Tropical Rhythms

A String Project in Jamaica

By Dr. Lisa Darby Walker
California, 2004

Forward
Tropical Rhythms, a String Project in Jamaica, transpired from 1997 to 2001
under the leadership of JSOs Founder and Fulbright Scholar, Dr. Lisa Walker,
who later submitted the project as partial fulfillment of the requirements for her
Doctor of Musical Arts degree at Claremont Graduate University, California.
The string project was a life changing venture for many of the participants and
for Lisa in pedagogical development. Very early, Lisa recognized the need to
step outside of her American musical paradigm to be successful in the
Jamaican culture. According to her, the Jamaican musicians proved to be the
most vibrant group she had ever coached. Through the experience, she has
developed a more comprehensive approach to pedagogy and become a more
effective and exciting teacher.
While I was not a part of Lisas life until the last two months of the project, I
witnessed the end results and have been an integral part of all her subsequent
projects around the world, including the Jamaica Symphony Orchestra (JSO),
which was launched in Jamaica in September 2008.

Jamaica Symphony Orchestra (JSO) performing at the World Travel Award in Jamaica on October 22, 2010

Born in Los Angeles and trained in Chicago, Lisa is easily one of the best string
coaches worldwide. For nine years, I have seen her coach beginning students to
play like professionals in record time in North America, Central America,
Europe, and the Caribbean. In this book, she shares her experience with the
Jamaican music culture and her secrets for success.
Courtney Walker
JSO Executive Director
December 2010

Acknowledgements:

Tropical Rhythms: A String Project in Jamaica was accomplished by

the work and advice of many people. I am grateful to the following
persons for their contributions to the project:

Doctoral Committee Members:

Dr. Robert Zappulla, Dr. Rachel Huang and Dr. Michael Lamkin

Jamaican Artists and Educators:

Dr. Marilyn Anderson, Peter Ashbourne, Katherine Bradber, Daniel
Castillo, Angela Elliot, Fay Ennever-Robotham, Maurice Gordon, Lloyd
Hall, Noel Peck, Moyah Gibson, Maria Lee, Laura Simpson, Lydia
Torrientes-Hernandez, Karen Woodham, Steven Woodham and
Rosemary Yap.

American Guest Artists and Educators:

Jennifer Carsillo, Richard Shuster, Eric Thomas and Justin Wilson

Administrators:
Gillian Lee and Cynthia Thompson

Jamaican Teacher-trainees:
Marc Gayle, Sadiki Thompson

Parents and students of the String Project

TABLE OF CONTENTS
Pages
Introduction

Chapters:
1: Setting the stage

2: Play something for me

13

3: If you dont feel anything, neither will your audience

20

4: What is the difference between a perfect musician

and a professional musician?

26

5: What am I saying now?

30

6: The Mother-Tongue and Reggae Twinkle

34

7: Practical Issues

39

8: Special Achievements

42

Conclusion

44

Citation

47

List of Participants

48

Photographs

51

Reading List/Bibliography

59

INTRODUCTION

From left: Moriah Holness, Micah Holness and Lauren Creary

With a total of 10,991 square kilometers, Jamaica is the third

largest Caribbean island in the West Indies. The Institute of Jamaica,
Cultural Development Commission and Cultural Training Centre are the
chief bodies that oversee the development of arts on the island. 1
Particularly rich in its music culture, Jamaica combines rural folk music,
urban popular music, European art music and African-American jazz in
a predominantly Reggae music culture.2

Pamela OGorman, The First Twenty-one Years in the Life of the Jamaica School of Music, in
British Journal of Music Education, (United Kingdom Vol. I/1 1984), 80.
2
Ibid., 82.
1

I accepted an invitation to guest lecture at Northern Caribbean

University in Mandeville, Jamaica for the summer of 1993.
responsibilities

included

teaching

Pedagogy, and Applied Violin.

General

Music

History,

My
Violin

This experience served as my

introduction to the Jamaican music culture.

Dr. Marilyn Anderson, director of the music department at
Northern Caribbean University, did convey the inceptive nature of the
program. However, I found it quite unusual for all of the applied violin
students at the tertiary level to be beginners. Notwithstanding the level
of the students, I was much impressed with their progress that
summer, due in part to their instinctive musicianship.

The students

learned a twelve-week syllabus in five weeks. In addition, beginning

violin students were able to read level-one violin works accurately and
with musical sensitivity by the end of the period.
The Music History course was designed to provide partial
fulfillment of graduation requirements for those music students
receiving diplomas in music. However, because of the novelty of this
type of course at the University, the class grew to comprise students of
varied disciplines as well as non-degreed students.

In spite of the

heterogeneous nature of the group, every member of the class

performed extremely well on mid-term and final examinations.

The

students were highly motivated by the subject matter and this

accounted for a large part of their accelerated achievement. However, it
6

also became evident that music forms the basis of their connate form of
expression. The sing-song inflection of Jamaican Patois, the use of
music as an integral part of community life, and an inherent
understanding of musical concepts presented form the basis of this
opinion.
A Dictionary of Jamaican English, a particularly informative
book on Jamaican Patios published by the University of the West
Indies, gives vivid recitations of the song-like dialect.3 Visitors to the
island are introduced to a sample of the musical community by
serenading

groups

of

instrumentalists

and

singers

performing

Jamaican music upon arrival at Norman Manley airport in Kingston,

Jamaica. Further, music forms an integral part of morning devotions in
most Jamaican schools.

Finally, music is the foundational mode of

communication in oral-aural societies such as Jamaica, enabling

persons to communicate their deepest feelings without fear of rejection
or rebuttal.4
Upon completion of summer courses, Dr. Marilyn Anderson
expressed an interest in my continuing the work I had begun as Strings
Director of the music department. Regretfully, I could not accept as I
was completing my final year of Masters work at Northern Illinois
University in DeKalb, Illinois. Nevertheless, I did make a commitment
3

F.B. Cassidy and R.B. LePage, eds., A Dictionary of Jamaican English, 2nd ed., (Kingston, Jamaica:
University Press of the West Indies, 2003).
4
OGorman, 64.

to return to Jamaica and teach violin pedagogy, form the foundation of

a self-sufficient string orchestra, and conduct research on distinctive
elements of the Jamaican music culture as it relates to string pedagogy.
I was able to realize this goal after completing my Masters
Degree in Violin Performance and Pedagogy (1996) and before
beginning doctoral studies at Claremont Graduate University in 2002.
In September 1997, I moved to the island of Jamaica to immerse myself
in the culture, begin a violin school and string orchestra and conduct
research. The following pages chronicle the naissance and maturation
of a string project, which I subsequently entitled Tropical Rhythms: A
String Project in Jamaica, and highlight some of the distinguishing
pedagogical concepts used to tutor Jamaican artists-in-training.

The

mixture of innovative pedagogy with the innate musicianship of the

Jamaican students fostered music-making that emanated vitality and
exuberance.

CHAPTER 1:
Setting the Stage

--- Stimulate interest ---

When I arrived in Jamaica, the local music teachers informed me

that I would find very few students interested in taking violin lessons.
Their reasons were both economic and cultural.

Jamaicas music

culture is largely based on Reggae music, with emphasis on voice,

keyboards,

bass

guitar,

trombone

and

percussion

instruments.

Further, the absence of orchestras and other ensembles that feature

stringed instruments contribute to the insouciant attitude toward string
music instruction.

Confronting this musical milieu, I generated the

concept of forming the String Teachers Ensemble to showcase the

string teachers on the island and promote mutual understanding and
goodwill.

According to Hope Alysia Davis, the success of music

education in Jamaica is highly dependent on the training and natural

abilities of the music teacher.5

Hope Alysia Davis, Trevor Alvin Beckford, School and Church Music Educator: An Examination of
His Contribution to Music Education in Jamaica (Doctoral Dissertation, University of Southern
Mississippi, 1997), 2.
5

Prior
Teachers

to

forming

Ensemble,

the
I

String
accepted

several solo performance invitations

from established music tutors. These
inaugural

public

performances

occurred in May and July 1998. The

distinguished Lloyd Hall invited me to
Jamaica 1998

perform on his Salute to Mothers

concert, held at Shortwood Teachers College on May 10, 1998. The

concert of July 1998, I was requested to play the last movement of
Mendelssohns Violin Concerto in E Minor, Op. 61, a work deemed in
Jamaica as an example of advanced repertoire for violin.

After the

concert, the respective music teachers were less reluctant, yea even
congenial to forming a string ensemble. In addition, Moyah Gibson, a
Jamaican Suzuki violin instructor, recommended six of her advancing
students for study with me directly after the same aforementioned
concert.
The String Teachers Ensemble comprised four violins, two violas,
and one violoncello.

The one-hour weekly rehearsals provided the

opportunity for the string tutors to exchange approaches to music and

pedagogical styles.

The rehearsals included an exploration of

Jamaican, Cuban and American string music education methods.

Through informal discussion, I learned that the music-education
10

curriculum in Jamaica is not formalized and differed according to the

training and pedagogical concepts of the music teacher.

Consistent

with the non-demanding environment, sight-readable light classics

formed the foundation of music rehearsed.
Ensemble did perform in two public concerts.

The String Teachers

First, as a guest

ensemble at an Andrews Memorial Hospital ceremony November 2,

1998 and second, on an Evening of Music concert, arranged by Her
Excellency The Most Honourable Lady Cooke, in the Ballroom at Kings
House on Sunday, December 20, 1998.

--- Obtain instruments ---

The exiguous presence of stringed instruments on the island,

especially violins, violas, cellos and double basses, is due in part to
economic factors. Owners of The Music Mart, the principal music store
in Kingston, Jamaica, communicated the difficulty of importing quality
violins at a price Jamaicans could afford. Moreover, I was told that the
prices of instruments in the store included a necessary 300% markup to
cover custom duties and overhead.
The solution to this predicament came in the form of a specialty
string instrument shop, located in Miami, Florida, whose owner and
sole proprietor agreed to ship stringed instruments at wholesale cost to
11

facilitate string music instruction in Jamaica. The arrangement included

direct shipping to the parent, with duty costs covered by the parent
buying the instrument. (Duty at that time was thirty percent of the value
of the instrument.) This settlement made it possible for Jamaican
parents to obtain necessary instruments.
With the String Teachers Ensemble providing both visibility
and a united front for string music education and with a practical
source for instruments identified, the viability of a string project seemed
feasible. In addition, my solo performances demonstrated an attractive
product of string music study and served as an indispensable preface
to the string project.

Finally, in combination, the above components

presented stringed instruments as fascinating, alternative vehicles for

music expression to the island of Jamaica.

12

CHAPTER 2:
Play something for me!

--- Performance-oriented training ---

Shortly after opening the Lisa Holness Violin Studio in

1998, a parent of a beginning student asked her child to play
something after the first lesson.

I patiently explained that I was

teaching the child the basics of the instrument before teaching her to
play. The parent replied that she was not sure she could afford to pay
me to teach her child the basics. For this parent, there was a direct
correlation between the payment of fees for each lesson and the
progress of the child. I soon discovered this particular mindset to be
widespread in the Jamaican culture. High value is placed on a visible
performance product with very little value placed on the actual process.
This peculiar cultural disposition compels a pedagogical approach
heavily based on performance.
Performance-based pedagogy accentuates the performing aspect
of pedagogy, including learning technique through graded repertoire,
weekly ensemble master classes and frequent public performances.
The Suzuki Method, begun by Shinichi Suzuki in Japan in 1947, is one
example of a performance-based system. It was through the Suzuki
13

Method that I developed an early and solid bond with the violin. The
late Mr. Joseph Williams, a Panamanian Suzuki instructor, introduced
me to the violin using the Suzuki Method. I studied with Mr. Williams
for three years before winning a scholarship to the Chicago College of
Performing Arts (pre-college division) at Roosevelt University.

Mr.

Williams was an extremely motivational teacher and it was through my

experiences with him that I developed an inspirational approach to
violin studies. Although I studied outside of the context of the Suzuki
Method violin for the remainder of my studies, I retained the love of
music espoused by the method.

1981: Joseph Williams, Suzuki Instructor in performance with select

violin students. Back row: Michael Darby, Lisa Grooms, *Lisa Darby,
Lisa Kendall, Michael Pierce, David Kendall, and Phyllis Coleman.
Front row: Eric Johnson, Sean Johnson, and Lori Morris

14

I teacher-trained in the Suzuki Method under Laurel Thurmann at

Northern Illinois University from 1992 1994, partially fulfilling the
elective requirements for the Masters Degree in Performance and
Pedagogy. The Suzuki Method organizes graded works by book level.
Aptitude is developed through the repetition of works containing a
particular technique rather than isolated technical exercises.6 When the
technical skill is acquired, the student gains a polished performance
piece as a product.

The philosophy of this particular method is

perfectly suited to the demands of the Jamaican music culture.

Through teacher training, I learned how to organize music in
logical sequence according to inherent technical skills. I applied this
knowledge to a variety of music, including classical, broadway, reggae,
gospel and international folk songs, which I presented to the Jamaican
students for study.
The string project required all participants, with the exception of
adult learners, to attend twice weekly, once for a private lesson and
once for a master class.

The weekly master classes provided an

opportunity for the students to play for and with their peers. The group
classes proved to be highly motivational and exciting for the students
and were a vital ingredient in the success of the project.

The students

were grouped according to their level: Paganini Class (beginners);

Shinichi Suzuki, preface to songs in Suzuki Violin School, Vol. 1- 10 (Evanston, Illinois: Summy
Birchard Company, 1970), 4ff.

15

Beethoven Class (level one); Bach Class (levels two and three); and
Chamber Orchestra (levels four and up).

Level one comprised of

absolute beginners (open strings) to first position works in the keys of A

Major, D Major and G Major. Levels two and three introduced vibrato,
shifting, and works utilizing first through third position finger patterns
in the keys of C Major, F Major, B-flat Major, E Major, g minor, a minor
and D Major (two octaves). Levels four through approximately level 8
worked on advancing repertoire, encompassing through tenth position,
in all the major and minor keys (three octaves). The projects group
class structure provided opportunities for repetition of previously
learned skills, observation of new techniques, participation in ensemble
playing, practical theory, informal performances and sight-reading for
each student.

Left, Beginning Reading Class:

Back: Mario Webb; Front from left: Chiann
Henry and Moriah Holness

Right, Advanced Reading

Ensemble
From left: Philip Ho, Nicolette Smith,
Stefan Kerr, Marc Gayle and Peter Ho

16

Right, Beginning Theory Class:

From left, clockwise: Stefanie Webley, Chenelle
Raynor, Javier Jones, Mario Webb, Brianna Reid,
Micah Holness, Moriah Holness, Chiann Henry
and Jordan Williams

Above, Cello Ensemble:

From left: Heather Jones, Adam Moss, Lauren
Creary and Danielle DaCosta

In addition to performing every three months for the end of term

recitals, the students performed in full-scale public concerts held in
April and December every year, beginning in December 1999 (see
appendix 3). The string project was also invited to perform at a number
of unique locales including filming for music videos, church programs,
weddings, garden parties, childrens homes and the house of the
Governor General of Jamaica.

17

The String Project in performance at the Hilton Hotel in Kingston, Jamaica (2000)

Varied levels of motivation among the students

necessitated further grouping of classes.

Certain

students learned three or more levels per year, while

others learned less than one level per year.

One

extraordinary participant, Nicolette Smith, entered as

an absolute beginner, practiced three to five hours per
day and completed six levels in a little more than a
Nicolette
Smith

year.

In

response

to

this

variety,

I created

differentiated syllabi. At the beginning of each term,

the parent chose a recreational-track syllabus or a
performance-track

syllabus

for

their

child

to

complete. Every student was invited to complete the

performance-track syllabus with the commitment of
daily practice.

The comprehensive scope of this particular syllabus

18

focused on building solid technique. Alternately, the recreational-track

syllabus concentrated mainly on giving the student an experience of
playing a stringed instrument in a non-demanding environment. The
students completing performance-track syllabi were frequently called
upon to play in the community in groups or solo. Television and radio
performances were included in their collection of performances.

All

students from both tracks performed together in the projects bi-annual

concerts.

Group performance 2001

19

CHAPTER 3:
If you dont feel anything, neither will your audience

--- Emphasize Dramatic Content of Music --You motivate the students to play the violin, while making the
process fun and exciting even though it is hard work.7
During my sojourn in Jamaica, I quickly learned that high
drama might very well define the essence of the Jamaican culture.
Practically all of the traditional festivals include a fusion of music and
drama, including Jamaican Independence Day celebrations, Jamaica
Carnivals, Accompong Maroon Festival activities and Jonkonuu.8

would even dare say that the primary reason the Jamaican
participants of the project play their instruments is to realize the
drama in the music.
Elucidation

of

dramatic

content

encourages

effective

interpretation, improves student involvement and stimulates motivation

to practice. I used this essential pedagogical technique to engage even
the most recalcitrant student in study. It takes an emotional connection
of some sort to want to spend hours polishing a piece.

For the

students, realizing the dramatic content established that connection,

Excerpt of Citation to Mrs. Lisa Holness: Teacher Extraordinaire, presented to Lisa Holness at the
conclusion of the project.
8
Davis, 11.
7

20

and made the process of learning fun and exciting even though it was
indeed hard work.
The last two public concerts compelled standing ovations in
addition to increased registration.

I presume the Jamaican audience

responded favorably to the dramatic content of our programs, as the

number of string project participants increased most noticeably after
public concerts. At the conclusion of one particular concert, an audience
member exclaimed to me, I didnt know string music could sound like
that! I was never able to define what that was, but she registered
both herself and her children the very next day.
Justin Whyte, Senior Staff Reporter for the Jamaica Gleaner,
reported the following review of a shared performance with celebrated
Russian pianist Regina Shamvilli:
The students of the Lisa Holness Violin School accompanied by
Angela Elliott, pianist, also performed.The students displayed a
sound knowledge of the works presented. The children, whose ages
ranged between three and 18 years, displayed an artistic appreciation
of music beyond their years. They also paid great attention to detail,
including good instrumental playing practices, dynamics and
phrasing.10
Jamaica Gleaner, Entertainment Section
December 11, 2001

See Classical Strings, April, 2001 and Strings at Christmas, Dec, 2001 in accompanying media.
See appendix 1.

10

21

During lessons and master classes, I emphasized to the

participants, if they didnt feel anything, neither would their audience.
One especially useful exercise I initiated included an analysis of
another students solo performance by acknowledging those aspects
done well and identifying areas for improvement. An especially
delightful facet of this exercise entails having the master class
participants guess what the student performer in question was feeling.
The performer was successful if the students listening were able to
identify the emotion. It usually took only a few sessions for the student
to comprehend that music is not just a bag of notes to be played, but
an unseen substance with life force to be realized.

22

According to Leopold Mozart, in his Versuch einer grndlichen

Violinschule of 1756, analysis of musics character should take place
before beginning study of respective work.11 The students of the project
always listened to the work they were to study before learning it. After
listening, discussion on character, tempo, dynamics, phrasing, etc.
ensued. In fact, students chose which work they wanted to learn from
this listening exercise.
As Robin Stowell emphasizes, the ability to appropriately
interpret a work is invariably tied to understanding and realizing the
expressive content of that work.12 Further, Adrian Eales points out that
adding a little creativity and intuition to interpretation serves the
student, composer and audience.13

In the area of creativity and

intuition, I discovered that many Jamaican students possess a

distinctive musicianship that sets them apart from the standard.
Rochelle Haynes, Russell Lee and Kester Reid represent only a few of
the many students who displayed an extremely high degree of
musicianship for their level.

11

Leopold Mozart, A Treatise on the Fundamental Principles of Violin Playing, 2nd ed, trans. by
Editha Knocker (Oxford and New York: Oxford University Press, 1985), 218.
12
Robin Stowell, Technique and performing practice, in The Cambridge Companion to the Violin
(Cambridge, UK: Cambridge University Press, 1992), 139.
13
Adrian Eales, The fundamentals of violin playing and teaching, in The Cambridge Companion to
the Violin (Cambridge, UK: Cambridge University Press, 1992), 115.

23

Rochelle

Haynes

represents

one

example of the advanced level of dramatic

expression
students.

shown

by

the

Jamaican

Although she had studied the

violin for just a little over a year before

making

her

solo

debut,

Rochelle

demonstrated an unusual level of maturity

in her performances. Rochelle consistently
Rochelle Haynes, 9 Ys.

exhibited a high degree of concentration,

varying the dramatic content as the music dictated. Her obvious strong
involvement with the music and ability to effectively communicate
produced commanding and convincing performances.

Russell Lee comes from a particularly

musical family.

His brother, Simon Lee,

was the youngest participant at two years

old; his sister, Joelle Lee, was one of six
concertmasters

of

the

advanced

ensemble; and his mother, Gillian Lee,

held leadership positions in the adult
Russell Lee, 7 Ys.

24

orchestra.

The creativity Russell added to his music-making can be

considered no less than prodigious. In lessons and in concert, I have

never heard Russell play a piece the same way twice.

The

improvisatory nature of his performances was especially appealing to

the Jamaican audience. After only eight months of study, he received a
standing ovation after performing the third movement of Seitzs
Concerto No. 2, Op. 13.

There

is

an

abstract,

yet

distinct

difference between emotions contrived

and

emotions

expression.

truly

felt

in

music

Ivan Galamian describes

the perfect performance as one in which

the artist is moved by the music he
plays, and abandons himself to the
inspiration of the moment.14 Elegance
Kester Reid, 10 Ys.

in expression with genuine affections

gave Kester Reids performances an unquestionable air of authenticity.

With the addition of his sincerity and commitment, Kester Reid was
recognized as one of the many highlights of the string project.

14

Ivan Galamian, Principles of Violin Playing and Teaching, 2nd ed., (New Jersey: Prentice-Hall, Inc.,
1985), 7.

25

CHAPTER 4:
What is the difference between a perfect musician (one without
mistakes) and a professional musician?

A perfect musician does not exist. A professional musician does not

allow mistakes to interfere with musical expression.
Lisa Darby Walker

It is amazing how little our quintessential pedagogical references

deal with the concept of errors in performance.

From among our

earliest performance practice sources, including Leopold Mozarts

Versuch einer grndlichen Violinschule15 and Francesco Geminianis
The Art of Playing on the Violin16, to twentieth century sources
represented by Leopold Auers Violin Playing As I Teach It17 and Ivan
Galamians Principles of Violin Playing and Teaching, the art (and/or)
discipline of expressing music in imperfect performance conditions is
conspicuously absent.18 It has only been within the last thirty years or
so that some attempt has been made to address performance blunders
and relevant issues. Timothy Gallwey, in his book The Inner Game of

15

Mozart.
Francesco Geminiani, The Art of Playing on the Violin (London, 1751; facsimile edition available
from Oxford University Press).
17
Leopold Auer, Violin Playing As I Teach It (New York: Frederick A. Stokes Company, 1921).
18
Galamian.
16

26

Tennis, advocates knowledge of the inner self to help control

mistakes.19

In Performance Success: Performing Your Best Under

Pressure, Don Greene identifies seven aspects of performance and

gives strategies

in

each of

the

areas

to

achieve efficacy in

performance.20

These references represent some of the literature

available to deal with performance pressures for mature performers.

When working with the students of the string project, I used a much
simpler remedy with very positive results: I gave them permission to
make mistakes in performance and helped them maintain poise,
concentration and a flow of communication in the same performance
environment. This approach did not eliminate errors altogether, but the
resulting plausible performances were relatively free of anxiety.
Too often, I have watched students in performance neglect
artistry because they are preoccupied with the technical difficulties of
the instrument and the composition. In my opinion, it is too late to wait
until one has played a piece of music perfectly to add artistry. The
nuances of a work should be learned during study so as to practice
producing the appropriate bow stroke, shift speed, vibrato speed and
overall temperament. In addition, I have found that a pupil tends to
revert back to the primary way of learning the work when in

19

Timothy W. Gallwey, The Inner Game of Tennis (New York: Random House, 1974).
Don Greene, Performance Success: Performing Your Best Under Pressure (New York: Routledge,
2002).
20

27

performance. Thus, for students, it is necessary to allow for mistakes

in music expression to have music expression.

--- Train pupils to play expressively rather than perfectly ----

Felix Andrievsky once commented, Occasionally one hears an

artist who is not playing perfectly, but I would not change them for
these who are faultless but who cant reach my heart.21 In the string
project, the students were trained to play through their mistakes when
performing for one another.

The idea (is/was) that the flow of

communication should not stop simply because one played an incorrect

or out-of-tune note.

In fact, the students were cautioned not to

advertise their mistakes with telltale signals, including grimacing,

looking embarrassed, playing softer, etc. Assurance that the audience
(is/was) interested in their music, not their mistakes, encouraged
astonishingly polished performances from the participants. According
to Leopold Auer, one is able to perform better having less anxiety.22
The students were especially inspired by the anecdote of Midoris
legendary performance at Tanglewood Music Festival in July 1986.23
Midoris ability to make music throughout the disruption of two broken
21

Eales, 115. (from The Strad, 95, 1985; 682)

Auer, 193ff.
23
Midori Ito, Biography, [home page on-line]; available from
http://www.gotomidori.com/english/biography.html; Internet; accessed 13 March 2004.
22

28

strings and three different violins inspired the children to play through
erroneous notes, temporary lapses of memory and sundry mishaps
during performances.

This level of artistry is possible in student

violinists and should be encouraged at all levels of instruction.

Rachael Lodge concentrating more on the music than simply the technique
Jamaica Gleaner24

24

See Appendix 1.

29

CHAPTER 5:
What am I saying now?

--- Develop clear, effective communication through the bow ---

A substantial number of recognized beginning string instruction

methods, including Phyllis Youngs The String Play, Dr. Shinichi
Suzukis Talent Education and Paul Rollands (with Marla Mutschler)
Teaching of Action in String Playing, emphasize the importance of a
functional bow hold for proficient tone production.25 A bow hold that
enables a player to achieve maximum flexibility through proper finger
placement is deemed a functional bow hold. In The String Play,
Phyllis Young dedicates an entire chapter to imaginative bow games
designed to increase awareness of the sounding point, develop bow
control and improve tone production.26

In Suzuki teacher training,

the position and function of the fingers on the bow hand is

highlighted by giving a name to each finger: guide or lazy finger for
the index finger; huggers for the middle and ring finger; Dr. curved
pinky for the pinky finger; and Mr. Bent Thumb for the thumb. In
addition, Dr. Suzuki scored four variations of Twinkle, Twinkle Little
Star, the very first song in Book 1, to develop primary bow
25
26

See bibliographic entries for Phyllis Young, Shinichi Suzuki and Paul Rolland.
Phyllis Young, The String Play, (Austin, Texas: University of Texas Press, 1986), 6 31.

30

dexterity.27

Paul Rolland advocates shadow bowing, which is

bowing on ones shoulder through a little tube that guides the bow, to
promote correct bow technique.28
Participants of the string project were consistently encouraged
to focus on the bow, as 100% of the sound comes from the bow.
Frequently, in illustration of this principle, I challenged a pupil to
produce as much sound as they could from the left-hand only.

It

often took less than a second for the pupil to return a smile of
comprehension.
The

following

are

several

exercises

for

developing

bow

technique, which I developed for the students of the string project:

Tone Colors
For beginning exercise and warm-up, I employed long bows on
open strings, with attention on clear, solid tone production.
Additionally, a variance of tone color was encouraged. For the very
youngest students, we often played the color game. In this game,
the student thinks of a color and tries to reproduce that color with his
paint brush (bow) on an open string. Invariably, the pupil learned to
vary the bow speed according to the desired color: lighter colors
require less pressure and slower bow speed while darker colors

27

Dr. Shinichi Suzuki, Suzuki Violin School, Vol. 1, (Florida: Summy Birchard Inc., 1970), 9ff.
Paul Rolland, The Teaching of Action in String Playing: Violin and Viola (New York: Boosey and
Hawkes, 1986), 85.
28

31

demand greater pressure and a faster bow speed. In response, the

parent or teacher tries to guess what color the child was thinking of.
This game encourages awareness of tone colors and stimulates
interest in the development of bow skill.

After this technique was

mastered on open strings, application of colors to their respective

repertoire was encouraged.

Radio station reception

An analogy of radio station reception to elicit clear tone on the
violin worked well in the string project.

This analogy is especially

relevant to students of Jamaica, as radio broadcasts still comprise the

primary form of communication in this developing country. In the radio
station exercise, the student and I both listen to assess the quality of
the radio station reception, which is the tone being produced on the
violin, throughout an etude or piece.

Together we identify areas of

increased static or poor tone production.

Teacher and student

interplay of this kind makes the student both cognizant of and

responsible for their tone production.

This is substantiated by

Galamians admonition to constantly scrutinize the sound being

produced.29

29

Galamian, 101.

32

What am I saying now?

One particularly useful activity, employed during private lessons
and master classes, entails an examination of what is said with ones
bow without words.

This activity develops awareness for the non-

verbal aspect of music making. For example, if the performer uses too
little bow and produces a small tone, the performer may be saying, I
am nervous or I dont want you to hear what I am playing.
Alternatively, a production of a full, generous tone, varying the tone
color as the music dictates, sends the message that one is comfortable
with what they are saying.

Activities of this sort highlight the

presence and power of non-verbal communication in music-making.

Micah Holness demonstrating effective bow technique

33

CHAPTER 6:
The Mother-Tongue and Reggae Twinkle

--- Utilize indigenous music, instruments and artists ---

Ivan Galamian states that each student has a natural and

individual approach to the violin and to music.30

Moreover, the

application of the basic principles of language acquisition to the

learning of music, an approach espoused by the Suzuki Method, is
termed mother-tongue pedagogy.31 Pamela OGorman acknowledges
that European classical music is a foreign language to the children
of Jamaica.32 The musical tongue of Jamaica is Reggae music, which
has elements of Calypso, soul and rock and is characterized by a
strongly accentuated offbeat. Thus, the addition of reggae rhythms to
classical music appeared to be an effective way to introduce new art
forms associated with classical music in Jamaica. One example of my
attempt to combine European and Jamaican music cultures is a
selection I taught to beginning students entitled Reggae Twinkle.
This syncopated adaptation of the Twinkle Variations from the
Suzuki Method accentuates the offbeat, which is characteristic of

30

Ibid., 1.
Shinichi Suzuki, Nurtured by Love: The Classic Approach to Talent Education, trans. by Waltrud
Suzuki (Florida: Summy Birchard Inc., 1986), 5ff.
32
Pamela OGorman, The first 21 years in the life of the Jamaica School of Music, in British
Journal of Music Education, (United Kingdom Vol. I/1, 1984), 76.
31

34

Reggae Music. The absolute beginners played this rhythm on open

strings until left-hand technique was sufficiently established.

Reggae Twinkle

The use of local folk songs to teach specific techniques seemed

to work especially well. For example, beginning on the open A string,
Dis Long Time Gal in D major can function as a violin etude for
introducing the low second finger on the A and E strings (C natural
and

natural,

respectively).

Further,

virtually

all

of

the

representative folk songs, including Linstead Market and Waata

Come a Mi YEye are excellent for teaching syncopated rhythms.
Moreover, the Jamaican National Anthem is well suited to the
development of the legato bow stroke and the dotted quarter/eighth
note sequence. Employing familiar songs encouraged the participants
to learn potentially problematic technique quite rapidly.

35

An additional concept, which I explored, was the incorporation

of indigenous instruments into western classical ensembles and
genres. In one of our bi-annual concerts, Michael Hewitt, child soloist
and arranger on the congo drums, was featured with the projects
string orchestra. Michael performed his own arrangement of Little
Drummer Boy on our Strings at Christmas concert.

String Project in Performance: Michael Hewitt, congo drum soloist with Lisa
(Holness) Walker conducting.

36

The inclusion of local artists in the string project served to

further introduce and establish string instrumentation in Jamaica.
Select members of the string project performed in a music video
featuring the well-known Jamaican singer Anthony B, which aired in
Jamaica and the United States.

Additionally, five Jamaican guest

artists were invited to perform with the students on our Classical

Strings concert. Peter Ashbourne,
Jamaicas leading composer, and
Noel Peck, recognized Jamaican
violin soloist, performed with the
string project orchestras in the
capacities
In

of

addition,

co-concertmasters.
Jamaican

artists

Maria Lee, Daniel Castillo and

Maurice Gordon performed with
the orchestra on violin, viola and
double bass, respectively.

37

Finally, creating a form of cultural exchange through music is

beneficial to all parties involved. For our Music of the Heart concert,
I invited three prominent guest artists from the United States to
Jamaica to give master classes and perform with the string project
participants. This enterprise, funded in part by Air Jamaica, enabled
American artists Jennifer Carsillo, violin; Richard Shuster, piano; and
Eric Thomas, clarinet to experience music making in Jamaica.

All

three of the guest artists expressed their astonishment with the level
of artistry of the Jamaican artists-in-training in relation to their level.
Further, one of the highlights of the adventure, according to
Carsillo, was an impromptu jam session on Reggae Twinkle,

In

exchange, the participants received an opportunity to perform for and

with recognized international musicians.
Additionally, the guest artists shared their
expertise with residents of Ocho Rios,
Jamaica

with

An

Evening

of

Elegant

Classical Music concert in the Grande

Ballroom of Jamaica Grande.33

33

See Appendix 3.

38

CHAPTER 7:
Practical Issues

--- Teacher Trainees --Due to the continuing increase in enrollment, it became necessary
to train additional teachers to expand the program. The string program
in Jamaica comprised more than 70 students at its highest point of
enrollment

and

approximately

120

participants

in

total.

To

accommodate the large volume of prospective participants, I teachertrained Sadiki Thompson and Marc Gayle, two senior members of the
string project that expressed their interest in teaching and earning
money.

Prior to their teacher training, both Sadiki and Marc held

leadership roles in the advanced ensemble. Commencing in 2000, the

beginning students were largely taught by Sadiki and Marc for their
weekly private class and by me for their weekly master class. This
arrangement enabled me to focus on the intermediate and advanced
students.

In addition, the teacher trainees were able to assist with

early-level master classes. Being able to set their own fee structure
and collect their students full tuition served as a particularly influential
incentive for the trainees.

39

Marc Gayle teaching a beginning theory class

Sadiki Thompson leading a group class

--- Financial returns for participants ---

An especially gifted and precocious child asked during one of her

lessons why she should continue to practice. After I finished explaining
the developmental and aesthetic benefits of learning a musical
instrument, she wrinkled her nose and replied, Oh, is that all? In an
effort to find out what appeals to Jamaican youth, I asked what kinds
of things she did enjoy. Without hesitation she rejoined, Money !
This interchange became the catalyst for an additional facet of
the string program.

Once the students reached a certain level,

generally level five, I prepared them to perform either solo or in a

small group at local functions. I began by teaching them standard
light classic tunes that are typically played at weddings, etc. Next, we
prepared business cards, with the assistance of the parent for
children under sixteen. Finally, we discussed a feasible fee structure

40

for different kinds of jobs they might be hired for. Joelle Lee, at 9ys.
old represents one of the youngest entrepreneurs of the string project.

Joelle Lee, 9 Ys

Joelles first job entailed playing solo violin at a wedding. She

was hired to play the melody of popular wedding songs, including
Trumpet Voluntary and Pachelbels Canon. I assisted Joelle with
learning the music, while her mother received the invitatory call,
made all arrangements and provided transportation for Joelle.

mutually agreed contract for three songs at JA$1,000.00 dollars

(approximately $21.00 US dollars) per song, proved to be a suitable
arrangement for both the contractors and Joelle.

The contractors

mentioned that they were quite pleased to have classical music at

their wedding for a fraction of the cost of a hiring professional
musician. In addition, the contractors enjoyed the concept having of
a miniature musician perform at their wedding.

41

CHAPTER 8:
--- Special Achievements --A few of the participants were recognized nationally and
internationally for their achievements on their respective instruments.
Sadiki Thompson, Marc Gayle and Stefan Kerr received partial
scholarships to study at Apple Hill Center for Chamber Music
Summer Music Festival in New Hampshire for the summers of 2000
and 2001:

Sadiki Thompson
Sadiki Thompson leading chamber group at Apple Hill Center for Chamber Music
Coach: Michael Dabroski

Marc Gayle

Marc Gayle in coaching session at Apple Hill Center for Chamber Music
Coach: Myriam Teie

42

The young and gifted

Jessica Yap
Jamaican Gleaner, Sunday, May 28, 2000
Justin Whyte, Entertainment Editor
---In listening to seven-year-old Jessica Yap play the first movement of Antonio Vivaldi's
Concerto In A minor, it becomes clear that she is one of Jamaica's gifted young
people.The youngster's musical talents were spotted by her mother and at threeand-a-half years she began learning the violin.
I think she has a flair for the violin.[as] her music teacher, Lisa Holness, said there
are certain things about the violin which Jessica has no problem in committing to
memory," Mrs. Yap told Showbiz.After playing the violin for a year and a half, she
gained a distinction in Grade 2 examinations set by Associated Board, Royal School
of Music. This is an exceptional achievement. She now plays the violin at an
intermediate level - between Grades 5 and 6 - yet she is too young to sit the
Associated Board's examination for that level. Under Miss Holness' tuition Jessica
won two first prizes in last year's biennial music festival organised by The Music
Teachers' Association of Jamaica. She also won the award for The Most Outstanding
Junior Performer.

Stefan Kerr earned a distinction in Grade 4

examinations set by the Associated Board, Royal
School of Music in 2001.

In addition to being

awarded a partial scholarship to Apple Hill Center

for Chamber Music, Stefan also served as one of the
concertmasters of the string project.

43

CONCLUSION:

We are reminded of Ivan Galamians advice to cultivate general

principles that are broad enough to cover all cases instead of rigid
rules in pedagogy.34 In addition, Galamian advocates naturalness
for the student as our first guiding principle in the art of violin
playing.35

This advice is especially applicable to beginning a string

project in a territory new to the pioneer.

I did glimpse astonishing and distinctive facets of the Jamaican
music culture during my guest lectureship at Northern Caribbean
University.

However, it was not until I moved to the island and

immersed myself in the culture that I was able to fully appreciate

respective nuances of the Jamaican musical milieu. The inclusion of
elemental societal aspects in string music education was one of the
more important features of the string project. During my sojourn, I
was able to witness the gradual acceptance of stringed instruments as
an instrument of choice in a reggae-based society.36 The four years
invested in the string project yielded approximately 115 Jamaican
string musicians and the formation of a small chamber orchestra.

34

Ivan Galamian, Principles of Violin Playing & Teaching, 2nd ed. (New Jersey: Prentice-Hall, Inc.,
1985), 1.
35
Ibid.
36
Whyte, Lisa Holness creating young violinists.

44

Realizing Tropical Rhythms: A String Project in Jamaica, has

been as life changing for me as for the participants. From the very
first lesson I gave in Jamaica, I realized that I would have to step
outside of my American musical paradigm to be successful in this
Jamaican venture. A brief solo career to stimulate interest, expansion
of my pedagogical concept to include performance-based pedagogy,
increased knowledge of Jamaican instruments and music, and sundry
musical observations in training the miniature Jamaican artists
represent only a few areas of personal growth experienced.
Next, I developed long-term relationships with American and
Jamaican

artists

who

assisted

in

the

string

music

project.

The Music of the Heart concert, a commemorative performance with

internationally recognized artists, Jennifer Carsillo, Richard Shuster
and Eric Thomas, was particularly gratifying for the string project
participants. In addition, the participation of national artists, Peter
Ashbourne, Daniel Castillo, Maurice Gordon, and Noel Peck provided
intrinsic motivation for the pupils.

Beginning in the year 2000, a

successful expansion of the studio was possible through the

extraordinary management of our administrator, Gillian Lee, and by
the dynamic work of our teacher-trainees, Sadiki Thompson and Marc
Gayle.

Effective parent committees, led by Gillian Lee, coordinated

four successful public concerts.37

37

See Appendix 3.

45

And finally, I gained the opportunity to work with extraordinary

musical talent in the form of Jamaican artists-in-training.

The

Jamaican students have proven to be the most fertile group of

students I have worked with to date.

Intuitive and persuasive music

expression, an animated musical aura, and imaginative musicianship

were some of the manifest characteristics displayed by project
participants.
Through

this

experience,

have

developed

more

comprehensive approach to pedagogy and have hopefully become a

more effective and exciting teacher.

The ecumenical value of the

above pedagogical conclusions, observed and substantiated in

Tropical Rhythms: A String Project in Jamaica, may hopefully
extend

to

educators,

Jamaican
Suzuki

music

and

teachers,

Traditional

Caribbean
violin

string

music

pedagogues,

future

pioneers in developing countries and string music tutors worldwide.

46

47

STRING PROJECT PARTICIPANTS:

Aiken, Adrienne

Christian, Lilieth

Gayle, Marc

Aiken, Arielle

Christie, Matthew

Green, Pia-Milan

Aiken, Naydene

Chung, Rory

Hardie, Milton

Bailey, Delpher

Cook, Luke

Harripaul, Kristen

Bernard, Kintu

Creary, Lauren

Haynes, Annabel

Blake, Randi

Cunningham, CarlMichael

Haynes, Rochelle

Bowie, Monique

Dacosta, Danielle

Henry, Matthew

Bromley, Helen

Dacosta, Shannon

Bowie, Jhulen

Brown, MarshaGaye

Doonquah,
Dominique

Brown, Rebekah

Edwards, Justin

Burke, Adrian
Burgess, Rhona
Byles-Lee, Gillian

Elliot, Emily
Falconer, Analee
Fox, Zoe

Chen See, Nigel

Fyffe, Courtney

Chen See, Bradley

Gayle, Krystal

48

Henry, Chiann
Henry, Mauleen
Ho, James
Ho, Peter
Ho, Philip
Holness, Micah
Holness, Moriah
Howard, Orlando
Issa, Debbie
Issa, Issabella

Jones, Javier

Reid, Kester

Webley, Stefanie

Jones, Heather

Reid, Shawn

Williams, Jordan

Kerr, Stefan

Reid, Rosalyn

Wray, Jodi-Ann

Lee, Adam

Reid, Jonathan

Yap, Joanna

Lee, Joelle

Reid, Julian

Yap, Jessica

Lee, Russell

Richards, Violet

Lee, Simon

Rookwood, Justine

Leslie, Nadje

Rookwood, Krysten

Levy, Adam

Rookwood, Ramon

Liang, Keanu

Russell, Gillian

Lim, Robyn

Shah, Sudha

Llewellyn, Leanna

Shields, Alexi

Llewellyn, Brittany

Smith, Jodi-Ann

Lodge, Rachael

Smith, Lowell

Lue-Yen, Laurian

Smith, Nicolette

Mair, Raisa

Smith, Stephanie

Mair, Rueben

Smith, Toni-Ann

Matthies, Camoy

Smith, Tress-Anne

MacDonald, Abigail

Stamp, Alana

McLaughlin,
Sapphire

Steele, Blair

Millen, Janelle

Stern, Jamie

Millen, Jodie-Ann
Moody, Natasha
Moss, Adam
Moss, Dominic
Palomino-Lue, Eve
Phinn, Abraham

Stern, Brittany
Thompson, Gina
Thompson, Jordan
Thompson, Karl
Thompson, Sadiki
Tucker, Shari

Phinn, Faith

Tyson-Young,
Maya

Prout, Brittany

Vassell, Giselle

Raynor, Chenelle

Watson, Reva-Mae

Reid, Brianna

Webb, Mario
49

Founder, Music Director and Violin Instructor:

*Lisa Darby Walker
( * formerly Holness)

Administrators:
*Lisa Darby Walker, 1998 2000; Cynthia Thompson, 2000; Gillian
Lee, 2000 2001

Teacher-trainees:
Sadiki Thompson, Marc Gayle

Visiting Guest Artists:

Violin: Peter Ashbourne, Jamaica; Jennifer Carsillo, USA; Maria Lee,
Jamaica; Noel Peck, Jamaica
Violin/Viola: Daniel Castillo, Jamaica
Violoncello: Justin Wilson, USA
Double Bass: Maurice Gordon, Jamaica
Clarinet: Eric Thomas, USA
Piano: Angela Elliot, Jamaica; Richard Schuster, USA

Jamaican String Teachers Ensemble Project:

Violins: Fay Ennever-Robotham, Moyah Gibson, *Lisa Darby Walker,
Noel Peck Violas: Katherine Bradber, Daniel Castillo; Violoncello:
Laura Simpson

50

PHOTOGRAPHS:

String Project Participants December 2001

51

Concertmasters:

Marc Gayle

Philip Ho

Peter Ho

Stefan Kerr

Joelle Lee

Not Shown: Nicolette Smith and Sadiki Thompson

52

Performance Ensemble:

Antonio Vivaldis Concerto in A minor with junior soloists:

Moriah Holness, 6 ys.; Russell Lee, 7 ys; James Ho, 6 ys.; Rachael
Lodge, 8 ys.; and Joelle Lee, 9 ys.

53

Chamber Ensemble:

54

Combined Groups:

55

56

The Little Ones

Micah Holness, 3 ys.

Mario Webb, 5 ys.

Simon Lee, 2 ys.

57

Rehearsals/Classes (Miscellaneous):

Carrying violins to rehearsal (*Lisa Walker)

Learning note values

Violin Sectional

Chamber Coaching
Emily Elliot, Cello; Sadiki Thompson, Violin
Coach: Angela Elliot

58

Awards Kingston, Jamaica, December 2001

Top: Lisa Walker receiving award from Anabelle Haynes

Bottom: Lisa Walker awarding Gillian Lee

59

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