (1991), in her dissertation titled Beginning Strings
Class Instruction: Practice and Theory, as consisting of assessment, diagnosis,
prescription (p. 47). This sequential leaming theory is the process by which Nunez
has developed his compositions. Garson (1973) states that use of this method
characterizes an ideal teacher:
. . . one who has the ability to diagnose, prescribe, and administer corrective measures. Each prescription must be balanced and must complement the diagnosis in order to bring about the desired result. The teacher must also engage in constant research, observation and analysis, (p. 37)
Nunez prescriptions re the pedagogical techniques contained in the composition(s).
As Nunez told one of his publishers, "Publishers who are not teachers, do not
always know what teachers need." Teachers know what teachers need.
From the survey results, teachers indicated that they need compositions that
reinforce rhythm, bowing, and ensemble skills for young stting players. Each of
these pedagogical techniques will be discussed before the author examines the four
compositions. According to Witt (1998), "string playing requires unique abilities in
126
the performance of rhythms" (p. 3). "The bow mles," as the right arm determines
rhythm (Witt, personal communication, 7-30-98). Witt (personal communication,
7-30-98) continued, "A piece without rhythm is like a body without bones."
Relationships of bow speed and length, slurs, and hooked bowing increase the
challenge of rhythmic precision. Winking (1976) reminds one that "rhythm is
perhaps the most difficult musical component to teach" and to be comprehended by
young students, just in one measure of eighths and quarter notes (p. 44). Students
must leam how to subdivide the beats from the beginning of their stting experience
in order to establish steady rhythm. Green (1990) gives a basic definition of
rhythm as a principle of balance:
. . . stress, followed by relaxation, repeated. We inhale, which takes effort. We exhale, which is a relaxing process. The heart pumps, rests, pumps, rests. Rhythm in music is comprised of the accented beat, off-set by the following unaccented beat. (p. 3)
Bowing influences rhythm. Green (1990) explains that "no orchestta can
have a fine sound rhythmically unless there is a rhythmic system to its bowing" (p.
56). She continues to explain that rhythmic bowing and rhythmic sound require
that the down-bow should be used on the first beat of the measure, where the
strongest accent falls. According to Green (1990), when young students are taught
to recognize the first note of each measure as down-bow, they soon gain confidence
in ensemble playing (p. 4). Students do not "lose the place" quite as often (p. 4).
According to Bmnson (1969), after proper posture and stance have been
established, "the class should leam detache and martele bowing . . . which are basic
to all stting playing" (p. 38). Likewise, Culver (1981) maintains that the "detache
stroke is the most basic element in bowed string instmment performance" and must
be mastered before one extends technic (p. 21).
127
The third area of pedagogical technique deemed to be applicable in Nunez
compositions is that of ensemble. What are ensemble techniques for school-age
string class students? One might consider proper ensemble technique as die ability
to read a beat pattem, to follow the conductor, to listen to the melodic line, to
balance the harmonic parts with the melody, to blend sounds together across the
string class, to observe rests, to make enttances with precision, and to follow
dynamics, key changes, ritards, and fermatas. In a stting ensemble, students must
develop critical listening skills in order to fit an individual part into the whole.
Another area of ensemble technique is for the class to develop skill in maintaining a
steady beat, fiinctioning as a musical team to perform all rhythmical values
accurately. Smith (1969) reports that "listening is the most important aspect of
ensemble performance" (p. 75). As players develop their listening skills across the
ensemble, their intonation, tone, bowing articulation, and rhythmic integrity will
improve. Making musical discriminations as a group for tempi, phrasing, proper
bowing, and matching bowing stylistically are also components of the ensemble
process. Green (1990) states the "uniformly good bowing is a great factor in fine
ensemble" (p. 40).
Fundamental ensemble techniques in the modem idiom are described by
Smith (1971). For youngsters, such contemporary techniques include pizzicato,
glissandos, combining intervals of the fourth, fifth, and seventh, syncopations,
cross rhythms, harmonics, changing meters, exotic harmony and flavor (p. 14).
From the Farish and Rolland project involving contemporary composers. Smith
(1971) reports that many string players did not have adequate rhythmic skills to
play the compositions written for the project (p. 14). Even in the earliest
contemporary pieces, Farish and Rolland (1968) advise that students must play
128
with some degree of independence, observing rests, and making precise enttances
(p. 10). Contemporary music offers much more "rhythmic variety than standard
literature" (p. 10). Odd-number note groupings, counting rests, and entering
phrases after a break presented problems (Smith, 1971, p. 14 ). Teachers had to
devise sttategies for leaming the unusual rhythm pattems. Another area of student
weakness found by Farish and Rolland was students' inability to observe
contemporary markings such as tempo, dynamics, accents, or phrasing marks. The
project composers used many of these markings in their pieces. Students played at
the same dynamic level throughout a composition. Farish and Rolland (1968) point
out that music in the contemporary idiom will have "infinitely more color and
resonance than the folk songs and transcriptions now taught" (p. 10). Smith
(1969) reminds one that "ensemble experience develops skill in sight-reading,
rhythmic acuity, and physical as well as mental coordination" (p. 75). Dillon and
Kreichbaum (1978) comment that "finding good contemporary literattire written for
young string orchesttas is difficult. However, it is a style that smdents really enjoy
and need to be taught to play" (p. 163). Farish and Rolland (1968), in their
composer's guide for the project, enthusiastically proposed that "new pieces and
new sounds are urgently needed" (p. 2).
For developing better listening skill, sttidents need to be engaged with the
melody sometime during the piece. Nunez compositions offer the melody in
various styles for all instmments. Likewise, every insttumental part is active
during each respective piece. Allen believes that "Nunez' sttengtii is diversifying
die interests of all parts in the stting orchestta There is something very special
about each piece" (Allen, personal communication, 8-1-97).
129
Another sttength is that Nunez compositions are not written by a formula.
Often a contemporary composer of educational string orchestta literature will write
by formula: melody with harmony, the melody offered at a slow tempo, then
offered in a pizzicato context, re-voiced in a fugue, and finally, the composer
recapitulates die melody and harmony and accelerates the music to the end (Allen,
personal communication, 8-1-97). "With Nunez' pieces, one cannot say 'that if
you have heard one piece, you have heard them all.' . . . There is a very sttong
unity in each composition coupled with sophisticated string techniques. Nunez'
music sells because it is interesting and meets an immediate need in the classroom"
(Allen, personal communication, 8-1-97).
Nunez also provides the opportunity for students to leam jazz figures and
mixed meter. The unusual rhythmic figures catch the students' attention. Jazz
pattems are one of Nunez' challenges for the young string players. The off-beat
pattems provoke intrinsic motivation in the string class. Many composers think that
these compositional techniques cannot be understood or mastered by students
grades six through twelve. However, Winking (1996) relates the opinion of
Wiskirchen, who is considered to be the father of jazz education: "Jazz must be in a
well-rounded curriculum. You cannot have a complete curriculum without the
inclusion of all forms of music expression. Jazz is one of the major American
musical forms" (p. 39). Murphy (1994) cites that prior to die 1960s, most music
educators felt that "jazz was inappropriate for the music curriculum
Professional music education texts and joumals of the 1930s through die 1950s
often attacked jazz for its degenerative effect on school music" (p. 34). With die
social changes of the 1960s and 1970s, jazz won approval from the music
educators during the 1970s and 1980s. The National Association of Jazz Educators
130
(NAJE) was formed in 1968 to advance the concepts and public approval of jazz.
Murphy (1994) continues that the "standards were set, resources unified, materials
authenticated, and jazz education advocated across the nation by NAJE" (p. 34).
Rhythmic pulse lies at the heart of jazz figures. Nunez offers the challenges
through a variety of rhythmical pattems, and students master them because the
music is intrinsically motivating and is designed to be enjoyable. By composing
motives with rhythmic and melodic interest, coupled with technically-appropriate
precision in ensemble skill, perhaps with a jazz figure of playing off-the-beat,
Nunez makes leaming fun while students are developing their string pedagogical
techniques. From his background as a jazz pianist, Nunez includes the figures as
natural flavors in the compositions. The "lowered third" appeals to even the
youngest players. Nunez compositions are able to catch the students' attention
through their rhythmic syncopations and bowing pattems. The students are
completely engaged in all aspects of leaming during a Nunez piece. According to
the survey comments and the author's experience, students will elect especially to
play Funny Fiddlin', String Swing, M to the Third, and Jazz in D again and again.
These pieces pass the string litmus test of containing challenging technical skills for
the students as well as having aesthetically-satisfying musical lines. Nunez'
innovative compositional techniques are successful. The survey attests to the
effectiveness of Nunez' compositions and their direct application to the needs of the
stting class. Gazda states in her NSOA presidential message (1998):
Whereas excellence [in musicl can always be kept in mind, sttiving for deepened understanding and technical progress are realistic daily goals in the string class. Teaching successfully involves recognizing the readiness of the students and having die wisdom to present skills and materials that correspond to tiiat level of readiness, (p. 3)
Nunez has demonsttated this wisdom in his works.
131
Another significant recognition of Nunez' conttibutions to school string
literature is the selection of his compositions for reading at TODA conventions.
Because most orchestra directors do not have access to large collections of new
music, the TODA reading sessions fulfill a need for updating knowledge about new
publications. Having access to the music, hearing it performed, and listening to an
experienced director's critique of the music is an educational experience that cannot
be duplicated on the home campus of any director. The reading music selection
procedure guarantees that the reading session will be presenting to the membership
current, newly published material with which they may not yet be acquainted. The
following statement outiines the selection procedure:
The Board of Directors of TODA chooses the music to be read at the annual Convention/Clinic. These selections are chosen at an annual meeting of the Board in early June. The Board restricts its choices to music which has been published during the last year with the exception of special categories such as UIL music. Selections are chosen from music that is sent from various music publishing companies to TODA'S Executive Director. The appeal to the TODA membership of newly published music may vary from year to year according to what is received from publishers. Suggestions from the general membership for selections are welcome. (Sallie Juvenal, TODA president, personal communication, 8-1-97)
Table 5.5 indicates which Nunez composition was read on what date at the
TODA convention. One must note that the four selected compositions have been
read at the TODA sessions: Funny Fiddlin', String Swing, M to the Third Power,
and Jazz in D from Uni-Tunes. If the composer is present at the session, he is
invited to conduct die respective piece. Having a composition read is an honor for
the composer.
132
Table 5.5 Nunez Compositions Read at TODA Reading Sessions Date Composition
July 31, 1980 August 1, 1980 July 28, 1989 August 4, 1990 August 1, 1991 July 24, 1992 July 25, 1992 August 2, 1993 August 2, 1993
July 28, 1994
July 30, 1994
July 26,1996 July 31, 1997
Funny Fiddlin' String Swing Deja Vu and Convergence Chapter One Suite for Strings time issue, rescheduled for 1992 Festival for Mass String Orchestra. Suite for Strings Prelude and Fugue Apache Uni-Tunes read plus clinic on "Reinforcing String Playing Basics in Your Daily Rehearsals using Uni-Tunes" Conductor's workshop presented by Dr. Gary Gamer, included works by Nunez, sponsored by Texas chapter of NSOA "Best o f UIL reading session, included M to the Third Power, Chapter One, Deja Vu, Convergence, Funny Fiddlin', String Swing Little Symphony Locust Street Rag
Discussion of the Compositions
The four compositions will be discussed in order of publication dates:
Funny Fiddlin' (1980), String Swing (1980), M to the Third Power (1985), and
Jazz in D from Uni-Tunes (1992). In addition to these compositions being most
frequently ranked in the survey results, both Funny Fiddlin' and M to the Third
Power appear on the MENC, NSOA, and Texas UIL music lists. String Swing
appears on the MENC and the Texas UIL music lists. Such national and state
listings denote quality of string literature and agreement by professional string
educators as to the technical and aesthetic value of the literature with students. Jazz
in D is a new composition and does not appear on a national/state composition list at
this time. The examination of the compositions will reveal exactly how Nunez
integrates the basic skills of rhythm, bowing pattems, and ensemble techniques,
offering students opportunities for reinforcement of these basic skills and
133
opportunities to leam new skills at an early level of string playing. In each
published composition are comprehensive rehearsal suggestions written by Nunez.
These published, pedagogical remarks/suggestions will not be reviewed in this
dissertation. The compositions are well-edited. Particular attention has been given
to suggested fingerings in the cello and bass parts. Bowings are marked, as are
bowing styles, dynamics, tempo changes, and accents. References to bowing
strictly follow the editing by Nunez and the publisher.
Funny Fiddlin'
The most frequently selected Nunez composition from the survey is his first
published work, Funny Fiddlin', published in 1980, by Concert Works, now
Shawnee Press. This piece was composed to address a young student's lack of
tone quality and rhythmic pulse which Nunez diagnosed as a bowing problem
(nonparallel bow sttoke coupled with littie use of the bow hair). The Nunez
prescription was an improvised exercise of eighth notes, using detache bowing
(broad, altemating bow stroke, smoothly connected). The creation of the repeated
four-measure melodic motive in measures 5-12 became the theme of Funny
Fiddlin'. Practicing the motive repeatedly, with Nunez' supervision, the young
boy corrected his crooked detache bow stroke and rhythm problem. Since detache
bowing is one of the first skills taught to beginning string players, the first stting
ensemble experience should contain a majority of detache bowing. Accordingly,
Nunez developed a composition from the improvised motive, giving the detache
bowing technique to the all instmments in the string class as repetitive drill and
refinement of the detache bowing pattem/rhythmic pulse across die class, leading to
more precise ensemble skill. The pattem occurs in Violin I and n in measures 5-12
134
and 33-39, in viola/cello/bass measures 21-23, and 25-26, and in all instmments
measures 44-45, and 80-88. Figure 5.1 shows the retum of the original motive that
Nunez used with the young violinist, measures 80-83, with all instmments
participating in the detache bowing. The violas and celli have a slurred staccato
bow style in measures 33-38 with quarter notes. This pattem requires that violas
and celli students count with subdivisions even though tiieir pattem is half note-
quarter-quarter because the violins have eighths above the slurred staccato of violas
and celli. An inner-counting system of subdivision is necessary in order to
maintain accurate vertical alignment in the ensemble. The teacher has the
opportunity to address the class with regard to uniform bowing (amount,
placement, timing) and dynamics as called for in the score. A unison ending of
identical bowing and rhythmic pattems in all instmments results in another
opportunity for all string players to master what Green advocates as her uniform
bowing philosophy with the orchestra playing in the same place in the bow, at the
same time, with the same amount of bow in order to produce a healthy sound.
Thus, for those students who need developmental opportunities or remedial
reinforcement with parallel bowing, rhythmic security, and practice with precision
in ensemble playing. Funny Fiddlin' meets the need. Rolland (1973) reminds
teachers that "repetition and review are the pathways to skills . . . and time must be
given to them generously" (p. 12). Nunez provides this repetition and review
throughout Funny Fiddlin'. Many Texas orchestta directors have termed the A
section of Funny Fiddlin' as the stting class bowing cure for parallel detache-a
solid eighth-note sttoke with secure rhythmic pulse and as a stting class teaching
experience in leaming the sound of proper tone production with all students at the
135
appropriate place in the bow, at the same time in the bow, using the same amount of
bow.
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Figure 5.1 Funny Fiddlin', measures 80, 81, 82, 83
A rhythmic eighth-note ensemble pattem is included in all string parts at
various points during the B section. Consistency of bowing technique in this
pattem is the key to its musicality. The pattem is down-up, rest, up-down-up, rest.
This pattem creates~a jazz feeUng with a rest occurring on the fu-st half of beat two
and an eighth note occming on the second half of beat two. Figure 5.2 shows an
example of the syncopation. For students to play another up-bow after an initial
up-bow/rest requires a great deal of mental, physical and rhythmical coordination.
However difficult this may be, the pattem is appealing to youngsters once they
understand the pulse and master the pattem. For example, in measures 48-79, fu t
136
violins, second violins, and violas have identical rhythm and up-up bowing pattems
while the celli/basses play a legato e cantabile melodic line with whole bow sttokes.
This presents an ensemble challenge. Figure 5.2 also illustrates measures 48-51 of
this leggiero B section. The violins and violas must remain soft throughout,
listening to the melodic line of the celli and basses, allowing the melody to be heard
in measures 48-59. After a bridge of four measures, 60-63, the first violins and
celli play the melodic line while the second violins, violas, and basses maintain the
rhythmic, harmonic triad pattem in measures 64-75. The pattemed bowing at
measure 64 adds a set of slurs for further sophistication in bowing technique.
Figure 5.3 illusttates the sequential change in the initial bowing pattem. The up-up
/slur pattem continues for twelve measures with one non-slurred measure at
measure 66. This measure is included in Figure 5.3. Nunez recognizes that a
subtle change in bowing keeps students alert to new pattems. The rhythmic ttiads
in the B section exemplify the discipline required of both left and right hands. The
hands must coordinated in order to master this section. Bomoff, another great
string pedagogue of this century (Smith, 1986), advocated such integrated basic
skills for young players: "Pattems without bowing techniques engender timid
players; bowing skills without pattems to discipline the fingers are worthless" (p.
17). Thus, the leggiero section in Funny Fiddlin' is quite valuable as it requires
accurate technique iibboth hands.
137
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Figure 5.2 Funny Fiddlin', measures 48, 49, 50, 51
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Figure 5.3 Funny Fiddlin', measures 64, 65, 66
138
Nunez also offers opportunities for playing on the off-beats, reinforcement
of string crossing technique, and development of rhythmic independence in single
parts. In the four-measure inttoduction to Funny Fiddlin', the violas, celli, and
basses pizzicato on the off-beats, a difficult concept for young players. This basic
jazz pattem captures students' attention immediately. Students become alert to the
steady beat by virtue of hearing the off-beats.
Green (1987a) reminds teachers that "there is no better exercise for building
wrist flexibility than a constant crossing between the same pair of strings" (p. 72).
Examples of string crossing sections in Funny Fiddlin' are measures 27-32 and
measures 94-99 for all instmments, measures 40-43 and measures 107-110 for first
and second violins. Even the bass is not neglected in the stting crossings, bowing,
rhythm, and ensemble techniques. Often in string literature for young players, the
bass is given only beat notes. In Funny Fiddlin' the bass is given melodic
responsibility in measures 21-32,44-63, 111-114, including independent
entrances, as well as responsibility for the rhythmic pulse, subdivided or not
subdivided. A teacher would not select this composition for the string class unless
he had an alert bassist(s) who showed potential for understanding the part and had
the physical coordination necessary for the string crossings.
Finally, students have the opportunity to develop rhythmic independence
and fit their independent parts into the whole musical scheme of the composition.
Figure 5.4 shows measures 88-91 in which violas and celli play one independent
line; the violins and basses have simultaneous enttances only on beat three in die
same measures. However, all parts must be played with a common steady pulse
and enttances must be vertically aligned with precision. Ensemble skills of
listening, counting, and fitting parts together are involved in teaching/leaming to
139
play Funny Fiddlin'. The string ensemble also has to leam to change keys and
finger pattems because the composition begins in D Major, modulates to G Major,
and rettims to D Major, in ABA form. Ensemble dynamics increase from piano to
forte during the first four measures. Because a variety of dynamic changes in aU
string sections are called for during the piece, sttidents become aware of the
importance of observing the markings that add color to die music.
Cello
Bass
© 1980 Shawnee Press. Inc. Used by permission License No. J0814SP
Figure 5.4 Funny Fiddlin', measures 88, 89, 90, 91
Funny Fiddlin'has been a successful teaching piece because it meets die
basic needs of a developing string class of sttidents usually in grades seven, eight,
nine, and ten. The bowing techniques needed for Funny Fiddlin' in all insttiiments
are detache, martele, legato whole bow, hooked martele/sluired staccato pattem,
stting crossing flexibility, as well as jazz rhythmic pattems with "down-up-rest-up"
140
bowing in a leggiero style. Cantabile style is also marked in the B section. Lifted
bowing, "down-down," is also employed as in measure 32 for all instmments, and
measure 78 for second viohns, violas, celli, and basses. The rhythmic
concenttation for the basic jazz elements of playing off the beat and playing on the
second half of the beat is an unusual, yet quite appealing, device for young string
students to master. Very few compositions for grades six through twelve contain
this much technical value which can be rehearsed during class with developmental
leaming for all string students. The survey results reflect the importance of this
composition in string literature for youngsters.
String Swing
According to Nunez (Nunez, personal communication 1-3-97), String
Swing almost wrote itself. The emphasis of this piece is on the use of the bow
(Nunez, personal communication 1-3-97). Several bowing techniques needed for
String Swing are detache, martele, slurred staccato, slurred detache, up-bow slurs,
and lifted double-down bows. The rhythmic discipline of the slurred staccato
bowing pattem in all instmments is the hallmark of this composition. In Figure
5.5, showing measures 1-4, one finds the prevalent bowing pattem of the piece. A
common error for students using this bowing pattem is to msh the up-bow eighth
notes. The teacher, thus, has the opportunity to teach students how to avoid
mshing when using this pattem. Once the students leam how to "hold-back," most
will never forget how to play the pattem with a steady beat. This pattem occurs in
all instmments. A reversal in the bowing pattems occurs in measure 23, with
students having to change from whole bow, tip, tip to whole bow, frog, frog.
Figure 5.6 illusttates this pattem. In Figure 5.6, one can also see the pattem of the
141
downward sequencing from c to 6 to a to in measure 26 wiUi a unison tutti for all
players. Double-down bows played on the off-beats are found in measures 5 and
21 for second violins and violas; in measure 7 for second violins, celli, and basses;
in measure 29 for all violins and violas; in measure 31 for all violins and basses;
and in measure 33 for violas, celli, and basses.
I Allegro
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Figure 5.5 String Swing, measures 1, 2, 3, 4
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© 1980 Shawnee Press. Inc.
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Figure 5.6 String Swing, measures 23, 24, 25, 26
142
Figure 5.7 illusttates the double-down "lifts" as they occur on the second
half of beats one and three in measures 31 and 33. This is an off-beat jazz pattem
that students enjoy once they understand the subdivision of the beat and where their
note(s) fit into the rhythmical scheme. All instmments have experience with the
double down-bow sttokes by the end of the composition. Nunez, by design,
involves each player in the rhythmic bowing events. A different bowing experience
for students occurs in measure 16 as seen in Figure 5.8. Violins and violas play on
beat one, then on the second half of beat two following an eighth note rest (down-
up-rest-up-down), while celli and basses enter on beat two with an up-bow
followed by down-bow slur and up-bow slurred staccato. In the author's
estimation, measure 16 is one of the hardest measures in the piece. Leaming
experiences are provided for an up-bow, 3-note slur as found in measures 9, 10,
11, 13, 14, 15 for first violins, and in measures 12 and 30 for all instmments.
Figure 5.9 illustrates the three-note slur in the first violin part in measures 10 and
11 with all instmments having a three-note slur at the end of measure 12. String
crossings to reinforce the flexible right wrist technique occur in all instmments,
measures 36-39. Figure 5.10 shows these exact pattems for all players. Accuracy
in mastering these pattems involves the amount of bow, placement of the bow, and
the consistent rhythmic pulse of the individual players as well as the whole string
ensemble.
143
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Figure 5.7 String Swing, measures 31, 32, 33
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144
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Figure 5.9 String Swing, measures 10, 11, 12
© 7950 Shawnee Press. Inc. Used by permission License No. J0814SP
Figure 5.10 String Swing, measures 36, 37, 38
145
A basic jazz concept in rhythm that is developed in String Swing is playing
on the second half of the beat as indicated in measures 5, 7, 12, 31, 33, and 35.
Right hand coordination is required as well as subdivided counting in order for the
student to develop this concept. Rests are difficult for young players to count,
especially when the subdivision is a rest as shown in measure 12 of Figure 5.9.
Another example can be found in Figure 5.7, measures 31 and 33. Vertical
alignment of all instmments is critical to both of these measures. Students must be
taught to feel the identical rhythmic pulse in order to perform accurate enttances on
the second half of the beat.
The surveys indicated that the value of String Swing was also in the
ensemble techniques offered. Figure 5.9 illusttates the necessity for all players to
be subdividing their inner-counting systems in measure 12. In measures 17
through 23, students in the violin and viola sections are given the opportunity to
listen and discover that the melody is occurring in the celli/bass part. The sequential
pattem that begins in measure 23 teaches students how to pass a pattem to another
section in the ensemble. This pattem begins with first and second violins passing
the moving eighth notes to second violins and violas who in tum pass the eighth-
note pattem to violas and celli, then all strings join for a unison passage at measure
26. Dynamics in String Swing range from piano, mezzo piano, mezzo forte, to
forte. Ensemble dynamics develop from piano to forte within three measures, from
measures 29-33. The quick growth in dynamics is another challenge for young
players. Finally, die ABA form also involves a key change from D Major to G
Major, and a retum to D Major for the entire ensemble. The ensemble must
remember to adjust fmger pattems at the key changes.
146
Whereas Funny Fiddlin' provides opportunities for the refinement of the
detache bow stroke for all instmments. String Swing drills the "down, up-up"
slurred staccato as well as the "whole bow, tip, tip; whole bow, frog, frog" pattems
in Figure 5.6. The lifted down-down bowing as seen in Figure 5.7 is also an
important emphasis in the piece. Rhythmically, String Swing is unique in its
offerings of "off-beat" ^hythm^owing pattems. In addition to many ensemble
techniques presented in Funny Fiddlin' and String Swing, survey participants
commented that having challenging parts for the young string bass players makes
both of these compositions valuable. As noted previously by the author, string
literature for young players has usually involved the basses only as beat-keepers.
In Nunez' music, the basses are guaranteed interesting parts.
Nunez states (personal communication, 1-3-97) that both Funny Fiddlin'
and String Swing were rejected from various publishers more than once. Finally,
in a letter to Shawnee Press, Inc., Nunez wrote from a string teacher's perspective
that "if he saw these two pieces on a music store shelf, he would buy them in-a-
heartbeat because they emphasized the string techniques that he needed to teach and
would be appealing to the string students" (Nunez, personal communication, 1-3-
97). Nunez had just about given up on ever having his music published. Soon
after his remarks to Shawnee Press, Inc., both Funny Fiddlin' and String Swing
were accepted for publication; Nunez was forty-nine years old. Funny Fiddlin'
and String Swing were immediate successes.
M to the Third Power
M to the Third Power {Minor Meter Mix): a Teaching Piece for Strings
contains the added dimension of changing meters, which requires more
147
coordination in the right hand for young players due to the changing rhythmic
pulse. This composition is beneficial for string students in grades seven through
twelve, according to the surveys. The bowings required in this piece are detache,
staccato, marcato, double-down Ufted bows, accented sttokes, and legato bow
sttokes. M to the Third Power also offers the opportunity for students to play two-
notes slurred, with one note separate in a pattem. The bowing pattem is found in
Figure 5.11, measures 21-24. This composition offers one of the few
opportunities for players to leam how to count and bow while changing meters.
Reinforcement of a consistent eighth note bowing pattem as well as a steady
sixteenth note bowing pattem is provided through repetition in the piece. An
example of the sixteenth note repetition occurs in the B section with the soU parts in
the violas, celli, and basses. A smooth, blended detache bowing is desired in the
low string instmments from measures 64-97. A steady sixteenth note pattem
following a harmonic minor melody in the viola and cello parts is depicted in Figure
5.12, measures 85-88. An example of melodic minor occurs in measures 58 and
59 in the violin parts and in measures 153-154 in all parts. The unique appeal of
the composition is the "meter mix" in all string parts and the bowing that is
required.
148
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Figure 5.11 M to the Third Power, measures 21, 22, 23, 24
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Figure 5.12 M to the Third Power, measures 85, 86, 87, 88
149
Ensemble techniques become more sophisticated in M to the Third Power
than in Funny Fiddlin' and String Swing. Accenting a single note within one
pattem is a novel idea that is required in M to the Third Power, for examples, in
measures 9-12, 21-23, 52-56, 68-70, 77-79, 106-108, and 115-117.
Teaching/leaming uniform bowing is the only way that these accents can be created
by an ensemble. Figure 5.13 shows an example of single-note accenting in
measures 68-70 from the B section. A mixed meter sequencing pattem occurs in
measures 120-123. In Figure 5.14 one can see that the meter changes from 3/4 to
3/8, and 3/4 to 3/8 with a downward sequence pattem of two measures. The
sequence pairs are found in measures 120-121, 122-123, and 124-125. A one-bar
sequence pattem for all instmments in unison follows in measures 126-129. This
sequence pattem offers an opportunity for the ensemble to play together with one
pulse to the measure, something new for players, according to the surveys. Nunez
offers mixed meter in 2/4, 3/8, 3/4, with altemations in meter occurring forty times
during the piece. Dynamics range from piano to fortissimo in this piece. "Infinite
ensemble, rhythmic, and bowing appeal" describes M to the Third Power.
According to Nunez (personal communication 1-3-97), veteran string
teachers did not understand how to count and conduct the meter changes in M to the
Third Power. In the 1980s, string literature simply did not contain mixed meter for
young players. Many teachers had never taught a piece that changed meters
altemately. Teachers who ttied M to the Third Power soon realized that the
students could master die changing meters and, in fact, enjoyed the challenge of
different pulses throughout the composition. The contemporary design was
successful for the students, once the teacher gained confidence in the new rhythmic
pattems and the new conducting pattems required.
150
© 1985 Shawnee Press. Inc. Used by permission License No. J0814SP
Figure 5.13 M to the Third Power, measures 68, 69, 70
120
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Figure 5.14 M to the Third Power, measures 120, 121, 122, 123
151
Funny Fiddlin', String Swing, and M to the Third Power are each subtitled
as teaching pieces. They originated from Nunez' acmal classroom teaching
experiences. The stting techniques solved problems and met the needs of his
students. This success caused Nunez to seek pubhcation of the compositions.
These three pieces have been proven successful in the string class as noted by the
survey results.
Jazz in D from Uni-Tunes
After Nunez retired as a public school orchestra director and administtator in
1985, he finally had time to develop compositions with pedagogical emphases that
he knew were needed and had been requested by current string teachers. He was
interested only in original compositions, not arrangements. Nunez knew that one
need was for "catchy" supplementary exercises for the very young players. His
idea was to write an elementary book of unison tunes for the string class, using
basic bowing techniques, exploring only CM, GM, and DM, reinforcing note
reading and basic finger pattems. Such a collection could be used for
developmental reading as well as for remedial reading for string students. The
exercises and compositions would be appealing to the young players and would
stimulate practicing outside of the string class. The result was Uni-Tunes: A
Fundamental Reading Supplement for String Players. For each key, Nunez wrote
twenty-eight lines of unison exercises and one unison string orchestta piece with a
piano accompaniment. For the last section of Uni-Tunes, he wrote one-octave
scales with variations and broken thirds in the keys of CM, GM, and DM. Nunez
included instmctions for specific rehearsal sequences in order for teachers to be
successful in using the book. Veazey (Veazey, personal communication, 10-97)
152
comments that Uni-Tunes involves all finger pattems and basic bowings. Nunez
(personal communication, 1-3-97) composed Uni-Tunes early in the momings
before his family was awake. He sat outside in the family carry-all (vehicle),
composing in the moming solitude. According to Nunez (Nunez, personal
communication 1-3-97), Uni-Tunes is his best seller. A sequel to Uni-Tunes is
Uni-Tunes II, in progress at this time (1998), which will address the keys of F, B
Flat, and E Flat Majors in a similar format of Uni-Tunes.
Jazz in D is the unison string orchestra composition in Uni-Tunes that
Nunez wrote as a companion to DM. It provides opportunities for consistent
detache bow strokes, use of bow lifts, use of full bow, maintaining steady beat,
subdivision of beat, and reading/counting dotted halves, quarters, and eighths. A
good mixture of basic note values exists in Jazz in D. In order for the string class
to play together with uniform sound, developing uniform bow sttokes among the
players is an important ensemble skill available in Jazz in D. Pattems of four eighth
notes followed by two quarter notes in measure 2, reverse in measures 5 and 6 to
two quarter notes followed by four eighth notes. See Figure 5.15. Unison playing
helps smdents to blend their sound with others and provides the opportunity to
adjust inaccurate pitches quickly. The unison pieces develop smdents' aural skills.
In addition to matching pitches, students must also match the same rhydimic pulse.
Unison exercises and pieces such as those found in Uni-Tunes allow for
development of smdents' abilities to hear and respond in a class setting.
153
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Figure 5.15 Jazz in D, measures 2 and 5
In Jazz in D, the piano accompaniment is used as the jazz walking bass in
conjunction with the unison melody. Colorful chords in the piano part atttact
students' interest. The piano is responsible for the harmonic movement. Another
basic of jazz, the blue note, is an important concept in Jazz in D. The lowered
third, in this composition, is F natural which is an unusual sound for the young
players' ears and requires a new finger pattem for the string players. Altemating F
sharp to F natural is a common event in Jazz in D. The "blue note" sound appeals
to students, according to the surveys. Figure 5.16 shows the walking bass and the
changing blue note, F sharp to f namral, in measures 9-12.
154
Cello
Str.Bass
Piano
© 7992 Neil A. Kjos Music Co. Used with permission 1997
Figure 5.16 Jazz in D, measures 9, 10, 11, 12
Summary
The results of the survey validated the author's supposition and personal
experience that the works of Nunez have made significant pedagogical contributions
to school string orchestta literamre. The survey of current directors in the field of
string orchesttas shows that the pieces contain material helpfiil to teaching
pedagogical techniques in the string orchestta. That the pedagogical needs of string
teachers and students fcan be reinforced by teaching the works of Nunez is
reaffirmed by the survey analysis. The open-ended responses of smdent reaction
attest to the fact that the Nunez compositions capmre smdent interest. From this
inttinsic motivation, students are more willing to rehearse meticulously. In the
words of a TODA member, "One can teach string technique all day if students enjoy
the music!"
155
Nunez states (Nunez, personal communication, 1-3-97) that the existing
string literature when he first began teaching consisted primarily of arrangements of
music from the past—many gavottes, bourees, and minuets. Original compositions
were not available or encouraged. One recalls part of the inttoduction to the Final
Report of the Farish/Rolland (1968) research study for adding contemporary music
to the repertory of young string students:
In a time of unprecedented artistic ferment and experimentation, children are restricted to a musical world bound by the key, the triad, rigid meter, and relentless melodic symmetry. . . . The writer has not been able to find any published music suitable for young players by American composers using 20th century compositional technics. . . . The string player trained exclusively in music of the 18th and 19th cenmry is bound to a tonal center and conventional metrical divisions. Contemporary music seems enormously difficult because he [the child] becomes quite literally lost, technically and musically, (p. 2)
As string classes advance and needs for string class techniques change,
leaming and teaching methods are always in the process of growth and
development. Today, innovative music educators continue to search for
pedagogically-based contemporary music that offers new combinations of sounds,
unusual rhythms and techniques for string classes. As called for by the Yale
Seminar and the Tanglewood Symposia, the string orchestra repertoire has been
broadened and does include contemporary idioms for young players. Smith (1971)
advises that "contemporary music keeps students flexible because they have to
adapt to a variety of new situations and techniques required by the music" (p. 15).
Contemporary composers with creative minds can look beyond the stams quo. In
writing for young string players, composers today can include unusual
compositional techniques in their music and achieve positive sttident response to
leaming. Nunez is one composer who has ingenious insight to young persons'
musical tastes as well as their technical and developmental needs in string literattire.
156
According to the survey results, his compositions "work" as effective, technical
problem-solvers and/or as anticipators of problems in the string classroom, and
students enjoy playing his music.
157
CHAPTER VI
CONCLUSION AND RECOMMENDATIONS
Conclusion
After the 1996 MENC/ASTA Convention in Kansas City, the audior
realized a need for string class research as identified by Kantorski, a need for
historical research about American music educators as identified by the MENC
Historical Special Research Interest Group, and a personal need to document
successful string class experiences. The author determined that a single research
study could be designed to encompass all three areas. She had experienced success
with the string literature of Nunez and selected Nunez and his works for the study.
Documentation of Nunez' work had never been gathered. The author conducted a
research survey in order to seek verification of Nunez' compositions as means to
meeting particular technical needs of the stting class. The author conducted the
survey at the TODA convention in 1997. After an 80% retum of surveys, the
compilation of data identified eighteen pedagogical needs of the string class,
revealed compositions of Nunez that fulfilled those needs, and specific techniques
that were common to the works. The eighteen pedagogical techniques were
grouped into six more clearly defined categories of techniques, with three categories
emerging as predominant: rhythm, bowing style, and ensemble skill. The surveys
indicated which Nunez compositions teachers had taught, gave oppormnities for the
teacher to name specific techniques involved in the compositions, and allowed for
teachers' comments on students' reaction(s) to the music.
In conclusion, the survey confirmed the author's teaching experience that
Nunez' compositions are successful works for developing skill in the string class.
158
Whether used for developmental or remedial leaming or both, the compositions of
Nunez are worthy, technically and aesthetically, of study. Validation by other
professional string teachers authenticated what many persons have verbalized but
never documented. The author can now recommend certain compositions that
integrate basic skills in the string class, citing the survey results as supporting
evidence.
Through the related research literature, the study addressed significant
events in the history of the string class in America, highlighted the lives of five
selected American string pedagogues, and cited the historical importance of selected
national and state organizations of string music educators. The biography of Nunez
and discussion of selected published works serve as conttibutions to the history of
music education in Texas. The biography also includes general historical, social,
and economic trends which have occurred during his life. This type of research
writing helps the reader understand why an event ttanspired.
Farish and Rolland (1968) comment that
. . . if the art of string playing is to continue to flourish, it must be taught as a living ttadition. By limiting children to a repertory selected and pmned to satisfy the requirements of.. . music of the past, we imply that a formal music education consists of ttaining in a finite number of skills necessary for the proper performance of an existing literattire. This approach distorts the namre of the performing arts and threatens their vitality, (p. 2)
Nunez' composition?, as validated by the survey results and personal conversations
with colleagues, offer an infinite number of technical skills to students, particularly
through the contemporary rhythmic vitality of his compositions that reflect the
living tradition as explained by Farish and Rolland. Living seems to imply a varied
repertoire in which there is no end to leaming and creativity. Nunez has organized
tiie elements of music in ways that motivate young players in an infinite number of
159
leaming experiences and in ways that aesthetically communicate with players and
listeners.
In preparing this study, the author discovered that composing takes a certain
initiative for a teacher to put forth the extta effort necessary to prepare a
composition and seek publication. For each teacher who has had a composition
published, there are many teachers who have only thought about writing a
composition, lacking that special "something" to follow-through. Nunez pursued
his first compositions while he was still teaching in the public schools. He was
persistent in seeking publication because he knew that Funny Fiddlin' and String
Swing were tme teaching pieces. One of Nunez' desires continues to be to meet the
needs of string students and string teachers.
Recommendations
Recommendations for further historical research are made in several areas.
First, biographies of Texas music educators, their lives and works and/or teaching
philosophies, need to be written for posterity. Very little has been documented
about the lives of successful school music educators. Yet, they are the persons
who have taught others to love music and have developed audiences for the arts.
Not only do their biographies need to be written, but also their teaching sttategies
need to be preserved^nd disseminated. Through biographies, other students and
teachers might be inspired to study music education and/or to try certain teaching
strategies. Through biographies, one can understand the perspective of another
person and the historical events that occurred at a given time, placing lives and
events in a broader historical scope. There are several Texas music educators
whose lives have spanned the twentieth century. Information gathered directiy
160
from any of these persons could yield an engaging picture of the development of
music education in Texas across the twentieth century. The first-hand personal
communication is a valuable research tool. Too often, the person dies, and the
first-hand information is lost forever. Just as there is no substitute for a "live"
performance, there is no substitute for a "live" interview. Jacquelyn Dillon-Krass
(1996a) in her ASTA President's Column states:
Each time we have lost an important string personality, I have wondered if someone had written the story of his or her life. Starting today, we need to set about writing the stories of the lives of people in our field who have given so much to the betterment of string playing and teaching in this country.... Now is the time to start paying tribute to the great people in our field who have added so much to the history of our profession, (p. 8)
Other recommendations for historical research include a comprehensive
history of TODA, a history of the TMEA orchestta division, a history of successful
string programs in the Texas public schools, a history of a specific independent
school district's music program, and a history of composers of orchesttal music in
Texas. Since there are still charter members of TODA alive today, an accurate
history of the organization could be developed through interviews and a complete
analysis of the archives.
The author also suggests that the professional music organizations
document and publish proceedings of certain conference sessions that address
techniques and innovations of pedagogy since these are the only music ttaining
sessions diat many music teachers can attend. Due to many year-round school
calendars and lengtiiened school calendars, many teachers cannot attend university
summer schools. Most Texas orchestta directors rely on the TODA summer
convention for hands-on workshops conceming new literattire, recmiting and
161
public relations ideas, new approaches to string class teaching, and advances in
technology. By attending the annual TMEA convention/clinic in Febmary, Texas
music educators have a mid-year opportunity to engage in leaming and in
exchanging ideas with colleagues. Dissemination of research is also an opportunity
at the summer conventions of TODA, Texas Choral Directors' Association
(TCDA), and Texas Bandmasters Association (TBA) as well as at die TMEA
convention/clinic. The TODA and TMEA conventions are also the meeting venues
for TMEC and TexASTA. Research publications from each of these organizations
could sttengthen Texas music programs in all areas.
The individual histories from various music communities and state
organizations could be compiled into an historical statement about music education
in Texas. Such a document would provide tangible evidence for support for the
arts. Professional music educators can never become complacent with regard to
arts advocacy. We must create a bridge to the twenty-first century through
historical research.
The study is a contribution to historical research in Texas music education,
specifically with reference to string class pedagogy. With proper dissemination, the
information in the study will benefit string teachers who are interested in improving
string class techniques. Another intent of the study is that the life of Nunez may
inspire other music educators to be persistent in composing for school string
orchestras. The biography of Nunez may also encourage written documentation of
the lives of other educators. The recommendation for additional documented
history of professional music education in Texas is important so that we can
connect the past to the present and understand the development, particularly of the
stting class, in our own Texas history of music education. The study documents
162
that the compositions of Nunez have made and continue to make significant
contributions to teaching and leaming in the string class.
163
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Yarbrough, C. 1984). A content analysis of the Joumal of Research in Music ^ucation, 1953-1983. Joumal of Research in Music Education, 32 (4), 213-222.
Young, Phyllis. (1978). Playing the string game: Strategies for teaching cello and strings. Austin, TX: University of Texas Press.
Young, Phyllis. (1986). The string play. Austin, TX: University of Texas Press.
Zahtilla, P. A. (1972). Suzuki in the string class: An adaptation ot the teachings of Shinichi Suzuki. Evanston, IL: Summy-Birchard.
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APPENDDC A
SURVEY INSTRUMENT
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QUESTIONNAIRE for TEXAS ORCHESTRA DIRECTTORS ASSOCL\TION 8-1-97 prepared by Jan Garverick, Ph. D. candidate, Texas Tech University
Publications of Carold Nunez in order of pubhcation date: Funny Fiddlin', Shawnee, 1980 Festival, Kjos, 1991 String Swing, Shawnee, 1980 Prelude and Fugue, Shawnee, 1991 Blue Grass Country, Shawnee, 1981 Apache, Kjos, 1992 M to the Third Power, Shawnee, 1985 Uni-Tunes, Kjos, 1992 Friday Night, Shawnee, 1987 Little Symphony, Kjos, 1992 DeJa Vu, Shawnee, 1988 Introspection, Kjos, 1997 Convergence, Kjos, 1988 Locust Street Rag, Kjos, 1997 Chapter One, Kjos, 1990 Diversity, Kjos, 1997 Suite for Strings, Kjos, 1991
If you have taught any of the above pieces, please indicate which one(s) and the specific pedagogical technique(s) that you valued in the respective composition(s). (i.e. bow style, bowing pattems, rhythm, intonation, ensemble techniques, shifting, dynamics, phrasing, etc.) Your specific comments will be appreciated. Thanks, jg
Name of Selection: Significant teaching techniques:
Reaction of your smdents to this piece:
Name of Selection Significant teaching techniques:
Reaction of your smdents to this piece:
Name of Selection Significant teaching techniques:
Reaction of your smdents to this piece:
You do not need to sign your name. Retum completed survey to NUNEZ BOX on table in Fiesta Room A.
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APPENDDC B
LETTERS OF PERMISSION FROM MUSIC PUBLISHERS
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Neil A. Kjos Music Company • Publisher
4380 Jutland Drive. San Diego, Califomia 92117-3698 Telephone 619-270-9800 P.O. Box 178270. San Diego. Califomia 92177-0894 Fax 619-270-3507
Sq)teinber 30, 1997
Jan Garvenck 442 Bronzeglo Drive San Antonio, TX 78239
Dear Ms. Garverick:
This letter is your permission to use within your dissertation at Texas Tech University selections from Apache (S098Q and Uni Tunes (88F) by Carold Nunez provided you agree to the following terms and return one signed copy of this letter signifying our agreement:
1. Rqnxxluction is restricted to the terms above. No changes, adaptations, or other use is allowed except as described above.
2. There is no remittance fee for this one time only permission, but if you need an additional use you herd)y agree to make separate application at that time.
3. You agree to affix the following notice on the bottom of the music reproduced: « 1992 Neil A. Kjos Music Co.
Used with permission 1997
4. You agree that this permission is not transferable to any other person or entity.
Thank you for your interest in Kjos Music. Please sign the duplicate of this letter and retum it to us promptly signifying your agreement to each of the terms above.
AGREED AND ACKNOWLEDGED:
Qhu JbiUL^u^cJd DATE IO-1'Q ^] / ^ : ^ : ^ = ! C £ ^ J ^ Garverick ^ Patricia A. Horn, Licensing Ph. D. Candidate ^ Neil A. Kjos Music Co.
Representing: Neil A. Kjos Music Company • Kjos West • General Words and Music • Curtis Music Press • La Jolla Music Company Doug Beach/Kjos • Loop Music Company • Pallma Music Company • Parks Music Company • Tuskegee Music Press
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HarokJ Rammer Music Novello Concert Works Unlimited Golden Apple Productions
Shawnee Press, Inc.^^l 49 WARING DRIVE ^
DELAWARE WATER GAP. PA 18327 Pt>one: 717-476-0550 • Fax: 717-476-5247 GtorySoond
Wkle World Music Chester Music
Edition Wilhelm Hansen
August 15, 1997
Jan Garverick 442 Bronzeglo Drive San Antonio, TX 78239
Dear Ms. Garverick:
Thank you for your recent request to reprint two to four-measure examples of rhythm pattems in each of the Carold Nunez publications (as listed below) in your dissertation.
Permission to use these measures is available, gratis, provided the following conditions are met. minimum)
1. The following statement must appear on each copy under the copyright notice: Used by permission. License No. JOS 14SP.
2. This is a one-time permission and all permitted copies will be made within a year.
3. No copies will be further duplicated and all copies reproduced under the terms of this permission are for private use only and will r.ct be made aviibble on a sale for p.'ofit or rents] basis to anothc" party
4. One copy of the page showing the copyright and additional words will be forwarded to us for our files.
5. It is acceptable to use excerpts in your dissertation and for UMI to make one copy, but additional publications will need another license.
The rights granted herein will automatically expire on the event that the permission fee, as indicated below, is not received by us within sixty (60) days firom the date of this letter.
If you agree to these terms, please sign below and return this letter to me at the above address.
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If you decide, for any reason, not to proceed, kindly retum the unsigned letter so we can close this pending file. If I can be of further assistance, please let me know.
1 A. Seng Vice President
LAS:bal
ABOVE AGREED TO AND ACCEPTED:
By'!Q^SlQ.^JM^lfJ^) Date: ^ ' h ^] "]
License No. J0814SP FUNNY FIDDLIN' STRING SWING BLUEGRASS COUNTRY FRIDAY NIGHT M TO THE THIRD POWER DEJAVU PRELUDE AND FUGUE
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