@article{oai:sucra.repo.nii.ac.jp:00018543,
 author = {伊藤, 誠},
 issue = {1},
 journal = {埼玉大学紀要. 教育学部, Journal of Saitama University. Faculty of Education},
 month = {},
 note = {The present study examines the records of violin classes that were taken over a five-year period. The main challenges and accomplishments evident in these classes were clarified based on an analysis of check sheets, aimed at encouraging self-assessment, that were distributed in the first semester of the present year’s course (AY 2018). Classes were structured so that ensemble activities could in most cases be directed by a single instructor, with each class comprised of a two-part program containing “a technique lesson” and “a musical piece lesson”. Technique tests, which are often seen in these types of lessons, were not administered because the main objective of these lessons is not for each student to refine their performance techniques. Instead, the lessons prioritize fostering an enjoyment of learning among students by encouraging them to play musical pieces of varying moods as part of an ensemble. Students were allowed to borrow instruments anytime they wanted for a period of one week at a time.
For over eight years, I have been conducting research focused on specific topics that include the three formations, half-shift and thumb movement, the importance of whole bow technique, and key points for consideration when playing arrangements. At this year’s conference presentation, I introduced the expected growth process of the students by explaining the aims of their classes and the important points for learning, while presenting footage of students playing music that was filmed during previous academic years, the pieces played by the students were Agarime Sagarim, Kamotsu Ressha, Kaeru no Uta, E Minor (melodic minor), Mountain Polka, Banjo Tune, and Oh, Susanna (according to records from AY 2015 and AY 2018).
An analysis of the completed check sheets from this year clearly indicated that, in particular, acquisition of right-hand technique was poor. For violin players, right-handed technique is considerably involved in “shaping musical expression” and “expressing a wide range of moods,” and is actually more complicated than left-handed technique. The survey that encouraged self-assessment gave the same 18 questions at two separate time points—the 12th class and the 15th (and final) class—with assessment standards divided into three levels. After the results of the first survey were obtained, the main goal was to clarify the state of learning progress in the last three classes. This academic year, 19 students ranging from 1st to 3rd year, all of whom are enrolled in a music oriented degree program, took the course. An analysis of data collected from surveys completed by 15 students who attended both days was conducted.
I am always repeatedly questioning myself about the need for this course. Often I will ask myself questions such as “What’s the meaning of having these students study a string instrument in the first place?” or “When is the experience of taking up a musical instrument useful in the classroom?”. I’m hoping that this course will provide students with some kind of instruction regarding the careful handling of musical instruments of various characteristics when faced with providing demonstrations of musical instrument in the classroom.
This study was put together, with modifications and revisions, based on a research presentation given at the 49th Annual Conference of the Japan Music Education Society in Okayama on October 7, 2018. The research theme has also been slightly revised., text, application/pdf},
 pages = {117--127},
 title = {教員養成課程における初心者を対象としたヴァイオリン集団学習の試み : 自己評価チェックシートの分析結果に焦点をあてて<教育科学>},
 volume = {68},
 year = {2019},
 yomi = {イトウ, マコト}
}