Alongside Shinichi Suzuki and Paul Rolland stands George Bornoff, one of the most influential yet understudied figures in twentieth-century string pedagogy. Best known for his codification of finger patterns, Bornoff developed a pedagogical approach that integrated principles of Gestalt psychology into string class instruction, emphasizing holistic learning, pattern recognition, and tone production. His influence on the field was considerable, shaping practices that have since become embedded within contemporary string pedagogy. Yet despite the breadth of these contributions, much of Bornoff’s work has been absorbed into modern teaching practice without attribution or historical context.
Holistic String Teaching: A Guide to the Writings and Reflections of George Bornoff and Associates brings together newly uncovered writings, interviews, and reflections by George Bornoff and his associates, providing educators, researchers, and readers with previously unavailable access to the ideas underlying the Bornoff Approach. Among these materials are columns from The Bornoff String Bulletin and String Education Quarterly, articles from the Massachusetts Music News, excerpts from Suzanne Lecarpentier’s unpublished biographical manuscript, and a transcription of the 1980 interview between Austin Millington and Bornoff. Presented in carefully curated chapters, these resources are intended to historicize Bornoff’s place within the pedagogical canon, clarify his contributions to string education, and situate the Bornoff Approach within its broader philosophical and pedagogical frameworks. This volume will appeal to string educators interested in Bornoff’s work, music education researchers specializing in string pedagogy, and readers seeking a deeper understanding of Bornoff and his Approach.
Table of Contents:
FEATURED WRITINGS
INTRODUCTION
CHAPTER 1: A PHILOSOPHY OF MUSIC EDUCATION AND STRING INSTRUCTION
Every Child is Musical & Music for All
REFLECTION: DIFFERENT TYPES OF MUSICIANS
REFLECTION: MUSIC IN SCHOOLS & ABILITY GROUPING
QUESTIONS & ANSWERS
REFLECTION: MUSICAL CHILDREN, VIRTUOSITY, AND DEDICATED TEACHING
EDITORIAL: WHO SHALL PLAY?
Motivation
REFLECTION: INTRINSIC MOTIVATION
REFLECTION: MOTIVATION THROUGH ACHIEVMENT
PSYCHOLOGY OF STRING EDUCATION [Part I]
PSYCHOLOGY OF STRING EDUCATION [Part II]
PHILOSOPHY OF STRING EDUCATION [Part III]
LEARNING AND GROWTH
Gestalt Principles
REFLECTION: A MAESTRO’S PERCEPTION
EASTERN EDITORIAL
A MODERN PEDAGOGUE
PHILOSOPHY OF STRING EDUCATION [Part I]
REFLECTION: DIFFERENTIATION, CORRELATION, AND INTEGRATION
WHY TEACH DOUBLE-STOPS?
Efficiency
REFLECTION: EFFICIENCY AND PRAGMATISM
REFLECTION: SELECTING EFFICIENT MATERIALS
REFLECTION: ECONOMY OF MOTION
REFLECTION: TEACHING IN A STRAIGHT LINE
Spatial Before Aural Understanding
REFLECTION: DEVELOPING SPATIAL BEFORE AURAL UNDERSTANDING [Part I]
REFLECTION: DEVELOPING SPATIAL BEFORE AURAL UNDERSTANDING [Part II]
REFLECTION: FEELING THE INSTRUMENT THROUGH SENSORY LEARNING
Tone Production
FROM THE TOP
REFLECTION: TEACHING TONE FIRST
REFLECTION: TONAL APPEAL AS MOTIVATION
GENESIS
Behaviorism and Learning as Cognitive Transformation
REFLECTION: BORNOFF AND BEHAVIORISM
REFLECTION: DOCTRINE OF HABIT FORMATION
PHILOSOPHY OF STRING EDUCATION [Part II]
Meaningful Repetition
REFLECTION: MEANINGFUL DRILL
REFLECTION: MOTIVATION THROUGH MEANINGFUL ASSIGNMENTS
Early Instruction
REFLECTION: WHEN TO START STRING CLASS INSTRUCTION [Part I]
REFLECTION: WHEN TO START STRING CLASS INSTRUCTION [Part II]
BORNOFF PRE-SCHOOL
Group Teaching, Technical Reserve, and Orchestral Application
A QUESTION OF PHILOSOPHY
REFLECTION: TECHNICAL RESERVE
REFLECTION: ORCHESTRA AS A SECONDARY OUTLET
Collaboration
PHILOSOPHY OF STRING PEDAGOGY
STRING EDUCATION: WHERE DO WE GO FROM HERE?
EFFECTIVE STRING TEACHING MEANS A STRUCTURED PROGRAM
THE APATHY DISEASE
WHAT YOU CAN DO
STRING EDUCATION
Chapter 2: Beginning Technique
Exploring Finger Patterns and Fun for Fiddle Fingers
THE BORNOFF PARADOX
THE BORNOFF APPROACH [Part I]
THE BORNOFF APPROACH [Part II & III]
QUESTIONS AND ANSWERS
THE BORNOFF APPROACH [Part IV]
QUESTIONS & ANSWERS
QUESTIONS & ANSWERS
WESTERN EDITORIAL
Note Reading
THE BORNOFF APPROACH [Part I]
THE BORNOFF APPROACH [Part II]
THE BORNOFF APPROACH [Part III]
PRAGMATIC STRING TEACHING (3rd installment)
PRAGMATIC STRING TEACHING (4th Installment)
Cello Technique
THE ADDENDA
CELLO PLAYING [Part I]
CELLO PLAYING [Part II]
BORNOFF ‘CELLO APPROACH (ELEMENTARY LEVEL) [Part I]
BORNOFF ‘CELLO APPROACH (ELEMENTARY LEVEL) [Part II]
BORNOFF ‘CELLO APPROACH (ELEMENTARY LEVEL) [Part III]
BORNOFF ‘CELLO APPROACH (ELEMENTARY LEVEL) [Part IV]
BORNOFF ‘CELLO APPROACH (ELEMENTARY LEVEL) [Part V]
BORNOFF ‘CELLO APPROACH (ELEMENTARY LEVEL) [Part VI]
BORNOFF ‘CELLO APPROACH (ELEMENTARY LEVEL) [Part VII]
Heterogeneous Class Teaching
BRIEF OUTLINE OF A HETEROGENEOUS PROCEDURE FOR STRINGS
BRIEF OUTLINE OF A HETEROGENEOUS PROCEDURE FOR STRINGS [Part II]
NEW PUBLICATION [BORNOFF STRING READER]
A CONDENSATION OF TUNE & PATTERN ACCOMPANIMENTS FOR STRING ORCHESTRA
The Violin Sings and Fiddler’s Holiday
VIOLIN SINGS AND FIDDLER’S HOLIDAY
VIOLIN SINGS AND FIDDLER’S HOLIDAY [Part II]
A QUESTION OF PHILOSOPHY
QUESTIONS & ANSWERS
THE BORNOFF MATERIALS
QUESTIONS & ANSWERS
Chapter 3: Intermediate Technique
Patterns in Position
EXPLORING PATTERNS IN POSITION [Part I]
EXPLORING PATTERNS IN POSITION [Part II]
EXPLORING PATTERNS IN POSITION [Part III]
EXPLORING PATTERNS IN POSITION [Part IV]
EXPLORING PATTERNS IN POSITION
PATTERNS IN POSITION - FOR CELLO
Intermediate-Level Technique
REFLECTION: USING GESTALT PRINCIPLES IN SHIFTING
EDITORIAL: DIVIDE AND CONQUER
REFLECTION: USING GESTALT PRINCIPLES IN SHIFTING AND POSITIONS
REFLECTION: FROM SHIFTING TO VIBRATO
VIBRATO [Part I]
VIBRATO [Part II]
DEVELOPING OCTAVES
DEVELOPING HARMONICS
INTRODUCING HARMONICS OF A FIFTH AND UNISONS
Curricular Overview
GROWTH OF A FINGER PATTERN
EASTERN EDITORIAL: ALL SYSTEMS GO
Chapter 4: String Teacher Training
Qualities of a String Teacher
SO YOU WANT TO TEACH!
ESSENTIALS OF STRING TEACHING
REFLECTION: TEACHER DEDICATION
REFLECTION: UNDERSTANDING PSYCHOLOGY
SO YOU WANT TO BE A STRING TEACHER? [Part I]
STRING EDUCATION [Part I]
STRING EDUCATION [Part II]
Principles of Lesson Planning
[NO TITLE: PURPOSEFUL PLANNING]
REFLECTION: RESPONSIVE TEACHING
REFLECTION: INSTRUCTIONAL EFFICIENCY AND GOAL SETTING
FROM THE TOP: AN EAR FOR MUSIC?
REFLECTION: DIFFERENTIAL INSTRUCTION
Classroom Pedagogy
THE BORNOFF SYSTEM [Pedagogical Principles and Practices]
HOW BORNOFF TEACHES
HOW BORNOFF TEACHES [String Pedagogy]
PROBLEMS IN CLASS TEACHING
REFLECTION: WHY ROTE TEACHING?
THE BEGINNING TEACHER [First Five Hours]
DRILL—A MEANINGFUL EXPERIENCE
HOW BORNOFF TEACHES [Reading]
SO YOU WANT TO BE A STRING TEACHER? [Reading & Music Theory]
TEACHING NOTE READING USING BORNOFF MATERIALS
QUESTIONS & ANSWERS
QUESTIONS AND ANSWERS ON CLASS TEACHING
Assessment
REFLECTION: CONTRUCTIVE CRITICISM
REFLECTION: HOW TO TEACH AND ASSESS IN GROUPS
HOW BORNOFF TEACHES [Assessment and Progress Charts]
QUESTION AND ANSWERS
String Teacher Development
PHILOSOPHY OF STRING PEDAGOGY: THINGS TO COME FOR STRINGS IN THE SIXTIES
PREPARING UNIVERSITY STUDENTS FOR PUBLIC SCHOOL STRING TEACHING
REFLECTION: LEARNING MOTOR DEVELOPMENT ON THE FOUR STRING INSTRUMENTS
SO YOU WANT TO BE A STRING TEACHER? [Part II]
EDITORIAL: 4 OF A KIND
MADISON, WISCONSIN JUNE 10-15
String Program Administration
THE BEGINNING TEACHER
RELATING TO THE MAINSTREAM [Scheduling]
RELATING TO THE MAINSTREAM [Building an Orchestra]
RELATING TO THE MAINSTREAM [Quantity vs. Quality]
RELATING TO THE MAINSTREAM [Quality String Programs]
REFLECTION: ESTABLISHING A HEALTHY CLASSROOM ENVIRONMENT
Observations of Bornoff Classes
OBSERVATIONS OF FIVE STRING PROGRAMS IN NEW ENGLAND [Part I]
OBSERVATIONS OF FIVE STRING PROGRAMS IN NEW ENGLAND [Part II]
OBSERVATIONS OF FIVE STRING PROGRAMS IN NEW ENGLAND [Part III]
OBSERVATIONS OF FIVE STRING PROGRAMS IN NEW ENGLAND [Part IV]
OBSERVATIONS OF FIVE STRING PROGRAMS IN NEW ENGLAND [Part V]
OBSERVATIONS OF FIVE STRING PROGRAMS IN NEW ENGLAND, [Part VI]
Chapter 5: Influence
Colleagues and Contemporaries
GARY KARR – BIOGRAPHY
A MEETING OF MINDS
THE PODIUM: THE BASS AS A SOLO INSTRUMENT
LARGE ENSEMBLES: AT WHAT PRICE?
HOW ABOUT PRIVATE STRING TEACHERS?
UKULELES?!
THE COMPLETE MUSICIAN [J. Chalmers Doane]
Regional Influences: Florida
THE PODIUM: BORNOFF IN FLORIDA
WHAT’S HAPPENING IN MIAMI, FLORIDA
HEADLINE: MIAMI
THE PODIUM: BORNOFF VISITS POMPANO BEACH JUNIOR HIGH SCHOOL ORCHESTRAS
THE PODIUM: FLORIDA ORCHESTRA ASSOCIATION CITES BORNOFF
Regional Influence: Iowa
THE PODIUM: THE SISTERS ORCHESTRA OF DUBUQUE, IOWA – 1965
Regional Influence: Washington
A LARGE GROUP OF STRING TEACHERS AND STUDENTS
BORNOFF METHOD AIRED AT SEATTLE CONVENTION
National Influence: The National String Workshop and Other Clinics
SECOND LEVEL STRING WORKSHOP: BOSTON – JUNE 1966
REPORT FROM UNIVERSITY OF WISCONSIN
WHAT’S HAPPENING IN WISCONSIN-AND POINTS EAST AND WEST!
THE PODIUM: 1,000 ATTEND BORNOFF DEMONSTRATION AT EASTERN M.E.N.C. CONVENTION
Waning Influence
SIX CITY STRING FESTIVAL
SIX CITY STRING FESTIVAL: THE PARENTS’ PERSPECTIVE
Lasting Influence
WHAT IS FASE?
MARCH STRING FEST
THE BORNOFF STRING WORKSHOP [HANSON, MA]
BAY STATE STRING CAMP
Annotated Bibliography of Theses, Dissertations, and Original Research
Bibliographic Sketches
Journal Articles
Books & Chapters
Interviews
Conclusion
Epilogue: Now We’re Ready
Appendix A: Textbook Publications
Appendix B: List of Associates
Index
About the Author :
Dr. Jacob M. Dakon is Director of Orchestras at Hillgrove High School in Cobb County, Georgia. Prior to this appointment, he served as Associate Professor of Music Education at the University of Kansas, where he developed an interest in the work of George Bornoff. He holds a B.M. from the University of South Carolina, an M.M. from Appalachian State University, and a Ph.D. from The Ohio State University, with specialized training in the pedagogical approaches of Bornoff, Paul Rolland, and Shinichi Suzuki.
Benjamin D. McWhorter is Orchestra Director at Tates Creek High School in Lexington, Kentucky. A double bassist, Mr. McWhorter earned a B.M. from the University of Louisville and an M.M.E. from The Ohio State University. He has studied the Bornoff Approach with Debbie Lyle, Executive Director of the Bornoff Foundation for the Advancement of String Education, and actively contributes as both an instructor and administrator at the National Bornoff Workshop.
