Pedagogical Touch in the String Classroom: Best Practices and Insights from Literature and Community

by William R. Whitehead and Kasia Bugaj

As string players, we are fortunate to be able to see in action the muscles with which we play. Unlike wind players and vocalists—whose tone production and articulation are controlled by muscles in the mouth, throat, and diaphragm—we can observe the muscles of the hand, arm, shoulders, neck, and upper back as they contract and relax. This also means we can directly observe unnecessary tension and counterproductive movement in student string players. This gives us one of our most powerful tools for correcting and guiding our students: the ability to physically and directly move, manipulate, and draw attention to joints, muscles, and sensations in the body of our students, a concept known as pedagogical touch (Brenda Brenner, personal communication, July 2 2023).

Pedagogical touch can be difficult to navigate for string teachers, especially in the classroom but also in the private studio. In trying to find published resources to share with our own students, we discovered a gap in string pedagogy literature. Thus, we decided to figure out what the literature does say, reach out to current string teachers who use pedagogical touch in their practice, and speak with Dr. Brenda Brenner, Professor of Music in Music Education at the Indiana University Jacobs School of Music. This article synthesizes our findings as we seek to provide strategies for the appropriate use of pedagogical touch, as well as best practices to ensure all parties feel safe and respected when touch is involved.

Who Uses Pedagogical Touch and Why?

Pedagogical touch has been a key element of string pedagogy for likely as long as the practice has existed. The act of string playing is a whole-body exercise that requires the coordination of large and small muscle groups. Well-developed gross and fine motor skills are a must, but many of our gestures (e.g., the flattening of the knuckles at the base of each finger in our bow hands; dropping the shoulders when the instrument is brought to the body; the small wiggle of vibrato, etc.) are difficult to describe in words without some ambiguity. In response to a Facebook poll in the School Orchestra and String Teachers (SOST) forum asking questions about individual’s use of pedagogical touch, one respondent summarized it best: “I could take five minutes to explain what they [students] should do, or five seconds to move them so they know exactly what I’m asking.” In short, string teachers take advantage of pedagogical touch because we are able to directly and non-invasively make these adjustments; directly adjusting a vocalist’s jaw or a clarinetist’s tongue would be less advisable (don’t do that).

This is not to say that string teachers are alone in our use of pedagogical touch as a tool. Thuma and Miranda (2020, 213) describe discussions with colleagues in theater education who cannot imagine teaching without the use of pedagogical touch because, in general, actors love and crave hands-on touch as a part of their preparation. Ryou, Choi, and Lee (2023, 1–14) discuss the various ways athletic coaches employ pedagogical touch in their lessons with children to help teach proper usage of the body. Teachers of Alexander Technique utilize pedagogical touch to draw attention to tension in the body and release it (Jones 2012, 54–55).

The benefits of pedagogical touch are clear:

Through pedagogical touch, we are able to guide students more effectively toward movements that are healthy and intuitive for the body.
We can help students change their bodily schema in ways that promote the development of more advanced technique.
We can more quickly help students identify and release points of tension in their bodies.
We can more easily support students as they undo poor physical habits.
We can help students gain an awareness of their entire self as they explore both familiar and unfamiliar concepts.
We can help students gain an awareness of specific muscles and joints in their body that they may otherwise not have been aware of.

The Legalities and Ethics of Pedagogical Touch

It seems plausible to assume that, given everything discussed so far, pedagogical touch should always be one of the first tools we reach for in our string teaching. However, there are serious arguments against such a stance. All one needs to do is conduct a Google search for the phrase “music teacher charged” to find pages and pages of news articles about music teachers who have been indicted on charges of inappropriate contact with their students; many of those teachers are convicted, though some cases have resulted in acquittal. For example, in 2011, a Florida music teacher accused of abuse and inappropriate contact with a student had all charges dropped after the ten-year-old victim admitted to fabricating her claims because she didn’t like him as a teacher and wanted to change to a different school (North Escambia 2011). Especially in the post-#MeToo era, the possibility of well-intentioned, pedagogically appropriate contact being misconstrued as something more sinister provides a strong argument against the use of pedagogical touch. Perhaps this is why those of us who have gone through university teacher-training programs have been repeatedly given the advice “Don’t touch the kids.”

Given the visibility of legal cases of inappropriate touch in the media, it comes as a surprise that the law does not provide clear guidance on what appropriate touch is. While teachers are legally permitted to defend themselves if they are physically attacked by a student (PriorityLearn 2023), the kind of touch involved with self-defense is not what we would call pedagogical in nature. Instead, we must seek guidance from our employers and regulatory bodies. For example, school districts may provide guidance clarifying when and for whom touch is appropriate to use on students, such as special education staff, nursing staff, coaching staff, and teachers working with especially young students (Chula Vista School District 2020). Moreover, the National Association of State Directors of Teacher Education and Certification provides a Model Code of Ethics for Educators that specifically addresses the use of touch by teachers: Principle III.A.6 “Engaging in physical contact with students only when there is a clearly defined purpose that benefits students and continually keeps their health, safety, and well-being in mind” (2023, 3). The age of the student (i.e., elementary vs. high school) and gender of the student (i.e., same or different than the teacher’s) also play a huge role in the ethics of pedagogical touch: physical contact between a male teacher and an elementary-aged boy is more morally/ethically tolerable than physical contact between a male teacher and a high school-aged girl, regardless of how pedagogically appropriate that contact may be (PriorityLearn 2023).

What Does the Literature Say?

It is important to point out that none of our discussion so far has provided guidance specifically for music teachers. There exists one article that does so. Stufft, in his 1997 article in the Music Educators Journal, describes two rules for professional conduct. They are:

Be friendly but not familiar.
Never touch a student.

While these rules would seem to expressly forbid the use of pedagogical touch, Stufft further clarifies that these rules are not set in stone. Rather, he intends for teachers to think of these rules prior to their interactions with students, particularly when making physical contact, so that when touch does occur, the teacher is more careful to ensure that touch is appropriate (42). Thus, Stufft acknowledges that music teachers will still utilize pedagogical touch. If we are to do so in a way that is safe for both the students and us, further and more specific guidance would be helpful.

Considering all the potential controversy surrounding pedagogical touch, it would seem reasonable to assume that string pedagogy texts and publications have addressed how to use pedagogical touch appropriately and effectively. However, in our review of the literature, this seems not to be the case. In fact, only one textbook we reviewed makes a direct—albeit brief—mention of pedagogical touch and the need to exercise caution when using it (Macleod 2019, 35). Other string pedagogy texts seem to actively avoid discussing teaching strategies that involve any kind of manual adjustment or physical contact with students, providing instead strategies that involve modeling, diagrams, and vivid description (Hamann and Gillespie 2013; Hopkins 2013; Selby and Rush 2017). As of the writing of this article, discussion on this topic appears to even be absent from practitioner journals. And yet, the results of our poll and discussions with our colleagues demonstrate that pedagogical touch is still a frequently employed strategy by string teachers today both inside and outside the classroom. Given this information, there is a clear and apparent need for resources on the use of pedagogical touch and how to negotiate its use appropriately.

How to Use Pedagogical Touch as a Teaching Strategy

What follows is not an exhaustive list of all the ways pedagogical touch can be used to teach. Rather, this is intended to start that conversation with the hopes that more comprehensive discussions and publications may follow.

Correcting Minor Posture Errors

When attempting to remind students of good posture, it is frequently faster to lightly tap or touch the focus of bad posture than it is to verbally describe the issue. Especially in group settings, something as simple as tapping a left wrist to correct collapsed left hands or a tap on a raised shoulder in passing can help correct posture problems while still being able to move about the room and give instruction. For Dr. Brenner, enough of these minor adjustments train students to be self-aware: she realized that her long-time private students could tell what she was about to adjust by the way she shifted her weight as she prepared to get off her stool to make a correction and would actually fix the posture issue themselves (personal communication, July 2 2023).

The Basic Motions of Vibrato

Vibrato is an extremely complex technique, requiring the coordination of multiple fine motor skills. While there are multiple ways we can guide students to develop the individual motions that make up vibrato through modeling and verbal instruction, there exists an even more powerful tool: wiggling fingers. In this exercise, the student’s only responsibility is to move their bow and hold the instrument. As the student pulls their bow across the string, the teacher physically wiggles the hand/fingers to produce the vibrato tone. For violins and violas, it is helpful to brace the instrument against the teacher’s body to release tension in the student’s back and arm (Zweig n.d.).

Teaching the Sensation of a Straight Bow

For students who chronically bow crooked, there are two fast solutions. If the elbow is locked, the teacher can hold the elbow in place or place their hand behind the elbow to force the student to open the elbow joint. For locked wrists, or for students who do not wish to be touched directly, the teacher can grab the bow by the adjustment screw and bow the string for the student, forcing their hand to follow the path of the bow. This entrains the feeling of straight bowing into the wrist and elbow joints.

How to Negotiate Pedagogical Touch: Safety and the Five Cs

It is of utmost importance that we as string teachers exercise caution and awareness when utilizing pedagogical touch. When working with small children, Brenner advises keeping the parents informed prior to and throughout the teaching process about how touch will be used to teach their child. She also insists that parents remain present in the room. Some of our respondents from the SOST poll expressed that they prioritize modeling first, avoiding pedagogical touch whenever possible. In difficult circumstances, such as when working with students of the opposite gender, the use of tools (e.g., pencils, rulers, etc.) to indirectly adjust the student is far safer (this has precedent in other disciplines; see Ryou, Choi, and Lee 2023, 12, “Using objects as extended bodies”). One must exercise their professional judgment in each instance, based on their environment, relationship to the student and parents, and knowledge of the student’s background (e.g., does the student in question suffer from trauma that touch may exacerbate?).

However, the absolute most important strategy we can leave you with is to obtain consent. Almost every response we received on our SOST poll indicated that asking permission to make contact was a key part of their use of pedagogical touch. This has myriad benefits for the students, too. To quote one respondent: “There is a lot of value in teaching kids consent. Someday it could be something a lot more uncomfortable, and modeling this process in a low-risk way is setting them up for healthy boundaries and respect for themselves and others.”

Ultimately, when you are in doubt consider these “Five Cs” before you use pedagogical touch, and perhaps avoid it if you aren’t sure you have satisfied all of these points (Intimacy Directors International, as cited in Thuma, 2020, 223).

Context—does the student understand the rationale or purpose of this specific exercise or learning experience?
Consent—has touch been negotiated with consent that is freely given, revocable, informed, enthusiastic, and specific?
Communication—Is there an ongoing dialogue surrounding touch or is this a sudden, one-time thing that might take the student off-guard?
Choreography—have clear expectations been set regarding where touch will occur?
Closure—has time been made to allow for questions and reflection on the experience?

References

Chula Vista Elementary School District. 2020. “Appropriate Touching: Guidelines for Teachers and School Personnel.” Accessed June 28, 2023. https://cdnsm5-ss12.sharpschool.com/UserFiles/Servers/Server_411950/File/Employment/Substitutes/Appropriate%20Touching%20Brochure.pdf

Hamann, Donald and Robert Gillespie. 2013. Strategies for Teaching Strings: Building a Successful String and Orchestra Program, 3rd edition. New York: Oxford University Press.

Hopkins, Michael. 2019. The Art of String Teaching. Illinois: GIA Publications.

Jones, Theresa. 2012. “Exploring the Psychological Processes Underlying Touch: Lessons from Infant Massage and the Alexander Technique.” PhD diss., University of Hull.

Macleod, Rebecca. 2019. Teaching Strings in Today’s Classroom: A Guide for Group Instruction. New York: Routledge.

National Association of State Directors of Teacher Education and Certification. 2023. “Model Code of Ethics for Educators.” Accessed June 28, 2023. https://cdn.ymaws.com/www.nasdtec.net/resource/resmgr/mcee/mcee_2nd_edition_june_2023.d.pdf.

North Escambia. 2011. “Girl, 10, Arrested – All Charges Dropped Against Teacher in Abuse Case.” Accessed July 2, 2023. http://www.northescambia.com/2011/05/breaking-news-all-charges-dropped-against-music-teach-accused-of-touching-student.

PriorityLearn. 2023. “Can Teachers Legally Touch Students?” Accessed June 28, 2023. https://prioritylearn.com/teachers-touch-students/.

Ryou, Juyoung, Euichang Choi, and Okseon Lee. 2023. “Pedagogical Touch: Exploring the Micro-Realities of Coach-Athlete Sensory Interactions in High-Performance Sports.” Ahead-of-print, Physical Education and Sport Pedagogy: 1–17. https://doi.org/10.1080/17408989.2023.2185600.

Selby, Christopher and Scott Rush. 2017. Habits of a Successful Orchestra Director: Helpful Tips and Practical Strategies for Improving String Instruction. GIA Publications.

Stufft, William David. 1997. “Two rules for professional conduct: Two basic rules can help education professionals stay out of trouble in the area of sexual harassment.” Music Educators Journal 84, no. 1 (July): 40-42. https://doi.org/10.2307/3399085

Thuma, Holly and Kathryn Miranda. 2020. “Hands On/Hands Off: Pedagogical Touch in the #MeToo Era.” Voice and Speech Review 14, no. 2: 213–226. https://doi.org/10.1080/23268263.2020.1695396.

Zweig, Mimi. n.d. “StringPedagogy.” Accessed July 2, 2023. https://stringpedagogy.com/members/?submit=START&__hssc=62090995.1.1543544571405&__hstc=62090995.3760d6dda074c13f21496af969f9757e.1543544571404.1543544571404.1543544571404.1&__hsfp=1349576178&hsCtaTracking=f34afb6f-30ca-4f0c-a7e5-04e6f79284e8%7C7c53da2c-bab4-4805-9ff9-640ad8ceec9b.

Author Biographies

{media:49934:xsm:c:William R. Whitehead}

**William R. Whitehead **is an orchestral conductor, pedagogue, and string specialist. He is currently the Graduate Assistant Conductor of the Florida State University Philharmonia, Music Director/Conductor of the Florida State University Sinfonia, and Director of the Tallahassee Youth Orchestras’ Intermezzo Strings. He has recently enjoyed collaborations with internationally acclaimed artists such as the London-based pianist Antonio Oyarzábal and 12th U.S. International Harp Competition winner, Noël Wan. In the past, Mr. Whitehead has taught orchestra, guitar, and music theory to all ages from elementary school through high school. Several of Mr. Whitehead’s former students are pursuing degrees in music performance and music education at various universities around the country. He is now a Ph.D. candidate at the Florida State University, where his teaching has included string methods, applied viola, and conducting coursework. Mr. Whitehead studies conducting with Dr. Alexander Jiménez.

**Katarzyna (Kasia) Bugaj **is an Associate Professor of Music Education at The Florida State University. At FSU, Dr. Bugaj teaches string techniques, string methods courses, and historical research. She is the director of the FSU Summer Orchestra Camp and the conductor of the Tallahassee Youth Orchestras Chamber Orchestra. Involved with the American String Teachers Association and the Florida Orchestra Association in many capacities, she is a frequent guest speaker, clinician, trainer, and conductor throughout the United States. In 2018–2019 she was a Fulbright Scholar at the Chopin University of Music in Warsaw, Poland. In 2018, she was selected as the Collegiate Educator of the Year by the Florida Music Education Association.

Dr. Bugaj received her Ph.D. in Music Education from Indiana University Jacobs School of Music. She also has degrees from Western Michigan University, The Peabody Conservatory, and is a graduate of the Interlochen Arts Academy. Prior to her appointment at FSU, Dr. Bugaj was the director of a curricular elementary violin program in Attica Indiana, taught violin and viola on the faculty of the Indiana University String Academy, and was a member of the viola sections of several regional orchestras in the Midwest.