@article{oai:sucra.repo.nii.ac.jp:00017825,
 author = {伊藤, 誠},
 issue = {2},
 journal = {埼玉大学紀要. 教育学部, Journal of Saitama University. Faculty of Education},
 month = {},
 note = {This paper describes the fruits and challenges of violin training in the String Instrument Seminar (first semester) and the Study of Music Education D for Lower Secondary School (second semester) course I taught during the 2016 school year. In the last eight or more years, while keeping a practice record, I have continued to research violin teaching methods for group study aimed at beginners from a variety of standpoints, including approaches to educational materials in the introductory period, the importance of the left thumb, ideas for arranging, and the effectiveness of group study. Thanks to considerable changes to the curriculum by the Faculty of Education at this university beginning with the 2015 school year, a total of 30 hours could be secured for violin training, which previously was limited to 15 hours per semester. This was accomplished by linking two different courses together. As a result, it became possible to develop an instructional program that stimulates students to learn from each other.
This paper is divided into nine sections: 1) Introduction, 2) Characteristics of the two classes, 3) Considerations on arrangement of teaching materials: Focus on “whole bow,” 4) Main teaching content of the String Instrument Seminar, 5) Right hand techniques of “Jig” that pose difficulties, 6) Main instructional content of the Study of Music Education D for Lower Secondary School course, 7) Importance of “whole bow” technique pursued in both courses, 8) The relationship of this paper with previous research, and 9) Conclusion (based on check sheet results). Also included in this paper are a list of the educational materials covered in the two classes, three photographs of the class in action, two written musical examples, and a copy of the check sheet.
The structure of the courses that were taught was extremely simple. In the introductory stage of the courses, I carried out “Technique Lessons Using the Scale.” In the development part of the course, we presented the main teaching materials of the course and explained the content to be studied before practicing separate parts, and then performing the results of ensemble practice. Videos of the classes were recorded as much as possible to save a record of the courses.
Reexamining anew the practice records of these two courses revealed that in the first half of each course, students were urged to focus on the left hand and right hand performance methods in equal proportions. However, starting at the midpoint of each course, there was overwhelmingly more content regarding the right hand. In contrast with the first half of the courses, in which performance research was based on a “tentative” way of holding the bow (handling the 1/3 of the bow at the frog end) with the limiting condition of using only short bows, starting at the midpoint of the courses, the bow was held in the “standard” way, and the proper use of the shoulder and elbow joints became important keys to playing. Based on this, one can see that the range of the bow was increased in a step-by-step manner. As the utilized bow range expands, it becomes more difficult to control the following four elements: (1) stabilizing the weight on the bow body, (2) becoming aware of the sound points where the bow hair touches the strings, (3) maintaining the intersection points of the bow and the strings at a nearly right angle, and (4) adjusting bow speed. Whole bow technique, which uses the entire range of the bow, is a right hand technique that is indispensable toward expanding rich musical thematic expression. However, one can also say that it is the most difficult stroke.
Virtually no previous research can be found that has published the practice results of violin instruction focusing on ensemble learning in a class with limited time and for students with no experience studying the violin. While I did know of the existence of a paper on right hand technique that analyzed bow-holding ability and proper use of arm muscles based on scientific data gathered during performance, even if one is able to use the data to quantitatively measure and analyze the differences between beginners and those with experience, how does one utilize the results of that analysis for teaching? Close observation reveals that students have individual personalities, although only to the extent befitting beginners. For a teacher, there is no greater feeling than the moment one sees students who were “beginners” at the start using their bows actively with good expression, and hears the rich sounds they produce with the bow firmly catching the strings. Although this undertaking was somewhat productive, there are many points for reflection. Whole bow technique is difficult. However, it is indispensable to violin playing. I plan to stay with the whole bow program next school year., text, application/pdf},
 pages = {9--19},
 title = {ヴァイオリン演奏における「全弓」奏法の大切さ : アンサンブル学習による音楽表現の伸長に向けて<教育科学>},
 volume = {66},
 year = {2017},
 yomi = {イトウ, マコト}
}