Pub Date : 2016-07-01DOI: 10.1177/194849921600700103
M. H. Berg, Colleen M. Conway
The purpose of this research was to examine the development and implementation of the ASTA Mentor Program. Research questions included: (a) How did ASTA staff, leadership, and Mentor Preparation Workshop providers describe the opportunities and challenges associated with the development of a national level mentor program?, (b) What were the perceived successes and benefits of the Mentor Preparation Workshop?, and (c) What suggestions did mentor teachers have for future ASTA Mentor Preparation Workshops? Data were collected via interviews, a workshop evaluation, and researcher logs. Potential program opportunities included targeted mentoring leading to student growth, lifespan professional development for ASTA members, increased ASTA member recruitment and retention, and association-level leadership. Implementation challenges included mentor effectiveness, design and implementation of processes and supports, and long-term sustainability. The workshop was perceived to be successful and beneficial through mentors’ increased understanding of novice teacher needs, development of effective observation and conferencing skills, and increased ability to help beginning teachers prioritize string-specific instruction. Suggested workshop improvements included more hands-on activities, access to all workshop materials, and more opportunity for interaction among the mentors.
{"title":"The Design and Implementation of the ASTA Mentor Program: Perceptions of Program Developers and Mentor Preparation Workshop Participants","authors":"M. H. Berg, Colleen M. Conway","doi":"10.1177/194849921600700103","DOIUrl":"https://doi.org/10.1177/194849921600700103","url":null,"abstract":"The purpose of this research was to examine the development and implementation of the ASTA Mentor Program. Research questions included: (a) How did ASTA staff, leadership, and Mentor Preparation Workshop providers describe the opportunities and challenges associated with the development of a national level mentor program?, (b) What were the perceived successes and benefits of the Mentor Preparation Workshop?, and (c) What suggestions did mentor teachers have for future ASTA Mentor Preparation Workshops? Data were collected via interviews, a workshop evaluation, and researcher logs. Potential program opportunities included targeted mentoring leading to student growth, lifespan professional development for ASTA members, increased ASTA member recruitment and retention, and association-level leadership. Implementation challenges included mentor effectiveness, design and implementation of processes and supports, and long-term sustainability. The workshop was perceived to be successful and beneficial through mentors’ increased understanding of novice teacher needs, development of effective observation and conferencing skills, and increased ability to help beginning teachers prioritize string-specific instruction. Suggested workshop improvements included more hands-on activities, access to all workshop materials, and more opportunity for interaction among the mentors.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921600700103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905605","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 : 2016-07-01DOI: 10.1177/194849921600700102
Martin Norgaard, Skip Taylor
Despite instructional materials and workshops concerning eclectic styles and improvisation, it is unclear whether string teachers feature these styles and student improvisations on concerts in school and adjudicated settings. This and other issues related to eclectic styles were investigated through a newly developed pilot survey instrument sent to the membership of American String Teachers Association. In total, 40.3% of 673 responses from school and studio teachers indicated that students improvised in school concerts at some point during the last academic year, but this number decreased to 9.6% of respondents who reported inclusion of improvisation in adjudicated festivals. Further analyses of responses from teachers indicating elementary, middle, and high school teaching level showed a significant three-way interaction between style, teaching level, and concert setting. Teaching level influenced which eclectic styles were used in concert, with rock and fiddle more commonly used in earlier grades, but only in non-adjudicated settings. Finally, a significant two-way interaction revealed the use of improvisation in concert was more common in the upper grades, but only in school concert settings.
{"title":"Eclectic Styles and Improvisation in String Orchestra Performances","authors":"Martin Norgaard, Skip Taylor","doi":"10.1177/194849921600700102","DOIUrl":"https://doi.org/10.1177/194849921600700102","url":null,"abstract":"Despite instructional materials and workshops concerning eclectic styles and improvisation, it is unclear whether string teachers feature these styles and student improvisations on concerts in school and adjudicated settings. This and other issues related to eclectic styles were investigated through a newly developed pilot survey instrument sent to the membership of American String Teachers Association. In total, 40.3% of 673 responses from school and studio teachers indicated that students improvised in school concerts at some point during the last academic year, but this number decreased to 9.6% of respondents who reported inclusion of improvisation in adjudicated festivals. Further analyses of responses from teachers indicating elementary, middle, and high school teaching level showed a significant three-way interaction between style, teaching level, and concert setting. Teaching level influenced which eclectic styles were used in concert, with rock and fiddle more commonly used in earlier grades, but only in non-adjudicated settings. Finally, a significant two-way interaction revealed the use of improvisation in concert was more common in the upper grades, but only in school concert settings.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921600700102","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905512","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 : 2016-07-01DOI: 10.1177/194849921600700106
{"title":"SRJ: Information to Contributors","authors":"","doi":"10.1177/194849921600700106","DOIUrl":"https://doi.org/10.1177/194849921600700106","url":null,"abstract":"","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921600700106","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65906101","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 : 2016-07-01DOI: 10.1177/194849921600700105
K. Hendricks, A. Hicks
In this article we describe the experiences of nine preservice music teachers enrolled in the first semester of a newly designed instrumental methods course in which a traditional lecture format was replaced with experiential, student-driven, service-oriented activities. Students were entrusted with organizing and directing a community youth symphony, including sharing of teaching and all administrative responsibilities (e.g., recruiting, fundraising, repertoire selection, community outreach). While the first author was the professor and designer of the course, the second author acted as an outside observer, collecting data through rehearsal observations, student interviews, and study of course artifacts. Findings suggest that students benefitted from opportunities to observe and collaborate with the professor and classmates in real-world teaching settings. Furthermore, students demonstrated evidence of growth and maturation over the course of the semester in teaching skills, professional identity, and socio-musical connections. The article closes with a description of how student recommendations for course improvement were implemented in subsequent semesters.
{"title":"Socio-Musical Connections and Teacher Identity Development in a University Methods Course and Community Youth Symphony Partnership 3","authors":"K. Hendricks, A. Hicks","doi":"10.1177/194849921600700105","DOIUrl":"https://doi.org/10.1177/194849921600700105","url":null,"abstract":"In this article we describe the experiences of nine preservice music teachers enrolled in the first semester of a newly designed instrumental methods course in which a traditional lecture format was replaced with experiential, student-driven, service-oriented activities. Students were entrusted with organizing and directing a community youth symphony, including sharing of teaching and all administrative responsibilities (e.g., recruiting, fundraising, repertoire selection, community outreach). While the first author was the professor and designer of the course, the second author acted as an outside observer, collecting data through rehearsal observations, student interviews, and study of course artifacts. Findings suggest that students benefitted from opportunities to observe and collaborate with the professor and classmates in real-world teaching settings. Furthermore, students demonstrated evidence of growth and maturation over the course of the semester in teaching skills, professional identity, and socio-musical connections. The article closes with a description of how student recommendations for course improvement were implemented in subsequent semesters.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921600700105","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905362","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 : 2016-07-01DOI: 10.1177/194849921600700101
Rebecca L. Tast
This historical study was primarily focused with the influence of Jacquelyn Dillon on string music education in the United States, and more specifically, her role in the use and promotion of heterogeneous string classroom teaching methods. Although this study briefly covers Dillon's childhood and education, the primary research questions centered around the regional and national aspects of her career, and the impact of these events on string music education in the United States. Having served as a public-school educator, clinician, conductor, author, professional cellist, music industry representative, and teacher trainer, Dillon dedicated nearly every aspect of her more than 50-year career to the advancement of string music education in the United States. One of her most important contributions, however, involves her use and promotion of heterogeneous string classroom teaching methods.
{"title":"Forum: Jacquelyn Dillon and the Development and Promotion of Heterogeneous String Class Teaching Methods in the United States","authors":"Rebecca L. Tast","doi":"10.1177/194849921600700101","DOIUrl":"https://doi.org/10.1177/194849921600700101","url":null,"abstract":"This historical study was primarily focused with the influence of Jacquelyn Dillon on string music education in the United States, and more specifically, her role in the use and promotion of heterogeneous string classroom teaching methods. Although this study briefly covers Dillon's childhood and education, the primary research questions centered around the regional and national aspects of her career, and the impact of these events on string music education in the United States. Having served as a public-school educator, clinician, conductor, author, professional cellist, music industry representative, and teacher trainer, Dillon dedicated nearly every aspect of her more than 50-year career to the advancement of string music education in the United States. One of her most important contributions, however, involves her use and promotion of heterogeneous string classroom teaching methods.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921600700101","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905459","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 : 2016-07-01DOI: 10.1177/194849921600700104
J. Kuehne, G. Harrison
The purpose of this study was to discover music educators’ views on string music education by surveying active NAfME members in Alabama, Arkansas, Louisiana, Mississippi, and to compare results based on teaching area: string/orchestra (SO) and non-string/orchestra (NSO). While statistically we cannot generalize results because of the response rate and numbers of SO and NSO teachers in our study, those who responded to our online survey support our hypothesis that fewer string/orchestra programs exist in our four focus states than other U.S. regions. Respondents agreed that string/orchestra programs would benefit overall music programs, allowing for more student participation. However, results suggest some NSO teachers choose program preservation over music program diversification, and ultimately student opportunities for music participation. The largest barriers to implementation of new programs were financial costs and administrative support, then scheduling, availability of qualified teachers, and lack of facilities. It is unclear if NSO teachers’ views represent an “unspoken” barrier. Additional research to determine reasons for fewer programs is needed to increase the numbers of string/orchestra programs and enrollment in existing programs.
{"title":"Music Educator Views on String and/or Orchestral Participation in Alabama, Arkansas, Louisiana, and Mississippi","authors":"J. Kuehne, G. Harrison","doi":"10.1177/194849921600700104","DOIUrl":"https://doi.org/10.1177/194849921600700104","url":null,"abstract":"The purpose of this study was to discover music educators’ views on string music education by surveying active NAfME members in Alabama, Arkansas, Louisiana, Mississippi, and to compare results based on teaching area: string/orchestra (SO) and non-string/orchestra (NSO). While statistically we cannot generalize results because of the response rate and numbers of SO and NSO teachers in our study, those who responded to our online survey support our hypothesis that fewer string/orchestra programs exist in our four focus states than other U.S. regions. Respondents agreed that string/orchestra programs would benefit overall music programs, allowing for more student participation. However, results suggest some NSO teachers choose program preservation over music program diversification, and ultimately student opportunities for music participation. The largest barriers to implementation of new programs were financial costs and administrative support, then scheduling, availability of qualified teachers, and lack of facilities. It is unclear if NSO teachers’ views represent an “unspoken” barrier. Additional research to determine reasons for fewer programs is needed to increase the numbers of string/orchestra programs and enrollment in existing programs.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921600700104","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905211","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 : 2015-07-01DOI: 10.1177/194849921500600001
Margaret Schmidt
This paper was presented upon receiving the Outstanding String Researcher award at the 2015 ASTA National Conference in Salt Lake City, Utah. It offers reflections on one string educator's ongoing work as a person who helps children learn to play string instruments, who helps teachers learn to teach string instruments, and who studies teaching and learning. The author traces those pivotal events and key influences in her life, inviting readers to consider similar turning points in their own lives, and to continue adding to the collective stories of the profession.
{"title":"Forum 2 : Reflections on a String Educator's Journey","authors":"Margaret Schmidt","doi":"10.1177/194849921500600001","DOIUrl":"https://doi.org/10.1177/194849921500600001","url":null,"abstract":"This paper was presented upon receiving the Outstanding String Researcher award at the 2015 ASTA National Conference in Salt Lake City, Utah. It offers reflections on one string educator's ongoing work as a person who helps children learn to play string instruments, who helps teachers learn to teach string instruments, and who studies teaching and learning. The author traces those pivotal events and key influences in her life, inviting readers to consider similar turning points in their own lives, and to continue adding to the collective stories of the profession.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921500600001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905289","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 : 2015-07-01DOI: 10.1177/194849921500600003
David A. Pope, J. Mick
The purpose of this study was to identify the influence of event type (solo and ensemble), school level (middle and high school), and event level (district and state) on overall performance ratings assigned to string musicians attending solo and ensemble festivals. Data consisted of participants’ (N = 10,275) ratings from district - and state-level solo and ensemble festivals sponsored by the Florida Orchestra Association from 2010 to 2014. Participants performed more solo events (n = 6,745) than ensembles (n = 3,530). Performances by middle school string players (n = 5,403) outnumbered those from high school (n = 4,872). Ninety-five percent of all participants (n = 9,761) earned a I/Superior or II/Excellent rating. Solo performances received more favorable ratings than ensemble performances at district festivals. However, ensembles were assigned more favorable ratings at state festivals. Evaluations of middle and high school participants’ performances were similar. District festival performances received more favorable ratings than state festival performances. With the increased importance of student data, student participation at adjudicated festivals, and providing a positive musical experience for students, directors may use these results to help their students receive beneficial assessments that influence long-term success.
{"title":"An Analysis of Ratings Assigned to String Musicians’ Performances at Solo and Ensemble Music Performance Assessment Events","authors":"David A. Pope, J. Mick","doi":"10.1177/194849921500600003","DOIUrl":"https://doi.org/10.1177/194849921500600003","url":null,"abstract":"The purpose of this study was to identify the influence of event type (solo and ensemble), school level (middle and high school), and event level (district and state) on overall performance ratings assigned to string musicians attending solo and ensemble festivals. Data consisted of participants’ (N = 10,275) ratings from district - and state-level solo and ensemble festivals sponsored by the Florida Orchestra Association from 2010 to 2014. Participants performed more solo events (n = 6,745) than ensembles (n = 3,530). Performances by middle school string players (n = 5,403) outnumbered those from high school (n = 4,872). Ninety-five percent of all participants (n = 9,761) earned a I/Superior or II/Excellent rating. Solo performances received more favorable ratings than ensemble performances at district festivals. However, ensembles were assigned more favorable ratings at state festivals. Evaluations of middle and high school participants’ performances were similar. District festival performances received more favorable ratings than state festival performances. With the increased importance of student data, student participation at adjudicated festivals, and providing a positive musical experience for students, directors may use these results to help their students receive beneficial assessments that influence long-term success.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921500600003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905486","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 : 2015-07-01DOI: 10.1177/194849921500600002
Rebecca L. Tast
In this two-part study I compared the endpin lengths and resulting cello setups produced by the Scroll to Nose Method, the Hand Span Method, and the Drop Method, and asked if height or gender affect endpin length. The endpin lengths produced by the three pedagogical methods were compared in part one. Participants (N=62) consisted of a convenience sample of adult volunteer students and faculty from a large comprehensive university school of music in the Midwest. Endpin lengths produced by the Scroll to Nose Method and the Drop Method were significantly longer than those produced by the Hand Span Method. There was also a significant interaction between pedagogical method and height. In part two I compared the cello setups resulting from the use of the three pedagogical methods. Participants (N=93) were string teachers responding to an online survey. Participants were asked to select pairs of pictures that, in their opinion, showed the best cello setup. Responses indicated an even split in the overall choice of the Scroll to Nose Method and the Drop Method.
{"title":"A Comparison of Three Pedagogical Methods for Setting Cello Endpin Length","authors":"Rebecca L. Tast","doi":"10.1177/194849921500600002","DOIUrl":"https://doi.org/10.1177/194849921500600002","url":null,"abstract":"In this two-part study I compared the endpin lengths and resulting cello setups produced by the Scroll to Nose Method, the Hand Span Method, and the Drop Method, and asked if height or gender affect endpin length. The endpin lengths produced by the three pedagogical methods were compared in part one. Participants (N=62) consisted of a convenience sample of adult volunteer students and faculty from a large comprehensive university school of music in the Midwest. Endpin lengths produced by the Scroll to Nose Method and the Drop Method were significantly longer than those produced by the Hand Span Method. There was also a significant interaction between pedagogical method and height. In part two I compared the cello setups resulting from the use of the three pedagogical methods. Participants (N=93) were string teachers responding to an online survey. Participants were asked to select pairs of pictures that, in their opinion, showed the best cello setup. Responses indicated an even split in the overall choice of the Scroll to Nose Method and the Drop Method.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921500600002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905431","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 : 2015-07-01DOI: 10.1177/194849921500600005
Michael Alexander, M. Henry
Reading music at sight is a complex skill, requiring the musician to perform pitch and rhythm simultaneously. Previous research has identified difficulty levels for pitch and rhythm skills for strings individually but not in combination. In this study, we sought to study possible relationships between pitch and rhythm tasks occurring concurrently. High school string players (N = 88) performed melodies with varying combinations of pitch and rhythm difficulty. Results indicated that pitch and rhythm skills retained their relative difficulty levels, regardless of the presence of other factors. Rhythmic success was related to pitch success. Rhythm accuracy without pitch success occurred least frequently. Pitch accuracy without rhythm success occurred most frequently. String players appeared to give priority to pitch over rhythm, performing pitch correctly at the expense of rhythmic accuracy. Implications for teaching include the necessity of emphasizing rhythmic continuity. Future research should explore the pitch and rhythm reading capabilities for other instrumentalists and string players with a vocal background, as well as exploring the ability to sight-read additional musical elements in conjunction with rhythm and pitch.
{"title":"The Effect of Pitch and Rhythm Difficulty on High School String Sight-Reading Performance","authors":"Michael Alexander, M. Henry","doi":"10.1177/194849921500600005","DOIUrl":"https://doi.org/10.1177/194849921500600005","url":null,"abstract":"Reading music at sight is a complex skill, requiring the musician to perform pitch and rhythm simultaneously. Previous research has identified difficulty levels for pitch and rhythm skills for strings individually but not in combination. In this study, we sought to study possible relationships between pitch and rhythm tasks occurring concurrently. High school string players (N = 88) performed melodies with varying combinations of pitch and rhythm difficulty. Results indicated that pitch and rhythm skills retained their relative difficulty levels, regardless of the presence of other factors. Rhythmic success was related to pitch success. Rhythm accuracy without pitch success occurred least frequently. Pitch accuracy without rhythm success occurred most frequently. String players appeared to give priority to pitch over rhythm, performing pitch correctly at the expense of rhythmic accuracy. Implications for teaching include the necessity of emphasizing rhythmic continuity. Future research should explore the pitch and rhythm reading capabilities for other instrumentalists and string players with a vocal background, as well as exploring the ability to sight-read additional musical elements in conjunction with rhythm and pitch.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921500600005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905398","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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