24
can obtain information about the nature
OtakarSevcik • • •
of whom he could not always impart the
minutiae of a plan that grew day by day,
and .upon which he enlarged even from
lesson to lesson as new problems were
met and conquered. In short, Sevcik's
pedagogy was never at a standstill. He
sought to enlighten and correct each stu-
dent according to individual shortcom-
ings; and wherea~ one me~ber of the
class might be assigned considerable ma-
terial for his own particular needs from
already pUbli~hedlrojec.ts, anoth.er wou~d
receive a series a special exercises writ-
ten on a slip of music paper each lesson
period. . ., .
It was this keen analysis of mdmdual
and special technical problems that ma~e
Sevcik the great violin mentor of his
time. How often did a crestfallen coun-
tenance emerge from the lesson room,
whose owner had entered so buoyantly
a short time before to perform the
Brahms or Tschaikowsky Concert.o, and
was then sent home with a few hnes. of
hastily scribbled manuscript acco~pamed
by the professor's tart admonishment:
"Yes, you play many notes, but. they are
not in the right places! You Will please
play this slowly-forwar~ and backward
~and many times. And listen ~o your m-
tonation, please." This gave me among
the students to that oft repeated phrase,
"hin und zuruck, und langsam!" For
whenever a pupil was hastening away
from a gathering everyone understood
that "er muss nach Hause hin und zuruck
uben gehen.'
------
PrOCJrammed Instruction in
Mus.ic Education
By DOUGLAS SJOGREN and
LOUIS TRZCINSKI,
University of Nebraska
In the last few years the educational
and psychological journals have been re-
porting an increasing number of studies
describing learning results when a new
method of instruction, called program-
med instruction was used. The studies
reported so far have for t~e mos~ pa~:t
indicated that programmed instruction is
as effective as other methods of instruc-
tion and probably more efficient than
other methods of instruction. Some typi-
cal studies in programmed instruction
are reported in Lumsdaine and Glaser,
Teaching Machines and Programmed
Learning, (6) in the Journal of Educa-
tional Research, (9) and the Journal of
Programmed Instruction (10) •
The purpose of this article is not to
define or defend programmed instruc-
tion. Several books and articles are avail-
AMERICAN STRING TEACHER
can obtain agreement on what behavior
of programmed instruction. Some are
listed in the bibliography and the Lurns-
able from which the interested person
daine and Glaser book is recommended
as the place to start. A word of caution
about confusing the terms "teaching
machine" and "programmed instruction."
Remember that a teaching machine is
only one of many devices for presenting
programmed materials to the student.
The machine does not teach; the ma-
terials do. The materials can be presented
in many formats one of which is through
a machine. In fact the evidence so far
indicates that teaching machine pre-
sentation of programmed materials is not
more effective than other modes of pre-
sentation. (5)
It is the purpose of this article to dis-
cuss some of the possibilities that pro-
grammed instruction has in music educa-
tion. Perhaps the first question to ask is,
"What can be taught by programmed in-
struction?", and then attempt to apply
this to music education. Most of the in-
dividuals who work in the area of pro-
grammed instruction say in one way or
another that if one can define the be-
havior that the student will show when
he has learned something then it can be
programmed. In other words, if one can
say that an individual has learned signed
numbers when he can perform arithmetic
operations with them we have defined
the behavior of the individual and we
can prepare programmed materials that
will teach signed numbers. In music, if
we can define the ability to read music
as being able to take musical selections
and read the symbols and notes correctly
on them then programmed materials can
be prepared that will teach an individual
to read music. And in fact there are at
least two such programs now commer-
cially available. (See nos. 1 and 3 in
reference list)
On the other hand, can attitudes, ap-
preciation, and feelings be programmed.
Whether such learning outcomes can be
programmed becomes to a large extent,
in the writer's opinion, a matter of defi-
nition. Again if one can define the be-
havior that indicates an individual has
certain attitudes and appreciation then it
can be programmed. For example, of the
ability to identify composer's works indi-
cates appreciation of music this learning
outcome can be programmed. But will
everyone agree that such behavior indi-
cates a true appreciation of music? It
seems to me that one can obtain a fair
amount of agreement among music
teachers on the behavior that will indi-
cate an individual can read music and
thus programs can and will be developed
in this area that will have fairly wide-
spread usage. It is less likely that one
Summer, 1963
indicates a particular attitude or appreci-
ation and thus there will probably be
less commercial programming of this
kind of material. Individual teachers
may attempt this kind of programming,
however.
What are the implications of this for
music education? It seems obvious that
certain learning outcomes can be taught
with programmed materials. For ex-
ample, reading music has already been
programmed as indicated above. Other
knowledge areas might also be program-
med such as nomenclature of an instru-
ment, care of an instrument, and history
of music. Certainly the motor skills as-
pect of playing a musical instrument can
also be defined in behavioral terms and
would seem to be amenable to program-
ing; for example, placement of fingers
and fingering exercises or holding the
instrument. Motion photographs, such as
those developed by Professor Louis
Trzcinski, might be incorporated very
effectively in a program teaching the
motor skill aspect 0 fplaying an instru-
ment.
In the writer's opinion, the music
teacher should become conversant with
programmed instruction for the follow-
ing reasons.
1. Programmed instruction has been
shown to be effective and efficient in
teaching certain learning outcomes,
especially knowledge of facts and
motor skills. Since these types of
learning outcomes are present in
music teaching, then such aspects of
music education can be taught with
programs.
2. If the above is true, and the writers
believe it is, then commercial pro-
grams will become available for the
teacher's use. In order to evaluate
the programs, the teacher should
have an understanding of programed
instruction so that he will buy the
program that will affect the learning
outcomes wanted.
3. Certain objectives which a specific
teacher has might be programed ac-
cording to the definition of the be-
havior by that teacher. Thus the
teacher may program some of the
materials himself and certainly should
have a knowledge of the principles
of programming.
4. Finally, the teacher will improve his
teaching if he attempts to program.
The planning and thought that are
required for programming a particu-
lar topic result in a well-planned
teaching plan for that topic. If the
teacher programs a particular topic
and doesn't use the program, he will
Summer, 1963 AMERICAN STRING TEACHER 25
still find that he has improved the
teaching of that topic because of the
planning that was devoted to the
topic. Much teaching is ineffective be-
cause the teacher has neither defined
what is being taught nor planned
how to achieve the objectives. The
very process of programming neces-
sitates a definition of objectives and
the planning of the steps taken to
achieve them.
Perhaps this article has raised enough
questions so that you want to find out
more about programed instruction. If so,
the following references are recommend-
ed for further reading.
REFERENCES
Batcheller, ]. M., Reading Music, General
Programmed Teaching Corporation, 1719
Girard N. E., Albuquerque, N. M.
Center for Programed Instruction, Inc., Pro-
grams 'PBS A Guide to Programed Instruc-
tional Materials Available to Educators by
September 1962, U. S. Government Print-
ing Office, Washington 25, D. c., 1962
Chakevian, Nan, Fundamentals of Music,
TMI-GROLTER, 575 Lexington Ave., New
York 22, N. Y.
Deterline, W. A., An Introduction to Pro-
gramed Instruction, Prentice-Hall, Inc.,
Englewood Cliffs, N. J., 1962
Goldstein, 1. S., and Kotkin, 1. G., "A re-
view of research-teaching machines as pro-
gramed textbooks as presentation modes,"
J. of Prog. Instr., 1, 1, 1962, pp. 29-37.
Lurnsdaine, A. A., and Glaser, Robert, T each-
ing Machines and Programed Learning,
National Education Association, 1960.
Moger, R. F., Preparing Objectives for Pro-
grammed Instruction, Fearon Publishers,
828 Valencia St., San Francisco 10, Calif.,
1962.
Stolurow, 1. M., Teaching by Machine, U. S.
Govt. Printing Office, Washington 25,
D. c, 1961.
The Journal a fEducational Research, Vol. 55
No.9, Dernbar Publications, Madison,
Wis., June-July, 1962.
The Journal of Programed Instruction, Center
for Programed Instruction, Inc., 365 West
End Ave., New York 24, N. Y.

Symposium To
Consider Teacher-
Performer 'Problems
Tanglewood, the summer home of the
Boston Symphony, will be the location
of a String Symposium, August 18 and
19, devoted to the problem of com-
munications between professional per-
formers and string teachers. The Sym-
posium is a result of discussion held by
Erich Leinsdorf and Louis Krasner at
the Congress of Strings.
Joseph Silverstein, Richard Burgin and
Louis Krasner were members of the plan-
ning committee delegated to consider the
following problems:
1. A lack of sophistication regarding
pedagogical theories and available
teaching materials on the part of
performers,
2. A lack of insight into the needs of
the performer on the part of the
teacher, and
3. The extension of this situation
through curricula that further
segregates the music education stu-
dent from the applied music stu-
dent.
Among those joining with the Berk-
shire Music Center faculty for discussions
are Max Aronoff, Sol Babitz, Anshel
Brusilow, Stuart Canin, Rapheal Druian,
Josef Gingold, Sidney Harth, Joseph
Knitzer, Louis Krasner, Louis Persinger,
Gregor Piatigorsky, Lee Shumsky, Theo-
dore Saltzman and others.
"The enthusiastic response that has
come from the participating guests,"
states Mr. Silverstein, "indicates that we
should have a very stimulating meeting."
The symposium will be open to all in-
terested spectators as well as the students
of the Berkshire Music Center.
The regular members of the Berkshire
string faculty are: Richard Burgin, Wil-
liam Kroll, Joseph Silverstein, Alfred
Krips, Ruth Posselt, Clarence Knudson,
George Zazofsky, Joseph de Pasquale,
Eugene Lehner, Samuel Mayesm Zighera,
and Georges Moleux.
26
Benny. 'Stern
Awards Appear
In U. S. Press
Word of the awards given Jack Benny
and Isaac Stern by the American String
Teachers Association for their various
contributions to the welfare of the world
of strings is reaching many persons be-
yond the usual range of contact. Pictures
and information from press releases from
both the American String Teachers As-
sociation office and the Kay Musical In-
strument Company have been reaching
the editors of various newspapers and
magazines with a message about strings.
Press releases to area newspapers are
spreading the word of the summer string
conference-workshops.
Meadowmount
Nurtures
String Genius
By MAURICE W. RILEY
During the past summers approximate-
ly a hundred young violinists and cellists
gather for eight weeks at the Meadow-
mount School of Music, which is located
between Elizabethtown and Westport,
New York. Gifted students from Austra-
lia, South America, Israel, Poland, Japan,
Free China, France, and the United
States practice five to eight hours daily
in beautiful farm houses, farm buildings
converted into practice rooms, and new
buildings furnished by the Society for
Strings.
The distinguished faculty is headed
by Ivan Galamian, who also handled all
of the administrative problems. leonard
Rose, cello; Joseph Gingold, chamber
music, and David Garvey, pianist-coach
also teach these selected prodigies.
Assisting Mr. Galamian with the tech-
nical training of the violin students are
Mrs. Dorothy Delay, Miss Margaret
Pardee, and Miss Sally Thomas.
The student's morning schedule at
Meadowmount consisted of breakfast at
7:00 a. m.; individual practice from 8:00
a. m. to 12: 00 noon, with a ten minute
break each hour; and lunch at 12:30.
From 1 :00 p. m. to 5.00 p. m. there is
time for playing in string quartets, relaxa-
tion, or taking private lessons. From 5:00
to 6:00 p. m. everyone puts in one more
hour of private practice. At 6:00 p. m.
the students enjoy a fine dinner in the
school dining room. Public concerts are
given every Wednesday and Sunday eve-
AMERICAN STRING TEACHER
IVAN GALAMIAN
ning in the Edward lee and Jean Campe
Memorial Music Hall, which accommo-
dates an audience of three hundred.
A well planned recreational program,
geared to the needs of young people
complements the weekly activities.
Meadowmount comprises three beauti-
ful farms in the Adirondack Mountains
in the Northeast corner of New York
near lake Champlain. Mr. Galamian, who
immigrated to this country in 1937,
founded the school in 1943 as a summer
location for gifted string students to con-
tinue work away from hot, noisy city life.
It soon became known throughout the
<J1t.e.e~ IJ~
News Of The Viols. Recorders. Harpsichords
Why Not Recorder As a Pre-String Instrument
By RUTH 1. ZIMMERMAN
A straight line, --------------- they say, is
the shortest distance between two points,
but this is not necessarily true in all
cases. Sometimes, a detour paves the way
to success more rapidly than a super
highway.
Just what does this have to do with
recorders and strings? Simply this-until
a preparatory stringed instrument is de-
veloped which will enable very young
children to start instrumental music ex-
perience, the recorder* is the logical be-
ginning. Why?
First, because the recorder is an easy
instrument in the beginning; progress is
rapid and musical satisfaction comes
early.
Second, because the tone of the re-
corder is clear and soft and pleasing to
the ear.
Summer, 1963
musical world as "Fiddle Hill," situated
as it is on the side of Mt. Discovery.
To give the school permanence and
financial support The Society For Strings
was incorporated in 1952. Included
among the charter members are Samuel
Dushkin, Dimitri Mitropolis, Mark Schu-
bart, William Schuman, and Efrem Zim-
balist.
Among the many gifted students who
have attended Meadowmount are Michael
Rabin and Carol Glenn, concert violin-
ists; Jaime laredo, first prize in the
Queen Elizabeth Competition; Stuart Ca-
nin, first prize in the Paganini Interna-
tional Competition; Arnold Steinhardt,
first prize in the leventritt Competition;
Paul Rosenthal and James Buswell, win-
ners of the Merriweather Post Awards;
Charles Castleman, winner of the Na-
tional Federation of Music Clubs Musi-
cian Award and also the Marie Morrisey
Keith Scholarship; Toby Saks, first prize
in the Friday Morning Music Club; and
many other outstanding violinists and
cellists who now hold important positions
in the leading symphonies of this country.
The high standards of performance re-
vealed by the recitals presented during the
final week are particularly impressive.
All of the students who attend Meadow-
mount attest to the wonderful environ-
ment and inspirational teaching by mak-
ing unbelievable progress during the
eight weeks session.
Third, because good intonation is not
automatic on this instrument, the ear is
developed very early. Intonation is con-
trolled by the breath, which condition
develops musical sensitivity. The very
nature of the tone quality of the re-
corder makes the beats (present only
when two or more instruments are not
quite in true pitch) very easily heard.
Again-ear development.
Fourth, the act of fingering the re-
corder develops finger independence, so
necessary in playing stringed instru-
ments. Particularly important is the de-
velopment of the third finger (ring
finger) which must learn to stretch away
from the second finger. All string teach-
ers should be thankful for any device
which helps to strengthen the next to