[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-321402-105":3,"detail-sidebar-cat-0-en-105":73,"doc-detail-321402-en":122},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":66,"head_meta":68,"extra_data":70,"updated_unix":72},105,"en","thought-processes-in-teaching-and-learning-strings-thought-processes","Thought Processes in Teaching and Learning Strings - Thought Processes","","Quarterly orchestral education magazine content presents teaching and learning approaches for string players, with specific focus on how instructors guide preparation from technical work to expressive performance. It outlines phases of practice, including analyzing difficult passages, synchronizing sections, and building emotional structure through dynamic and articulation markings. The material then emphasizes concert preparation through rehearsal-style sessions, memory accuracy checks, and corrective strategies using musical analysis.",{"@graph":14,"@context":65},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & Report",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/thought-processes-in-teaching-and-learning-strings-thought-processes/321402/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/thought-processes-in-teaching-and-learning-strings-thought-processes/321402.png","ImageObject",300,407,{"name":42,"@type":43},"Aurelia","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-11-03","2026-09-21",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",6,{"@type":57,"mainEntity":58},"FAQPage",[59],{"name":60,"@type":61,"acceptedAnswer":62},"What rehearsal and feedback methods are suggested as the concert approaches?","Question",{"text":63,"@type":64},"It proposes creating an “actual audience” by letting the student play for fellow students, discussing mistakes, and analyzing their cause and effect in later lessons.","Answer","https://schema.org",{"og:url":32,"og:type":67,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":69,"canonical":32},"index,follow",{"doc_id":71,"site_id":7},321402,1790177793,{"code":4,"msg":74,"data":75},"success",[76,80,84,88,93,97,102,106,111,114,118],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":77,"show_sort_weight":78,"slug":79},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":81,"show_sort_weight":82,"slug":83},"Literature",80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Exam",70,"exam",{"id":89,"doc_module":4,"doc_module_name":25,"category_name":90,"show_sort_weight":91,"slug":92},5,"Comic",60,"comic",{"id":55,"doc_module":4,"doc_module_name":25,"category_name":94,"show_sort_weight":95,"slug":96},"Technology",50,"technology",{"id":98,"doc_module":4,"doc_module_name":25,"category_name":99,"show_sort_weight":100,"slug":101},7,"Healthcare",40,"healthcare",{"id":103,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":104,"slug":105},8,30,"research-report",{"id":107,"doc_module":4,"doc_module_name":25,"category_name":108,"show_sort_weight":109,"slug":110},9,"Religion & Spirituality",20,"religion-spirituality",{"id":109,"doc_module":4,"doc_module_name":25,"category_name":112,"show_sort_weight":109,"slug":113},"World Cup","world-cup",{"id":115,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":115,"slug":117},10,"Lifestyle","lifestyle",{"id":119,"doc_module":4,"doc_module_name":25,"category_name":120,"show_sort_weight":89,"slug":121},19,"General","general",{"code":4,"msg":74,"data":123},{"doc_id":71,"user_id":124,"nickname":42,"user_avatar":125,"doc_module":4,"category_id":103,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":126,"file_id":127,"file_url":128,"file_type":129,"file_size":130,"view_count":55,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":131,"language":132,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":133,"faqs":134,"seo_title":135,"seo_description":12,"update_tm":136,"read_time":100,"preview_page_count":4},1099514068365,"https://ap-avatar.wpscdn.com/avatar/10000253d8d9f28188e?x-image-process=image/resize,m_fixed,w_180,h_180&k=1794309523707217728","O  \nRCHESTRA NEWS  \nA quarterly magazine devoted to the development and encouragement of orchestras in America  \nin,  \nthisstories by..    ROBERT SAMETINI IVAN GALAMIANissueROBERT KLOTMAN DONALD McCATHREN HARRY LANTZSAM APPLEBAUM J.FREDERICK MULLER and other features  \n2  \nPublished in the interest of music education and participation of musicin America—and specifically to further the cause of THE ORCHESTRA.  \nCONTENTS  \nTHOUGHT PROCESSES IN TEACHING  \nAND LEARNING STRINGS Robert Sametini ...........    3DÉTACHÉ BOWING Samuel Applebaum ..................  4,5HOUSTON'S ALL-CITY ORCHESTRA CHARMS EUROPE ..….·  6,7THE STRING TEACHING MAGIC OF IVAN GALAMIAN.........8,9,10A CHILD'S PREROGATIVE Heinrich Roth ................   11BIG TEN FOOTBALL SPOTLIGHTS  \nTHE STRINGS J.Frederick Muller.................    113 NEW ITEMS ANNOUNCED BY ROTH....................    12ROTH DISPLAYS RARE OLD MASTERPIECES IN KANSAS CITY.  12OBSERVATIONS ON ORCHESTRA PERFORMANCES  \nIN EUROPE Robert Klotman ......................    13HOW WELL DO YOU KNOW STRING STANDARDS?....…...   14OPPORTUNITIES UNDER THE ELEMENTARY-SECONDARY ACT..   14SCHOOL ORCHESTRA OF AMERICA TO TOUR EUROPE  \nDonald E.McCathren .........................    14ORCHESTRA COMPOSITION CONTEST.....................    15  \nMEET OUR DISTINGUISHED CONTRIBUTING EDITORS  \nORVILLE DALLY,President,NationalSchool Orchestra Association;Bryan,Ohio  \nFRANK W.HILL,Former President,American String Teach-ers'Association;State College of Iowa;Cedar Falls,Iowa  \nHOWARD LEE KOCH,Director of String InstrumentalMusic;High School;Bay Shore,Long Island,New York  \nLUCIE LANDEN,Elementary String Supervisor;Menlo Park Public Schools,Menlo Park,California  \nMARVIN RABIN,Conductor,Greater Boston Youth Symphony andBoston University Orchestra;Boston University;Boston,Massachusetts  \nMELVIN SCHNEIDER,Research inMusic Education;Cedar Falls,Iowa  \nHOWARD M.VAN SICKLE,Editor of “American StringTeacher”;Mankato State College;Mankato,Minnesota  \nOUR COVER:This month we turn thespotlight on the eminent Ivan Galamian.  \nEDITOR:Robert Klotman,Ed.D.Director ofMusic Education;Detroit,Michigan Public Schools  \nMANAGING EDITOR:Ruth Vendley Neumann  \nPUBLISHER:Roth Violins,Division of Scherl&Roth;  \nCleveland,Ohio  \nORCHESTRA NEWS  \n1729 Superior Avenue·Cleveland,Ohio 44114Printed in U.S.A.  \nCover and contents copyrighted by Scherl &Roth,Inc.,1966  \n# THOUGHT PROCESSESin teaching and learning strings\n\nROBERT LEON SAMETINI  \nNoted teacher,member,post-session staffat Interlochen,Mich.;former cellist withthe Pittsburgh Symphony.  \ncasual manner,rather than working indetail on difficult spots.If the pupil fol-lows the prescribed study method eachday,good results are sure to follow.  \n4.I ask the pupil to play through second,third,and fourth section of the piece,fin-gering,bowing,and analyzing difficultspots.Then I show him how to practicefor improvement.  \n# III.SECOND PHASE OF LEARNING\n\n1.Having worked out the difficult pas-sages and memorized the piece,the pupilis now ready to prepare for a concert ap-pearance.Bowings and fingerings are pre-sumably correct.Each passage has beenclarified,and there remains the momen-tous task of inculcating expression to thedry bones of notes and fingerings.Thestudent should practice isolated passageswith proper expression as indicated bythe composer.However,this piecemealtype of work,valuable as it is,is notenough.The various sections must besynchronized by the playing of the whole.  \n2.All marks of expression such as\"piano”,\"forte\",accent marks,or marksof“crescendo”and“diminuendo”are re-viewed.On this groundwork of expressionmarkings,I try to build a significant emo-tional structure with musical meaning.  \n3.At subsequent lessons in preparationfor the concert,pupil plays piece in itsentirety.I test him on these points:  \na.Accuracy of memory for details andnotes of expression markings.  \nb.Clarity of passage work.  \nc.Facility to portray emotion effec-tively in playing.  \nd.Ability to play freely,wi","cbCaiuHi4TrbdwCX","https://ap.wps.com/l/cbCaiuHi4TrbdwCX","pdf",1494632,16,"English","# Thought Processes in Teaching and Learning Strings\n## III. Second Phase of Learning\n## IV. The Concert\n## I. Preliminary Steps","[{\"question\":\"What rehearsal and feedback methods are suggested as the concert approaches?\",\"answer\":\"It proposes creating an “actual audience” by letting the student play for fellow students, discussing mistakes, and analyzing their cause and effect in later lessons.\"}]","Thought Processes in Teaching and Learning Strings - Thought Processes | PDF",1789959194]