Pearls of Pedagogy: An Analysis of the Content of the Dr. Marianne Murray Perkins!

String Pedagogy Collection!

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Lisa M. Maynard, Abigail E. Volcansek, and Jordan R. Wright.!
James Madison University School of Music, Harrisonburg, Virginia, USA!
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Abstract

Dr. Marianne Murray Perkins (1954-2008), was a well-known and highly respected string pedagogue in the United States. Her article A Comparison of Violin Playing Techniques: Kato Havas, Paul Rolland, and Shinichi Suzuki (based on her doctoral
dissertation) was published by ASTA in 1995, and was one of its best sellers over a ten year period. Dr. Perkins attained her Bachelor’s degree in Music Education at Temple University in 1976, her Master’s degree in Education at the University of
Pennsylvania in 1982, and in1993 she completed a Doctor of Musical Arts degree in Music Education at Catholic University, in Washington DC.

Dr. Marianne Murray Perkins studied directly with the three most important string pedagogues of the twentieth century: Dr. Shinichi Suzuki, Kato Havas, and Paul Rolland; and acquired a unique understanding of their pedagogies. As such, she acquired a
special understanding of these pedagogies and built a reputation for her comprehensive interpretation of string playing technique. Unfortunately. Dr. Perkins passed away from cancer on July 10, 2008, but left a major contribution to the field of string
pedagogy in her collection of notes and video recordings that are now housed in the Dr. Marianne Perkins Memorial String Pedagogy Collection, located in the Music Library, in the School of Music at James Madison University, in Harrisonburg, Virginia.

The purpose of this ongoing research is to summarize, document and analyze the content and pedagogical approaches Dr. Perkins wrote about and recorded during her studies at the (formerly) Talent Education Research Institute in Matsumoto, Japan, in the
1980's through examining her own personal notebook writings (Phase I, completed), and through the observation and analysis of 10 video recordings (Phase II, in progress) that were taken during individual and group lessons during her studies at the Suzuki
Talent Institute in Matsumoto, Japan.

Marianne Murray Perkin’s notebook contains 65 pages of entries written on 38 specific dates over a two-year time period, beginning with her first visit to Matsumoto, Japan on December 20, 1983 that span an initial trial 3-week period, and conclude with the
last entries dated on February 26, 1985. Dr. Perkins graduated as a trained Suzuki teacher in March of 1985 after a year of full-time study (including individual studies with Dr. Suzuki himself) at the ‘Institute. In addition, there are other non-dated entries in the
journal, and at the very end of the notebook, calendar dates for future lesson observations and “faculty” meetings for May, June, July and August of 1985.
In terms of content, the Perkins’ notebook contains notes from observations of Japanese Suzuki students’ private and group lessons, as well as her own lessons. Dr. Murray Perkins’ outlined the course of study undertaken by students and herself in her
article Return to Matsumoto that was published in a February, 2008, American String Teacher journal. Marianne wrote that every weekday would begin with group lessons that focused on producing “Diamond” (or superior) tone. These comments are
contained in her notebook, along with diagrams, so it is certain that she herself referred to her notes when writing this article.

The handwritten notebook is extremely detailed in it’s descriptions (which include recommendations and specific exercises) of the pedagogical foundations of Suzuki violin playing and teaching relevant to 3 main areas: posture
(including the position of the feet, head and shoulders); right hand/arm (including balance and placement exercises specific to the elbow, bow hold, forearm, staccato and spiccato articulations, the role of the fingers and thumb, PANDA training, and bow
weight); and left hand/arm (“Swan Neck”, vibrato waving, trills, double stops, and elbow placement). Other important pedagogical aspects of the Suzuki method that are mentioned in the notebook included multiple references to Pablo Casal’s tonalization
exercises, an emphasis on breath when playing as it relates to phrasing, and the “Kreisler Highway”.

Key aspects of the Suzuki Method approach are also included in the contents of the journal including notes specific to the importance of students listening to recordings and ear training, parental involvement, the use of repetition, tips for setting up a Suzuki
program, pre-violin hold position, pre-violin bow hold thumb placement (“Rabbit”), beginning violin bow games and concepts (“Up Like a Rocket”, TAKA – “Twinkle Variations”, “Waving”, “Windscreen Wipers”, “Stir-the-Soup”. A detailed description of the
philosophy behind Shinichi Suzuki’s method is included on p. 29 of the notebook. In addition, recommended books for learning more about Suzuki’s pedagogical approach are included. These are: Quick Steps to Note Reading by Lorraine Fisk; Nurtured by
Love by Shinichi Suzuki; and The Suzuki Student.

The repertoire covered in the lessons about which Perkins wrote notes included pedagogical references to 11 different pieces from the Suzuki repertoire, many of which were mentioned on multiple dates. These were: Twinkle (Traditional), Lightly Row
(Traditional), Go Tell Aunt Rhody (Traditional), Theme from “Judas Maccabaeus” (Handel), Country Dance (von Weber), Gavotte (Bach), Bouree (Bach), Liebesleid (Kreisler), Concerto in A minor, RV 356 (Vivaldi), Concerto in D minor, BWV 1043 (Bach, for 2
violins), and Concerto in G minor, BWV 1056R (Bach).
Page 21
Page 21
Setting up a Suzuki program
Setting up a Suzuki program
1.) Establish student; teacher on “The
1.) Establish student; teacher on “The Philosophy” of S. Method
Philosophy” of S. Method a. Give demonstration lesson
a. Give demonstration lesson b. A video (equipment) tape of
b. A video (equipment) tape of Suzuki children and them
Suzuki children and them playing
playing --- ages 3 & 4 ; prerequisite
--- ages 3 & 4 ; prerequisite mother and child observe for
mother and child observe for at least one month or Parents
at least one month or Parents have lessons only
have lessons only 2.) Step II (3 or 4 weeks) 10 min child
2.) Step II (3 or 4 weeks) 10 min child 20 min parents
20 min parents a. Learn how to bow: a --- to
a. Learn how to bow: a --- to follow directions and “learn”
follow directions and “learn” (objective) Then children say
(objective) Then children say “I’m ready to begin” Teacher
“I’m ready to begin” Teacher bows also, establishing
bows also, establishing mutual respect. Also bow at
mutual respect. Also bow at
the end. Focus on violin only
--- that ---. Also gets pupil
ASTA the end. Focus on violin only
--- that ---. Also gets pupil
used to the formality of
used to the formality of
performances
performances
b. Practice concentration
b. Practice concentration
(closing eyes)
(closing eyes)
i. Students stare at an
i. Students stare at an
object (or doll) while object (or doll) while
listening to listening to
“TWINKLE” “TWINKLE”
variation on a tape. variation on a tape.
(focus) Then practice (focus) Then practice
at home every day at home every day
Get Miss – tapes – Get Miss – tapes –
first four variations first four variations

References

Perkins, M.M. (2008). Return to Matsumoto. American String Teacher, 58(1), pp. 22-27.
Suzuki, S. & Hermann, E. (1995). Shinichi Suzuki: The Man and His Philosophy. Alfred Publishing; New York.
Suzuki, W. (1983). Nurtured by Love: The Classic Approach to Talent Education. Alfred Publishing: New York.