Pub Date : 2020-06-16DOI: 10.1177/1948499220926175
Annalisa C. Chang, Angela Ammerman
The rise in demand for string teachers is a sign of support for string programs across the United States. Despite an increase in string teacher positions, there is growing concern regarding the lack of qualified string music education graduates to fill the vacancies, sometimes leading administrators to close programs. This study investigated the status of string teacher education programs in the United States. Participants for this study were degree-granting institutions (N = 636) accredited by the National Association of Schools of Music (NASM). The NASM directory listings and institution websites were examined to determine what type of degrees were offered, and presence of a full-time string music education faculty member. Results indicated that while most NASM-accredited institutions offer some type of undergraduate degree in music education, very few institutions (16%) were shown to have a full-time string music education specialist. Results also indicated a significant relationship between the size of school and likelihood of having a full-time string music education specialist, χ2 (7, N = 526) = 80.03, p < .001.
对弦乐教师需求的增加是美国各地对弦乐项目支持的一个迹象。尽管弦乐教师的职位有所增加，但越来越多的人担心缺乏合格的弦乐教育毕业生来填补空缺，有时导致管理人员关闭项目。本研究调查了美国弦乐教师教育计划的现状。本研究的参与者是由全国音乐学院协会(NASM)认可的学位授予机构(N = 636)。NASM目录列表和机构网站进行了检查，以确定所提供的学位类型，以及是否有全职弦乐教育教员。结果表明，虽然大多数nasm认可的机构提供某种类型的音乐教育本科学位，但很少有机构(16%)显示有全职弦乐教育专家。结果还表明，学校规模与拥有全职弦乐教育专家的可能性之间存在显著关系，χ2 (7, N = 526) = 80.03, p < .001。
{"title":"String Teacher Preparation Programs in the United States","authors":"Annalisa C. Chang, Angela Ammerman","doi":"10.1177/1948499220926175","DOIUrl":"https://doi.org/10.1177/1948499220926175","url":null,"abstract":"The rise in demand for string teachers is a sign of support for string programs across the United States. Despite an increase in string teacher positions, there is growing concern regarding the lack of qualified string music education graduates to fill the vacancies, sometimes leading administrators to close programs. This study investigated the status of string teacher education programs in the United States. Participants for this study were degree-granting institutions (N = 636) accredited by the National Association of Schools of Music (NASM). The NASM directory listings and institution websites were examined to determine what type of degrees were offered, and presence of a full-time string music education faculty member. Results indicated that while most NASM-accredited institutions offer some type of undergraduate degree in music education, very few institutions (16%) were shown to have a full-time string music education specialist. Results also indicated a significant relationship between the size of school and likelihood of having a full-time string music education specialist, χ2 (7, N = 526) = 80.03, p < .001.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499220926175","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45012124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-16DOI: 10.1177/1948499220924420
R. MacLeod, Christen Blanton, Jessica L. Lewis, Dixie Ortiz
The case presented in this study focused on the experiences of students enrolled in a Saturday day music program situated in an underserved community. Students in this community represent a wide variety of cultural backgrounds, and we were interested in whether younger students in the program would benefit from receiving lessons from an older student from the same community. This case study was bound by the shared experiences of the participants who engaged in music teaching and learning through this community music program. Data included the following: student surveys, participant interviews, private lesson and orchestra class observations, and teacher assessments. Overall, near-peer mentorship was beneficial. The majority of participants in this study experienced gains in performance skills. Interviews with the mentors revealed several benefits from tutoring a younger student, including self-analysis of instrument performance, positive feelings gained from helping others, and social benefits. The fifth-grade students who were assigned a mentor reported that they learned instrument-specific skills from their mentor and felt more comfortable and confident playing different songs because instruction was individualized.
{"title":"Near-Peer Mentorship: A Model for Private Music Instruction in an Underserved Community","authors":"R. MacLeod, Christen Blanton, Jessica L. Lewis, Dixie Ortiz","doi":"10.1177/1948499220924420","DOIUrl":"https://doi.org/10.1177/1948499220924420","url":null,"abstract":"The case presented in this study focused on the experiences of students enrolled in a Saturday day music program situated in an underserved community. Students in this community represent a wide variety of cultural backgrounds, and we were interested in whether younger students in the program would benefit from receiving lessons from an older student from the same community. This case study was bound by the shared experiences of the participants who engaged in music teaching and learning through this community music program. Data included the following: student surveys, participant interviews, private lesson and orchestra class observations, and teacher assessments. Overall, near-peer mentorship was beneficial. The majority of participants in this study experienced gains in performance skills. Interviews with the mentors revealed several benefits from tutoring a younger student, including self-analysis of instrument performance, positive feelings gained from helping others, and social benefits. The fifth-grade students who were assigned a mentor reported that they learned instrument-specific skills from their mentor and felt more comfortable and confident playing different songs because instruction was individualized.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499220924420","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41654768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-25DOI: 10.1177/1948499219851374
Katarzyna Bugaj, J. Mick, A. Darrow
The purpose of this study was to examine possible relationships between the extent of high-level violin performers’ movement during performance and evaluators’ perceptions of their musicality. Stimuli were 10 excerpts of solo violin performances from the 2015 Tadeusz Wronski International Violin Competition for Solo Violin, selected to convey high and low amounts of performer movement. Participants were undergraduate music majors (N = 274) divided into three groups by experimental conditions: visual-only (n = 109), audio-only (n = 78), or audio-visual (n = 87). Analysis demonstrated that performers exhibiting high movement were perceived as more musical than performers exhibiting low movement. The findings suggest that even accomplished musicians are subject to evaluation biases based on stage presence and physical behaviors such as movement.
{"title":"The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality","authors":"Katarzyna Bugaj, J. Mick, A. Darrow","doi":"10.1177/1948499219851374","DOIUrl":"https://doi.org/10.1177/1948499219851374","url":null,"abstract":"The purpose of this study was to examine possible relationships between the extent of high-level violin performers’ movement during performance and evaluators’ perceptions of their musicality. Stimuli were 10 excerpts of solo violin performances from the 2015 Tadeusz Wronski International Violin Competition for Solo Violin, selected to convey high and low amounts of performer movement. Participants were undergraduate music majors (N = 274) divided into three groups by experimental conditions: visual-only (n = 109), audio-only (n = 78), or audio-visual (n = 87). Analysis demonstrated that performers exhibiting high movement were perceived as more musical than performers exhibiting low movement. The findings suggest that even accomplished musicians are subject to evaluation biases based on stage presence and physical behaviors such as movement.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499219851374","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44491177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-25DOI: 10.1177/1948499219851144
Dijana Ihas
The purpose of this explanatory sequential mixed methods study was to examine the status of school orchestra programs in Oregon and to explain the reasoning behind the descriptive data. The quantitative phase of the study reported the data on the number of school districts and schools by type that offer orchestra instruction as well as the profile of those schools, their orchestra programs, and orchestra teachers. Unexpected findings from the quantitative phase indicated that among the three large school districts that are comparable in size, budget, and students’ demographics, only one offers orchestra instruction in every school within the district (n = 65) while the other two districts offer orchestra instruction in one high school each. This finding prompted the qualitative phase of the study that illuminated factors that inhibit and promote the quality of education within Oregon schools. The mixed methods findings explained the discrepancy in music offerings among the three large school districts through the perspectives of the three arts administrators, one from each district.
{"title":"A Mixed Methods Study on the Status of School Orchestra Programs in Oregon: An Explanation of Inhibiting and Promoting Factors","authors":"Dijana Ihas","doi":"10.1177/1948499219851144","DOIUrl":"https://doi.org/10.1177/1948499219851144","url":null,"abstract":"The purpose of this explanatory sequential mixed methods study was to examine the status of school orchestra programs in Oregon and to explain the reasoning behind the descriptive data. The quantitative phase of the study reported the data on the number of school districts and schools by type that offer orchestra instruction as well as the profile of those schools, their orchestra programs, and orchestra teachers. Unexpected findings from the quantitative phase indicated that among the three large school districts that are comparable in size, budget, and students’ demographics, only one offers orchestra instruction in every school within the district (n = 65) while the other two districts offer orchestra instruction in one high school each. This finding prompted the qualitative phase of the study that illuminated factors that inhibit and promote the quality of education within Oregon schools. The mixed methods findings explained the discrepancy in music offerings among the three large school districts through the perspectives of the three arts administrators, one from each district.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499219851144","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41685997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-25DOI: 10.1177/1948499219851378
David A. Pope
The purpose of this study was to develop a deeper understanding of repertoire performed by youth orchestras in the United States. Through an online survey, youth orchestra administrators (N = 39) provided information about repertoire performed by their program’s premier orchestra during their 2015-2016 season. Orchestras performed 302 different pieces of music by 158 different composers. The Firebird by Igor Stravinsky, Carmen Suite No. 1 by Georges Bizet, and Ruslan and Ludmilla Overture by Mikhail Glinka were performed most frequently. Approximately three quarters of all compositions were written after 1850, and only 7.14% were composed after 2000. Compositions by Tchaikovsky, Dvorak, and Brahms were the most frequently performed, and female composers only wrote 0.78% of the repertoire performed by youth orchestras during their 2015-2016 season. Conductors should use these findings as an impetus to identify culturally diverse repertoire appropriate for youth orchestras by non-male composers.
这项研究的目的是加深对美国青年管弦乐队表演曲目的理解。通过一项在线调查，青年管弦乐队管理人员（N=39）提供了2015-2016赛季该项目顶级管弦乐队表演曲目的信息。管弦乐队演奏了158位不同作曲家创作的302首不同的乐曲。伊戈尔·斯特拉文斯基（Igor Stravinsky）的《火鸟》（Firebird）、乔治·比才（Georges Bizet）的《卡门组曲一号》（Carmen Suite No.1）以及米哈伊尔·格林卡（Mikhail Glinka）的《鲁斯兰与卢德米拉序曲》（Ruslan and Ludmilla Overture。大约四分之三的作品创作于1850年之后，只有7.14%的作品创作在2000年之后。柴可夫斯基、德沃夏克和勃拉姆斯的作品是演出频率最高的，女性作曲家在2015-2016赛季青年管弦乐队演出的曲目中只占0.78%。指挥应该利用这些发现来推动非男性作曲家确定适合青年管弦乐队的文化多样性曲目。
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Pub Date : 2019-06-25DOI: 10.1177/1948499219851407
John-Rine A. Zabanal
The purpose of this study was to investigate the effect of tonic drone accompaniment on the intonation of violinists and violists. Twenty-eight middle and high school students performed an ascending diatonic line and a descending dominant 7th arpeggio on the violin or viola in three trials: pretest, posttest accompanied with drone, and posttest unaccompanied. The students were grouped based on age and years of experience. A significant difference in cent deviation scores was found between age groups but not years of experience. Post hoc analysis revealed a significant difference between the middle-age group and the youngest group. No significant difference was found overall between pretest, drone accompanied posttest, and unaccompanied posttest conditions.
{"title":"Effects of Short-Term Practice With a Tonic Drone Accompaniment on Middle and High School Violin and Viola Intonation","authors":"John-Rine A. Zabanal","doi":"10.1177/1948499219851407","DOIUrl":"https://doi.org/10.1177/1948499219851407","url":null,"abstract":"The purpose of this study was to investigate the effect of tonic drone accompaniment on the intonation of violinists and violists. Twenty-eight middle and high school students performed an ascending diatonic line and a descending dominant 7th arpeggio on the violin or viola in three trials: pretest, posttest accompanied with drone, and posttest unaccompanied. The students were grouped based on age and years of experience. A significant difference in cent deviation scores was found between age groups but not years of experience. Post hoc analysis revealed a significant difference between the middle-age group and the youngest group. No significant difference was found overall between pretest, drone accompanied posttest, and unaccompanied posttest conditions.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499219851407","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48199490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.1177/1948499218769632
K. Hendricks, Tawnya D. Smith
String teachers and scholars have suggested that classically trained students may be motivated to engage in eclectic (e.g., rock, pop, jazz, groove, folk) styles. However, we do not fully understand the ways in which students’ motivation to engage in new styles might be influenced by their perceptions of their ability to perform in those styles. In this mixed-method study, we draw upon quantitative, qualitative, and arts-based data from 120 middle and high school students at two camps (one emphasizing classical music, the other emphasizing eclectic styles), to explore various ways in which students develop self-efficacy beliefs and motivation to perform in a variety of musical approaches. According to analysis of all data, students at both camps generally expressed having positive musical and social experiences. Negative experiences, while less common, stemmed from confusion or frustration with music learning, boredom with music that was too easy or not interesting, and competitive comparison with others. Based on findings from qualitative and arts-based data, we suggest that these students may have benefited from additional teacher support when encountering new musical techniques.
{"title":"Eclectic Styles and Classical Performance: Motivation and Self-Efficacy Belief at Two Summer Music Camps","authors":"K. Hendricks, Tawnya D. Smith","doi":"10.1177/1948499218769632","DOIUrl":"https://doi.org/10.1177/1948499218769632","url":null,"abstract":"String teachers and scholars have suggested that classically trained students may be motivated to engage in eclectic (e.g., rock, pop, jazz, groove, folk) styles. However, we do not fully understand the ways in which students’ motivation to engage in new styles might be influenced by their perceptions of their ability to perform in those styles. In this mixed-method study, we draw upon quantitative, qualitative, and arts-based data from 120 middle and high school students at two camps (one emphasizing classical music, the other emphasizing eclectic styles), to explore various ways in which students develop self-efficacy beliefs and motivation to perform in a variety of musical approaches. According to analysis of all data, students at both camps generally expressed having positive musical and social experiences. Negative experiences, while less common, stemmed from confusion or frustration with music learning, boredom with music that was too easy or not interesting, and competitive comparison with others. Based on findings from qualitative and arts-based data, we suggest that these students may have benefited from additional teacher support when encountering new musical techniques.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499218769632","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46022037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.1177/1948499218769657
John M. Geringer
This study was designed to explore the intonation performances of highly regarded concert violinists in an unaccompanied context. I chose eight solo artists representing different generations of performers (Heifetz, Grumiaux, Milstein, Perlman, Hahn, Midori, Barton Pine, and Shaham). Pitch performances were analyzed in commercial recordings spanning 65 years of two unaccompanied pieces composed by Bach, one in d minor and one in E major. I investigated whether similarities in intonation tendencies would occur among these respected artists, and whether the displayed patterns would approximate the theoretical tuning systems that have been studied previously: Just, Pythagorean, or equal temperament. The artists appear to have their own individual tendencies, and none of them conformed consistently to any theoretical tuning system. Although there are average tendencies on isolated intervals that approximate one tuning or the other, multiple repetitions show a wide range both between and within individual performers. However, performances of the thirds and sixths in the major key and less so in the minor key (intervals that illustrate the largest differences in tuning between systems) did display a propensity toward Pythagorean tuning of these scale degrees. Deviations away from all three tuning systems are common, and these artists never play exactly in one tuning or another.
{"title":"Eight Artist-Level Violinists Performing Unaccompanied Bach: Are There Consistent Tuning Patterns?","authors":"John M. Geringer","doi":"10.1177/1948499218769657","DOIUrl":"https://doi.org/10.1177/1948499218769657","url":null,"abstract":"This study was designed to explore the intonation performances of highly regarded concert violinists in an unaccompanied context. I chose eight solo artists representing different generations of performers (Heifetz, Grumiaux, Milstein, Perlman, Hahn, Midori, Barton Pine, and Shaham). Pitch performances were analyzed in commercial recordings spanning 65 years of two unaccompanied pieces composed by Bach, one in d minor and one in E major. I investigated whether similarities in intonation tendencies would occur among these respected artists, and whether the displayed patterns would approximate the theoretical tuning systems that have been studied previously: Just, Pythagorean, or equal temperament. The artists appear to have their own individual tendencies, and none of them conformed consistently to any theoretical tuning system. Although there are average tendencies on isolated intervals that approximate one tuning or the other, multiple repetitions show a wide range both between and within individual performers. However, performances of the thirds and sixths in the major key and less so in the minor key (intervals that illustrate the largest differences in tuning between systems) did display a propensity toward Pythagorean tuning of these scale degrees. Deviations away from all three tuning systems are common, and these artists never play exactly in one tuning or another.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499218769657","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49092253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.1177/1948499218769595
M. H. Berg
This paper was presented upon receiving the Outstanding String Researcher Award at the 2017 National American String Teachers Association (ASTA) Conference in Pittsburgh. The author traces significant experiences and people who shaped her interest in conducting research, followed by a confessional tale of the affective experience of engaging in, and teaching others how to initially engage in, the research process. The author then invites readers to consider various questions we might explore in our collective future research, pointing to the connections between and vital roles of making music and doing research.
{"title":"Reflections on Research: Past, Present, and Future","authors":"M. H. Berg","doi":"10.1177/1948499218769595","DOIUrl":"https://doi.org/10.1177/1948499218769595","url":null,"abstract":"This paper was presented upon receiving the Outstanding String Researcher Award at the 2017 National American String Teachers Association (ASTA) Conference in Pittsburgh. The author traces significant experiences and people who shaped her interest in conducting research, followed by a confessional tale of the affective experience of engaging in, and teaching others how to initially engage in, the research process. The author then invites readers to consider various questions we might explore in our collective future research, pointing to the connections between and vital roles of making music and doing research.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499218769595","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43160182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.1177/1948499218769607
Bret P. Smith, J. Mick, Michael Alexander
The purpose of this study was to monitor the status of school string and orchestra programs in the United States and to gather descriptive information in the areas of program characteristics, curriculum, support, and student/teacher demographics. A second purpose was to document trends observed when compared with results of previous studies. Based on the review of literature, specific variables were identified as potential for trends: string student enrollment, symphonic orchestra offerings, enhancement offerings, private lesson enrollment, string teacher shortages, and student/teacher demographic information. All members of the American String Teachers Association indicating K-12 string teaching as part of their duties were contacted to complete a web-based survey (N = 2,232). After follow-up contact, 369 respondents participated (16.5%). Although teachers indicated growth in both number and size of programs, increased utilization of approved curricula, and representative racial demographics among students, analysis revealed the following concerns: a decline in the offering of symphonic orchestra and other enhancements, a decline in student participation in private instruction, unrepresentative gender and racial demographics of string teachers, and factors that indicate a continuing string teacher shortage.
{"title":"The Status of Strings and Orchestra Programs in U.S. Schools","authors":"Bret P. Smith, J. Mick, Michael Alexander","doi":"10.1177/1948499218769607","DOIUrl":"https://doi.org/10.1177/1948499218769607","url":null,"abstract":"The purpose of this study was to monitor the status of school string and orchestra programs in the United States and to gather descriptive information in the areas of program characteristics, curriculum, support, and student/teacher demographics. A second purpose was to document trends observed when compared with results of previous studies. Based on the review of literature, specific variables were identified as potential for trends: string student enrollment, symphonic orchestra offerings, enhancement offerings, private lesson enrollment, string teacher shortages, and student/teacher demographic information. All members of the American String Teachers Association indicating K-12 string teaching as part of their duties were contacted to complete a web-based survey (N = 2,232). After follow-up contact, 369 respondents participated (16.5%). Although teachers indicated growth in both number and size of programs, increased utilization of approved curricula, and representative racial demographics among students, analysis revealed the following concerns: a decline in the offering of symphonic orchestra and other enhancements, a decline in student participation in private instruction, unrepresentative gender and racial demographics of string teachers, and factors that indicate a continuing string teacher shortage.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499218769607","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41598937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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