Many string educators use their own performance as a primary means for transmitting musical and technical concepts. Sometimes, models of musical performance can be ambiguous because they represent the solution to a problem of musical interpretation rather than the procedural route of problem solving and decision making that led to that interpretation. In his book Knowledge as Design, David Perkins claims that many models are ambiguous because the features that are most consequential are not always readily apparent unless “an accompanying explanation of structure highlights those features.”1
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References
1.
PerkinsDavid, Knowledge as Design (Hillsdale, New Jersey: Lawrence Erlbaum Associates, 1986), 27.
2.
GardnerHoward, The Unschooled Mind: How Children Think and How Schools Should Teach (New York: Basic Books, 1991), 246.
3.
DeLayDorothy, interview by Sylvia A. Gholson, November 7, 1997, New York, New York.
4.
GholsonSylvia A., “Proximal Positioning: A Strategy of Practice in Expert Violin Pedagogy” (DME diss., University of Cincinnati College-Conservatory of Music, 1993), 172. Dorothy DeLay gave a copy of an expanded Energy List and a copy of her outline of Shifting Technique to author July 1996 in Aspen, Colorado.
5.
GloverJohn A., RonningRoyce R., and BruningRoger H. Cognitive Psychology for Teachers. (New York: Macmillan Publishing, 1990), 151.
6.
GuralanikDavid B., Editor in Chief, Webster's New World Dictionary of the American Language Second College Edition (New York: Simon and Schuster, 1982), 463.
7.
NickersonRaymond S., PerkinsDavid N., and SmithEdward E., The Teaching of Thinking (Hillsdale, New Jersey, 1985), 86.
8.
GloverRonning, and Bruning, Cognitive Psychology, 176.
