INFORMATION TO USERS

This manuscript has been reproduced from the microfilm master. UMI
films the text directly from the original or copy submitted. Thus, some
thesis and dissertation copies are in typewriter face, while others may
be from any type of computer printer.

The quality of this reproduction is dependent upon the quality of the

copy submitted. Broken or indistinct print, colored or poor quality
illustrations and photographs, print bleedthrough, substandard margins,
and improper alignment can adversely affect reproduction.

In the unlikely event that the author did not send UMI a complete
manuscript and there are missing pages, these will be noted. Also, if
unauthorized copyright material had to be removed, a note will indicate
the deletion.

Oversize materials (e.g., maps, drawings, charts) are reproduced by

sectioning the original, beginning at the upper left-hand corner and
continuing from left to right in equal sections with small overlaps. Each
original is also photographed in one exposure and is included in
reduced form at the back of the book.

Photographs included in' the original manuscript have been reproduced

xerographically in this copy. Higher quality 6" x 9" black and white
photographic prints are available for any photographs or illustrations
appearing in this copy for an additional charge. Contact UMI directly
to order.

University Microfilms International

A Bell & Howell Information Company
300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA
313/761-4700 800/521-0600
/
 Order Number 9424137

A qualitative study of G6za Szilvay's colourstrings method for

violin

Mitchell, Brenda Sue, D.M.A.

Arizona State University, 1994

Copyright ©1994 by Mitchell, Brenda Sue. All rights reserved.

UMI
300 N. Zeeb Rd.
Ann Aibor, MI 48106
A QUALITATIVE STUDY OF GfiZA SZILVAY'S
COLOURSTRINGS METHOD FOR VIOUN
by
Brenda Sue Mitchell

A Dissertation Presented in Partial Fulflllment

of the Requirements for the Degree
Doctor of Musical Arts

ARIZONA STATE UNIVERSITY

May 1994
© 1994. Brenda S. Mitchell.
 A QUAUTATI VE STUDY OF Gt-ZA SZILVAY'S
COLOURSTRINGS METHOD FOR VIOUN
by
Brenda Sue Mitchell

has beep approved

May 1994

APPROVED:

— - .Chairperson
rMA

Supervisory Committee

ACCEPTED:

lie School

skbi
Dean, Graduate College
I

ABSTRACT
The focus of this study is the "Colourstrings Method" for violin, developed in
Finland by Gdza Szilvay. Many aspects of Koddly methodology are incorporated in this
method. Szilvay developed his method in the 1970s, at the East Helsinki Music Institute.
Although the "Colourstrings Method" has been noted in string journals, little descriptive

literature about it is available in the United States.

Qualitative research techniques of interview, field observations, and a review of all

of Szilvay's writings were used in this study. The data base consisted of the interview
transcript, notes from the field observations, and Szilvay's writings; these were coded
using the constant comparative method. Rigor was maintained by use of an audit trail,

triangulation, member check, and peer consultation. The interview with Szilvay gives
unique insight into his perspectives concerning the "Colourstrings Method."
Themes that emerged from data analysis about the "Colourstrings Method" include
the following: 1) readiness of parents and the teacher to participate in instrumental study is
important to the child's success; 2) every child in the program is important, as evidenced by
the emphasis on early chamber music experiences; 3) Szilvay is pragmatic in his approach
to students—he uses ideas and techniques that are successful, and discards those that are

not; and 4) the primary emphasis of the method is on the holistic development of the child
as a musician, not merely as a proficient violinist.
Some generalities about instrumental study for young children in any method are
based on important aspects of the "Colourstrings Method," such as the incorporation of
multi-sensory learning experiences, the importance of parental involvement, and the
teacher's level of musicianship and pedagogical knowledge of the instrument. Early

chamber music experiences for children are a vital part of this method.
The "Colourstrings Method" could be adapted, with some modifications, for use in
public school string programs in the United States. Students should begin study in this
method from ages five through eight Adjustments in the degree of parental involvement in
iii
lessons probably would be necessary. Adaptation of the Colourstrings Method for private
studio and preparatory programs is also possible.

iv
For my husband

Ron
 ACKNOWLEDGEMENTS
I am particularly grateful to Dr. Barrie Wells for his guidance, advice, and
encouragement during this study. Without his support, the final document would not have
been possible. Also, Dr. William Magers provided valuable insight into aspects of string
pedagogy, and encouraged the completion of this project.
I would also like to thank my colleagues at Miami University for their
encouragement and support, especially during the final stages of writing this study.
Special thanks go to Fazer Music Inc., Espoo, Finland, for permission to copy
material from the Colourstrings series for use in the illustrations for this study.
Reprinted by permission of Boosey & Hawkes, Inc., Agents for Fazer Music, Inc.

vi
 TABLE OF CONTENTS
Page
LISTOFTABLES ix
LIST OF FIGURES x
CHAPTER
I Introduction 1
Background of the Study 1
II Review of Related Literature 5
Kod21y Methodology 5
Studies About Koddly 10
String Pedagogy Studies 13
Other Studies 14
III Methodology 19

Selection of Methods 19
IV Research Findings 28
Influences on the "Colourstrings Method" 28
Sequence of Instruction 40
Dynamic Changes 46
Description of the Colourstings Curriculum and Materials 49
Assessments of the "Colourstrings Method" 70
V Generalities, Conclusions, and Recommendations 75
Cultural Considerations 75
Themes of the "Colourstrings Method" 76
Generalities 77
Other Conclusions 79
Recommendations for Further Research 80

vii
 Page
REFERENCES 93
APPENDIX

A BIOGRAPHICAL SKETCH OFG^ZA SZILVAY 99

B LETTER OF PERMISSION TO COPY 102
C EDITION REVISIONS FOR VIOUN ABC BOOKS 104
D CORRELATION OF MUSICAL MATERIAL IN COLOURSTRINGS
BOOKS 113

viii
 LIST OF TABLES
Table Page
1 Correlation of Koddly's Ideas and Szilvay's Ideas 30
2 Order of Pitch Introduction in Book A and Book B 34
3 Order of Pitch Introduction in Koddly Methodology 34
4 Origin of Musical Materials for Book A and Book B ..59

ix
 LIST OF FIGURES

"Musicland" characters representing the violin strings .82

Pictorial representation of quarter rests .82
The do key can move to any floor .83
The repeat sign as a backwards smiling face .83
The slur symbol as a rocking boat .84
First and second endings .84
Crescendo and decrescendo symbols .85
Octave double stops (uncle and nephew) ,85
"Musicland" characters live in one house (the staff) .86

Introduction of leger lines .86

Rebound bowstrokes .87

Sliding motion of the second finger 87
String crossings with a loose right wrist 88

Pronation and supination -- turning the do key in the lock .88

The bow as a two-line staff for slurs 89

The introduction of double stops .89
Stairstep system instead of individual notes (Scale Book 1) .90
Direction of sharps and flats (Scale Book 2) 91
The A-Minor scale with accidentals and arpeggios (Scale Book 3), 92

x
 CHAPTER I
Introduction
Background of the Study
Although many method books have been written and published in this century for
teaching string instruments to beginning students, few of the authors have developed a
detailed pedagogical system explaining how to teach the contents of their books. Two

exceptions to this pattern are methods written in recent years offering specific, detailed
explanations for teaching beginners. These are by Shinichi Suzuki and Paul Rolland.
The methodology developed in post-World War II Japan by Suzuki is a highly
developed and comprehensive system for teaching young children, usually from three to
five years of age, to play the violin (Suzuki 1969). The impact of the Suzuki approach on
string instruction in the United States and many other countries has been profound. Public

school string programs, private studios, and university preparatory programs have been
influenced by exposure to the Suzuki methodology since its introduction in this country
in the early 1960s. Important elements of this approach include rote teaching of carefully
sequenced physical motions and musical material, based on a language acquisition model
known as the "mother-tongue" method. Detailed analyses of how Suzuki teaches
beginners was written by other authors, not by Suzuki himself (Kendall 1966; Stan­
ce).
Rolland developed an approach to teaching beginning violin students based on the
desirability of using natural physical motions when playing. Rolland's method was
developed in the 1960s at the University of Illinois at Urbana. An explanation of his ideas
is contained in his book The Teaching of Action in String Playing (Rolland and

Mutschler 1974). His approach is not intended for beginning players as young as those in
 2

the Suzuki method. The impact of Rolland's ideas on string education can be measured
by the large number of workshops, both in the United States and abroad, promulgating
his pedagogical ideas.
Another approach to teaching beginning violin students—not yet widely known
in the United States—is by Gdza Szilvay of Finland. His method is named the
"Colourstrings Method," and the title of his book is Violin ABC (Szilvay 1991b). Szilvay
began developing the "Colourstrings Method" when he was appointed violin teacher at
the East Helsinki Music Institute in 1971 (see Appendix A). The Helsinki Junior Strings
was founded by Szilvay in the fall of 1972. The young string players of this orchestra,
trained in the "Colourstrings Method," quickly gained international recognition for the
quality of their playing, both technically and musically. During the 1970s, the group
concertized in Finland, Hungary, the United States, and Canada. A television series in the
late 1970s titled "Minifiddlers in Musicland" featured the Helsinki Junior Strings. The
thirty-eight part series, produced by the Finnish Broadcasting Company, was aired
nationwide in Finland, and brought national attention to the East Helsinki Music Institute
and to Szilvay's method. Like the Suzuki methodology, the "Colourstrings Method" has
been adapted for other string orchestral instruments. The 'cello adaptation of

Colourstrings was by Szilvay's brother, Csaba (Szilvay, Csaba 1991). Szilvay has
presented Colourstrings sessions in England (Steven 1990), the United States (Mitchell
1993b), and for European and international string workshops (Gellhorn 1985; Santoro
1992).

Focus of the Study

The "Colourstrings Method" is based on principles of Koddly's approach to music
education. Incorporating elements of Koddly's principles in an instrumental method is not
unique in itself; Veszpr^mi (1975) and Szonyi (1973) cite the Hungarian violin method
by Sdndor, Jdrddnyi, and Szervdnszky (1951), which utilizes concepts of the Koddly
 3

approach. However, this method is intended for use with students who are eight or nine
years old, after they have learned to read music. Szilvay's "Colourstrings Method" differs
from the Hungarian method in that music reading and the violin are introduced at the
same time, and students beginning in Colourstrings are quite young: four to eight years
old.

Description of the Methodology

Reading Szilvay's Violin ABC (1991b) method book and the companion
Handbook for Teachers and Parents (1977) does not adequately explain or describe the
"Colourstrings Method." Qualitative research methods utilizing interview, field

observations, and analysis of Szilvay's writings were appropriate for the nature of this
study. Szilvay is accessible and is a valuable resource in providing his own unique
insights and perspectives into his method. This study is limited to an examination of
Szilvay's "Colourstrings Method" for violin.

Organization of the Study

Literature related to the focus of the study is reviewed in Chapter II, in the
following sections: 1) Koddly Methodology; 2) studies about the Kodily approach; 3)
string pedagogy studies; and 4) other studies. Research methodology and techniques for
gathering and interpreting data are discussed in Chapter III, in the sections 1) selection of
methods; and 2) rigor. Research findings are presented in Chapter IV, in five major
sections: 1) influences on the "Colourstrings Method"; 2) sequence of instruction in the

curriculum; 3) dynamic changes in Colourstrings since its inception; 4) a description of

the "Colourstrings Method"and materials; and 5) an assessment of method strengths,
weaknesses, and crucial elements. Chapter V includes generalities and conclusions
derived from the research findings. Appendices include a biography of Szilvay, a letter of
permission from Fazer Music Inc. to copy pages from the Violin ABC books and the
 4
Scale Book$ by Szilvay, specific changes in edition revisions of Books A and B of Violin
ABC, and a chart showing correlations between Colourstrings materials.
 CHAPTER II
Review of Related Literature
The literature reviewed in this chapter is related to important aspects of the
"Colourstrings Method" for violin by Szilvay. Since currently there is not a body of
research literature written about this approach, a determination was made concerning the
important aspects of the Method. Koddly's principles for music education are a vital part

of the "Colourstrings Method," as are the elements of ear training and vocalization,
rhythmic training, and early music reading for young violin students.
The literature reviewed in this chapter is grouped in the following sections: 1)
common misconceptions regarding Kod&ly's approach to music education and main
concepts, including the European precedents of these concepts in other pedagogical
systems; 2) studies related to Koddly's principles of music education; 3) studies of string

pedagogies intended for private lesson instruction (as opposed to group instruction); and
4) studies of the effects of vocalization and ear training, rhythmic training, and color-
coded notation on instrumental students, all of which are important elements in the
"Colourstrings Method."

Kod£lv Methodology

Several terms are used interchangeably in music education; these terms include

technique, method, curriculum, and methodology. Costanza and Russell (1992) define
these terms as follows:
Technique: a teaching activity or strategy that is used to achieve an objective.
Method: "a procedure or process for obtaining an objective, as a systematic
plan followed in presenting material for instruction" (Webster's
Seventh New Collegiate Dictionary, 1963, p. 533)
Curriculum: a plan or course of study that describes what is to be taught and in
what order and that may or may not include information regarding
how it is to be taught.
 6

Methodology: a body of techniques, methods, and curricula that is based on a

philosophical system and a foundation of research (Costanza and
Russell 1992,498).
These authors classify Koddly's approach to music education as a methodology, since it
includes techniques, methods, and curricula, and also has a body of research to support its
effectiveness. However, many references to this approach use the phrase "Koddly
Method," and a book entitled The Kodaly Method (Choksy 1988) adds to the confusion
of terminology.

An examination of common conceptions and misconceptions concerning the

"Koddly Method" was instigated by several statements made by Szilvay:
. . . And any Hungarian who was educated in the 50s and 60s of course was taught
by the so-called Koddly method... (Szilvay 1990a).

. . . Butof course,coming from Hungary, it is obvious to me that the Musical

Kindergarten in Hungary is after the so-called Koddly Method... (Szilvay 1990a).

These references to the "so-called Koddly Method" led to an examination of this phrase
and of the elements that constitute Koddly's approach to music education.
Several authors assert that the words "Koddly Method" were used first not by
Koddly or by Hungarians, but by foreigners in reference to the system of music education
developing in Hungary. Szonyi (1973), a former student of Koddly's and Dean of Music
Education at the Franz Liszt Academy of Music, addressed the use of the term.
It should be made clear at this point that the term "Koddly Method", as used in
connection with Hungarian musical education, did not originate here in Hungary.
Musicologists and pedagogues abroad observed that the basic ideas of our musical
education derive from Koddly, and furthermore that many of his outstanding
scholar's and composer's works are used in Hungarian teaching at all levels (Szonyi
1973,7).
Szonyi's thoughts about the existence of the "Koddly Method" are noteworthy since she
is considered by many to be Koddly's successor in the direction of music education in
Hungary (Choksy 1988).
 7

The origin of the phrase "Koddly Method" is also discussed by Choksy (1988).
It is unlikely that Koddly ever thought of what was taking place in the Singing
Schools of Hungary as the "Koddly Method." He knew too well the numbers of
musicians, teachers, and ethnomusicologists involved in its creation and ongoing
development to take such credit for himself. It remained for foreigners visiting
Hungary to give Koddly's name to what they saw (Choksy 1988,10).
Considering the definitions of Costanza and Russell cited previously, the words
"Koddly methodology" will be used in this dissertation, unless "Koddly Method" is used
in a quotation by another author or researcher. The phrases "Hungarian system," "Koddly
approach," and "Koddly system" will also be used when referring to Koddly
methodology.
The phrase "Koddly Method" suggests a highly organized approach to music
education, developed by one man. This idea is misleading. In the preface to the second
edition of her book, The Koddly Method, Choksy (1988) states:
The Koddly Method is not a static process, but a continually evolving one. The
fourteen years since the first appearance of The Koddly Method have seen a number
of changes, some quite substantial, in the pedagogy of the Method, although, of
course, Koddly's principles remain immutable (Choksy 1988, xiii).

Choksy (1988) refers to the impact of teachers as practitioners on the Hungarian

system of music education, rather than reliance on books and written guidelines.
However, books alone do not make a system of education. It was in the schools and
in the hands of the teachers that the Method truly evolved and is still evolving, for
the Koddly Method is a living method, not a static one. As better ways are found,
they are incorporated (Choksy 1988,5).
Zemke (1977) relates comments made by Ldszld Dobszay in a 1970 lecture at the
International Koddly Seminar in Kecskemlt, Koddly's birthplace and site of the first
public singing primary school in 1950 (language usage that is not standard is
acknowledged here, and is not identified in each quotation):
Mr. Koddly has not worked out a systematic educational theory; there is, however, a
Koddly outlook or approach but no "Koddly Method" as such exists. Now this is
why, even in Hungary, no one claims to be the authentic interpreter of Mr. Koddly's
educational ideas. We preserve his inheritance and pass it on. However, none of us
can be completely sure that he has really well interpreted the activity, approach,
ideas of this great genius (Zemke 1977,22).
 According to Choksy (1988), the elements that constitute the KotMly
methodology include singing; musical material that is of high quality, both folk and
composed; and relative solmization, or movable do.She considers movable do, the
rhythm syllables, and the Curwen hand signs to be the tools of the Koddly Methodology.
Zemke (1977) identifies these elements as central to the Methodology: the use of folk­
song material and singing; the use of relative solmization, or tonic sol-fa; and the use of
rhythmic elements. Addm (1971), a student of Koddly, includes the elements of relative
solmization (including hand signs for solffcge syllables), rhythmic syllables, rhythmic
movement, and the selection of high quality folk or composed music.
Koddly's methodology may best be viewed as a synthesis of several approaches to
music education, an eclectic gathering of elements from a number of pedagogies and
systems. The ensuing discussion of the derivation of elements in the Hungarian system
presents this multifaceted aspect of Kod&ly. For this discussion, the individual elements
in Koddly's approach are not traced back to their earliest historical antecedents, but are
related to the pedagogical system or approach that preceded their adaptation into the
Hungarian system. Referring to Koddly's use of movable do, the rhythm syllables, and
the hand signs, Choksy (1988) asserted that none of these approaches was unique.
Possible sources of influence on Koddly will be discussed for each of these elements:
movable do, hand signs for solffege syllables, and rhythm syllables.
During a trip to England in 1927 Kodlly was exposed to a system developed by
John Spencer Curwen (1816-1880) (Zemke 1977). Curwen's music-reading system
included movable do (or "tonic sol-fa") and hand signs for each of the solffcge syllables.
To facilitate music reading for the masses, Curwen did not use regular staff
notation, but a series of note stems without note heads to indicate rhythm. The first letter
of the appropriate solffcge syllable was written below the corresponding note stem to
indicate pitch (do would be represented by "d", re would be represented by "r", etc.).
 9

Another European proponent of the movable do system who influenced Koddly

was Rudolf John Weber of Switzerland (Ad£m 1971; Szonyi 1973). Agnes Hundoegger
of Germany published an adaptation of Curwen's system in 1897, utilizing movable do
and Curwen's hand signs. The movable do clef, allowing do to be on any staff line or
space, was also used by Hundoegger. Addm (1971), author of the book that is considered
the basis of Koddly's methodology, attended a seminar by Fritz Jode, a German who used
the relative solmization system of Weber. Jode also used a movable do clef and Curwen's
hand signals. The movable do clef sign was later used by Addm (1971), and the Koddly
methodology includes movable do, the do clef, and Curwen's hand signs.
The system of rhythm syllables in the Koddly methodology had a European
precedent as well. Addm (1971) referred to the "rhythm-solmization" of Chevd as the
basis for the syllables he used in his writings. The music reading system of Galin-Paris-
Chevd was developed in France in the 1800s. Its purpose was to facilitate music reading

for the masses (Forbis 1970). Pierre Galin (1786-1864) numbered the diatonic pitches one

through seven. Aim£ Paris (1798-1866) developed a series of syllables to be used for
different rhythmic values of notes. The integration of Galin's pitch numbers and Paris's
rhythmic syllables into one system was the work of £mile Chev6 (1804-1864); the
approach is generally known as Galin-Paris-Chev£. Their rhythmic syllables were
adapted in Curwen's approach, and subsequently in the Hungarian system of music
education.
Physical movement is an important element of learning rhythms in Koddly
methodology. The clapping, walking, tapping, and rhythmic hand motions used in the
Hungarian system were inspired by the ideas of the Swiss pedagogue Emile Jaques-
Dalcroze (1865-1950) (Sz5nyi 1973). Jaques-Dalcroze sought to improve the expressive
performance of conservatory students by incorporating physical movement activities with
music. Both Ad&n and KcxMly adapted physical movements to rhythm in music, but
 10
unlike Jaques-Dalcroze, the movements were in conjunction with singing activities.
Jaques-Dalcroze's "eurhythmies," or rhythmic movement, occurred in response to music
played on the piano (Szonyi 1973).

Koddly's unique contribution was his insistence on using folk music or good
composed music for children in the Hungarian system of music education. For Koddly
the pentatonic scale was particularly suitable from two standpoints: young children have
problems singing half steps in tune, and much Hungarian folk music is built on the
pentatonic scale.

Studies About Koddlv

Experimental Studies
A number of studies have been done with regard to Koddly's approach, thus
allowing it to be classified as a methodology rather than a curriculum. Most of these
studies center around the Koddly methodology and the teaching of general music. Studies
reviewed in this section will be limited to the effects of Koddly instruction on students
high school age and younger.

Woskowiak (1973) studied the effect of programmed music reading games

utilizing the approaches of Dalcroze, Orff, and Koddly. Twenty-four first-grade students
participated in the study, which included nineteen twenty-five minute games. After
treatment, students took the Measure of Music Reading Skills, a criterion-referenced test

developed by Woskowiak, who concluded that the programmed music reading games
were effective in teaching rhythmic and melodic elements of music reading to first-grade
students.
An experimental study by McDaniel (1974) examined the musical achievement
scores of two groups of fourth-grade students: one group received music instruction
utilizing Koddly principles, and the other group received a more traditional instructional

approach. Prior to treatment, students took Tests One, Two, and Three of Colwell's
 11
Music Achievement Tests', they took the same tests at the conclusion of eighteen lessons
in Koddly or traditional music classes. McDaniel found no significant difference between
the music achievement scores of the two groups on both the pre- and post-test. Students
receiving Koddly instruction scored higher on the post-test than the published MAT
norms.
Zemke (1973) conducted a study of the effectiveness of a researcher-designed
sequence of instruction, based on Kod&ly concepts, on the auditory achievement of
fourth-grade students. Thirty-five lessons were taught to the experimental group; a
control group of fourth-grade students received instruction in a traditional music
approach. A third group of fourth-grade students received no special music instruction,
for purposes of comparison with the other two groups. All students were pre- and post-
tested using Colwell's Music Achievement Tests to measure changes in auditory

achievement. The experimental group showed significant gains in four out of eight
measures; the control group had significant gains in two out of eight measures, and the
group receiving no special music instruction had no significant gains and one significant
loss. Zemke's study also included a section tracing the history and philosophy of the
Hungarian music education system.

Historical Studies
The effort by Denise Bacon to bring Koddly's methodology to the United States
was the focus of a study by Tacka (1982). Bacon lived in Hungary and studied the music
education system there in the 1960s. She played an important role in the adaptation of
Kod£ly concepts to music education in the United States. Tacka included a description of
Bacon's teacher training in Koddly concepts and an account of her contributions and
activities in this country. Kite (1985) traced the development of the Organization of

American Koddly Educators (OAKE), a group founded in 1973. Members of OAKE were
successful in their efforts to affiliate with other music organizations such as the Music
Educators National Conference (MENC) and the American Orff-Schulwerk Association.
Kite included a content analysis of OAKE's official journal, the Kodaly Envoy.
The approaches of Kod&ly and Orff were traced historically by Stone (1971).
Music, materials, and techniques for each of these methodologies were examined from
two different perspectives: the way they were used in Europe and their adaptations in the
United States. Although Orff and Koddly approaches share some common philosophical
elements, they differ in emphasis. While Koddly emphasized the development of music
literacy and audiation skills, one of Orffs primary objectives was fostering creativity
through improvisation. Stone compared the differences and similarities of the two
methodologies, concluding that college music students in America should study both
approaches.

Willmann (1983) compared Koddly's principles of music education with Jerome

Bruner's instructional theory. Congruencies were found between the two approaches,
particularly in the structure and sequence of subject matter. Not enough written material
about reinforcement was available in the Koddly Methodology to determine either
congruency or difference between the two approaches in that area.
Two studies focused on the identification of American folk-song material suitable
for use in Koddly instruction. Schade (1976) identified 346 American folk songs based on
the pentatonic scale. These folk songs were analyzed and organized by range and
rhythmic difficulty. Bidner (1978) collected American folk songs suitable for use in
upper elementary grade levels, in music programs based on Koddly principles. Of four
thousand songs examined, ninety-one were included in the final study.
The possible application of Koddly principles to American school music
programs was discussed in two studies. Darazs (1973) applied Koddly's approach to
secondary choral music programs. Musical examples from the choral literature were the
basis for suggested sequences of activities, including student conducting and analysis, as
well as singing. The second study concerned the application of Koddly and Orff
approaches to instrumental music education, specifically for elementary band students.
Madden (1984) described the objectives of both systems, and suggested how each could
be used in elementary band classes. In a Koddly program the emphasis is on music
literacy. The quality of literature in such a program is important, following the
Koddly concept of giving children only the best music available. Since Koddly stressed
duo and trio singing, musical experiences for two or three instrumental students would
be an important part of such a program.

String Pedagogy Studies

Most string studies deal with performance issues: technical demands in specific
pieces of music, or particular styles. There is a paucity of string studies related to
pedagogical issues and curricula. This review will be limited to string studies related to
specific pedagogical approaches for individual instruction of students high school age and
younger; group teaching approaches and college-level string class instruction are not
included.

Dawley (1979) analyzed the teachings and literature used in the Suzuki approach
and compared them to The Applebaum String Method. Suzuki's writings, including
Nurtured By Love, were the basis for Dawley's examination of the philosophy in the
Suzuki approach. The sequence of pieces was a positive aspect of the Suzuki approach.
Several suggestions were made for improvement of musical materials in the Suzuki
method, including the use of sonata and sonata-rondo forms.
Koob (1986) analyzed the pedagogy and teaching style of Ivan Galamian in his
descriptive study. Analysis of videotaped lessons, interviews with former students, and
Galamian's writings provided the information for this study. Galamian's ability to
achieve excellent results with remedial-level students was identified as one of his
outstanding qualities.
The only string study that designed an original curriculum for young violinists
was that of Romeo (1986). Her five-year violin curriculum was comprehensive in nature,
including instruction in music theory, history, and aural skills, and experience playing in
chamber-music ensembles. Suzuki violin literature served as the basis for individual
lesson material. The proposed program included one private lesson per week and one
group class. Parental participation was expected, as well as student listening assignments
of the Suzuki lesson material.

One string study dealt with a pedagogical issue relevant to the "Colourstrings
Method": the length of bowstrokes for young students on the violin. Colourstrings
advocates long bowstrokes for beginning violin students, in contrast to Suzuki which uses
short bowstrokes for beginners. Lowe (1973) conducted an experimental study to
ascertain the effectiveness of the two different lengths of bowstrokes. Subjects for the
study were fifth- and sixth-grade students: nine in the experimental group using longer
bowstrokes, and seven in the control group using shorter bowstrokes. The instructor
taught both groups of students. After sixteen weeks of instruction, tests indicated no
significant difference in tone quality between the groups. While forty-four percent of the
experimental group used long bowstrokes at the conclusion of treatment compared to
fourteen percent of the control group, it could not be concluded that one approach was

clearly preferable to the other.

Other Studies
Research reviewed in this section is relevant to elements important in the
Colourstrings approach: melodic or vocal instruction, rhythmic instruction, and the use
of color in conjunction with musical notation. This review is limited to the use of these
 15
elements with instrumental instruction for students in elementary school through high
school.
A study by Kendall (1986) compared two modes of instruction: modeling (aural
and kinesthetic) and comprehensive (aural, kinesthetic, and visual). Students (N=79) were
in fifth-grade beginning band, assigned randomly to either the modeling or the
comprehensive instructional approach. The major difference between the two groups was

the occurrence of visual activities, or music reading, in the comprehensive group. The
treatment lasted for sixteen weeks, with two fifty-minute classes per week. The
comprehensive group sang melodic and rhythmic patterns using movable do and rhythm

syllables. Post-test results indicated no significant difference between groups on the

Instrumental Ear-to-Hand Coordination Test, in which students listened to recorded
melodic examples and tried to imitate them on their instruments. The Verbal Association
Test consisted of recorded melodic examples; students were given the starting solfege
syllable, and were asked to solfege the example just heard. There was a significant
difference (p<.04) between groups on this test, favoring the comprehensive instructional
approach. The third test was the Instrumental Performance Test. Students performed
etudes selected randomly from their method book, The Comprehensive Music Instructor

by Froseth. There was no significant difference between the two groups on this test
(p<.001). There was a significant difference, however, between groups on the Melodic
and Rhythmic Sight-Reading Test, favoring the comprehensive treatment group. The
evidence from this study found that introducing music reading simultaneously with aural
and kinesthetic skills does not adversely affect students' aural development.
MacKnight (1975) examined the effect of instruction emphasizing the structure of
melodic lines on elementary beginning wind players. Ninety fourth-grade students were
the subjects. The control group learned pitches by letter name, sound, and fingering,
while the experimental group was introduced to pitch through a series of tonal patterns
 16

using movable do and solf&ge syllables. All students received one thirty-minute lesson
per week for thirty-two weeks. The classes were homogeneous, with a maximum of six
students per class. For the experimental group, melodic patterns were taught in this
sequence: 1) aural presentation; 2) auditory-visual; and 3) auditory-visual in a musical
phrase. Student responses were vocal, using solfege syllables, and instrumental. The
rhythmic syllables associated with Koddly Methodology were used for rhythmic phrases.
Tests included the Watkins-Farnum Performance Scale, and the Music Achievement Test
(MAT). The mean difference between the two groups favored the experimental group in
all categories. There was a statistically significant difference between the mean scores of
the experimental and control groups on the MAT, favoring the experimental group. The
results of this study suggested that tonal pattern instruction was superior to the note-

identification approach in both sight-reading and auditory-visual discrimination skills.

Low-aptitude students in the experimental group scored significantly higher (pc.05) than
low-aptitude students in the control group on the Watkins-Farnum Performance Scale
(p<.05).
The effects of vocalization on beginning wind students' sense of pitch was the
focus of a study by Elliott (1974). Six beginning band classes were subjects (N=196).

Pre-tests of aural ability and academic achievement showed that the classes were similar.
Three classes served as the control group, and received traditional beginning band
instruction. The other three classes constituted the experimental group; for one year this
group had daily vocalization, using the syllable la on exercises from the method book.
Post-test results showed the experimental group had a keener sense of pitch
discrimination and associated musical sounds with symbols better than the control group.
The test used was Seashore's Measures of Musical Talents. Elliott concluded that daily

vocalization is a significant factor in the development of pitch discrimination in

beginning band students.
 17
Schlacks (1981) studied the effects of vocalization on the pitch accuracy of high
school band students, as measured by their sight-reading abilities. For a one-month period
three experimental groups, consisting of three bands, used the following approaches: 1)
one band used vocalization and instrumental playing of intervals; 2) another band used
only vocalization for interval practice; and 3) the third band used only instrumental
playing with interval practice. The fourth band served as the control group, and had
normal rehearsals during the treatment period. Tests included Colwell's Musical
Achievement Test, Test three for pitch recognition; the Watkins-Farnum Performance

Scale, Forms A and B; and an Interval Performance Test designed by the investigator.
The conclusion was drawn from analysis of the data that a combination of vocalization
and playing of intervals is a factor leading to improvement in pitch accuracy, and is a
better method of instruction than either vocalization only or playing intervals on an
instrument only.
The effect of physical movement during rhythmic training was studied by
Skornicka (1958). Beginning instrumental students in grades four through eight were
placed in either an experimental or a control group. The experimental group initially
played quarter notes, with the physical motions of foot tapping and marching on the
beat. The control group used no special rhythmic activities or physical movements, and
instruction emphasized the notation of whole and half notes. Students were given three
Instrumental Reading Tests, at three different points in the study: early, intermediate, and
at the end. Comparison of test scores between groups for the three tests found statistically
significant differences between the groups' music reading ability, with the experimental
group scoring higher on all three tests.
Boyle (1968) compared the effectiveness of physical movements as an aid to
teaching rhythm reading with a method using no physical movements. Subjects (N=191)
were selected from twenty-four junior high school bands, which were matched between
 18

control and experimental groups on several factors: amount of rehearsal time per week,
the director's experience in the teaching field, and the size of the band. Both experimental
and control groups used the same materials thirty minutes each week for rhythm teaching.
The experimental groups used foot tapping on the pulse and hand clapping to practice
rhythm patterns in the music. The control groups used no physical movements. The final
achievement scores of the experimental group were significantly higher than those of the
control group (p<.01).
The effect of color-coded notation on music achievement was examined by
Rogers (1991). For this study, music achievement was interpreted as performing from

memory, sight-reading, and naming letter names of notes. Ninety-two fifth- and sixth-

grade beginning wind players were randomly assigned to experimental and control
groups. Both groups used the same method book, with one difference: the experimental
groups' music was color-coded using highlighters. A fixed do scale was the basis for the
color-coding; each pitch was represented by a different color. In the post-test, both groups
read color-coded and regular notation. The treatment period was twelve weeks. No

significant difference was found between groups when reading the type of notation they
had used during the treatment period. Color-coded notation had a significant effect on
students' ability to sight-read. Both groups combined scored higher on the sight-reading
test when they read color-coded notation. One interesting point resulted from a question

to the students: when asked which example was easier to sight-read, color-coded or
regular notation, eighteen of forty-six students in the control group (forty per cent) said
that color-coded notation was easier. This strong reaction by the control group could be
an affective response to the use of color in conjunction with musical notation.
 CHAPTER III
Methodology
Selection of Methods
The focus of this study is an examination of the "Colourstrings Method" for violin
by Szilvay: what it is, and how Koddly's ideas are implemented in it. Attempting to
understand and describe a situation in a holistic manner, without preconceived notions or
expectations, is a characteristic of qualitative inquiry. Qualitative research methods
"permit the evaluator to study selected issues in depth and detail" (Patton 1990,10).
Qualitative research is holistic, generally noncomparative, and used to study "bounded
systems" such as a student, classroom, institution, curriculum, or teacher (Bresler and
Stake 1992). Since this study is an attempt to find out how one specific violin method
works, qualitative research techniques are the most appropriate.
Patton states that qualitative research methods include "three types of data
collection: 1) in-depth, open-ended interviews; 2) direct observation; and 3) written
documents" (Patton 1990,10). The resulting interview transcript, field notes, and
existing written documents are the sources of data for qualitative studies. These data
collection techniques yield descriptions and quotations; thus, words are the data base in
qualitative studies, in contrast to the numbers produced by tests and measurements in
quantitative studies.
This study is essentially a single-method case study of the "Colourstrings
Method" for the violin by G6za Szilvay. Guba and Lincoln (1981) describe a case study
as "a snapshot of reality," with the purpose of chronicling events or depicting a situation.
Patton (1990) states that case studies are particularly suitable when trying to understand
 20

special problems, people, or unique situations in depth. Both of these definitions are
appropriate for an in-depth examination of a bounded system, the "Colourstrings
Method."

Permission for Research

In accordance with university requirements, the researcher filed an "Application
for the Conduct of Research Involving Human Subjects" with the Arizona State
University Human Subjects Research Review Committee in July 1990. Since this study
included human interaction during the interview, Szilvay signed a Letter of Consent prior

to the interview, a copy of which is on file at Arizona State University. Qualitative

studies usually guarantee anonymity for respondents. That is not possible in this
particular study, since Szilvay is the author of the "Colourstrings Method," the "bounded
system" being examined. Szilvay agreed that anonymity would not be possible in this
case.

The Qualitative Interview

Interviews can be an efficient use of a researcher's time when exposure to a
setting is limited (Taylor and Bogdan 1984). Such interviews allow the researcher to
explore experiences, meanings, and perspectives from the respondent's viewpoint. These

perspectives may not be evident from field observations alone. Verbatim transcripts of

these interviews allow the researcher to review in depth the respondent's statements and
become very familiar with the ideas presented (Lincoln and Guba 1985). The interview
with G6za Szilvay took place on 7 August 1990, at the East Helsinki Music Institute. A
verbatim transcript of the interview recording was made.
Taylor and Bogdan (1984) contrast structured interviews, following a specified set
of predetermined questions, with qualitative or in-depth interviews. Qualitative
interviews necessitate careful planning prior to the event. An interview guide, including
 21
a logical order of questions and topics, is piloted prior to the actual interview. Although
the final interview guide contains logically sequenced questions, the qualitative interview
allows the researcher to react to the answers as they occur, with the result being more of a
conversation between researcher and respondent than a scripted question and answer
session.

Qualitative interviewing has been referred to as nondirective, unstructured,

nonstandardized, and open-ended interviewing. We use the phrase 'in-depth
interviewing' to refer to this qualitative research method... Far from being a
robotlike data collector, the interviewer, not an interview schedule or protocol, is
the research tool (Taylor and Bogdan 1984,77).

Prior to interviewing Szilvay, a pilot study of an interview guide was conducted.

Four people participated in this pilot study: Dr. Barrie Wells, the researcher's dissertation
advisor; Dr. William Magers, Professor of Viola at Arizona State University; Mr. Hal
Grossman, Professor of Violin at Miami University in Oxford, Ohio; and Ms. Deborah
Lease, string specialist in the Talawanda Public Schools in Oxford, Ohio. The pilot study
served to identify topics and questions to be addressed during the course of the actual
interview, so that the interview guide served as a checklist to insure that key topics were
covered during the course of the interview. Although English is not Szilvay's first
language, he expresses himself articulately. During the actual interview the researcher
found that Szilvay's answers often encompassed several questions from the interview
guide, necessitating an adjustment in the order and wording of questions.

Field Observations

Field observation, or participant observation, is non-disruptive on the part of the

researcher. No attempt is made by the researcher to manipulate any aspect of the research
setting (Patton 1990). Observations are recounted in field notes in as much detail as
possible. According to Taylor and Bogdan (1984),"... the field notes represent an
attempt to record on paper everything that can possibly be recalled about the
observation" (Taylor and Bogdan 1984,53). The researcher also includes his or her own
 22
opinions, actions, ideas, and thoughts that occur during the observation. The field notes
serve as a source of data for later analysis.
Field observations for this study took place at the East Helsinki Music Institute
from 26 July to 12 August 1990. Many of these observations were tape recorded in
addition to being entered in field notes. These observations occurred near the end of the

summer holiday in Finland. An ideal situation would have been to observe at the East
Helsinki Music Institute during the course of the regular school year; however, this was
not possible because of the researcher's teaching commitments. Access to the East
Helsinki Music Institute was easily negotiated since Szilvay is the "rector," or principal,
of the school. Field observations began one week prior to the interview with Szilvay; this
allowed the development of a level of comfort and rapport between researcher and

respondent prior to the interview.

The East Helsinki Music Institute is located in a largely residential suburb, easily
accessible by metro and bus lines. The short walk from the bus stop to the school passes
well-kept and modern apartment buildings, homes, and several small businesses. The
Music Institute is reached after a short walk down a private driveway branching off from
the main street. Two well-kept buildings are located past a large grassy field. One

building is a house; inside is a recital hall, office areas for the teachers, and a kitchen. The
other building is larger and more institutional looking. This building contains the large
rehearsal hall and other classrooms. The rehearsal hall has many windows that are left
open in warmer weather. The chairs in this rehearsal hall were substantial wooden, rather

than folding, chairs, suggesting a financial commitment to the children's classroom

environment for music education.
During the time frame of the field observations, rehearsal sites other than the East
Helsinki Music Institute were visited. Some rehearsals of the Helsinki Junior Strings were
held at Finlandia Hall, either on the stage or in a rehearsal room adjacent to the stage.
 23

Another observation was of a recording session in a church; the Helsinki Junior Strings
make many of their numerous recordings in this church, "Ruohuvuorinen kirkko," a
Lutheran church in East Helsinki. Two concerts were given during the time period of the
observations: for the opening ceremonies of ISME (International Society for Music
Education) International Conference, in Finlandia Hall at 10:00 A.M., 7 August; and at
the Rock Church in Helsinki on 9 August, at 10:15 P.M. Colourstrings workshops for
violin, cello, piano, and guitar were held at the Sibelius Academy, as part of the ISME
International Conference, on 9 and 10 August. All of these events were treated as field
observations for which field notes were taken.
The flexible design of qualitative inquiry allowed the researcher to incorporate
notes from a workshop into this study, an event that was not part of the original research
design. The first Colourstrings Workshop in the United States was held from 26 July to
30 July 1993 at Mankato State University in Minnesota. This workshop was under the
auspices of the Midwest String and Chamber Music Conference, sponsored by the
Minnesota chapter of American String Teachers Association. Forty string teachers
attended the conference. Daily Colourstrings sessions ran from 8:45 A.M. to 3:45 P.M.
Notes from this workshop were included in the field notes as an additional data source.
Szilvay's published writings used in this study are Book A (1991b) and BookB
(1981) of the Violin ABC series and Handbook for Teachers and Parents (1977) designed
to accompany Book A. The Handbook is the only written source of explanation for the
Colourstrings Violin ABC books; however, many aspects of the method are not fully
explained in the Handbook. Other Colourstrings materials included in this study are
Scales for Children 1 (Szilvay 1990b); Scales for Children 2 (Szilvay 1990c); Scales and
Arpeggios for Children 3 (Szilvay 1991a); the Finnish-Hungarian Chamber Music For
Young String Players (vols. 1-7) edited by Rossa and Szilvay (1982); Colourful Music

For Strings (vols. 1 - 3), arranged by Rossa and Kuusisto (1990); Violin Rascals/Cello
Rascals (vols. 4 and 5), arranged by Rossa (1992); the Singing Rascals series {La and
Pentatonic), (Szilvay and Hyrske 1987; 1988); and Singing Rascals Do (Szilvay, Hyrske,
and Ailes 1987).

Data Analysis
The interview transcript, field notes, and Szilvay's published writings yield many
direct quotations about the "Colourstrings Method." This outcome is congruent with the
type of data found in qualitative studies.
Direct quotations are a basic source of raw data in qualitative inquiry, revealing
respondents' depth of emotion, the ways they have organized their world, their
thoughts about what is happening, their experiences, and their basic perceptions
(Patton 1990,24).
These quotations, or "thick description," allow the reader to step into the research setting
and to understand the respondent's point of view, attitudes, and values. Patton (1990)
defines thick description as "solid descriptive data" that give readers enough
information to make other interpretations of the data possible.
Using techniques of constant comparative analysis, the data were coded according
to emerging categories (Lincoln and Guba 1985). The coding process involved sorting
data into codes and sub-codes, thus creating an organizational structure for the results of
the study (Glesne and Peshkin 1992). Analysis of the data and sorting it into categories
are simultaneous activities. The process of sorting and analyzing data, then resorting it, is
known as "constant comparison" or "constant comparative method" (Glaser and Strauss
1967; Taylor and Bogdan 1984; Lincoln and Guba 1985). This researcher adheres most
closely to concepts of Taylor and Bogdan, who are "less concerned with developing
concepts and theories than with understanding the settings or people on their own terms.
We do this through both description and theory" (Taylor and Bogdan 1984,129). This
study is primary concerned with understanding the phenomena being examined; the
generation of all-encompassing theories, applicable to similar settings or phenomena, is
 25
less important than developing an understanding of the "Colourstrings Method."
During the coding process, the categories or typologies underwent a number of
changes and transformations. Such occurrences are normal in this type of data analysis, as
categories are reread, reinterpreted, and reclassified. Miles and Huberman (1984) note
this fluidity of codes during data analysis.

Furthermore, some codes don't work; others decay. No field material fits them, or
the way they slice up the phenomenon isn't the way the phenomenon appears
empirically. This calls for doing away with the code or changing its level (Miles
and Huberman 1984,60).
Some recategorization of data continued during the process of writing the results of data
analysis in Chapter IV. Relationships between some data emerged during the writing
process, thus necessitating reorganization and reinterpretation of results.

Rigor

The term "rigor" in qualitative research refers to the degree of credibility that can
be given to the research procedures and findings. Several techniques to insure rigor in
qualitative studies include triangulation of data, maintaining an audit trail, member
checks, peer consultation, and thick description. Each of these techniques is used in this
study. Thick description was discussed in the previous section, "Data Analysis." The
other qualitative techniques will be discussed in subsequent sections. Since the researcher
is the primary instrument for data collection and analysis in qualitative inquiry, his or her
qualifications and experiences are important elements in the credibility of the research
(Patton 1990). Researcher neutrality is an ideal goal of qualitative studies, and
multiple data sources, member checks, and triangulation are crucial to the credibility, or
rigor, of the research (Patton 1990).

Triangulation
Triangulation is determined by congruence of data between the data sources.
Using multiple data sources for triangulation increases the trustworthiness of the results
 26
(Patton 1990; Glesne and Peshkin 1992). Taylor and Bogdan (1984) note that an
increased understanding of the situation being studied is a benefit of triangulation of data
sources.

Triangulation is often thought of as a way of guarding against researcher bias and

checking out accounts from different informants. By drawing on other types and
sources of data, observers also gain a deeper and clearer understanding of the
setting and people being studied (Taylor and Bogdan 1984,68).
For this study, the data sources are the interview transcript, field notes, and Szilvay's
writings. The content of conversations with Szilvay was recorded in field notes. Many of
these conversations took place at the East Helsinki Music Institute, in passing during the
course of a day. In analyzing the data, many instances of congruence between the
different sources occurred.

Audit Trail
The audit trail consists of records pertaining to the data collection and analysis of
a study. These records include the raw data from interviews or field observations, as well
as records detailing the process of data analysis and writing of results (Lincoln and Guba
1985). An audit trail was maintained for this study during the course of interview
transcription, data analysis, and writing. In addition, the audit trail includes detailed notes
concerning the coding process in the constant comparative analysis of data, member
checks, and peer debriefings (Patton 1990). Writing memos as part of the audit trail
allows the researcher to step back from the mass of data occasionally, and to get a sense
of perspective regarding research findings and the process of data analysis.

Member Check

A member check is an opportunity for the respondent to react to the data (Patton
1990). In qualitative research, the member check is an essential element in establishing
credibility (Lincoln and Guba 1985). The interview transcript was reviewed by Szilvay
during 1991, allowing him to correct any misconceptions or misunderstandings. This
 27
initial transcript review was through correspondence. The opportunity to meet with
Szilvay during the summer of 1993 at the Colourstrings Workshop allowed the researcher
to review the transcript and other data with him in person.

Peer Debriefing

Lincoln and Guba (1985) define peer debriefing as the reflective thoughts and
opinions of an experienced party about interpretations and processes involved in
qualitative studies. The "experienced party" in this process functions as a protagonist,
probing the researcher's interpretations and processes. The researcher's dissertation
advisor, Dr. Barrie Wells, served as a valuable resource in the peer debriefing process. He
encouraged scrutiny of the processes involved in the study as well as the results of data
analysis. Dr. William Magers, Professor of Viola at Arizona State University and a
dissertation committee member, also provided indispensable advice and assistance,
particularly with issues relevant to string teaching. Colleagues of the researcher at Miami
University in Oxford, Ohio, willingly offered suggestions, support, and encouragement.
 CHAPTER IV
Research Endings
Influences on the "Colourstrines Method"
Several well-known pedagogical approaches have had an impact on the
"Colourstrings Method." Koddly methodology is a vital part of Colourstrings.
Rolland's pedagogy influenced Szilvay's approach to violin technique with both left hand
and bow arm. Suzuki has had less of an impact on Colourstrings than either the Rolland
or Koddly approaches.
This chapter is organized as follows: 1) pedagogies influential on Colourstrings;
2) the sequence of instruction for students participating in Colourstrings; 3) dynamic
changes in the "Colourstrings Method" since its initial development; 4) description of
the Colourstrings curriculum and materials; and 5) assessed strengths and weaknesses
of Colourstrings, and crucial elements in the Method.

Kodclly's Influence

Similarities to Koddlv's Methodology

The influence of Koddly methodology on the "Colourstrings Method" can be

found in two main areas: 1) specific teaching techniques, such as movable do, the
Curwen hand signals, and the rhythm syllables; and 2) goals for children's music
education. Kodtfly's influence in this method is readily acknowledged by Szilvay. That
KxxMly is such a strong influence seems, to Szilvay, a natural consequence of his
Hungarian upbringing.

I was educated in Hungary. And any Hungarian who was educated in the 50s and
60s of course was taught by the so-called Koddly method. I would say that it is in
my blood (Szilvay 1990a).
 29

When asked a question about which methods or approaches he thought were important to
Colourstrings, he said:
I believe that this is Koddly method, pure Koddly method, translated into the
violin, with this exception: that we give the violin before the child can read
(Szilvay 1990a).

Two of the teaching methods used in Colourstrings that are adapted from Koddly
methodology include the use of relative solmization (movable do), and the utilization
of solffege. In Colourstrings, solffege is incorporated by having students sing each piece
or exercise before playing it on the violin. Regarding important elements of his method,
Szilvay stressed relative solmization:
I just know one very important thing that I try to emphasize, this is the relative
solmization, which is a musical device that is very, very much emphasized and used
in the Colourstrings violin method, one element which is very important. But all the
elements of the Koddly method are very, very much involved in this method, or
taken into consideration (Szilvay 1990a).
Koddly's use of the Curwen hand signals in conjunction with solffcge syllables is
employed by Szilvay. The rhythmic syllables used in Colourstrings are also from the
Koddly system: Ta for a quarter note, ti for eighth notes, and Ta-a for a half note.
Students clap the rhythm of each exercise and piece in Violin ABC before playing it on
the instrument, thus experiencing rhythm as a physical motion and sensation.
There appears to be a direct relationship between the major aspects of musical
training emphasized by both Koddly and Szilvay. Koddly's thoughts on the development
of good musicians included four main elements:
On the basis of what has been said, the characteristics of a good musician can be
summarised as follows: 1. A well-trained ear; 2. A well-trained intelligence; 3. A
well-trained heart; 4. A well-trained hand. All four must develop together in
constant equilibrium. As soon as one lags behind or rushes ahead, there is
something wrong (Koddly 1974,197).
When asked to describe the "Colourstrings Method," Szilvay listed the following four
elements:
 30

This is strictly an instrumental method, and now we're speaking violin method,
which trains at the same time the fingers (technique), the ear (that is solfeggio),
trains the intellect (music theory), and trains the emotions through chamber music.
So all these elements are all the time in a constant equality (Szilvay 1990a).
Szilvay interprets Koddly's "well-trained heart" as the child's emotions trained through
chamber music. A further interpretation of Szilvay's writings and comments connect
Kodaiy's "well-trained intelligence" with the Colourstrings student's training in music
theory and reading, and Koddly's "well-trained hand" is the Colourstrings child's
training in violin technique. Table 1 shows the correlation of Kod31y's and Szilvay's four
important elements of musical instruction.

Table l.~Correlation of Koddly's and Szilvay's Ideas.

Kodaly's Ideas Szilvay's Ideas

Characteristics of a good musician: Simultaneous training of:

A well-trained ear Ear (solfeggio)

A well-trained intelligence Intellect (music theory)

A well-trained heart Emotions (through chamber music)

A well-trained hand Fingers (technique)

Early music reading and notation in the "Colourstrings Method" are also elements

derived from KocMly methodology. Students in Colourstrings are introduced to music

reading from the very beginning of their study, by means of four colorful "musicland"
characters: a yellow birdie (the E-string), a blue mother figure (the A-string), a red father
figure (the D-string), and a green teddy bear (the G-string). The one-line staff for the
pitches do, re, and mi parallels KocMly's introduction to note reading. Szilvay also uses
pipe stem notation (note stems without note heads) for rhythms in Book A, derived from

Addm's (1971) use of note stems only. The clever drawings in Book A are inspired by the

approach to music reading used in Koddly methodology. For instance, the rhythmic
 31
relationship of quarter notes and eighth notes is represented by pictures of proportionally-
sized candles (larger for quarter notes, smaller for eighth notes), which are quite similar
to the proportionally-sized pictures of boots or cherries used in Koddly methodology
(Szab6 1969).

The senses used in the "Colourstrings Method" include visual (reading music and
colored notation), aural (solffege), and kinesthetic (clapping rhythms and walking steady
beats). The use of more than one of sense during the learning process is an idea from
Koddly that Szilvay advocates in the Colourstrings approach:
But somehow this visual aspect of the teaching, that they are using their eyes, is
very important, because many senses are involved, and the senses are combined into
one direction, to produce a beautiful, nice sound on the violin. Why not open my
eyes and look at the note, which is in front of me, or look at the picture and look at
the violin? (Szilvay 1990a).

Goals of Music Study

While receiving instruction in how to play the violin, the prevailing message of
the "Colourstrings Method" is education in music, with the end result being a better
human being. In his Handbook, Szilvay addresses the personal development of children
through music training:

Children during their growing-period are the most precious possession of a nation
and they should not be exposed to the possibility of their being injured, either
physically or psychologically. But the sort of music training from which the fever of
competition is excluded is a human activity which wholesomely develops the
spiritual capabilities of the child and his emotional world and strengthens him
physically too (Szilvay 1977,3).
These ideas are similar to Koddly's thoughts on the importance of music education in a
child's life, and reflect the behaviorist orientation of both authors. According to both
Koddly and Szilvay, children are products of their environment, and the early childhood
years are crucial in their development Szilvay addresses the issue of early training in
music for children.
 32

The need for music-training for children of playschool age is being recognized more
and more, all over the world. The problem arises of how best to begin to teach the
playing of a musical instrument to children of that age. The music-teacher called
upon to teach children of play-school age must re-consider, in that context, the
questions: What shall I teach? How shall I teach? Why do I teach? (Szilvay 1977,

Strengthening the young child's human side is further elaborated by Szilvay:

The question of the objective or goal of music teaching is most important—every
teacher should realize that he is educating his pupil not only to have professional
knowledge and skill but to be a human being. The basic objective of music-
teaching, and the teaching of violinplaying, is to stimulate the youngster to develop
as a rounded personality (Szilvay 1977,6).
Broadly, this is not a method, but it is a musical upbringing, or, this is a normal
upbringing through music. So, it is for families and for parents a help, a device:
music (Szilvay 1990a).

Differences from Koddlv's Methodology

The major difference between Koddly methodology and Szilvay's "Colourstrings

Method" is the latter's introduction of the child to the instrument concurrently with
learning to read music. Koddly advocates only singing until children can read music
well. Szilvay introduces reading and playing the violin simultaneously, and
acknowledges the pedagogical difference that many strict Koddly adherents have with
him:
One thing which a very rigid, orthodox Koddly teacher wouldn't like is that I teach
the instrument so early. Because Koddly said once, don't give the child any
instrument until he can properly read and sing. I teach at die same time the violin
and reading. And this "reading" is between quotation marks, because the children
are not really reading in the first half year, they are just looking at pictures, and
these pictures will change later on into normal notation (Szilvay 1990a).
Szilvay does not view this difference with Koddly's approach as a serious breach of the
methodology; rather, he views it as a natural adaptation for a string method. His approach
to adapting and borrowing from other methods is straightforward: "If it works, I do it."
But why not then say as correcting myself, not only the Suzuki violins, no, for
instance, the thumb under the frog of the bow, if it was originally Professor
Suzuki's idea, then 1 appreciate it and I use it (Szilvay 1990a).
 33

While readily acknowledging that his method is strongly influenced by Kod&ly,

Szilvay does not seem to feel constrained by Koddly's ideas, or compelled to be literal in
their application and adaptation. This attitude toward Koddly methodology is not without
precedent in Hungary, and is similar to ideas expressed by Choksy (1988) and Zemke
(1977) cited in Chapter II.
Another difference between the Koddly approach and Szilvay's "Colourstrings
Method" is the choice of literature. Koddly advocated using only folk songs from the
child's mother tongue, or language, for the first several years of instruction. Szilvay
introduces folk songs from other countries in Book A. He discussed this apparent
difference from Koddly methodology in the use of folksongs from other countries:
In a way, it is a deviation, yes. At home, when I am singing, of course I am singing
Hungarian children's songs only for my children when they are two, three. But
when they are four, five, then I open the door, and they sing American and other
songs (Szilvay 1990a).

The Singing Rascals series for use with kindergarten-age children contains folksongs
from countries other than Finland. As an example of a difference from Koddly
methodology, Szilvay said, "For instance, I am using European and American children's
songs, and Koddly said that only the mother tongue can be used" (Szilvay 1990a).
Szilvay's outlook on folksongs for young children is evidently more catholic than
Koddly's outlook.

Another difference from Koddly is Szilvay's order of introducing pitches to the

students. His order corresponds to the diatonic order of pitches in traditional violin
training. The pitch and interval order introduced in the "Colourstrings Method" is
contained in the following table.
 34

Table 2.--Order of Pitch Introduction in Book A and Book B.

Book A pitch patterns introduced New pitches introduced

Do-Re Do, Re
Do-Re-Mi Mi
Do-Mi
Do-Re-Mi-Fa Fa
Do-Re-Mi-Fa-So So
Do-Mi-So
Re-Fa
Do-Fa

BookB pitch patterns introduced

Do-Re-Mi-So-La La
Do-Lai-Do-Lai-Soi Laj-Soi
Do-Re-Do-La j-So j-So j-Do
Mi-Re-Do-Tii-Lai Ti

This order differs from that used in Koddly methodology. The order of pitch introduction
in the Koddly system is listed in Table 3 below, according to Choksy (1988) and Szonyi
(1973).

Table 3.—Order of Pitch Introduction in Koddly Methodology.

Order of pitches introduced in Koddly

Methodology:

So-Mi-La-Do-Re-Lai-Do^-So j-Fa-Ti

This order of pitches reflects the use of the pentatonic scale in Koddly methodology,
rather than the diatonic order of pitches used for violin instruction. In the Handbook for
Book A, Szilvay (1977) addresses his reasons for a different order of pitch introduction
from Koddly methodology:
 35

The violin is an instrument with which intervals cannot be taught completely in

accordance with Koddly's method. Singing therefore ought to be a suitable
substitute for the Koddly approach (Szilvay 1977,22).
Szilvay's diatonic introduction of pitches is not without precedence in a Koddly-inspired
violin method: Violin Tutor (S&ndor, Jdrd&nyi, and Szervdnszky 1951) introduces
pitches in a strictly diatonic order (i.e., do-re-mi-fa-so-la-ti-do).

Influence of Other Pedagogies

When Szilvay first went to Finland in 1971, he took pedagogical courses in both
the Rolland and Suzuki methods. He was acquainted with both approaches before he
developed the "Colourstrings Method."

So when I came to Finland in '71 and I have seen that there are methods as well, I
was very eager to go around. I went to Japan to see the Suzuki method, and the
Rolland method, so I was really diligent to take all these courses (Szilvay 1990a).
Regarding his assessment of other methods of violin study, Szilvay stated:
And I thought that there was not one that really takes into consideration all the
necessities which a child needs. And I must say that other methods, I wish to avoid
criticising, but somehow with Koddly the whole child, the life of the child, is in this
method (Szilvay 1990a).

Influence of the Suzuki Method

Szilvay's comments about the Suzuki method indicated that he does not feel that
there are great similarities between that method and his Colourstrings approach.
Szilvay said that he uses Suzuki violins because they are the best small violins made for
young children to use.

Well, if you say Suzuki, I use Suzuki violins, they are the best violins. And we
don't use notes when we are doing the transposing. But otherwise, I use Suzuki
violins, not the method, the violins (Szilvay 1990a).
The development of the child's intellect is important to Szilvay. This is an
obvious facet of Koddly's concepts that has influenced the "Colourstrings Method," and
is also an obvious difference from Suzuki's ideas:
 36

Of course, I don't like it when a child is not reading, because it's not intellectual
and somehow, I can't get rid of the feeling that it is a bit like teaching birds to
speak. Not underestimating Suzuki, and not without appreciating him, but somehow
that is a feeling, that anyone, that birds can be taught. I would like for my child to
read books, not only say the words. Reading is more intellectual, and music is an
intellectual activity, not just the fingers moving. That is my approach (Szilvay
1990a).

Szilvay also said that he is grateful to Suzuki for his contributions to violin teaching:
Just to go on, not out of politeness, very, veiy much I appreciate the Suzuki method
because it was a historical development in violin playing. Koddly said that music
belongs to everyone, and Suzuki proved in the 70s that the violin can belong to
anyone (Szilvay 1990a).
The development of a work ethic and working in an orderly manner, thereby
fostering self-discipline, is stated by Szilvay as a benefit of music study in
Colourstrings. These reasons justifying early music education for children are quite
similar to Suzuki's: teaching order and discipline, and developing character and the
ability to work with others in an orderly manner.
The teaching of violin-playing to play-school children may very well prepare at
least some of them for future studies in music-schools and music-institutions, but its
task is much more important and many-sided. Most important is the experience of
the child while playing his violin that he has succeeded in bringing music to life and
has had the joy of doing so. This experience-is important for his later attitude
toward work and for the possibility of his taking pleasure in work. Similarly, the
group rhythmic-exercises and in general the experience of working in a group teach
the children the importance and effectiveness of doing things in a certain order and
helps accustom them to internalized and self-imposed discipline. They will need
these qualities in their later activity as members of their society (Szilvay 1977,7).
Although parallels can be noted between Suzuki and Szilvay in the degree of
parental involvement in the lessons and group activities and in the parents' supervision
of home practice by their children, Szilvay exhibits some duality of feeling toward
parental involvement that differs from Suzuki. Szilvay encourages parental participation
for most students. However, he is pragmatic in his approach to the "pushy" parent.
Szilvay will dispense with parental attendance at lessons if he feels the parent is actually
a hindrance to the child's musical development.
 37

This parental assistance is not a must. I can do without the parents as well. If I see
that a child all the time looks back, to see what the reaction of the parent is, or the
mother or father who is sitting theje;I wouldn't ask the parent to stay. There are
sometimes exceptions, so even five year olds wouldn't work when the mother or
father is there. But as a rule, yes, I rely on the help of the parents when they are not
too pushy or too fussy about their child (Szilvay 1990a).

Influence of Rolland's Pedagogy

Paul Rolland's influence on the "Colourstrings Method" is considerable. Szilvay

did not elaborate on Rolland's influence when first asked about it. But in the course of the
interview Szilvay came back to the subject of Rolland voluntarily, with no prompting
from the interviewer
Here, if you don't mind, you asked me whether other methods were influencing
me. Yes, definitely, Rolland influenced my ideas, very much. For instance, now
when I talk about plucking, I use the left hand pizzicato, which was Rolland's idea.
I think that Rolland is in my mind all the time, in my teaching, so it is a constant
influence (Szilvay 1990a).

The use of harmonics early in the "Colourstrings Method" can also be traced to
Rolland. Harmonics in Book A are introduced in conjunction with a picture of a sun
partially behind a cloud. In the Handbook for Book A, Szilvay called the harmonics
"flutelike tones." In the paragraph in which harmonics were discussed, Szilvay mentioned
both Suzuki and Rolland:

A player with a keen ear needs no visual aids in this exercise. A veiy young child
can be helped, of course, by making marks on the finger-board, as is done by the
Suzuki school. A more effective method, used by Professor P. Rolland, however,
would be the fixing of a red point between the D and A strings (Szilvay 1977,39).
Szilvay referred to the harmonics as "cellar" (corresponding to the open string), "attic"
(second partial), and "cloud" (third partial) (Szilvay 1977). These two new harmonics
are similar to Rolland's use of shifts between first position, middle position, and high
position in "The Shuttle Game" (Rolland and Mutschler 1974), but Rolland did not
specifically associate the use of these three positions with harmonics. Rolland used
harmonics in the "Octave Game" (Rolland and Mutschler 1974), but he only used a shift
between first position and the octave harmonic for each open string (this corresponds to
 38

Szilvay's "attic," or second partial, harmonic). Regarding the student's left-hand

development using harmonics from the beginning stages of playing, Szilvay gave credit
to Rolland:
That is again, very much I am thankful for Rolland because I am using the
harmonics immediately, so the children are not staying in the first position. If you
remember polishing the strings, that is an everyday work, thanks to Paul Rolland
(Szilvay 1990a).
The introduction of rebound bow strokes (repeated down bows, or repeated up
bows) by Szilvay can be paralleled with Rolland's teachings. Szilvay introduces these
ideas in Book B, page four, in conjunction with a picture of a curved violin bow that is
part of a continuous circle. This can be related to Rolland's introduction to "Rebound"
bows, and the "Rebound" with long bow strokes (Rolland and Mutschler 1974). The
preliminary exercise to the "Rebound" with long bow strokes is called "The Flying

Pizzicato," in which the student describes an ellipse with the right hand after plucking a
string. This ellipse pattern with the right hand and arm corresponds to Szilvay's circular
bow.
Another similarity between Szilvay and Rolland is their introduction to the
spiccato bowstroke. Szilvay (1977) uses a "jumping" motion of the bow, crossing
between two strings at the balance point of the bow. Rolland (1974) also introduced a
bounced bowstroke combined with string crossing.

Goals of the "Colourstrings Method"

Szilvay was careful to note that although the "Colourstrings Method" has
produced a high percentage of professional musicians in Finland, this was not a primary
goal of the method.
But, I don't like when parents are pushing their children, and they come and they
say that this child must be a professional. So, I'm proud, I'm happy that we
certainly produce professionals, but I must say that it was not our first concern, that
these children would become professionals. If a parent is pushy, I try to curb that.
That is to say that I am not in a conspiracy against the child, that we two, teacher
and parent, or the parent and the teacher, we are in a conspiracy against your child,
 39
to make him a violinist. I tell my teachers, too, that we have to have this attitude:
that this child we are working with might be a musician, that gives you the teacher
enough responsibility, but the child may choose later on that he is not a professional
(Szilvay 1990a).

This attitude of training children in music without the end goal of virtuosic development
is elaborated by Szilvay:

As a rule the child-prodigy in music, the Wunderkind, develops later only into
an ordinary musician—and the exception only proves the rule. The teaching of
violinplaying to children at an early age does not aim at having a number of ten-
year olds earnestly practicing the Sibelius Violin Concerto. Any instruction which
has to be forced upon children and which demands too rapid progress from them is
ultimately destructive for the children, because it may interfere with their balanced
development as human beings (Szilvay 1977,7).
Many former Colourstrings students are now professional musicians. Szilvay credits
their success in music to the method itself, not to the children as prodigies or to his
unique ability as a teacher

Then, so the number, not to speak about quality but quantity, astonishingly, many, a
hundred, who are professionals in this twenty years time, astonishingly, and only
two teachers. It is amazing. But then, sometimes people say yes, because the two
Hungarians, you know, "the new broom sweeps well," do you have that sort of
expression? So that yes, we are. But it's not only me. Those teachers who are
teaching Colourstrings say that somehow these children are more intellectual, they
are playing in tune, they are practicing, their fingers are trained, so there is the
possibility of pursuing a professional career (Szilvay 1990a).
Szilvay mentioned the format of Book A and Book B as conducive to the child's
desire to practice and as a unique aspect of the "Colourstrings Method":
The way you invite the children to this practicing, that is different. Colourstrings is
very nice, really inviting, so that they don't feel that this is hard. They look in the
book and they say, "Oh, well, tomorrow I want to be on the next page, and the next
page," and so on (Szilvay 1990a).
The importance of each child as an individual was evident in observations at the
East Helsinki Music Institute. Szilvay's daily interactions with students revealed him to
be a teacher who truly respected his students, not someone who clearly felt superior to
them.
Both G£za and Csaba seem to have a great deal of respect for the students. At
lunchtime, they both interact with the students in the cafeteria, not eating separately,
 40

but mixing with the students, and circulating around the room to speak to them
(Mitchell 1990).
The following excerpt is also from field notes, about a rehearsal by the Helsinki Junior
Strings. This rehearsal was attended by the prominent Finnish composer, Einojuhani
Rautovaara, who had composed a piece for the orchestra.
Rautovaara was at the rehearsal today, for the Hommage a Liszt Ferenc. What an
experience for these students, to work a piece with the composer present. The
students offered musical ideas and suggestions. Rautovaara listened and was willing
to try their ideas—he is not an inflexible composer. Good musical minds showed in
these students. I was really impressed by the level of interaction at this rehearsal,
not just between Rautovaara and Szilvay, but between the students and Rautovaara.
Szilvay treats his students more like colleagues than children (Mitchell 1990).

Sequence of Instruction
Each child's initial encounters with the "Colourstrings Method" have several
areas of commonality. Acceptance into the Colourstrings program at the East Helsinki
Music Institute is determined by an entrance interview with the child and his or her
parents. The level of musical activity in the child's home prior to the interview
determines his or her acceptance into the Colourstrings program or referral to the
Musical Kindergarten program.

Age of Beginners
The age range for beginners is from four to seven years old. Szilvay thinks that
five years old is a good time to begin, but there is some flexibility within the parameters
of four to seven years old, depending on the child:
The beginner is five years old, that is in my mind a good time to start. No one is
late when he is six, and not late even when he is seven. Four years is sometimes too
early.. . So, I would prefer children to begin at age five or six. But I take four year
olds, if I must (Szilvay 1990a).

The reason for the upper age limit of seven for beginners is due to the nature of
the "Colourstrings Method" itself: colorful pictures of fairy tale characters. In his
Handbook Szilvay wrote, "This violin school has been specifically designed for
 41
preschool-age children and aims to teach them to play the instrument by means of
children's songs" (Szilvay 1977,4). Because of the format of the books, Szilvay thinks
that children past the age of seven would consider the Colourstrings books childish:
But because of this color, because of these very childish games and pictures and
illustrations, this method wouldn't work with a nine year old boy. Because then it
would seem to him that he is underestimated. He would prefer black and white
[notation] (Szilvay 1990a).

Entrance Interview
The parents and the child who wish to begin lessons in the "Colourstrings
Method" have a preliminary interview together before they are admitted to the program.
The purpose of this interview is not to assess the musical aptitude of the child, but to
evaluate the type and quality of musical activities the parents have engaged in with their
child up to that point. The importance of a high level of parental involvement in the
child's musical development becomes evident at the initial interview:
When a child comes to our Music Institute, then he, she, has to do an entrance
examination. What can you do with a four years, five years, or six year old, when
you are given five minutes? Can you decide that she or he is talented? I don't think
any method or any test is reliable. So instead of checking the child's ability, I ask
the parents, "Do you sing at home? Do you listen to music? Do you like music? Are
you ready to work with your child ten minutes now for half a year, then ten minutes
more next year, increasing every half a year ten minutes more and more?" If they
are ready, die child is taken in spite of the fact that he or she couldn't open their
mouth. I am trying to ask the parents, "Are you ready?" And, "Did you do enough
at home while your child was a baby and small?" (Szilvay 1990a).
Szilvay is more interested in the parents' readiness to participate in Colourstrings than
in the child's readiness. He is essentially asking if the parents have prepared the child to
engage in music study.

The importance that Szilvay attaches to the early musical interaction of the

parents with the child is shown by the opening paragraph of his Handbook: "Zoltdn
Koddly, the world-famous composer and pedagogue, went so far as to say that The time
to start teaching a child music is nine months before it is born!' and he was hardly
exaggerating the importance of starting music-training early" (Szilvay 1977,3). Similar
 42
emphasis on the importance of the home environment is evident in the Suzuki method.
However, one noteworthy point of difference is the type of environmental musical
activity advocated by the two methods: Suzuki emphasizes children hearing a number of
repetitions of the same musical selections (Suzuki 1975). Kod£ly, on the other hand,
advocates singing as the primary musical activity of children (Koddly 1974).

The Musical Kindergarten

The course offerings at the East Helsinki Music Institute include a Musical
Kindergarten for children ages three to five years old (Szilvay 1990a). Families wishing
to enroll their child in the Musical Kindergarten go through the same interview process
described for violin instruction, with the same expectations for parental involvement The
emphasis is on parents singing with or to their children:
We do not expect, but we are very pleased, when the families are singing at home,
so when the child comes to Musical Kindergarten that she or he can really sing
somehow, and likes music, that there is a sort of affinity (Szilvay 1990a).
The Musical Kindergarten at the East Helsinki Music Institute is patterned after the
Kod£ly concept of a musical kindergarten. Szilvay said of this program, "In my mind it is
pure Koddly..." (Szilvay 1990a). His experiences as a parent influenced his interest in
the Musical Kindergarten:
But of course, coming from Hungary, it is obvious to me, that the Musical
Kindergarten in Hungary is after the so-called Koddly method. I made my first
kindergarten work with my own children. I started here my work in 1971, and my
daughter was born in 1972. So I grew as a Colourstrings teacher through my own
children (Szilvay 1990a).
After acceptance into the Musical Kindergarten, the child engages in the following
activities: "... in this Musical Kindergarten she/he will spend two years clapping,
walking, listening, doing musical games without any instrument..." (Szilvay 1990a).
Szilvay noted that Finnish adults are not singing to their children as much as have
previous generations (in some ways similar to the trend in the United States):
 43

But there are families, and many times in Finland it is so, people are not singing,
adults my age, they are not singing, they are just switching on the radio or the TV.
So for these children we have to provide an institutionalized musical background,
that is, the Musical Kindergarten. "Colourstrings Method" makes books, series of
books, singing books and records which are meant for children, the Singing Rascals
series (Szilvay 1990a).
The children and their parents who have not been singing need the structured exposure to
music available in the Musical Kindergarten experience.
The support of the parents and the quality and level of their musical activities at
home is assessed at the initial interview to enter either the Colourstrings program or the
Musical Kindergarten. Children are not refused entrance into the Musical Kindergarten
program, but they may be asked to enroll in the Musical Kindergarten prior to their entry
into the Colourstrings violin program, depending on the level and quality of activity in
the home by the parents prior to the interview. Children older than seven years are
generally considered too old to begin training in Colourstrings, and study in another
method or another school would be recommended for them. After the entrance interview,
and for some the completion of the Musical Kindergarten program, the children and their
parents are ready to begin instruction in the "Colourstrings Method."

Private Lessons for String Students

Since the East Helsinki Music Institute is a state school, it must abide by Finnish
laws. According to those laws a child at the beginning level of instrumental instruction
must have a forty-five minute lesson each week. Szilvay divides this forty-five minute
lesson into two segments for beginners: a thirty minute private lesson, and a small group
lesson ranging in length from fifteen minutes to one hour:
. . . the child comes to the lesson, by Finnish law he has tohavea forty-five minute
lesson a week. I divide it. I give thirty minutes, and then the fifteen [minutes] I
would divide between three or four [children]. So then next time they are coming
for the second lesson, then it is divided between four children or three (Szilvay
1990a).
One parent normally attends lessons, both private and group, with the child. Szilvay
 44
stated that the same parent or family member should consistently attend the child's
lesson, and this should be the same parent who is working at home with the child:
I prefer to see them two times a week for individual lessons, we two (teacher and
child) plus the parent who is working with him or her at home, so not changing, not
taking turns, once the mother, once the father, no, it should be one, or grandmother
or grandfather, the one who is working at home with the child. That would be thirty
minutes, and then another lesson which is fifteen minutes, half an hour, or even one
hour. For half a year we are going like that (Szilvay 1990a).
The first six months in Colourstrings is the beginning of the parent's participation in
the program.

When asked about the structure of a typical beginner's violin lesson, Szilvay's
answer again reflects his strong orientation to Koddly:
The four things that somehow I try, I would exaggerate if I say that at every lesson,
"I know that I trained the finger, I trained the ear, I trained the emotion, and I
trained the intellect." But somehow I try to do that, so that these four are always
developed a little bit at every lesson (Szilvay 1990a).
This statement parallels his description of the "Colourstrings Method" cited previously
under "Influences on the 'Colourstrings Method.'"

The young students following the Colourstrings program normally continue at

the Music Institute for a period ranging from seven to ten years. Speaking of the
previously mentioned student schedule of a private lesson, group lesson, and orchestra
rehearsal each week, Szilvay said:
And that will go on for seven, eight, nine, or ten years. The individual lesson will
gradually grow to sixty minutes, the group lesson will be chamber music, duo, trio,
quartet... (Szilvay 1990a).

Role of the Parents

As noted in the section "Influences," the parents are normally expected to work
with their child at home, as well as to be present at all individual lessons and group
lessons. Much of the work of learning to play the violin is in the hands of the parents. The
consistency of daily practice is emphasized, and is considered part of the parent's

readiness to participate in Colourstrings with the child:

 45
There is this expectation on the side, that the parents are working with the child.
You only see the children two times a week, so the majority of the work will
happen at home. It's not a great amount of time that they would give to the child,
but it is important that it is regularly every day... (Szilvay 1990a).
Szilvay noted that he found it more difficult to get Finnish children to practice in
the late 1980s than when he began in the early 1970s, a point that may seem familiar to
many violin teachers in the United States.
In the 70s it was easier to demand of the children to do "hard work," string quartets,
hard work. And now in the 80s it is considered almost torturing the child if you
demand that ten minutes should be played. But the violin, or any instrument, can't
be learned without practicing. So you can't get around it. If you want the child to
play the instrument, he has to practice, and that is plain fact... (Szilvay 1990a).
The terminal point for parental involvement with the child is twelve years old. At that
point, Szilvay thinks that the child can assume total responsibility for his or her lessons
and practicing at home.
So this is the attitude towards parental assistantship: please help me ten minutes,
twenty minutes, one hour, but don't push the child. When the child is twelve years
old, I ask the parents to leave the lesson, not to be there any more (Szilvay 1990a).

The parents continue to be responsible for transporting their child to at least three
meetings a week: the private lesson, the group lesson (chamber music), and the orchestra
rehearsal.
After the child plays for several months, the frequency of meetings at the Music
Institute increases from twice to three times weekly. The schedule of one private lesson,
one small group session for chamber music, and an orchestra rehearsal each week
continues for the rest of the child's time at the Institute in the Colourstrings program.
The role of the parent who attends the lessons will be significant: this parent also attends
the group session and supervises the child's practice at home. In extreme situations,
however, the parent's presence at lessons may be terminated by the teacher. Once a child
begins in the "Colourstrings Method," the level of her or his musical activity is frequent,
and music becomes a part of the family's life.
 46
Dynamic Changes

There have been a number of dynamic changes in the "Colourstrings Method"

since its initial development by Szilvay, including the use of colors, the use of an
entrance examination, the age of beginning students, and the Musical Kindergarten
experience. These dynamic changes reflect two important facets of Szilvay as a teacher
his holistic attitude toward children's development as musicians (as opposed to
concentrating exclusively on their technical progress on the violin), and his strong sense

of pragmatism in the sense of using what works with children over a period of time and
discarding what does not. Szilvay's opinions on the adaptation of the "Colourstrings
Method" by string teachers are included at the end of this section.

Use of Colors

In the early stages of the "Colourstrings Method," Szilvay used only black and
white notation for the students' music. Now the use of colors in Szilvay's method is, for

him, to "feel the difference between the strings. There are four different strings, I mark it
with four different colors" (Szilvay 1990a). In the 1970s, Szilvay learned from a
Hungarian researcher of a color scale relating pitches with specific colors. The Hungarian
researcher, Farkas Kerekes, worked at the University of Mainz (Szilvay 1977,6).
Subsequently, Szilvay had the four violin strings correspond in color to Kerekes's scale:

G-string was green, D-string was red, A-string was blue, and E-string was yellow, and

he began to correlate the color of notation (notes and staff lines) to the string being
played. Despite the name of his method, "Colourstrings," Szilvay does not attach
paramount importance to this color scale; he thinks that children enjoy the colors and And
them interesting, and that the use of two senses, visual and aural, helps the learning
process for children:
In my Violin School I have applied the principle of the reinforcement of perception
through the joint functioning of the two senses of seeing and hearing by coloring the
 47
strings of the violin with different colors, in a manner related to the color-scale
(Szilvay 1977, 5).

Naming his method "Colourstrings" was suggested by his publisher, Fazer Music Inc., in
the 1970s and was not Szilvay's idea (Szilvay 1993). Szilvay addressed the fact that as
soon as a finger is placed down on a string, the color of the pitch should change, if one
adheres to the idea of a color scale. Regarding the importance of the colors used, he said:
But look, it is not of great importance, because immediately, when you put down
your first finger on any string, the color should change. It's only important at the
beginning. But if someone believes that colors and notes have a relationship, then it
might be that this connection helps the children. I can't say that, because I don't
understand it that way. But I feel certainly that all my children, not only my own,
they do prefer the colors instead of the black and white. So that which is colorful is
more interesting for a child than that which is only one color. Certainly a child will
use all the pencils he has on the table, and not only the black one (Szilvay 1990a).

Aee of Beginners

Szilvay's view on the age of beginners has changed since the early 1970s. His
writings indicate that the "Colourstrings Method" was originally conceived for children
of "playschool-age," in Finland considered ages four through six. In his Handbook he
wrote, "The need for music-training for children of playschool-age is being recognized
more and more, all over the world" (Szilvay 1977,4). Now he feels that children can
wait longer to begin and still make good progress on the violin, a perception apparently
influenced by his experiences as a parent.
In the 70s I was happy when the children were coming and they were four years old,
but maybe I was young and I wanted to have nice results with small children. But
now, getting older, having four children, I see that children are different. Many
times we, the parents, are a bit too pushy to give the child the violin. And this was
in the 70s a sort of fashion, to give a small child, three, four years old, the violin and
playing it. Later on, there is a break in their development, Colourstrings children
and Wunderkind. Now I dare to say that there is no hurry, it is not needed to urge
the children to begin the violin. They go steadily further and further without
mistake, methodological mistake... (Szilvay 1990a).

The Entrance Interview and The Musical Kindergarten

In his early days at the East Helsinki Music Institute, Szilvay used an entrance
 48

examination to determine a child's acceptance into the program. This changed later, so
that the entrance examination became more an examination for the parents than for the
child. The Musical Kindergarten is not a prerequisite for all families who wish to enroll
their child in the "Colourstrings Method," but Szilvay hopes that it will be a prerequisite
in the future. When asked if he requires the child to participate in the Musical
Kindergarten before entering the Colourstrings program, he stated, "It is not a
prerequisite, but we are developing into this trend or direction that later on it would be a
prerequisite, later on. I wish it would" (Szilvay 1990a). This is an example of Szilvay's
changing ideas; his opinions are not static. It is interesting to note that his adaptation of
the Musical Kindergarten as a prerequisite would bring Colourstrings more in line with
Koddly's tenet of delaying the introduction of an instrument until the child can read
music and sing. Regarding Colourstrings students' participation in the Musical
Kindergarten prior to violin instruction, Szilvay stated:
That is for a normal Colourstrings child, but many times they are first coming to us
when they are five or six or even four years old, and they want definitely to pick up
the violin without any formal education, such as the Musical Kindergarten. So this
Musical Kindergarten is not a condition for coming to play the violin. There are
many who come without the Musical Kindergarten, but the ideal is the Musical
Kindergarten... But now I have pupils who are still without this Musical
Kindergarten, but then I know that they have a good musical background, "von haus
aus," as in German they say. [Note: translation of this German phrase is
"fundamentally" or "from the beginning."] So that at home they have family,
grandmother or mother, that are singing, and doing a sort of a Musical Kindergarten
(Szilvay 1990a).

Adaptations of the "Colourstrings Method"

Szilvay's pragmatic attitude of "If it works, I use it" extends to his attitude toward
teachers using, adapting, and changing the "Colourstrings Method." He says quite matter-
of-factly that, of course teachers will change his method, and adapt it in different ways
(Szilvay 1993). It seems to be almost an expectation of his that Colourstrings will be
used by teachers in ways other than his own. Szilvay suggested in his Handbook that
teachers make up their own rhythmic syllables if they wish and the order of fingers
introduced to the students could be modified so that students learn the second and fourth
fingers before they play the third finger (Szilvay 1977). The latter suggestion delays the
introduction of the half step between second and third fingers until after the fourth finger is
introduced, thus delaying the introduction of the half step mi-fa (do is the open string).

Description of the Colourstrines Curriculum and Materials

Book A Curriculum
The curriculum of the "Colourstrings Method," as it is taught at the East Helsinki
Music Institute, consists of several components: technical considerations of the instrument,
ear training, music theory, chamber music, and the youth orchestra. These components are

integrated into the curriculum from the child's earliest days at the Institute. For purposes of
this discussion, the term "technique" will consist of Szilvay's approach to posture and
instrument hold, left hand technique, and right hand technique. The approach to this section
of the paper will not be a page by page description of Szilvay's Violin ABC books, but an
analysis of his conception of technique, ear training, and chamber music in the overall
curriculum, and in the Violin ABC Books.

Stance. Posture, and Instrument Position

In order to establish the correct standing position with the instrument, the teacher
traces the beginning student's footprints on a piece of paper, in the proper stance. The child
can use this foot pattern for practice at home and for the early lessons, for about a month.
The teacher encourages the child to place his or her feet and legs slightly apart, with weight
evenly distributed on both feet (Mitchell 1993a). Szilvay wants the child to "feel" his or her
weight from the waist, and to be well balanced; he may put his hands on the child's waist
and move him or her back and forth to check balance. He has the child bend his or her
knees, to avoid a rigid posture. The approach to the support position of the violin is similar
to other violin schools, involving three support (or contact) points: 1) lower support—
 50

surface of the collarbone and the back of the violin; 2) side support—neck and the lower
bout of the violin; and 3) upper support—left side of the chin against the chin rest (Szilvay
1977). Other considerations for the instrument hold are the angle of the violin to the child's
body, the tilt of the violin, and the horizontal angle of the instrument
In his Handbook, Szilvay (1977) mentions that there is room for variation in the
instrument hold due to physical differences in children. His guiding principle is this:
"... the execution of a movement is perfect only when the desired effect is achieved with
the least possible application of force" (Szilvay 1977,13).

The First Lesson

The teacher holds the child's left hand up in "violin position" (where the left hand
contacts the neck of the violin), and brings the violin to the child. In preparation for
holding the violin, he has the child drop his or her chin on the teacher's hand (which is
resting on their shoulder where the violin will be), so the child will better understand the
idea of head weight resting on the violin. The teacher instructs the child to press down
excessively on the teacher's hand, then to relax. The idea is for the child to use the natural
weight of the head to hold the violin on the shoulder; the parents are instructed to check the
child's head weight on the violin by directing the child to drop his or her head on the
parent's hand, which is placed on the child's shoulder. The instrument hold consists of a
"main" violin hold (head and shoulder), and an "auxiliary" hold (left-hand thumb and base
of index finger on the violin neck) (Mitchell 1993a).
The first page of Book A depicts the four "musicland" characters representing the
violin strings: a green "teddy bear" for the G-string; a red "father" for the D-string; a blue
"mother" for the A-string; and a yellow "birdie" for the E-string (fig. 1) (see Appendix B).
Page two shows four lines corresponding in color to the four violin strings. These lines in
Book A are in the same perspective to the student as the strings of the violin when it is in
playing position on the shoulder. The teacher places a piece of masking tape on the violin
 51

bridge (facing the child in playing position), with lines drawn in the appropriate color
below each string. This way the child can visually associate the violin strings with the
colored strings in Book A. No finger markers or tapes are used; Szilvay thinks that
intonation should be heard, not seen (Mitchell 1993a). Even for beginners, the only type
of fingerboard marker Szilvay uses is a small adhesive dot to indicate the position of the

octave harmonic, an idea he credits to Rolland (Szilvay 1977; Mitchell 1993a). After
placing the violin in playing position, the teacher holds the child's hand in the correct
playing position, and shows the child how to pluck the strings with his or her right hand
index finger. Then the child rhythmically plucks the strings with his or her right hand, in
response to the teacher who rhythmically points to the picture in the book representing the
string (Mitchell 1993a).

Other first lesson activities include shaping the child's hand for left hand pizzicato
(with the fourth, or little, finger), and showing the child how to hold the bow and guiding
the child in rhythmic bow strokes on the violin. When asked about what is taught in the
earliest lessons for the left hand, Szilvay said:
Left hand pizzicato, Rolland. They are plucking the string with left hand
pizzicato, the pictures, you remember the birdie, mother. They will pluck the
strings with the left hand pizzicato, I keep their left hand in the correct position,
and then they will do the movement with the bow (Szilvay 1990a).

The child has an early introduction to bowing in the "Colourstrings Method":

They hold the bow immediately, because anyway, they will hold it at home. This
being the case, why to (pause) I was taught so that half a year we were playing
pizzicato, and there are some teachers still who are using this. But the child is
interested to have the bow, and why not hold it properly from the start? But, I use
the thumb under the frog for several months (Szilvay 1990a).
Introducing the child to the bow in a supervised setting, under the teacher's guidance, is
another example of Szilvay's pragmatism: he realizes that most children will go home and
try to use the bow, whether or not their teacher wants them to do so. The teacher actively
guides the child's bowing in each lesson for approximately the first six months of study
(Szilvay 1990a). Szilvay's approach to beginners is very "hands on," guiding their bow
 52
arm, and constantly monitoring and correcting their instrument hold and posture. He stays
in front of the child most of the time for the first several months, and considers this his
"sphere" to help the child (Mitchell 1993a). Comparing a group teaching approach
versus a private lesson approach, Szilvay said:

Therefore it is very important that (pause) It is a jump in my answer that I can't

believe that a group teaching method really gets good results because you can't
control the bow hold and the violin hold. So a mere group teaching method for violin,
I think, it is a bad service for the children. For individual lessons when die child is
working with you, you work with the child all the time, correcting mistakes. Very
necessary, then you can start with the bow right at the first lesson (Szilvay 1990a).

Technique in Book A
In a distinct contrast to the Suzuki method, Szilvay encourages longer bow strokes
from beginning students. Feeling that shorter bow strokes for beginners leads to stiffness
in the left arm, Szilvay places a chalk mark at the "home place" on the bow, approximately
at the balance point, and encourages the child to use the bow from this chalk mark to the
point of the bow (Szilvay 1977; Mitchell 1993a). In the 1980s, however, Szilvay began
using shorter bowstrokes with his students, as a way to check their intonation. When asked
about the length of bowstrokes that he encourages beginning students to use, he said:
Right question, because now, I like when the children are using long, long bows at
the beginning, and you know in the Suzuki book where the number one rhythm is
[sang the first Suzuki rhythm, ta-ka-ta-ka ta ta, four sixteenth notes, two eighth
notes] where it is almost at the tip of the bow. In the 70s I felt that the children who
used these very short strokes, they produced a good tone, but they are, from the arm,
they are stiff. And my children, I felt that they were using the bow smoothly, and
then later on they divided the bow. Now I use both, in the 80s. I use the long bows,
but for intonation, a sort of preparatory exercise, I use these small, little strokes as
well. So another correction, that this is now the second time that I use Suzuki ideas
(Szilvay 1990a).
This change in Szilvay's attitude toward shorter bow strokes is further evidence of his
pragmatism: he found the short bowstrokes helpful in checking students' intonation, so he
included this shorter bowstroke in his teaching strategies.
There are no string crossings with the bow in Book A of Violin ABC', all pieces are
written on one string. This avoids children practicing on out-of-tune violins between
 53

lessons, and having their ear become accustomed to out-of-tune playing. String crossings
are first introduced on the last two pages of Book A and in Book B, when either the child
or the parent will be able to tune the instrument between lessons (Mitchell 1993a).
Students and parents learn to tune the violin in Book B, page nineteen, when double stops
on the open strings are introduced—the do-so relationship (Mitchell 1993a).
An important feature of the Violin ABC Books is the use of movable do, which is
also related to the child's left hand technique, and shifting to other positions on the violin.
While crediting both Rolland and Koddly for their impact on his method, Szilvay stated that
incorporating movable do with the violin fingerboard is a unique contribution of the
"Colourstrings Method":

And then immediately, many thanks for Koddly, I can use not only polishing the
strings, but can play the songs in all the positions because of the movable do. And
this movable do on the fingerboard was not used until the "Colourstrings Method."
We play the violin through right from the beginning because of the movable do.
And we're not restricted to G, D, but actually using all the strings and positions, a
great, great advantage (Szilvay 1990a).
The "cloud tone" hannonics are introduced on page forty-eight of Book A Movable do is
introduced on page thirty-one, with previously learned do-re pieces. The students
transpose these do-re pieces, originally played with open string and first finger, to first
(do) and second (re) fingers (Mitchell 1993a). When the students transpose, Szilvay

instructs them to play the pieces from memory, so music reading on a specific color string
is not associated visually with a different location on the fingerboard (Mitchell 1993a).
These directions to the teacher for transposing the do-re melodies are new to the second
edition of Book A; there were no directions in the first edition for transposing the do-re
melodies for other fingers and positions on the fingerboard. The students play these do-re
melodies from memory, to avoid confusion that may stem from their visual association
with string colors in the notation.
 54
Ear Training (Solmization) and Music Reading

Although Szilvay introduces children to ear training and the violin at the same time
(a departure from Koddly's ideas), children in Colourstrings sing each piece before
playing it. The Curwen hand signs used with solffege syllables in Koddly methodology are
also used in Colourstrings. Szilvay's wish that the child have previous musical
experience before beginning the violin is in line with Koddly's concept of singing before
playing, and having a thorough background in solfege and rhythmic training before
attempting to play any instrument (Koddly 1974). In his Handbook Szilvay (1977) wrote:
Children should always be made to sing before they proceed to handle their
instruments. Both in group instruction and in private lessons, pupils should be made
to sing frequently: this should also be done before rhythm exercises. The teacher
should take part in the singing. What is accomplished by this is that after the singing
the violin playing will seem quite natural (Szilvay 1977,22).
The children sing the pieces in Books A and Bat a pitch level that is comfortable for them;
they do not have to sing at the correct pitch level (Mitchell 1993a). This is in concurrence
with the movable do system: the intervallic relationship of the pitches is important, not the
maintenance of an absolute pitch level.
Rhythm training begins at the first lesson for Colourstrings students, with
students marching the beat for quarter notes. The same system of rhythmic syllables and
movements used in Koddly's approach are incorporated in Colourstrings, as well as the
order of rhythms introduced: TA for the quarter note (student claps palms together); ti for

the eighth note (student claps two fingers in palm); and TA-A for the half note (student
claps palms together on first beat, then elbows together on the second beat).
Like Rolland, Szilvay introduces children to the use of the fourth finger in the early
stages of their study. Some traditional methods wait considerably longer to begin use of the
fourth finger. The "Suzuki Method" first introduces the use of the fourth finger on page
twenty-two of Volume One. The order of fingers in Colourstrings is related to the

traditional "first-finger pattern" on the violin: 1st finger (whole step) 2d finger (half step)
 55
3d finger (whole step) 4th finger.

According to the custom generally adopted by violin schools, we shall begin

instruction in fingering with the so-called first finger pattern, because it corresponds
to the natural order of the fingers (Szilvay 1977,28).
Development of the student's fourth finger on the left hand is important to Szilvay, who

considers the relationship of open string, second finger, and fourth finger the basis of good
intonation. This relationship (open string-second finger-fourth finger) is do-mi-so if do
corresponds to the open string, and the second finger functions physically as the "axis"
finger of the left hand (Szilvay 1977). Letter names are not used for pitches in Book A;
only the solfege syllables are used for pitches, and the "musicland" characters for the four
strings (bear, father, mother, and birdie).

Book A of the Violin ABC books is visually quite appealing to young children. The
first edition was oversized, 113/4 inches high by 16 1/2 inches wide, and easy for young
children to see. Due to production costs, the second edition of Book A is smaller, 9 inches

high by 11 3/4 inches wide. Besides the use of four colors in association with the strings,
the "musicland" characters associated with the strings and the other artwork is of excellent
quality, particularly in comparison with other beginning violin methods. The illustrations in
Book A are by Maija Arvola, and in Book B by Leila Perakyla and Maija-Liisa Soveri.
Pages in both books are uncluttered, making it easier for young children to focus visually.
With the exception of brief directions on five pages with blank staves for the teacher to
write in their own melodies for the child to play, and five pages for students to compose

their own melodies, there is almost no writing on the pages of Book A. On pages where a
new pitch or interval is introduced, the solfege syllables are written out (i.e., do, re, mi),
and a picture of the corresponding Curwen hand sign is next to the syllable.
Many aspects of the notation in Book A are taken directly from Koddly. Pipe stem
notation, no use of bar lines at the beginning (notes are grouped together spatially, with a
slight separation where the bar line would be), use of a one-line staff until fa is
 56

introduced, and a two-line staff for the rest of the book (pitches do through so) are
examples of notation derived from the Koddly approach (Szonyi 1973; Szabd 1969).
When the quarter rest is introduced, Szilvay has a picture of a sun beneath each quarter
note, and a cloud passing over the sun for the quarter rest. This exercise is followed by
pictures of thin lighted candles beneath eighth notes, and a fat unlit candle beneath the
quarter rest (fig. 2). This type of pictorial representation of rhythmic values, notes, and
rests occurs in Kod&ly methodology (Szab6 1969).
The innovative aspects of the notation in Colourstrings includes Szilvay's use of
imaginative stories and explanations, and the use of the four colors in conjunction with the
"musicland" characters for each string. One of the strengths of the Colourstrings books is
Szilvay's engaging depiction of musical ideas. The placement of do on the staff is
determined by the do key symbol, which looks very similar to the do clef sign originally
used by Addm (1971) and later adapted in Koddly methodology. Szilvay's explanation for
this do key is imaginative; he tells the student that the do key belongs to the janitor, who
has a key to all the apartments in the building (fig. 3). The quarter note Ta lives in the
house, and part of the roof of the house is the staff line just over the quarter note.
When the repeat sign is introduced, Szilvay incorporates this musical symbol into a
"backwards smiling face" (fig. 4). Most pieces in Book A are accompanied by illustrations
related to the lyrics. The lyrics for each of the pieces are in the Handbook, but Szilvay says
that children and teachers can make up their own words for each piece (Mitchell 1993a;
Szilvay 1977).

Book B Curriculum
Since Book B is technically more advanced, it contains more examples of Szilvay's
imaginative use of graphics to depict musical and technical concepts. Some of the musical
concepts depicted in Book B include the symbol for a slur, presented as the curved bottom
of a boat, rocking on the water (fig. 5). Two eighth notes beamed together and then two
 57

separate eighth notes are represented by a train engine and car, first joined together then
separated, and as two boys, first playing together with hands joined then going their
separate ways. First and second endings have pictures of dice over each ending, a
die showing the number one over the first ending, and then a die with a two over the
second ending (fig. 6). A train pulling into a station indicates crescendo, and pulling out of
the station, decrescendo (fig. 7). An octave played with the open G-string and third finger
on the D-string is represented by a picture of a big uncle holding hands with his little
nephew (fig. 8) (Mitchell 1993a). Anacrusis, or "pick-up," notes are shown by
superimposing the notes of a short musical selection on a circle, so the pick-up note and the
last measure are printed together.

Technical concepts introduced in Book B with imaginative graphics include the

five-line staff on the first page. Szilvay's explanations are also imaginative, and represent a
dimension of the "Colourstrings Method" that is not completely explained by his writings.
In Book B, pictures of the bear, father, mother, and birdie all live under a roof. The bear
and the birdie (G-string and E-string) do not live in the main part of the house, but in the
cellar (bear) and the attic (birdie) (fig. 9). Szilvay tells the children that the bear and birdie
do not have a proper place in the house, so they have to use the leger lines as steps from the
attic or the cellar (fig. 10) (Mitchell 1993a). When introducing rebound bows (all down
bows, or all up bows), Szilvay superimposes a picture of a bow on a circle, accompanied
by either down bow symbols or up bow symbols, which describe the appropriate motion
of the right arm (fig. 11). On page twenty-five, so can be played fourth finger on open A or
as the open E-string. This is represented by a drawing of twins, one with dark hair (fourth
finger on the A-string), and one with light hair (open E-string), to indicate the same pitch
played in different places. The motion of sliding the second finger from a high position
(next to third finger) to a low position (next to first finger) is depicted visually by a wavy
line with notes printed on it (fig. 12). String crossings with the bow require a loose and
 58
flexible wrist as the tempo increases. This is represented by notes printed on a wiggling
caterpillar, mimicking the wavy motion of the right wrist (fig. 13). Szilvay uses the
analogy of turning the do key in a lock for pronation and supination of the right hand
(wrist) for down bows at the point and up bows at the frog (fig. 14).
Concepts in Book B that are both musical and technical include the introduction of
the syncopated rhythm eighth note-quarter note-eighth note, or ti-Ta-ti. This is shown by a
drawing of different sizes of violin bows: small bows for the eighth notes, amd a larger
bow for the quarter note. Szilvay uses a drawing of a bow for the two-line staff in an
illustration of four notes slurred on a bow (fig. 15). Double stops are represented by the
"musicland" characters for each string, in color. The double stop using the open G- and D-

strings is depicted by a picture of the bear and father with hands linked. For the A- and E-

string double stop, the mother character has the birdie sitting on her shoulder (fig. 16).

Choice of Literature
The pieces in Books A and B of Colourstrings are generally quite short in length.
In Book A, the longest piece is sixteen measures, with every two measures repeated
(Szilvay 1991b). Most of the other pieces are six, eight, or ten measures in length.
Although many pieces in BookB are longer than those in Book A, the longest piece in
Book B is only twenty-four measures. Szilvay thinks that children can detect the form in
these shorter pieces more easily than in longer ones, and learn about phrasing and structure
more easily than they could in longer pieces (Mitchell 1993a). Some of the musical
selections in Books A and B are by Koddly (1972), from the 333 ReadingExercises
(1972). When asked about his criteria for selecting the music in the Colourstrings books,

Szilvay said:
If you really analyze how it is built up, these eight bars, beautifully, it is like a small,
beautiful building, so the child really can learn form in that The Koddly pieces, these
small little songs, eight bars or more, they are all masterpieces (Szilvay 1990a).
Szilvay also consulted Musical Kindergarten teachers in Hungary and Finland for their
 59

recommendations of songs that children prefer. The following table, an analysis of Books
A and B for origin of musical material, reveals an eclectic mix with a heavy emphasis on
Hungarian folk songs and pieces by Koddly.

Table 4.~Origin of Musical Materials for Book A and Book B.

Pieces by Zoltan Koddly - 34

Hungarian folk songs - 59
Finnish folk songs - 28
German folk songs - 15
English folk songs - 3
Austrian folk songs - 2
American folk songs - 2
French folk songs -
Peruvian folk songs -
Bulgarian folk songs -
Norwegian folk songs -
Danish folk songs -
Swedish folk songs -
Folk songs (no country) - 2
Pieces bv individual composers - 11
(4 by Jorma Ollaranta; 3 by P81 Jdrddnyi; 2 by Maisa Krokfors; 1
by Hannele Viitanen, and 1 by Carl Michael Bellman)

Such a mixture of folk songs from so many different countries reflects Szilvay's attitude of
"I leave the door open" to music from places other than the child's mother country (Szilvay
1990a).

Chamber Music and Orchestra

The small group sessions are the child's introduction to chamber music. These
sessions are viewed as complementary to the private lessons, and give the children an early
opportunity to make music with other students.
Even at the play-school age group-instruction is very useful, and it supplements the
individual lessons (Szilvay 1977,4).
 60
If the basic points regarding the position of the violin and the bow have already been
taught in individual lessons, the group-hours can start off with actual playing
(Szilvay 1977,5).
The chamber music aspect of this program can be compared with Koddly's
"emotional" category, as mentioned previously in the section "Influences on the
'Colourstrings Method."' The act of children making music together is viewed by Szilvay
as being not only an important musical influence, but also what he terms a "social" and
"emotional" influence.
. . . they are playing all the time in groups, in chamber orchestra, chamber groups,
somehow it invites them to this profession. I think this emotional influencing is quite
decisive, and this social influence, that they are from the start playing together
(Szilvay 1990a).
Book A of Violin ABC was oversized in the first edition: 11 3/4 inches high by 16
1/2 inches wide. This facilitated several students reading simultaneously from the book
when placed on a music stand.

Large drawings make it easy to read the notes. In group instruction, about eight to ten
children can play from the same picture, and this helps to keep their attention fixed on
the task at hand (Szilvay 1977,6).
Another purpose for the oversized first edition was mentioned by Szilvay: the book
was too large for the child to manage, along with a violin, so a parent had to come to the
lesson with the child in order to carry the book (Mitchell 1990).
Several selections in Book A have a drawing of a girl or a boy at the beginning of
each line. According to the Handbook for Book A (Szilvay 1977), the girls in a group
class play the lines indicated by the picture of a girl, and the boys play the lines indicated by
the picture of a boy. Some lines of music have a picture of both a boy and a girl. These
duets are the prelude to chamber music.
Szilvay "conducts" very young students when they play their pieces in Book A and
BookB. This information is evident only from field observation, not from Szilvay's
writings in the Handbook or the Violin ABC books. Beginning on page ten of Book A,
Szilvay indicates the steady beat, crescendo and decrescendo, dynamics, and ritardando to
 61

the student by means of physical gestures. This gesturing not only encourages a musical
performance and the internalization of musical concepts, but also seems to subconsciously
train the children to be sensitive to a conductor.
The use of small groups in the "Colourstrings Method" can be compared to the
Suzuki "group lessons." The Colourstrings group lessons are both similar and different
from the Suzuki method: the fact that children are playing together in groups is similar to
Suzuki, but the way the children are playing is decidedly different In Suzuki group
sessions, children usually play the same music in unison, with piano accompaniment
Colourstrings group lessons have children actually playing different musical lines, or parts.
Speaking of the Colourstrings students, Szilvay noted this difference in group lesson
activity without specifically naming the Suzuki method:

And they are not playing in unison, but they are playing chamber music, where every
member is very important, that they are not only numbers, or like soldiers, one drops
the violin, nothing happens. But here, everybody is always very, very important
(Szilvay 1990a).
The importance of each student is evident in Szilvay's interactions with the Helsinki Junior
Strings. Each member of that ensemble is treated as an important, vital member. The
following observation, dated 28 July 1990, occurred before the interview with Szilvay.
I get a sense that every student is important; no one is allowed to have bad intonation
or sloppy rhythm, bad entrances, etc. Szilvay is absolutely painstaking with what he
hears, and seems to have a great deal of respect for his students ... (Mitchell 1990).
The school year begins in September, so that is when all beginners start private
lessons and small group instruction in the Colourstrings program. By the following
January, which is the beginning of the second semester, the children usually progress far
enough to begin preliminary work in an orchestral setting.
And then when they can hold the violin, we have the orchestra. We start in
September, first of September. In January they can handle the bow, they can handle
the violin by themself, they don't need the parent or the teacher's manual assistance.
So then they can play open string, first finger, second finger, even all fingers together
in some little pieces. This early chamber music is somehow quite possible, and is a
very important thing (Szilvay 1990a).
 62
At this point, in January of their first year of study, the frequency of experiences for the
children enrolled in Colourstrings at the East Helsinki Music Institute increases.
And then when this orchestra meets, then three times a week we meet Thirty minutes
for the usual lesson, fifteen minutes combined with others, group lesson, and then
once the orchestra. And then the orchestra will develop into a string orchestra, not
into a symphony orchestra. That is not my preference. That is at the Sibelius
Academy... (Szilvay 1990a).
Szilvay has contributed significantly to the increase in the amount of high quality
music written for young string groups. When the Helsinki Junior Strings became a
performing ensemble in the 1970s, Szilvay arranged for a series of chamber music

compositions to be written and published for young string orchestras, the Finnish-
Hungarian Chamber Music Series for Young String Players (Rossa and Szilvay 1982). The
seven volumes of chamber music were arranged by Rossa, a Hungarian composer and
arranger whom Szilvay has known since childhood (Szilvay 1993). With two or three
violin parts and a 'cello part, the arrangements in this series are intended for both young
and older, more advanced, students. One of the violin parts is for the younger, less
advanced students (the tutti part), and the other violin parts are for the technically more
advanced, older students. Although the violin parts are presented in score form, all on one
page, Szilvay stated that the tutti part for the younger students may be copied out by the
teacher, using the colored notation in Book A (Mitchell 1993a). These pieces give the
students the opportunity to make music together from a young age, and to learn to listen,
blend, phrase beautifully, and develop sensitivity to the conductor.
Another series of musical arrangements for young strings has not yet been
completed: Colourful Music for Strings, arranged by Rossa and Kuusisto (1990). This
series is published by the Association of Finnish Music Schools. Volumes 1-3 were
published in 1990; volumes 4 and 5 are in progress. The format of this series fits in with
the pedagogical aims of the "Colourstrings Method": the solo line for each piece is a
 63

melody from Book A or Book B of the Violin ABC books, and is intended to be played by
one of the young beginners in the Method (Szilvay 1993). The string orchestra plays the
accompaniment for the soloist Giving the young beginner a solo part to play is a change in
format from the earlier Finnish-Hungarian Chamber Music Series, where the young
beginners played only tutti parts. Szilvay thinks it is important for the beginner to have the
opportunity to be a soloist with the orchestra, and this series gives each child that

opportunity (Mitchell 1993a). These arrangements are extremely clever, and are what this
researcher considers a high quality of music: harmonies are more complex than the tonic-
subdominant-dominant structure of many arrangements for children's groups, and the
orchestra parts are rhythmically demanding for each instrument, not written in block style
with all parts playing the same rhythm. This series is written in score form, rather than in
separate parts, so that the students see not only their part, but everyone else's part as well.

This fosters sensitivity to the entire ensemble, and encourages students to listen to the
group, not just their individual part

Edition Revisions
Book B of Violin ABC was published in 1981. The second edition of Book A was
published in 1991. There are more changes between the first and second editions of Book
A than between the two editions of Book B. The changes in Book B were not substantial
enough to warrant the designation of "revision" by the publisher. Book A changes are
primarily of two types: 1) changes in pictures and graphics, for clarity, enhanced
understanding, and ease of use; and 2) changes in instructions to the teacher (see Appendix
C). An example the first type of change is the addition of a picture of a two-story house
to correspond with the two-line staff, and changing pictures of cars and trains to run from
left to right, the same direction that the notes are read (in Book A, pictures of trains and
cars were facing to the left). The latter change was prompted by the children in
Colourstrings, many of whom pointed out to Szilvay that the cars and trains did not "run"
 64

the same direction as the notes were read (Mitchell 1990). The differences between the two
editions of Book B are primarily in the second category, changes in instructions to the
teacher. When asked to summarize the most important changes between the first and
second editions of Books A and B, Szilvay said, "Activating the child by having him or her
compose their own short pieces. Even more transposing using the movable do; the
directions are clearly stated for the teacher in the second edition" (Szilvay 1993).

Supplementary Material and Works in Progress

Szilvay has not been content to call Colourstrings a finished product. Book C of
Violin ABC is in progress at this writing, and will deal with all the finger patterns and
positions other than first on the violin (Mitchell 1993a). A new solo series, Violin
Rascals/Cello Rascals is also in progress. This series is projected to be a set of seven

books containing easy concert pieces for young violinists or cellists. The arranger for the
series is Rossa (1992), who also arranged the two previously mentioned chamber orchestra
series. The credits for this series include the statement, "Instructional methodology
designed by G6za and Csaba Szilvay." Books 1,2,3,6, and 7 are in progress at this
writing. Books 4 and 5 are available from Fazer Music Inc. Book 4 has the organizational
premise that each piece is based on a particular pitch of the unaltered diatonic scale of C-
Major. The opening and closing notes of each melody fall on the tonic pitch of the piece.
These pieces are intended for Colourstrings violin students at the end of Book B, but
Szilvay emphasized that the solo series can be used by students from any method (Mitchell
1993a; Szilvay 1993). One of the pieces in Book 4, based on the pitch D, is entitled
"Hommage h Mr. Suzuki," and contains the English folk tune "Baa Baa Black Sheep."
Each solo has piano accompaniment, and Szilvay refers to them as "sonatas" for young

children (Mitchell 1993a). The folk songs used in Book 4 of this series are eclectic, from
Finland, Hungary, England, France, Scotland , and Germany.
 65
Book 5 in the Violin Rascals series is designed for use at the beginning of Book C
of the Violin ABC series. Each piece emphasizes a particular interval, introduced in the first
two notes and emphasized throughout the rest of the selection. The intervals in Book 5
range from unison through octave, moving up by half steps (unison, minor second, major
second, etc.). The first selection, emphasizing a unison, is based on the English folk song
"Old MacDonald Had a Farm." The interval of a minor third uses the English folk song
"This Old Man," the perfect fifth uses the English folk song "Lavender's Blue," and the
major sixth uses "My Bonnie Lies Over the Ocean." Other folk songs are from Hungary,
America, Finland, and Germany.
The pieces in both Book 4 and Book 5 of the Violin Rascals series are cleverly
arranged, with solo parts that are not extremely demanding of the young violinist (although
musical sensitivity is a requisite for fine performances of these pieces, since many tempo
changes are written in). The piano accompaniments require the services of a fine pianist,
since they are challenging. The 'cello version of these solos requires a considerably higher
technical level, since more shifting and a command of upper positions would be necessary
to play the solos than on the violin.
The books in progress in the Violin Rascals/Cello Rascals series include Book 1,
intended for Colourstrings students at the end of Book A. No string crossings are used,
and many of the pieces will be from Book A and the Singing Rascals series (Szilvay 1993).
Book 2 will go with Book B of Violin ABC. The final book in the series, Book 7, will
contain mixed finger patterns, appropriate for use when students are in Book C of the
Violin ABC series (Szilvay 1993).

Scale Books

Szilvay has written three scale books for use in the "Colourstrings Method": Scales
for Children 1 (1990b), Scales for Children 2 (1990c), and Scales and Arpeggios for

Children 3 (1991a). While Szilvay considers these books a bridge for the Colourstrings-
 66

trained child to any other method, the Scale Books can also be used by students trained in
other methods (Mitchell 1993a). Methods that Szilvay suggests to follow the Violin ABC
books are Sdndor, Doflein, Kayser, Dancla, Feigerl, Mazas, Dont, and Kreutzer,
followed by the more advanced Fiorillo, Rod6, and Gavinie.
Scales For Children 1 is started when the child finishes Book B. This is the first
time that the Colourstrings-trained child is formally introduced to letter names for pitches,
which is the primary purpose of this scale book besides introducing the major and natural
minor scales. 'The main purpose, in addition to playing these scales, is to learn the names
of the notes, to write and to recognize them as well on the staff as on the fingerboard of the
instrument" (Szilvay 1990b). Throughout Book A and Book B all pitches are referred to
by solfege syllables using movable do, and the four strings are named by their
representative "musicland" character (bear, father, mother, and birdie). In Scales For
Children 1,Szilvay avoids the possibility of confusing the child with an onslaught of
information by introducing only one letter name per scale (fig. 17). The teacher must use
his or her judgment with this book concerning markings. "To simplify the pupil's task, the
key signature, time signature, bar lines, fingerings and bowings have been omitted. Adding
them, if necessary, is left to the teacher's discretion" (Szilvay 1990b, 15). He begins with
the A-Major scale, followed by A-Minor (natural minor), then proceeds to the B-Major
scale, B-Minor, and so on. His reasoning is that children learn the alphabet by the order of
letters (A, B, C, etc.), so they can most easily begin learning scales and note names in the
same order (Mitchell 1993a).
Szilvay does not write out each note of the scale on the five-line staff, only the pitch
being studied. The other scale notes are indicated by horizontal lines placed at the

appropriate point on the staff. These horizontal lines are visually similar to his stairstep
system for the solfege syllables for both major and minor scales. This stairstep system,
with the appropriate solfege syllable placed on each stair, appears at the top of each page.
 67
The half steps are shown between mi-fa and ti-do. The major scales are do to do, and the
minor scales are natural minor, beginning on la. As in Book A and Book B, the children
are instructed to solffege each scale before playing it
In the first scale, A-Major, the teacher tells the student that the Teddy Bear (G-
string) first finger is the note "A" (Mitchell 1993a). Szilvay places a ladder, instead of a
sharp sign, under the C-sharp, third finger on the G-string (high third finger). He tells the
child that the ladder "lifts the finger higher," rather than giving a longer explanation for the
function of the sharp (Mitchell 1993a). The last line on each page shows each "A" used in

the previous two lines, with room left for the child to practice writing "A's" on the staff.
Each page has three staves: the lower octave of the scale being studied, the second octave,
and the line for students to play all occurrences of the letter name being learned and to
practice writing examples of that particular pitch. If the child makes a mistake with the low
first finger on the E-string in the A-Minor scale (the note F-natural), Szilvay says the
teacher should refer to the C on the A-string as do, and have the child sing, then play, do-
re-mi-fa. Szilvay does not tell students to "play low first finger on E," but connects finger
placement to solfege. This approach of relating pitch to singing and solfege rather than
finger patterns is used consistently by Szilvay.
Children use their fourth finger in first position instead of the next open string
wherever possible. For instance, in the G-Major scale the child plays fourth finger D
on the G-string, instead of playing the open D-string. Szilvay's reasoning is that children

will then know what follows the fourth finger, instead of trying to play fourth finger and
then the next open string, which is the same pitch (Mitchell 1993a). After finishing A-
Major and A-Minor, Scales For Children 1 introduces B-Major and Minor, C-Major and
Minor, and so on through G-Major and Minor. The second octave of several scales can be
played in positions other than first The second octave of C-Major, beginning on the A-
string, can still be played in first position with a fourth finger extension for the note C on
 68

the E-string. For C-Minor, however, Szilvay recommends leaving out the second octave or
beginning it in second position on the A-string. He has a note to the teacher on this page,
stating, "Ad. Lib. Because this scale goes beyond the first position, its teaching is left to
the teacher's discretion" (Szilvay 1990b, 6). This is also indicated for the scales beginning
on D, E, and F. The second octave of G-Major and Minor can be played entirely in first
position.
Scales For Children 2 (Szilvay 1990c) introduces the functions of sharps and flats.
The double function of the natural sign, lowering a sharp and raising a flat, is illustrated on
the cover by a drawing of a boy hanging by one hand from a sharp sign, and leaning with
the other hand on a flat sign that is resting on the ground. The boy has a natural sign on his
shirt As in Scales For Children 1, this book begins with the pitch A and proceeds
alphabetically through the pitch G. Each pitch extends through four pages. The first page
deals with the notes A-natural, A-sharp, and A-flat Dotted lines on the staff visually
indicate the direction of the pitch, either up for the sharp sign or down for the flat sign
(fig.18). The second page for each pitch consists of exercises to make the left hand fingers
independent The third page for each pitch covers the major scale, and the fourth page the
natural minor scale. The format for the third and fourth pages is identical to the scale
presentation in Scales for Children 1 (Szilvay 1990b). The book contains a major and
minor scale for each chromatic pitch, but does not repeat enharmonically equivalent scales.
The third scale book, Scales and Arpeggios For Children 3 (Szilvay 1991a) begins

with the C-Major scale and its relative melodic minor scale of A. After C-Major and A-
Minor, the scales are presented on the next subdominant, F-Major and D-Minor. Szilvay
points out in the introduction that this is the Carl Flesch scale system. Szilvay relates the
treble clef sign to a flag on a flagpole. Inside the front cover are drawings of groups of
children from several countries, each group waving their respective flag. The middle two
 69
groups of children are from C-Major land and A-Minor land, each group waving a treble
clef flag that is slightly different in shape.
Key signatures are introduced in this book, as well as arpeggios built on the tonic
and subdominant scale degrees (fig. 19). The scales in each key are in two octaves, but

each page only includes one octave. All notes are written out on the staff, instead of the
stairstep system used in the first two scale books. The last page of each scale is in a
smaller, professional style of notation, with a blank staff on the last line for students to
practice writing the scales.

Musical Kindergarten Publications

Another series of books in the "Colourstrings Method" is evidence of Szilvay's

increasing interest in Musical Kindergarten experiences for young children. The Singing
Rascals series is intended for kindergarten-age children and for use by parents at home
with their children. The three books in the series, each with an accompanying recording of
music, are Singing Rascals Do, Singing Rascals La, and Singing Rascals (based on the
pentatonic scale). These attractive picture books are intended to engage the child's attention

visually (the illustrations in the series are by Tuulia Hyrske). Most of the selections in the
Singing Rascals series are also in Book A and Book B of the Violin ABC books, and in the
Colourful Music for Strings series for young orchestras (see Appendix D). Several more
books for kindergarten-age children are in progress at this time: Singing Rascals ABC,
Rhythm Rascals Ta, and Rhythm Rascals Ti-Ti. Another series of books and recordings,
the Little Rascals, is intended for children two to three years old. Szilvay has written fairy
tales describing musical concepts, such as long-short, high-low, and fast-slow. He says
this series is really "smuggling music into families," since many may buy the books and
tapes without realizing that they are vehicles for introducing children to musical ideas
(Mitchell 1993a). The Little Rascals and Rhythm Rascals series are currently available only
in Finnish.
 70

Assessments of the "Colourstrines Method"

Strengths of the Method
When asked what influences he thought Colourstrings has on the sound produced
by the Helsinki Junior Strings, Szilvay replied,
Intonation. Intonation, I think so, is the best quality in Colourstrings maybe, when
we get the instrumental teaching, that there is no problem in the intonation, because
the children, when they see the note, they hear it before they put their finger into
action. So that their finger will go to the place where it should because they hear it
before playing. And this is because of the Colourstrings, or I correct myself, this is
because of the Koddly approach, that they sing for quite a long time the pieces. And
when they had some problem, they had to sing it first, and that developed this inside
hearing. And this inside hearing has a vital importance for a musician. That is, the
pure intonation, almost perfect intonation, is a real feature of the "Colourstrings
Method," and that is a feature from the very, very young, and you can see in the
Music Academy or when you have examinations, that this child is Colourstrings-
trained, because he will not play out of tune. That is very much emphasized (Szilvay
1990a).

The above quote reveals once again that Szilvay is concerned about the development of

musicians, not just violinists. It also reinforces the importance of singing in this method.
Szilvay directly links the children's singing with the wonderful intonation they achieve on
their instruments.
Another aspect of Colourstrings that Szilvay singled out as outstanding is the
students' sense of rhythm.

And then the second is the rhythm. The way they feel the rhythm, is again because
they hear inside, or they feel the rhythm, and that is again because of the KocMly
approach. They analyze the piece, they pluck the piece, and this starts in the
Colourstrings level in the first three, four years, they clap it, they play it together, not
as in unison. They do the rhythm, different rhythms. And that is, rhythm and
intonation [the major influences of Colourstrings] (Szilvay 1990a).
The following are comments from the researcher's field notes, written after hearing the first
rehearsal of the Helsinki Junior Strings following their summer vacation.
I attended a rehearsal of the Helsinki Junior Strings at Finlandia Hall, a visually
beautiful concert hall with less than optimal acoustics. Met G£za Szilvay for the first
time, just before the rehearsal began. He seems very pleasant, very energetic. This
was the first rehearsal for this group after their summer holiday. I asked their ages:
Szilvay said ten to eighteen. Tiny children play right next to large teens. There was
not much noodling around before the rehearsal began. Not a lot of yelling. No one
 71

was late, all the students were there early... The students play amazingly well. The
intonation and rhythm are most striking (Mitchell 1990).
While the expertise and approach of the individual teacher is arguably a vitally
important factor in the success of students, Szilvay credits the "Colourstrings Method" as
an important factor in students' achievements.

But it's not only me. Those teachers who are teaching Colourstrings, they say that
somehow these children are more intellectual, they are playing in tune, they are
practicing, their Angers are trained, so there is the possibility for pursuing a career
(Szilvay 1990a).

Weaknesses of the Method

Familiarity with Koddly's approach to music education for young children is
necessary before teaching the "Colourstrings Method." When asked if there were any
important areas that the researcher had left out of the interview, Szilvay replied,
You didn't ask me, when sometimes I have been asked, what are the shadows, what
are the shortcomings of this method? You were polite not to ask. It would be a
difficult question, but with that question, I tiy to speak about that The teacher, for
instance in France, the teacher who is brought up.with absolute names, fixed sol-fa,
but this sol-fa is fixed into C, he has to change his mind altogether, and I don't think
there is any future for a teacher who was trained through music education in the
constant, fixed do system, they can't use Colourstrings. I felt in Finland that those
who are afraid of the movable do, they try Colourstrings because they have heard the
records, they have seen the Junior Strings play, but they can't produce Colourstrings
child because they don't feel comfortable with the movable do. So the Colourstrings
violin teacher needs shorter or longer Koddly training in solfege lessons (Szilvay
1990a).
A concern for the development of fine musicians, as opposed to fine violin
technicians, is, in Szilvay's opinion, a requisite for the Colourstrings violin teacher.
But really, the teacher who changes to Colourstrings has to change his ideas about
teaching and he wouldn't be only concerned with the violin, with the four strings, but
with music making. That is many times a problem with violin teachers. They are
speaking only about the four strings, fingerboard, and bow. But musically,
somehow, I feel like the Koddly approach is the whole music as well (Szilvay
1990a).

The Colourstrings violin teacher must be ready to train total musicians, and must also be
ready to teach movable do, to solfege melodies and clap rhythms, using the Koddly
 72

approach. Without this readiness, or training in Kodily and in how the "Colourstrings
Method" works, teaching this method is not possible.
But I started with what is the shadow. There is a shadow in the way that anyone can
pick up the Suzuki method or anyone can continue with the Rolland method, who
was started in the old-fashioned school. But the "Colourstrings Method," it is not so
easy to jump over or to change over to this method, because you have to be familiar
with the movable do, with the KocMly idea of music singing, reading music. It is
sometimes difficult. But when someone takes the pain and does a course for one
week or two weeks, then he will feel that it is wonderful, and his own intonation will
improve (Szilvay 1990a).
Many elements of the "Colourstrings Method" are not explicitly stated or readily evident in
Book A, Book B, and the Handbook. Training in a Colourstrings workshop or direct
study with Szilvay are necessary to fully understand this approach. While Szilvay gives
Colourstrings workshops somewhere every year, the locations are not always easily
accessible to many people. Training in Colourstrings is not yet available on a widespread
basis by people other than Szilvay. Both Szilvay brothers currently give workshops in
Colourstrings each summer in England, and in other countries when requested.

Crucial Elements of Colourstrings

A critical evaluation of several key elements of Colourstrings shows that some are
crucial to the Method. For the purpose of determining which elements of Colourstrings are
crucial to the Method itself, the following will areas will be discussed: 1) Szilvay's specific
approach to instrument hold, posture, bowhold, and bowing; 2) ear training and rhythmic
training; 3) the early presentation of notation, and the way music reading is introduced; and
4) the role of chamber music in the Colourstrings curriculum.
The elements of ear training (relative solmization) and rhythmic training are central
to the Colourstrings-trained child's development as a musician. The development of the
child's understanding of musical symbols is uniquely enhanced through the use of relative
solmization and rhythmic training. In the same manner, technical development on the
instrument, such as the introduction of new finger patterns and positions, is expanded
 73

through the use of movable do. Since the child's musical and technical development is so
strongly influenced by the elements of ear and rhythmic training, the absence of these
elements would undoubtedly have a negative impact on the chamber music experiences.
The early presentation of notation and music reading is crucial in the "Colourstrings
Method." Without notation, the visual sense is utilized less. Without the element of visual
association with musical symbols, ear training and rhythmic training are strictly aural and
imitative. The development of music reading skills enables students to participate in

chamber music and orchestral activities to a degree that is impossible without the ability to
read music.
Removing chamber music from the "Colourstrings Method" would not make the
elements of ear training and music reading impossible; these could still survive in the
context of the private lesson. However, the child's holistic development as a musician

would be negatively affected by excising chamber music from the curriculum. Involvement
in chamber music develops the child's sense of blending with others, and the sensitivity to,
and awareness of, other musical lines besides their own. The technical aspects of
instrument hold and bowing could survive intact even if chamber music was removed from
the Colourstrings curriculum.
If another pedagogically accepted but different approach to holding the instrument
and bow was used in Colourstrings, the elements of ear training (relative solmization) and
the early introduction to music reading would remain intact as they currently exist.
Provided that the students learned to hold the instrument and to bow in a manner that was
conducive to correct physical motions, the element of ear training would allow them to
develop as a musician, not just a violinist, and the introduction of music reading would
allow the students to participate in chamber music and in orchestral settings. Ear training,
early introduction to music reading, and chamber music are essential elements of
Colourstrings. Removing any of these would result in a diminished version of this method.
Szilvay's specific approach to the physical elements of playing is not a crucial element of
Colourstrings; this method could survive with another approach to physical movements.
 CHAPTER V
Generalities, Conclusions, and Recommendations
Cultural Considerations
It could be argued that the outstanding results of the "Colourstrings Method" in
Finland are due in part to cultural influences existing in that country, and not to the
"Colourstrings Method" itself. There is some data indicative of cultural differences between
Finnish and American children, but the amount of data is not overwhelming. One instance
of a societal difference was noted during the first day of observation in Helsinki:
American students would never behave so well for so long at a rehearsal. From 10:00
A.M. to 2:30 P.M., they took a fifteen minute break at 11:40, and a half hour lunch
break at 1:00. There was not very much whispering or small talk at all during the
rehearsal. At lunch, I commented about the students' behavior to Minna (the Music
Institute secretary), and she agreed that the children are very well-behaved, but then
she added that this "Scandinavian reserve" presents a problem when the students are
asked to do something different, as in the Saalinen piece (a staged piece where some
actions are necessary from the students) (Mitchell 1990, Field notes of observation,
27 July, Finlandia Hall, Helsinki).
Another striking example of the Finnish students' behavior occurred during a 'cello
sectional, on a warm summer afternoon when all the windows and doors of the Music
Institute were open.
I observed a 'cello sectional led by Csaba Szilvay. The students were doing
painstaking work on a difficult passage, going note-by-note for intonation. A black
cocker spaniel trotted in the door and right through the 'cellists during the sectional.
No one stopped or commented! I wonder if the same thing could have happened at a
sectional in the U.S. (Mitchell 1990, Field notes of observation 29 July, East
Helsinki Music Institute, Finland).
The attention level of the students was quite high during all rehearsals. A high
degree of responsibility was also noted.
The students have a rehearsal schedule for all rehearsals and sectionals for the next
two weeks. No students have been late for a rehearsal, and there does not seem to be
any problem of students going to the wrong room, or students asking questions about
where they are supposed to be. They all seem to be quite responsible, and get to their
 76

destination on time (Mitchell 1990, Field notes of observation, 29 July, East Helsinki
Music Institute, Finland).
The younger students did not play on some of the most difficult works, only the most
advanced students. However, all students were expected to participate in the rehearsal
process: "Students who aren't playing listen and follow their section's part during the
sectional on the composition by Rautovaara" (Mitchell 1990, Field notes of observation,
30 July, East Helsinki Music Institute, Finland). The East Helsinki Music Institute is part
of a system of state music schools in Finland, funded by the government. In spite of this
fact, and the previously mentioned observations, there is not enough evidence to suggest
that the success of the "Colourstrings Method" is a cultural anomaly unique to Finland.

Themes of the "Colourstrings Method"

Several themes emerged from the data analysis of the interview transcript, field
notes, and Szilvay's writings. These themes include the following: readiness; the
importance of every child in the program; Szilvay's pragmatism regarding teaching
techniques and materials; and the holistic approach to children's development as musicians.
These themes are demonstrated by different aspects of the Method, but are also
interconnected.

Two elements of the students' training in the "Colourstrings Method" seem crucial
to its effectiveness, and are distinguishing characteristics. These elements are the early
training in chamber music and ensemble activities, and ear training. The early use of
chamber music for students supports Szilvay's idea that "everybody is important," that
technically and musically inferior playing is not acceptable from any student in the
program. Early ear training, leading to the development of students' "inner hearing," is the
underpinning for the development of total musicians. Szilvay accomplished the multiple use
of the senses in the "Colourstrings Method" by incorporating the following elements of
Koddly methodology: early music reading for the visual sense, solfege and rhythm
 77

syllables for the aural sense, and the Curwen hand signs and rhythmic clapping for the
kinesthetic sense. Szilvay's unique contribution to the visual aspect of music reading is the
use of a different color for each violin string and for the corresponding use of color in the
musical notation.
In Colourstrings, it is not acceptable to simply "play the violin well." The ability to
analyze the rhythm, melody, and form of any piece they play contributes to the students'
intellectual knowledge base. This musical knowledge base allows students to play music
with more understanding and intelligence, both as soloists and as performers in chamber
ensembles and orchestras. The child's intellectual development as a musician is related to
Szilvay's emphasis on the holistic development of the child as a total musician, not just as a
violinist.

Generalities
Before transferring any results of a qualitative study, a determination must be made
about similarity of context. The following generalities are not confined to the
"Colourstrings Method." These generalities could be applicable to situations involving
young children (through early elementary level or grade three) beginning the study of an
instrument.
One of the goals of music study should be the development of fine musicians, not
just the development of technically capable instrumentalists. Therefore the holistic
development of a musician should supersede the production of fine instrumentalists. The
use of multiple senses when learning music is an important aspect of young children's
musical experiences. Students engaged in the early levels of instrument study should have
well-sequenced learning experiences that consistently include visual, aural, and kinesthetic
activities. For young children, musical concepts are internalized by their experiences using
different sensory modes. These multi-sensory experiences with such musical concepts as
 78
rhythm and melody relate to the child's holistic development as a musician, not merely an
instrumentalist. The "Colourstrings Method" may be successful in part because of the use
of several senses; this seems to coincide with the way children learn best.
Parents of young children beginning instrumental study should display a level of
readiness to participate fully in the venture. This "readiness" to participate in music
instruction includes engaging in musical activities with the child prior to beginning formal
music lessons. The parents must also be ready to make a commitment that will last for
years; this commitment includes attending their children's lessons, helping with practice at
home, and transporting children to lessons and rehearsals.
Teachers of young students should also display readiness to engage in music

teaching. The teacher should be knowledgeable about various pedagogical approaches to

teaching his or her instrument to children. But teachers must also be ready to foster the
young child's development as a musician who understands melodic and rhythmic structures
and forms in music. This reinforces Szilvay's concept that the holistic development of the
child as a musician is even more important than the child's development as an
instrumentalist

Early exposure to and participation in chamber music or small ensemble experiences

is beneficial to children's attitudes toward music. They benefit from the social interaction
that occurs in these situations. Children's musical awareness and sensitivity is positively
affected by this early exposure to music-making with others their own age. Chamber music
situations also reinforce the importance of each child; if one part falters, everyone is
affected.
For those teaching young beginning instrumentalists, a sense of pragmatism is a
desirable attribute. This pragmatism involves the incorporation of teaching techniques and
methods that work with children, and discarding those that do not. If the teacher tries
 79

particular methods or techniques with students over a period of time and those methods or
techniques do not have successful results, they should be discarded.

Other Conclusions
The following conclusions are not grounded in the research data to the same degree
as the previously stated generalities, but possible comparisons with other similar contexts
can be made.

New methods and curricula may be syntheses of parts of various different methods,
curricula, or methodologies. The uniqueness of a new approach may be the distinctive
juxtaposition and synthesis of various elements adapted from other methods and
methodologies. As described in Chapter II, Koddly methodology contains elements of
approaches developed by Curwen, Galin-Paris-Chevg, and Jaques-Dalcroze. Koddly's
unique contributions to the methodology bearing his name were his insistence on the use of
high quality folk or composed music and simply the unique way the parts of other
pedagogies were assembled.
The "Colourstrings Method" is drawn largely from Koddly methodology, with
physical concepts and exercises adapted from Rolland pedagogy. Szilvay's unique
contributions are the use of colors, the adaptation of movable do for the violin, and the
incorporation of chamber music for young string students. The unique synthesis of all
these elements has resulted in a new method, Colourstrings.

Adaptation of Colourstrings in the United States

Depending on the age of the students involved, Book A of the "Colourstrings
Method" could be used with beginning string classes in public school settings in the United
States. These beginners could range in age from kindergarten (Ave years old) through third
grade (eight years old). This age range is generally younger than the beginning age for
students in many public school string programs, which is usually fourth or fifth grade (nine
 80

to ten years old). If string teachers could begin students earlier than the fourth grade the use
of the "Colourstrings Method" is feasible.
The chamber music and orchestra series developed for the "Colourstrings Method"
is a welcome addition to the string repertoire for students in elementary through junior high
school. These works include the Colourful Music for Strings series (Rossa and Kuusisto
1990) and Finnish-Hungarian Chamber Music for Young String Players (Rossa and
Szilvay 1982). As a prelude to these two series, the early group experiences in Book A
and BookB of the "Colourstrings Method" prepare students to play independent musical
lines.

Recommendations for Further Research

Since the development of the Colourstrings approach for the violin, this method has
been adapted for 'cello, bass, piano, and guitar. Information concerning these adaptations
would be interesting, particularly in light of differences in technique necessary to play these
instruments. For instance, 'cellists and bassists generally learn shifting at an earlier stage of
development than do violinists; a study of the 'cello and bass adaptations of the
"Colourstrings Method" could examine such technical differences.
The "Colourstrings Method" is being used in England, and at one elementary
school and a conservatory-affiliated preparatory program in the United States. A study
of the English or United States Colourstrings programs could examine differences with the
Finnish program. It is possible that specific parts of the program, such as parental
involvement and frequency of ensemble participation, must be modified when the program
is adapted in countries other than Finland.
ILLUSTRATIONS
 82

<a

<

Fig. 1. "Musicland" characters representing the violin strings. Reprinted, by permission,

from G6za Szilvay, Book A, p. 1 (1991). © Fazer Music Inc., Espoo, Finland.

J l i l
|(||)|)^J * J 1 J 1 J *

Fig. 2. Pictorial representation of quarter rests. Reprinted, by permission, from G6za

Szilvay, Book A, p. 8 (1991). © Fazer Music Inc., Espoo, Finland.
 83

IIW

TA DO

no
P
|D°
>\ ) i-4

4 if; 44
-J—J- ^44 ',£><)

:i
'5"

Fig. 3. The do key can move to any floor. Reprinted, by permission, from G6za Szilvay,
Book A, (1991) 15. (© Fazer Music Inc., Espoo, Finland).

IS? ^ !~ Ll

— —i
J 1 a • 1i J 1
— —1

"0"
QOQ 17
-j
nj
W W 0— ni
w qV (J I
° i t3
»nJ3 -*e#L:|
p

o^
pJ3J3f oo0°°0

Fig. 4. The repeat sign as a backwards smiling face. Reprinted, by permission, from G6za
Szilvay, Book A, (1991), 40. (© Fazer Music Inc., Espoo, Finland).
 84

Fig. 5. The slur symbol as a rocking boat Reprinted, by permission, from G6za Szilvay,
BookB, (1981) 15. (© Fazer Music Inc., Espoo, Finland).

IIW

jJJ JI.QJ JHJ

1f 2
0 0
1. 1! 2.
Hb2-—- l=R=f-FTi—JD #
J-

sW
1

^=1 MM- j * r r Ci* Cj*

»

^J ! !

=1 v
11
•H - -- V*f III
TIJ=_ i # f # Pf 41 d '4-J
-1=1 1—u

Fig. 6. First and second endings. Reprinted, by permission, from G6za Szilvay, Book B,
(1981), 23. (© Fazer Music Inc., Espoo, Finland).
 85

Fig. 7. Crescendo and decrescendo symbols. Reprinted, by permission, from Gdza

Szilvay, Book B, (1981) 27. (© Fazer Music Inc., Espoo, Finland).

8 # j
0
r-6 r • : j'T i_r g
J J —
-0-m

h "9 i'i
m m o

Fig. 8. Octave double stops. Reprinted, by permission, from G6za Szilvay, Book B,
(1981), 30. (© Fazer Music Inc., Espoo, Finland).
 86

II \\

Fig. 9. "Musicland" characters live in one house (the staff). Reprinted, by permission,
from G6za Szilvay, Book B, (1981) 1. (© Fazer Music Inc., Espoo, Finland).

ST\
' \ /if /h : f\ ^r

Fig. 10. Leger lines are introduced. Reprinted, by permission, from G6za Szilvay, Book
B, (1981), 2. (© Fazer Music Inc., Espoo, Finland).
 n n n n n n n n n n n n n n n n
•Hgl—4-
aii .jj- y

V V V V V V V V V
=1=
V v V v«

£ J 4 0\ #
#

Fig. 11. Rebound bowstrokes. Reprinted, by permission, from G6za Szilvay, Book B,
(1981) 4. (© Fazer Music Inc., Espoo, Finland).

I^I
[muwo—[

r®
. (T>

i \
—

^ ^ — J -
Fig. 10. Sliding motion of the second finger. Reprinted, by permission, from G6za
Szilvay, Book B, (1981), 34. (© Fazer Music Inc., Espoo, Finland).
 88

41

Fig. 13. String crossings with a loose right wrist. Reprinted, by permission, from Gdza
Szilvay, Book B, (1981) 41. (© Fazer Music Inc., Espoo, Finland).

n v
<

r r
r r
<=

n
0 0 >
=33"

1
frf" J>
W 1
Fig. 14. Pronation and supination (turning do key in the lock). Reprinted, by permission,
from G6za Szilvay, BookB, (1981), 48. (© Fazer Music Inc., Espoo, Finland).
 89

Fig. 15. The bow is a two-line staff. Reprinted, by permission, from Gdza Szilvay, Book
B, (1981) 14. (© Fazer Music Inc., Espoo, Finland).

t
A.'v

«
a
ffrP

SB « m m
0 0 m 0 0 0 4)0
*C
a
WllSi ffi 7

Fig. 16. The introduction of double stops. Reprinted, by permission, from G6za Szilvay,
Book B, (1981), 19. (© Fazer Music Inc., Espoo, Finland).
 1 4 0 3
;^=£
f A A A
1)ToniWoMM»oMoon>ftvwaaa*cHotoHK»on<mHrtuao>anomoon 2) Oppaoon
Ih» pteftvmm
ilofftornuonuieihAMn ho*>ffl»*jun.
proeMrg not* witing.

Fig. 17. Stairstep system instead of individual notes. Reprinted, by permission, from G&a
Szilvay, Scales For Children 1, (1990b), 1. (© Fazer Music Inc., Espoo, Finland).
 91

T Ps^tl
Cantarel

^ >..

"3 \ ' J \> \ ^ A^L

i
# TotMOaclMautft0MmtM«n*t0arflnam*«ne««e&
HaqoN«oan4 tcnMofatnyW 0> l-O-4-Otomv'^MM I-0-4-0 t fas

Fig. 18. The direction of sharps and flats. Reprinted, by permission, from G6za Sziivay,
Scales For Children 2, (1990c), 1. (© Fazer Music Inc., Espoo, Finland).
 92

$)) CANTAREI J=A

Fig. 19. The A-Minor scale with accidentals and arpeggios. Reprinted, by permission,
from G6za Szilvay, Scales and Arpeggios For Children 3, (1991a), 6. (© Fazer Music
Inc., Espoo, Finland).
 REFERENCES
Addm, Jeno. 1971. Reprint Growing in music with movable Do. Translated by Louis
Lajos Boros, Joseph Held, and Louis Munkachy. New York: Pannonius Central
Service, Inc. Original edition, Modszeres tnektanitas. Budapest: n.p., 1944 (page
references are to reprint edition).
Bidner, Sara B. 1978. A folk song approach to music reading for upper elementary levels
based on the Kod£ly method. Ph.D. diss., The Louisiana State University and
Agricultural and Mechanical College. Abstract in Dissertation Abstracts
International 39(1978): 1400A.
Boyle, John D. 1968. The effect of prescribed rhythmical movements on the ability to
sight read music. Ph.D. diss., University of Kansas. Abstract in Dissertation
Abstracts International 29 (1969): 2290A.
Bresler, Liora, and Robert E Stake. 1992. Qualitative research methodology in music
education. In Handbook of research on music teaching and learning, ed. Richard
Colwell, 75-90. New York: Schirmer Books.
Choksy, Lois. 1988. The Kodaly method. 2d ed. Englewood Cliffs, NJ: Prentice Hall.
Costanza, Peter, and Timothy Russell. 1992. Methodologies in music education. In
Handbook of research on music teaching and learning, ed. Richard Colwell, 498-
508. New York: Schirmer Books.
Darazs, Arpad A. 1973. A study of the Zoltan Koddly approach to music reading and its
application to the high school selective choral organization. Ed.D. diss., Columbia
University. Abstract in Dissertation Abstracts International 35 (1974): 95A-
96A.
Dawley, Robert M. 1979. An analysis of the methodological orientations and the music
literature used in the Suzuki violin approach. Ed.D. diss., University of Illinois at
Urbana-Champaign.
Elliott, Charles A. 1974. Effect of vocalization on the sense of pitch of beginning band
class students. Journal of Research in Music Education 22 (Summer) 2: 120-128.
Erwin, Joanne. 1993. Development of the new string preparatory program at Obeiiin
College. Ohio String Teachers Association Newsletter (Fall): 8.
Forbis, Wesley Lee. 1972. The Galin-Paris-Chevd method of rhythmic instruction: A
history. Ph.D. diss., George Peabody College for Teachers. Abstract in
Dissertation Abstracts International 33 (1972): 1764A.
Gellhorn, Olive. 1985. ESTA workshop 1985 - Edinburgh. ESTA News and Views 10
(October) 3: 20-21.
 94

Glaser, Barney G. and Anselm L. Strauss. 1967. The discovery of grounded theory.
Chicago: Aldine Publishing Company.
Glesne, Corrinne and Alan Peshkin. 1992. Becoming qualitative researchers. White
Plains, NY: Longman Publishing Group.
Guba, Egon G. and Yvonna S. Lincoln. 1981. Effective evaluation: Improving the
usefulness of evaluation results through responsive and naturalistic approaches.
San Francisco: Jossey-Bass.
Kendall, John D. 1966. The Suzuki violin method in American music education: What
the American music educator should know about Shinichi Suzuki. Washington,
D.C.: Music Educators National Conference.
Kendall, Michael J. 1986. The effects of visual interventions on the development of aural
and instrumental performance skills in beginning fifth-grade instrumental
students: A comparison of two instructional approaches. Ph.D. diss., The
University of Michigan. Abstract in Dissertation Abstracts International 47
(1986): 2070A-2071A.

Kite, Thomas S. 1985. The organization of American Koddly educators: Its history and
impact on American music education. Ed.D. diss., University of Houston.
Abstract in Dissertation Abstracts International 46 (1986): 2609A.
Koddly, Zoltan. 1972.333 Elementary Exercises. London: Boosey & Hawkes Music
Publishers Limited. Original edition, Olvasogyakorlat. Budapest: Zoltan Koddly,
1941.
. 1974. The selected writings of Zoltan Koddly. Translated by Ferenc B<5nis.
London: Boosey & Hawkes Music Publishers Limited. Original edition,
Visszatekintes /-//. Budapest: Zenemiikiad6 Vdllalat, 1964 (page references are
to reprint edition).
Koob, Joseph E. 1986. The violin pedagogy of Ivan Galamian. Ed.D. diss., University of
Illinois at Urbana-Champaign. Abstract in Dissertation Abstracts International
47 (1986): 822A.
Lincoln, Yvonna S., and Egon G. Guba. 1985. Naturalistic Inquiry. Newbury Park, CA:
Sage Publications.
Lowe, Harold L. 1973. A study of the tone quality of beginning violin students using the
long bow-stroke approach as compared to the short bow-stroke approach. D.A.
diss., Ball State University. Abstract in Dissertation Abstracts International 34
(1974): 6024A-6025A.
MacKnight, Carol B. 1975. Music reading ability of beginning wind instrumentalists after
melodic instruction. Journal of Research in Music Education 23: 23-34.
Madden, James A. 1984. Zoltan Koddly and Carl Orff: Implications for program
development in elementary instrumental music education. Ed.D. diss., Temple
University.
 95

McDaniel, Marvin A. 1974. A comparison of Music achievement test scores of fourth-

grade students taught by two different methods—Koddly (Threshold to music)
and traditional (Making music your own). Ph.D. diss., The Louisiana State
University and Agricultural and Mechanical College. Abstract in Dissertation
Abstracts International 35 (1975): 4594A.
Miles, Matthew B., and A. M. Huberman. 1984. Qualitative data analysis: A
sourcebook of new methods. Beverly Hills, CA: Sage Publications.
Mitchell, Brenda S. 1990. Field notes of observations at the East Helsinki Music Institute,
Finland. 27 July-13 August.
. 1993a. Field notes of Colourstrings workshop, Mankato, Minnesota. 26-30
July.
. 1993b. Upper midwest: A colourful conference in Mankato. American String
Teacher 43 (Autumn) 4: 49.
Patton, Michael Quinn. 1990. Qualitative evaluation and research methods. 2d ed.
Newbury Park, CA: Sage Publications.
Rogers, George L. 1991. Effect of color-coded notation on music achievement of
elementary instrumental students. Journal of Research in Music Education 39
(Winter) 1: 64-73

Rolland, Paul, and Maria Mutschler. 1974. The teaching of action in string playing.
Urbana, IL: Illinois String Research Associates.
Romeo, Karen W. 1986. A five year comprehensive curriculum for young violinists.
Ph.D. diss., The Ohio State University. Abstract in Dissertation Abstracts
Internatioml 47 (1986): 1644A.
Rossa, Ldszl6, arr. 1992. Violin rascals/Cello rascals, vols. 4 and 5. Espoo, Finland:
Fazer Music Inc.
Rossa, L£sl6 and Ilkka Kuusisto, arrs. 1990. Colourful music for strings, vols. 1-3.
Helsinki, Finland: The Association of Finnish Music Schools.
Rossa, Ldszl6 and G6za Szilvay, eds. 1982. Finnish-Hungarian chamber music for
young string players, vols. 1-7. Helsinki, Finland: Edition Fazer.
S&ndor, Frigyes, P&l J£rd£nyi, and Endre Szervdnszky. 1951. Violin tutor. 2d ed. vol. 1.
Budapest: Editio Musica Budapest, 1951.
Santoro, Shirley. 1992. International string workshop in Lausanne. American String
Teacher 41 (Autumn) 4:41.
Schade, K. Bernard. 1976. An analysis of the melodic characteristics of pentatonic music
in selected American folk song collections and recommendations for their use
with the Kod&ly approach. D.Ed. diss., The Pennsylvania State University.
Abstract in Dissertation Abstracts International 37 (1977): 7015A-7016A.
 96

Schlacks, William F. 1981. The effect of vocalization through an interval training

program upon the pitch accuracy of high school band students. Ph.D. diss.,
University of Miami. Abstract in Dissertation Abstracts International 42 (1982):
3492A.
Skornicka, Joseph E. 1958. The function of time and rhythm in instrumental music
reading competency. Ed.D. diss., Oregon State College. Abstract in
Dissertation Abstracts International 19(1958): 1406A-1407A.
Starr, William. 1976. The Suzuki violinist. Knoxville: Kingston Ellis Press.
Steven, George. 1990. Colourstrings teachers course. Musical Opinion 113 (May):
161-62.

Stone, Margaret L. 1971. Koddly and Orff music teaching techniques: History and
present practice. Ph.D. diss., Kent State University. Abstract in Dissertation
Abstracts International 32 (1971): 2734A.
Suzuki, Shinichi. 1969. Nurtured by love. Translated by Waltraud Suzuki. New York:
Exposition Press.
Szab6, Helga. 1969. The Kodaly concept of music education. Translated by Geoffry
Russell-Smith. New York: Boosey & Hawkes Music Publishers Limited.
Szilvay, Csaba. 1991. Cello ABC. Espoo, Finland: Fazer Music Inc.

Szilvay, G6za. 1977. Violin ABC: Handbook for teachers and parents. Helsinki: Edition
Fazer.
. 1981.Violin ABC - BookB. Espoo, Finland: Fazer Music Inc..
. 1990a. Interview by author, 7 August 1990, Helsinki, Finland. Tape
recording.
. 1990b. Scales for children 1. Espoo, Finland: Fazer Music Inc.

. 1990c. Scales for children 2. Espoo, Finland: Fazer Music Inc.

. 1991a. Scales and arpeggios for children 3. Espoo, Finland: Fazer Music
Inc.
. 1991b. Violin ABC—Book A. Rev. ed. Espoo, Finland: Fazer Music Inc.
Original edition, Helsinki: Edition Fazer, 1977.
. 1993. Conversation with author. Mankato, Minnesota, 28 July.
Szilvay, Gfca, and Tuulia Hyrske. 1987. Singing rascals. Helsinki: Tammi.

. 1988. Singing rascals La. Helsinki: Tammi.

Szilvay, G£za, Tuulia Hyrske, and Angela Ailes. 1987. Singing rascals Do. London:
Colourstrings International Limited.
 97
Sz5nyi, Erzsdbet. 1973. Koddly's principles in practice. Translated by John Weissman.
Translation revised by Raymond Alston. London: Boosey & Hawkes Music
Publishers Ltd.
Tacka, Philip V. 1982. Denise Bacon, musician and educator Contributions to the
adaptation of the Koddly concept in the United States. D.M.A. diss., The Catholic
University of America. Abstract in Dissertation Abstracts International 43
(1982): 1076A.

Taylor, Steven J., and Robert Bogdan. 1984. Introduction to qualitative research
methods. 2d ed. New York: John Wiley & Sons.
Veszprdmi, Lili. 1975. The subject matter and method of music instruction. In Music
Education in Hungary, ed. Frigyes Sdndor, 203-21. Translated by Barna Balogh,
Zsuzsanna Horn, P&l Jdrddnyi, and Ilona Lukdcs. Translation revised by Fred
Macnicol. London: Boosey & Hawkes Music Publishers Ltd.
Webster's Seventh New Collegiate Dictionary. 1963. Springfield: G. & C. Merriam and
Company.

Willmann, Melanie M. 1983. An investgation of conceptual congruencies between the

Koddly method and Jerome Bruner's instructional theory. Ph.D. diss., The
University of Texas at Austin. Abstract in Dissertation Abstracts International 45
(1984): 822A.
Woskowiak, Leona F. 1973. Programed music reading games for first grade utilizing
certain principles of Dalcroze, Koddly, and Orff. D.Ed, diss., The Pennsylvania
State University. Abstract in Dissertation Abstracts International 34 (1973):
1959A-1960A.
Zemke, Sr. Lorna. 1977. The Koddly Concept. Champaign, IL: Mark Foster Music
Company.

. 1973. The Koddly method and a comparison of the effects of a

Koddly-adapted music instruction sequence and a more typical sequence on
auditory musical achievement in fourth-grade students. D.M.A. diss., University
of Southern California. Abstract in Dissertation Abstracts International 33
(1973): 6959A.
 APPENDIX A
BIOGRAPHICAL SKETCH OF GfiZA SZILVAY
 99
Biographical Sketch of Gfeza Szilvav
G£za Szilvay was born in Budapest, Hungary, on 13 September 1943. His family
was a musical one. His father, Gdza Szilvay, Sr., is an avid amateur 'cellist and a
university professor. G6za, Jr.'s sister played piano, his brother, Csaba, plays 'cello, and a
younger brother plays the violin. G6za, Jr. began studying the violin when he was five
years old. He remembers playing and making music with his siblings on a daily basis. He,
his brothers, and his sister formed the Szilvay Family Quartet, and in 1961 won a national
competition on Hungarian television. This quartet performed many places in Hungary in

the early to mid 1960s, and performed on the International Society for Music Education
Conference program in 1964.
Szilvay's early education was at a music school (the normal Hungarian music
school) for approximately nine years. This music school was, of course, Koddly oriented.
Then he attended the B61a Bartok Conservatory, which is an intermediate level music
school. He graduated from the Budapest Music Academy in 1966, where he studied
violin pedagogy. His teachers were Maria Zipernovszky and I. Bodonyi.
Szilvay spent one year, 1966, playing in a professional orchestra. Then he entered
ELTE University in Budapest, where he received the degree of Doctor of Law and
Political Science in 1970. From 1966 to 1970 he was the violin teacher and chamber
orchestra director for the Hungarian Television and Radio Children's Choir, earning
enough money to support himself while in school. During these years, he formed small
chamber orchestras that performed with the Radio Children's Choir, and toured
internationally, to Japan, the United States, and Canada. This was the beginning of his
great interest in working with children, and in directing orchestras.
After receiving his Doctorate in Law and Political Science in May, 1970, he
began teaching at the East Helsinki Music Institute (Ita-Helsingin Musiikkiopisto) in
1971. His brother, Csaba, joined him at the East Helsinki Music Institute in 1977,
 100

teaching 'cello and serving as associate conductor of the Helsinki Junior Strings. In 1984,
G6za Szilvay was appointed Rector, or principal, of the East Helsinki Music Institute.
Since 1978 he has taught violin at the Sibelius Academy. He has lectured on the
"Colourstrings Method" at ISME International Conferences, at the International String
Teachers Association workshops, at the International Koddly Conference, and has given .
courses in the "Colourstrings Method" at Goldsmiths' College, University of London,
and Mankato State University in the United States. Memberships include International
Society for Music Education and the International Koddly Society. He is married to
Lieselotte Jank (1972), and-has four children.
 APPENDIX B
LETTER OF PERMISSION TO COPY
FAZERMUSIC Inc.
Contoct person Dote

Kalenius 5.4.1994

Brenda S. Mitchell
5486 Whispering Way
Cincinnati, Ohio 45247
U.S.A.

Your letter 29.3.1994

Dear Ms. Mitchell,

Thank you for your letter.

We grant you permission to reproduce some pages from the

Violin ABC books and the Scales For Children books for use
in your dissertation and we will not charge you becouse of
the scientifical use.

However, we demand /ou to use following copy right

notice: ® Fazer Music Inc., Espoo, Finland

With best regards,

FAZER MUSIC INC.

Publishing Department

Eila Kalenius
copyright secretary

Heod Office Moiling Address Telephone Telefax Cable

lonsituulenhe 1 A PO.Box 169
ESPOO SF-02101 ESPOO FINLAND *35B0435 Oil *35804552162 Musikfater Espoo
Banks
Union Bank of Finland Helsmginpankki OKOBANK Osuuspankkten Keikuipankki Oy Postiponkki Lid.
240018-60196 500001-27488 6687-9
 APPENDIX C
EDITION REVISIONS FOR VIOUN ABC BOOKS
 104

Differences between 1st and 2nd Edition

Violin ABC Book A

Book A 1st Edition (1977) Book A 2nd Edition (1991>

p. 6 - bear string is rhythm Ta ti-ti p. 6 - bear string is rhythm ti-ti

(quarter, two eighth notes) (two eighth notes)

p. 7 - car and train pictures are facing left p. 7 - pictures of car and train are running
(running in the opposite direction from the to the right (in the same direction as the
notes). notes are read).

p. 11 - car, train, and boat are facing left. p. 11 - car, train, and boat are facing
right. Also, after the half note a wavy line
indicates continuing sound.

p. 12 - added a wavy line after the half

note to indicate continuing sound.

p. 15 - added a 5-story building that do

moves around in (the 5 stories correspond
to the 5-line staff).

p. 16 • dotted lines indicate part of the p. 16 - instead of dotted lines (on a

bow to use. picture of the bow), uses a darkened solid
section of the bow.

p. 17 - deleted the down bow mark over

the last 4 beats of the last exercise.

p. 18 - Quarter note under no finger p. 18 - changed quarter note under no

down. fingers down to a quarter rest.
 105

Book A 1st Edition (1977) Book A 2nd Edition fl991)

p. 19 - A quarter rest between each p. 19 - changed quarter rests to pictures of

quarter note, for child to sing the next pitch. singing faces — child or parent sings the
next pitch before the child plays it

p. 21 - No ladder under the F#*s on the p. 21 - added ladders under all the F#'s
E string. on the E string.

p. 23 - New page from the 1st edition.

Empty 1-line stave for each string so
teacher can write short 2-piteh melodies (d-
r, s-1) using rhythmic material already
learned.

p. 24 - New page from the 1st edition.

Four 1-line empty staves so students can
write their own d-r melodies. Encourages
creativity from the students.

p. 23 - Quarter rest between notes p. 25 - added singing faces between each

so child can sing the next pitch. note, student or parent sings next pitch
before child plays it

p. 26 - d-m is on the A string, and is p. 28 - changed exercise for D-M from A

only given once. string to the D string, and added singing
faces between the notes; student or parent
sings the next note before the child plays it
Piece that was on the A string is moved to
the G string, and placed at the bottom of the
page.

p. 30 - New page from the 1st edition.

Page with empty staves (1 for each string)
for teacher to write in d-r-m melodies.
 106

Book A 1st Edition (1977) Book A 2nd Edition (1991)

p. 31 - New page from the 1st edition.

Empty staves for students to compose d-r-
m melodies. Directions for transposing d-r
melodies previously played 0-1 to 1-2 in
1st and other positions.

p. 28 - Quarter rest between notes in p. 32 - (d-r-m-f) Added a picture of a 2-

exercise. story house since there is now a 2-line
staff. Also added singing faces between
notes (parent or child sings the next pitch
before it is played.

p. 29 - p. 33 - added a ladder under F# (1st

finger) on the E string.

p. 30 • Picture of train runs to the left. p. 34 - Pictures of children (indicating

solo & tutti) changed. Includes pictures of
boys & girls with glasses. Picture of train
runs to the right (same direction as notes
are read).

p. 35 - New page - empty 2-line staves,

teacher writes in d-r-m-f melodies.

p. 36 - New page from the 1st edition.

Empty 2-line stave for each string for
children to compose their own d-r-m-f
melodies. Directions to the teacher for
transposing d-r melodies for 2-3, and in
various positions. Also, transpose d-r-m
melodies for 1-2-3.

p. 32 • Quarter rest between each pitch. p. 38 - Put one singing face over the 1st
quarter rest
 107

Book A 1st Edition (1977) Book A 2nd Edition (1991)

p. 33 - p. 39 - Added a ladder under 1st finger on

the E string.

p. 34 - p. 40 - Added a ladder under 1st finger on

the E string. Exercises at beginning of D &
G string pieces are more extensive than in
po) the 1st edition:
D string:
Js>>
D string: -pOg _• aqOq
i oug =
B
G string: no Gttmg oo0oOQ
o -

These exercises don't contain Fa, which is Ladders are placed under note in exercise at
used in the piece. beginning.

p. 35 - Witch is flying (facing) to the left. p. 41 - Witch is facing (flying) to the

right. Train is changed so it is running to
the right Exercise at beginning of train
piece is more extensive than in the 1st
edition:

o ®
„o0°°0
° I ^
Train piece: train is facing left Also new: directions for practicing the train
piece: "The Train Song should be practiced
so that the pupil or pupils are marching
around at the speed of quarter notes
(crotchets) while they play the tune. As a
further exercise, the tune can be practised
by playing while marking time (marching
on the spot). These marching exercises aid
in developing a sense of pulse. The pulse
can also be indicated by tapping the right
foot.
 108

Book A 1st Edition (1977) Book A 2nd Edition (1991)

p. 42 - New page from the 1st edition.

Empty 2-line staves so the teacher can write
in d-r-m-f-s pieces.

p. 43 - New page from the 1st edition.

Empty 2-line staves so student can compose
their own d-r-m-f-s melodies. Directions to
the teacher for transposing 2-note d-r
melodies for 3-4. Also, transpose d-r-m 0-
1-2 melodies for 2-3-4, and 4-note
melodies d-r-m-f 0-1-2-3 to fingerings 1-2-
3-4. Picture of 5-story building with
movable do.

p. 36 - p. 44 - Added one singing face under 1st

quarter rest in d-m-s exercise. Indicates that
parent or student should sing the next note
before playing it
Added >] under piece for walking and
marching the pulse.

p. 38 - Quarter rest only in r-f exercise. p. 46 - Added 1 singing face under

quarter restin d-r-f exercise. Indicates that
parent or child should sing the next pitch
before playing it

p. 39 - Fish are swimming to the left. p. 47 - Fish are swimming to the right.
D string - thin boy is walking to
the left. D string - thin boy is walking to the right.

p. 40 - Highest harmonic has a picture of p. 48 - Picture of sun only (no cloud) on

a sun, half covered by a cloud. the highest harmonic.
Also a picture of a violin was added at the
top left of this page.

p. 41 - p. 49 - Ladder added under 1st finger on

E string in exercise at beginning.
 109

Book A 1st Edition (1977) Book A 2nd Edition (1991)

p. 50 - New page from 1st edition. Empty

2-line staves so teacher can write 5-note
melodies using nonadjacent fingers: 0-3,
1-3, 2-4, and intervals d-f, r-f, &s-m.

p. 51 • New page from 1st edition. Empty

staves (2-line) so student can write their
own 5-note melodies containing interval
jumps of d-f, r-f, &s-m.

p. 42 - Doesn't include so in exercise at p. 52 - Exercise at beginning of D string

beginning. piece is longer than in 1st edition:
 110

Differences between 1st and 2nd Edition

Violin ABC Book B

BookJB<iiiJstJEcHt^ Book_B_i<_Revision_JJ^91^
p. 4 - D string beginning exercise: p. 4 - exercise at beginning of 1st piece is
longer, contains ail pitches used in the
piece, and ends on the starting pitch of the
piece:

F
F

p. 10 p. 10 - exercise at beginning of D string

piece contains d-r-m-s (instead of d-r-m-f-
s, as in the 1st edition).

p. 12 - a direction is added: "The early

division of the bow is left at the discretion
of the teacher."

p. 15 - A wavy line is added after half

note and dotted half note, to indicate
continuing sound.

p. 16 - G string beginning exercise: p. 16 - exercise at beginning of G string

piece is longer, contains all pitches used in
the piece, and ends on the starting pitch:

E
 Ill

Book B 1st Edition T1981) Book B Revisions (1991)

p. 18 - p. 18 - exercise at beginning of A string

piece:

• QO ,.Q
cr« _»

p. 35 - Showed D & A double stop, with p. 35 - Corrected exercise on D & A

2nd finger on D sliding & moving from F# strings - - took children's faces off.
to F natural (editing error).

p. 36 - 1st page using black notes (regular p. 36 - Black notation.

notation). Also 1-2 half step.

p. 40 - p. 40 - half step between m-f (major) and

t-d (minor) indicated by a bridge.
Not included in 1st edition: 5 note
pentachord introduced (d-r-m-f-s) and (1-t-
d-r-m) in minor.

p. 47 - p. 47 - half steps are marked with a

bridge between m-f (d-r-m-f-s-1) and t-d
and m-f (1-t-d-r-m-f) (hexachord).

p. 49 - p. 49 - 1st exercise without notes written

out as an exercise at the beginning.

p. 67 - no half step markings. p. 67 - half step indicated on full scale (d-

d*) for m-f and t-d.

p. 68 - half step indicated on minor scale

(ll-l) for t-d and m-f.
 APPENDIX D
CORRELATION OF MUSICAL MATERIAL IN COLOURSTRINGS BOOKS
 113

Correlation of Colourstrings Materials

Singing Rascals Do Violin ABC Colourful Music for

(1987). Book A (1991) Strings -Rossa and
and Book B (1981). Kuusisto (1990). In 3
volumes.

Dashing Dan A - p. 22 I - p. 3 #2
The Dog and the Butterfly

My Dolly Molly A - p . 28 I - p. 4 #3
My Doll

Little Train A - p. 34 I - p. 6 #5
Little Train

Elsie the Elephant B - p. 18 I-p.9 #7

Elephant March

Cowboy Joe B-p.44 III - p. 2 #21a

The Cowboy

Mousey B - p. 29 II - p. 4 #14
Good Morning, Mouse

Chuck Chuck Chickens I I I - p . 20 #28

The Hen & Her Chicks

Incy Wincy Spider B - p. 69 I I I - p . 12#24

The Spider

A - p. 41 I - p. 7 #6
The Flying Witch
 114

Correlation of Colourstrings Materials

Singing Rascals La Violin ABC Colourful Music for

(1988). Book A (1991) and Strings - Rossa &
Book B (1981). Kuusisto (1990). In 3
volumes

Mr. Sun (Aurinko) A - p. 22 & 53 (as a I - p. 2 #1

Christmas Song) The Sun

Going on a Trip III - p. 14

Travelling

Magpie B - p. 25 I-p. 14#9

Magpie

Trumpet B - p. 27 I - p. 16
Trumpet & Train

Mr. Goat B-p.31 II - p. 8 #16

Mr. Goat

Wild Duck B - p. 36 II - p. 18 #20

Melody from the Kalevala

The Cradle B - p. 45 III - p. 8

Lullaby

Autumn Leaves B-p.64 I I I - p . 10#23

Aeolian Melody
 115

Correlation of Colour Strines Materials

Singing Rascals Violin ABC Colourful Music for

(1987). Book A (1991) and Strings - Rossa and
BookB (1981) Kuusisto (1990). In 3
volumes.

Look Lamb Look A - p. 52 I - p. 14

Little Lamb

Harry Hare

Hey Beetle! B - p. 20 I - p. 12 #8
Rainbow Song

Squirrel A - p. 29 I - p. 5 #4
Hungry Squirrel

Dreaming B-p.23 I - p. 12 #8
Rainbow Song

Susie Snail B-32 I I - p . 11 #18

The Snail Takes a Ride

Lonely Frog B - p. 25 I - p. 18 #12

Frog and Fish

Little Gnat B-p.28 II - p. 2 #13

Little Gnat

Wonky Donkey B-p.31 II - p. 9

Donkey

Springtime B - p. 31 II - p. 7
Springtime
 BIOGRAPHICAL SKETCH
Brenda Sue Mitchell was born in Phoenix, Arizona, on 16 August 1954. She
received a Bachelor of Music degree in 1976, and a Master of Music degree in 1981, both
from Arizona State University in Tempe, Arizona Her teaching career began in the Tempe
Elementary School system in 1976. From 1977 to 1988 she taught music, primarily
strings, in the Mesa Public Schools in Mesa, Arizona. In addition to her public school
activities she taught Suzuki violin in the Mandel Music Studios, taught classes and directed
orchestras at the Northern Arizona University Summer Music Camp, and was active in die
Arizona Music Educators Association. Since 1988 she has been a faculty member at Miami
University in Oxford, Ohio, where she teaches music education courses at the
undergraduate and graduate level. She served as Southwest Region Chair for the Ohio
Music Education Association from 1989 to 1993, and also conducted die orchestra for the
Ohio Governor's Institute for the Gifted and Talented each summer from 1989 to 1994.
She is a member of Music Educators National Conference, the American String Teachers
Association, Phi Kappa Phi, and Pi Kappa Lambda.