Changes after Suzuki: A retrospective analysis and review of contemporary issues regarding the Suzuki Method in Japan

Historical review

Suzuki was born in Nagoya City, Japan, in the latter half of the Meiji period (1868–1912) in Japan, in 1898. During this period, in 1872, the violin was first imported to Japan from England (Shiotsu, 2004). The violin gradually became one of the most popular instruments among Western musical instruments (Akutsu, 2017, 2018; Akutsu & Takeshi, 2013). In the first half of the Meiji period, violins were imported and used only by a select group of people (Shiotsu, 2004). In the latter half of the century, Japanese violin makers were trained and the instrument became accessible to ordinary Japanese people (Shiotsu, 2004). Indeed, Suzuki’s father, Yonekichi Suzuki (1859–1944) created and owned a violin factory in Nagoya. Suzuki (1983) recalled his experience in childhood:

I was brought up in the violin factory, and, at times, when I had a fight with my brothers and sisters, we would hit one another with violins. I then thought of the violin as a sort of toy. (p. 67)

In the Taishō period (1912–1926), when Suzuki graduated from Nagoya Shōgyō Gakkō [Nagoya Commercial High School] in 1916, he was attracted to the sound of Schubert’s “Ave Maria” played by violinist Mischa Elman on a gramophone (Suzuki, 1983). Suzuki recalled his experience, and said, “The sweetness of the sound of Elman’s violin utterly enthralled me. . . . To think that the violin, which I had considered a toy, could produce such beauty of tone” (p. 68).

Suzuki, as a young man, first became a worker at his father’s factory, but his father and his musical friends suggested he study the violin professionally (Suzuki, 1983). Suzuki took this suggestion and moved to Tokyo to study the violin with Kō Ando, a Japanese master teacher (Suzuki, 1985). However, in 1921, he was disappointed by listening to a graduate recital at Tōkyō Ongaku Gakkō, Tokyo’s best conservatory (Suzuki, 1985). As a result, he sought a way to study the violin in Europe. He moved to Germany in 1921 and built a friendship with Einstein and his circle of friends. Suzuki (1985) said, “They all loved art and were extremely modest and kind” (p. 78). Suzuki (1983) thought that society is similar to the construction of musical harmony, and wrote,

One person must gracefully give in to the other, and it is nobler to be the one who gives in rather than the one who forces the other to give in. . . . I want Japanese children to grow up to be people who have this pleasure in their lives and to be people of as high intellect and sensitivity as those people in Berlin. (p. 78)

Suzuki moved back to Japan in 1928, in the beginning of Shōwa period (1926–1989), several years before the Nazi dictatorship arose in Germany (Suzuki, 1983). In Japan, Suzuki (1983) began performance activities with his own string quartet and began teaching at Tōkyō Ongaku Gakkō. Suzuki also became a professor of the newly developed conservatory, Teikoku Ongaku Gakkō in Tokyo in 1931 (Suzuki, 1985). Suzuki (1983) first focused on his violin teaching at a professional level at the conservatory; however, he gradually realized the necessity of teaching young children to develop new skills rather than work hard to find “a way to replace a wrong skill with a right one” (p. 89).

It was after World War II that Suzuki (1983) stated the necessity of “education rather than instruction” (p. 84), and critically analyzed traditional schooling and ways of learning. Suzuki (1983) wrote,

Schools instruct and train as hard as they can, without good results. There must be something wrong in their method. My thirty years of experience make me firmly believe this. With the emphasis put only on informing and instructing, the actual growing life of the child is ignored . . . to get education changed from mere instruction to education in real sense of the world education that inculcates, bring out, develops the human potential, based on the growing life of the child. (pp. 85–86)

Suzuki emphasized the fact that all children acquire a mother tongue without benefit of formal schooling, tests, or grading (Starr, 1976).

Suzuki opened the Matsumoto Ongakuin, a community music school for children, in Matsumoto, Nagano Prefecture in 1946. Back then, many local children became pupils of Suzuki and they became like a large family (Kojima, 2016). World famous violinists Mr. Toshiya Eto, Mr. Koji Toyoda, and Ms. Tomiko Shida were also students there. Obviously, they practiced hard. Nevertheless, the overall atmosphere of the school was rather warm, and no one seemed concerned about who played better or who was a good violinist (Kojima, 2016). Suzuki’s main goal was not to train professional violinists; however, the world gradually recognized the effectiveness of the method by listening to Suzuki violinists (Suzuki, 1985). In 1950, the Talent Education Research Institute (TERI), a general incorporated foundation, was officially established in Matsumoto (Suzuki, 1985).

The Suzuki approach also became popular in the United States in the 1960s. In 1964, the same year as the Tokyo Olympics, 10 children were brought to Washington University to perform Bach’s Double Concerto. Suzuki told the audience, “these 10 children were not specially talented” (Kojima, 2016, p. 40). During the performance, student performers walked around the stage and displayed great physical ability while playing the violin naturally. Around that time, the Suzuki approach became one of the world’s famous music education methodologies, similar to the popularity enjoyed by Dalcroze, Kodaly, and Gordon. In contemporary U.S. society, Benedict (2010) points out that there are a few issues that the Suzuki approach faces. First, parents may have a difficult time attending lessons with their children. Second, parents practicing the instrument with children may feel overwhelmed. Third, focusing on large group lessons and no choice of repertoire for learners hinder individual differences and choices. In addition, Suzuki (1983) himself criticized contemporary changes and said,

Parents who do not understand children think they are playing for the private lessons and that the group lessons are just recreation periods. So although they make sure that their children attend the private lessons, they often fail to bring them to the group lessons. But the fact is that what the children enjoy most is the group playing. They play with children who are more advanced than they are; the influence is enormous and is marvelous for their training. This is the real talent education. (p. 95)

Kojima (2016) describes recent changes in Suzuki’s methodology in Japan by noting that the playful stance and enjoyment are diminished because technical matters are overemphasized. There are myriads of websites, books, and articles discussing the characteristics of the Suzuki approach and about Shinichi Suzuki; however, there is a lack of investigation pertaining to contemporary issues and changes in pedagogy after Suzuki’s death. There is sparse literature concerning critical issues, such as 3-year-old children spending 3 hr practicing violin daily, or young beginners spending more than 2 years attempting to master the very first tune they learn, Twinkle, Twinkle, Little Star (Yoshimoto et al., 2002). Therefore, especially for young teachers of Suzuki methodology, it becomes difficult to digest Suzuki’s philosophy and improve one’s teaching skills (Suzuki, 2016). Consequently, this study examines the changes that were made in textbooks, recordings from the 1970s edition to the present edition, and changes in the learning environment.

Research questions

This study sets the following research questions:

Suzuki Violin School Volume 1

The study compared the following textbooks to capture the changes in Suzuki methodology in Japan. The study used only materials which were officially published by TERI and used in Japan: Suzuki Violin School Volume 1 (TERI, 1970a), and Suzuki Violin School Volume 1 (TERI, 2017a). The study investigated the differences in the introduction part, followed by 17 songs including fingerings, articulations, and written instructions.

As for recordings, the researcher analyzed each recording associated with each edition of the textbooks. To compare the recordings of Suzuki Method, the author used the following materials: Suzuki Violin School Volume 1, recorded in 1970 performed by Shinichi Suzuki accompanied by Shizuko Suzuki (1995), and Suzuki Violin School Volume 1, recorded in 2001, performed by Yuka Eguchi (2001) accompanied by Sakiko Ishikawa.

The analysis of musical sound was conducted narratively along with the textbook, contrasting two editions both in notations and musical sound. The analysis applied the way in which Haynes’s (2007) The End of Early Music, for example, looked at stylistic decisions of performers from across recorded history to talk about early music style. In addition, the study also used Seiko’s digital quartz metronome, SQ100-77, to identify approximate tempo on each recording.

First and second movement of Vivaldi’s A Minor Concerto

The study selected the first and second movement of Vivaldi’s Concerto for additional analysis. The first movement of Vivaldi’s Concerto in Volume 4 is “one of the most frequently programmed selections in Suzuki literature” (Starr, 1976, p. 124). In addition, the second movement is placed in Volume 5 and considered more advanced repertoire at the Suzuki School. The study selected those two movements to explore the differences including tempo, articulation, and interpretation.

At the Suzuki Violin School, all the tracks after Volume 4 up to 8, including Vivaldi’s works, were performed by Koji Toyoda (1999), accompanied by Teruji Karashima. In the present recordings of the piece, the violin part was performed by Yukari Tate (2007, 2011), accompanied by Ayano Oshumi. The abovementioned recordings by Tate (2007, 2011) were based on the reprinted editions of the same concerto.

The author also investigated Suzuki’s performance of the same piece recorded in Shinichi Suzuki and The World of Sound (Suzuki, 2003). The recording was the reprinted version based on Suzuki’s performances in August 1953. The recording only contained the first and second movements of Vivaldi’s Concerto; thus, the study compared recordings of these two movements as excerpts.

One limitation must be noted. The author avoided using openly available materials such as YouTube or private recordings. The author only used materials which were published officially by TERI in Japan.

Overall tradition and musical environment

As to the overview of tradition in Suzuki lessons and the examination of musical environments past and present, the study reviewed the recordings of group lessons taught by Shinichi Suzuki himself (Suzuki, 1999). The lessons were recorded on a CD entitled Shinichi Suzuki Memorial Album (Suzuki, 1999). The author transcribed Suzuki’s own voice, along with capturing children’s playing in Suzuki’s group classes.

Next, the researcher recalled his own violin learning experience as a pupil of the Suzuki Method in the 1980s and observed lessons taught by his former teachers (N = 3). Following this, the author conducted unstructured interviews to reveal changes within the method. All of the teachers have more than 30 years of experience with the Suzuki Method in Japan. Observations took place between 2014 and 2018, and the researcher observed a total of 17 lessons taught by the three teachers that included students of various ages and levels. As all the Suzuki parents in Japan were instructed to do, the researcher also used paper and pencil to record the main points of the lessons. Moreover, the author recorded both the caregivers’ and children’s behavior as well as communication before and after lessons.

The present study particularly selected a lesson for a 3-year-old, female student, for further narrative construction. The researcher and teachers discussed and selected this particular lesson because the lesson was for the youngest pupil among their students. The lesson was a unique case, yet best represented the environmental changes from past to present, as the teachers recommended.

By adapting the methodology of Tobin, Hsueh, and Karasawa’s (2009) “video-cued multivocal ethnography,” or so-called, “Preschools in three cultures” method, this study used the data as cues, stimuli, and topics for discussion between the researcher and the teachers, and for a shared process of interpretation. Interviews lasted 30–40 min and were held in the same room in which lessons take place. The interviews were audio recorded, and verbatim transcriptions were made. Based on the data, finally, the researcher constructed narratives. Repeated interviews were necessary to seek the accuracy of the narratives. By using the phone and the phone’s voice recorder, a total of seven sessions averaging 20 min each were conducted to confirm the process of narrative construction with every interviewee.

Barrett and Stauffer (2009) noted that “narrative work provides a means to reconceptualize the ways in which we think about music engagement, music education, and inquiry in music education” (p. 1). Such a view is echoed by Clandinin (2009) when he described narrative inquiry in music education as more “responsive” and “inclusive of the lives of all people, regardless of who they are . . . ” (p. 208). In this study, the researcher reflected the teachers’ voices and co-constructed the narrative with the participants.

Ethical dimension

This study paid special attention to the ethical dimensions of researching participants who are close to the researcher. Although the Suzuki teachers volunteered all gathered data for research, with email and personal letters addressed to the author which showed the participants’ willingness to co-operate, this study minimized the risk of any infringement on the right of privacy, and protected participant rights. No full name or precise locations were indicated in the research logs, and all research data and materials were kept in the researcher’s private office (Singleton & Straits, 2010). In addition, permission to withdraw from research for any reason was verbally informed to the participants. As Singleton and Straits (2010) noted, “. . .in some social research, obtaining written or explicit consent may be inconvenient and embarrassing and disturb the flow of interaction” (p. 68), the communication with the teachers to get permission, to conduct the interviews and attend the lessons to observe, were made verbally and via personal email and phone calls. In addition, both the researcher and teachers verbally asked the caregivers for the permission to observe their children’s lessons to investigate the overall atmosphere of the lessons. With respect to the participants’ rights to review the interview data, the raw data the researcher collected, including the transcripts and narratives of the interviews, were shared with the subjects.

Suzuki Violin School Volume 1 and recordings

There are obvious changes from the Suzuki Violin School 1970 edition (TERI, 1970a) to the 2017 edition (TERI, 2017a). One of the most obvious changes was the substantial addition in the number of pages from 23 (TERI, 1970a) to 37 pages in total (TERI, 2017a). The new edition added a vast array of detailed instructions and additional exercises.

Originally, in the 1970 version, there were four Principles of Study and Guidance by Shinichi Suzuki as follows (TERI, 1970a):

Suzuki clearly emphasized the importance of constant listening and stated that music reading should be taught only after students completed Volume 3 (TERI, 1970a). In contrast, the 2017 edition suggests students to practice fixed do solfège from the beginning when they learn Twinkle, Twinkle, Little Star (TERI, 2017a).

The introduction also emphasized the necessity of adopting group lessons in which more advanced and younger students play together (TERI, 1970a). Suzuki recommended that group lessons should be held once a week or at least twice a month. There was also a suggestion for mothers and children to always observe the private lessons of other children (TERI, 1970a). In the 2001 edition, TERI (2017a) only mentioned the importance of group learning “as important as private lessons” (p. 5). However, there was no mention of the number of times per month or how often teachers should provide group classes.

There were a few additional changes as follows. TERI (1970a) allowed teachers to stop private lessons during the lessons if children were not interested and “let children observe other children taking lesson and come back to the lesson later,” but the new version only mentioned that “the length of the lessons depends on the situation of each child” (p. 5). TERI (2017a) added a page with pictures of the instrument, to help children learn the name of the parts of the instrument. TERI (2017a) also required parents to tune the violin, by using an electric tuner, with a detailed explanation included. TERI (2017a) also added a full page to describe how to maintain the instrument in good condition by “wiping the instrument regularly with a special cloth fabric” (p. 8), and sometimes “the bow hair must be replaced” (p. 8). There was also a notice to not touch the bow hair with one’s hands because the instrument is very sensitive (TERI, 2017a).

The study investigated Suzuki Violin School Volume 1 which is composed of 17 pieces including folk songs, arrangements by Suzuki, and pieces by Bach, Schumann, and Gossec. The following is a comparison of the repertoire in Suzuki Violin School Volume 1, the 1970 edition, and the 2017 edition, along with differences in recordings. The study also added the key for each piece to introduce how keys are gradually introduced from A Major to G Major.

Vivaldi’s A Minor Concerto, first and second movement

This study also compares the first and second movements of Vivaldi’s A Minor Concerto. The first movement of the concerto is in Volume 4 and is one of the most popular in the Suzuki repertoire. The second movement appears in Volume 5. In the first movement, there were not many changes in fingerings, articulations, and slur markings. The only obvious changes were the reduced numbers of the fingerings. In the old edition (TERI, 1970b), there were many fingerings to support reading, but the new edition minimized the fingerings (TERI, 2018). Nevertheless, there were a few phrases for which the new edition suggested the use of more advanced fingering. For example, at bar 16, there were suggested fingerings to play entire lines in third position with the additional comment of playing diminish fifth by placing two fingers next to each other (TERI, 2018). The articulation changed at bar 17, for example, as the first four eighth notes were all indicated with accent marking followed by the tenuto sign on the fifth note in the old edition (TERI, 1971), the new edition marked accent on the first note only, and at the fifth note, the new edition put tenuto marking followed by three dotted eighth notes (TERI, 2018). Between bar 60 and 68, the 2011 edition suggested using four or A-string fingering in general.

Similar to the first movement, the second movement in the new edition (TERI, 2017b) contained a few suggested fingerings to play the tune with the A-string, rather than using the E-string including an open E-string compared with the 1971 edition (TERI, 1971). At bar 7, the 1971 edition recommended going back to the first position and playing the melody line on the A-string (TERI, 1971), but the new edition suggested the use of the D-string on the third and fourth beat. All trills in the new edition were indicated with a grace note suggested to be played from the top of the note. Forte and piano signs were indicated on the beat in the new edition (TERI, 2017b). The dynamic change in the new edition had more immediate contrast at the top of the bar or at the third beat (TERI, 2017b). To perform the contrast in dynamics clearly, the new edition used the first position at bar 11 for the first phrase, and the latter suggested playing at the seventh position just with the A-string (TERI, 2017b).

Recordings—Although there were not many obvious differences in the textbooks, the 2011 edition recording differed from the traditional recordings. As for the tempo of the first movement, Tate (2007) was the fastest and played a quarter note equal to 97 while Toyoda (1999) played it at 92 and Suzuki (2003) played it at 88. In Tate’s (2007) recording, although there was no marking of staccato, the very first eighth note of the piece on the upbeat was clearly separated, and performed like staccato. All eighth notes were performed much shorter in Tate’s (2007), compared with the old editions by Toyoda (1999) and by Suzuki (2003). Although the new edition of the textbook indicated detailed tenuto and staccato signs at bar 17 (TERI, 2018), Tate (2007) performed every eighth note evenly in length and clearly separate by stopping her bow. The piano accompaniment also followed her interpretation clearly separating the eighth notes. It seems that Tate (2007) interpreted the tenuto marking as shorter than the staccato or marked or accented notes. Both Toyoda (1999) and Suzuki (2003) connected all the eighth notes smoothly; however, Tate (2007) clearly separated most repeated eighth notes.

As for the general tempo in the second movement, Tate (2011) was the fastest and played eighth note equal to 58 while Toyoda (1999) and Suzuki (2003) played one at around 52 to 54. The second movement was played rather legato on Tate’s (2011) recording, even all the 16th notes were indicated with tenuto signs in TERI (2017). Tate (2011); however, emphasized phrasing and played four 16th notes as one phrase and separated each phrase by putting a slight space between phrases. Because Toyoda’s (1999) recording was accompanied by an orchestra, the phrasing was much more sustained compared with the one by Tate (2011). Suzuki’s (2003) edition was accompanied by the piano, but still each phrase was sustained longer and was connected more than the one performed by Tate (2011). Only Suzuki’s (2003) performances frequently used glissando, as in the old school. Both Toyoda and Tate avoided any glissandos. Suzuki used more flexible tempo changes especially with the sensitive ritardando and diminuendo.

In short, after comparing the 1970 recordings to the more recent ones, the newer recordings are clearer and better articulated in general, but with less lyrical expression. The contemporary recordings show firm and dependable all-purpose technique written in the textbooks, but miss the persistent subtle fluctuations of tempo and nuances present in the older recordings. The older recordings demonstrate more lyrical expression with subtle tempo and dynamic changes, glissando, and flexibility. In the following section, the author investigates changes in Suzuki Method learning environment in Japan, mainly the lesson environment shifted to be more rigid and technical. The study also explores how Suzuki teachers of our time perceive the changes in environment when associated with the comparison of printed music and recordings, from past to present.

Overall tradition and learning environment

To explore the changes in overall tradition and environment regarding the Suzuki Method in Japan, the researcher contrasted the violin lessons from the 1970s with those from the 2010s. The study investigated the changes in overall tradition and musical environment in the Japanese Suzuki Violin School after Suzuki’s death in 1998.

There are few official sources available officially via TERI to recall Suzuki’s actual teaching. The following is a specific example useful in recalling a Suzuki group lesson from 1978 from a CD entitled Shinichi Suzuki Memorial Album which Suzuki (1999) published in 1999 in Japan, based on recordings from 1970. The researcher transcribed the data with a special focus on how Suzuki taught the group class, and the reaction of students, in Japanese, and translated them into English.

S: Well, Let’s have a little lesson. First I will play Allegro so please listen to my playing.

(He performed first phrase of Allegro. Soon children also started playing along.)

S: Wait a second. I said you should first just listen to me playing. Why don’t you just watch me play?

(He performed again. Children again start playing along. Suzuki stop playing.)

S: Well (with laughter). You guys do not understand any Japanese. Well. Why don’t we play together, then? Ready? (Children playing along.)

S: Look at the ceiling guys! (Meaning that Suzuki asked children to look at the ceiling during the fermata at the middle of the tune) (Children’s laughter follows.)

S: Go!

(Suzuki began playing the piece in tempo, and the children joined him.)

After children performed the entire song, Suzuki said “Let’s play an encore” and immediately started playing the introduction of Twinkle Variations. Many children were still chatting or playing the violin randomly. He also added by saying “Well, this is the chaotic version,” and the children laughed. After the first rhythmic variation, he added different rhythms which were not printed in the textbook. Children imitated his playing and joined as tutti. He then also performed a very slow version, and the children followed his example.

Finally, Suzuki sped up the song to end the lesson with a spirited group violin performance. In the recording, Suzuki’s sense of humor, improvisational playing, and reflective stance in his pedagogy were apparent. Finally, based on the gathered data and the researcher’s own experience of taking Suzuki Method lessons in his childhood in the 1980s, the researcher visited his former teachers to observe lessons and conducted informal interviews.

In my childhood, lessons were conducted in a rather relaxed and open environment compared with lessons of the present time, although I still bowed to the teacher with respect to start each lesson and to end lessons. My mother attended the lessons and sometimes took notes on things to practice at home; there was much more communication before and after the lessons among students, parents, and teachers.

When I arrived at the lessons, there were always several children who had already finished their lessons 30 min to an hour beforehand; they were chatting and playing in the same room or in the hallway. We, as children, enjoyed running into the lesson room to play games such as tag or hide and seek. Between lessons, back then, parents also prepared some candy and nice Japanese sweets for the teacher. Children also enjoyed eating snacks with their teacher.

In contemporary Japan, children have become much busier in that they arrive just a few minutes before the lesson and leave right after the lesson. Since there is no interaction among children and adults, rooms used for lessons and the waiting area are silent. The Suzuki teacher also complained that many students attend swimming class or take English lessons, for example, before and after the violin lesson, and rush to cram school after studying the violin and leave.

The atmosphere in lessons is also much more focused. When I observed one of the lessons for the 3-year-old subject, her mother used her iPhone to record the lessons with a very serious face, by particularly focusing on the shape of the left hand. She said, at home, she will monitor her daughter’s practice so that she keeps her arm in the correct position when she plays the violin. Indeed, during the lesson, the student started crying because she was not able to keep her arm straight as her teacher had taught. The teacher was not criticizing her particularly, but the girl seemed intimidated by her mother filming her arm really close with her iPhone. As she cried, her mother sighed. Her teacher continued the lesson without a word, until the clock hit 4 pm which marked the end of the lesson. As the student’s mother packed her violin quickly, the teacher tuned the violin for the next student immediately. There was no laughter, interaction, or smiles in the lesson.

The teachers explained that many parents bring either a videorecorder or smartphone to record the lessons. Caregivers used to take lessons with children traditionally, but now their focus has become having children practice the violin and focusing on achievement in violin performance. All teachers still suggest to caregivers to join and participate in learning with their children; however, they all felt that the enthusiasm and enjoyment of the past is missing in the present. As a result, most parents observe and record lessons without active participation.

All three teachers agreed that children themselves have become much busier with extracurricular activities and cram school, so that it has become very difficult even just to find time for lessons. A teacher set a lesson time at 8 am in the morning both on Saturday and Sunday because those time slots are the only ones available for parents to bring their children. Finding the time for group classes has become harder and harder. As a result, there is much less interaction in general among students, caregivers, and teachers. The teachers also mentioned this.

Finally, a teacher explained that at present young mothers do not seem adept at making children feel good about learning and in building confidence in general. They always correct children’s technique and criticize, which was not what Suzuki was looking for. Suzuki said, “Look how children acquire speaking. Are there any parents or teacher fixing the shape of their mouths or posture when they first speak? Violin playing must be the same.”

Printed music

In printed music, syllable names in fixed do, where the syllables are always tied to specific pitches, and the suggested use of the fourth finger were added. The new edition seems to emphasize the teaching of technical aspects and musical and basic skills with much more detailed instructions. The following is the teachers’ understanding of the changes in printed music and reflections for their practical usage in their lessons. All three teachers pointed out the use of the fourth finger as a beneficial change. The teachers pointed out that even Suzuki himself felt the necessity of training the fourth finger in early stages, to become a fine violinist. Before TERI revised editions of the textbook, some Suzuki teachers in Japan already tried to implement the alternative fingering of using the fourth finger at the individual level, before they were printed. To be able to use the fourth finger in the same manner as using the other three fingers seems to fulfill the demand of the present to meet the standards of contemporary violin technique. All the teachers agreed that the use of the fourth finger itself leads to mastery of a good left-hand position.

On the other hand, possible demerits of requiring the use of the fourth finger in the beginning stages were suggested by one teacher as follows:

There might be a negative effect of teaching the 4th finger that students would not be able to develop enough of a sense of playing open strings in the early stages of learning. Before Suzuki arrived and was active in his teaching, the traditional Suzuki Method emphasized playing on open strings and practicing string crossing. When children learned forth finger use, they were asked to compare sound with open string and “imitate” the ringing sound. In the new version, the focus became more on left hand technique.

In addition, there was a comment by another teacher regarding the adoption of fixed do syllables in print, as follows:

Because of the syllables in do-re-mi, students may have a hard time. Children used to identify and find the pitch in melody by using their listening ability. When we teach the name of fixed do syllables, students often give up using their ability to learn the new song by listening. Students can only play when I read syllables for them. They often try to find the syllables on their violins note by note rather than understand the whole tune. Before the syllables were printed, students were able to play without knowing the syllables but by singing in lalala.

One teacher asked students to acquire pitch names in German. She chose to implement the German name even before changes in the edition were made. The teacher refused to use the printed syllables in the new edition.

There were several beneficial changes for students’ acquisition of violin technique and reading skills; however, there were also other effects. The discussion among experienced Suzuki teachers revealed that there were some diverse perspectives in the usage of the new edition. Since the sample size of interviewees was small, it is difficult to generalize the results of the study; however, the study revealed that these teachers effectively adopt the changes in new editions while maintaining their own unique way of teaching.

Recordings

In recordings, the articulation in general became much more clear. The additional use of the 4th finger created subtle nuances to songs; however, the overall characteristics of songs became more articulated. Suzuki’s playing was more lyrical and humanized. Suzuki’s performance showed a willingness to accept irregularities, the persistent subtle fluctuations of tempo and dynamics which are justified only by personal feelings. In contrast, the new versions became more technical and articulated. The assumption is that the new version of the CD is for students to acquire more accurate bow usage and technique compared with the original version played by Suzuki. This relates to the Japanese traditional view that imitation ought to include atmosphere or mode and performance as a whole rather than just copying notation and technical aspects (Ikuta, 2007).

There were comments by Suzuki teachers regarding the recent changes in recordings. One of the teachers mentioned,

The original CD performed by Suzuki had a warmer sound and was touching to children’s hearts. The recordings showed and reflected his personality and character. On the other hand, the new edition is much cleaner, and it is easy to understand the difference in subtle articulation, technical aspects and musical expression.

Another teacher explained as follows:

I personally prefer to use the old recording just because of the quality of music. Actually, I recommend that parents purchase the original recording performed by Suzuki.

There was a different view that Suzuki pupils shall listen to various recordings of the same repertoire. One of the teachers recommended that students listen to both recordings, saying, “It might be a good idea for students to listen to various recordings and compare.”

Although the study has a limitation in comparing the quality of sound from the past to present due to the differences in devices and recording systems, some teachers prefer the old recordings because of their personal and artistic taste.

Overall environment

Through the overall review of the environment in lessons, less communication among learners and teachers were apparent in contemporary lessons. This point was also made by Kojima (2016) and Akutsu (2016), that many successors of the Suzuki Method and pupils who directly know how Suzuki taught miss the family atmosphere and Suzuki’s sense of humor in teaching and learning. In addition, Suzuki used more improvisation in teaching as he changed rhythms and let students imitate, or even composed a melody and let children follow after him as imitation. Suzuki also improvised his lessons as he changed plans reflectively as he saw children’s responses and adapted follow-up activities. In addition, Suzuki’s sense of humor was a key part of the lessons.

As times have changed in Japan, the Suzuki teachers thought that it may not be possible to keep the monthly group classes and to maintain the homely atmosphere due to students’ busy schedules, such as attending extracurricular activities in schools and going to cram schools. One of the teachers described the problem:

To find the time for group classes has become even harder and harder. As a result, there is much less interaction in general among students, caregivers and teachers.

Another teacher commented,

Young mothers do not seem adept at making children feel good about their learning and building confidence in general. They always correct their child’s technique and criticize them, which was not what Suzuki was looking for. Suzuki said, “Look how children acquire speaking. Are there any parents or teacher fixing the shape of mouth or posture when they first speak?” Violin playing must be the same.

Finally, Suzuki teachers consider Suzuki’s sense of humor and improvisational and experimental approach of teaching as unique. The three teachers thought that Suzuki was very special so that not every teacher could follow and imitate his style of teaching. The following was one of the teacher’s response regarding Suzuki’s approach to teaching including his sense of humor:

Suzuki’s focus was 100% humanistic movement rather than on violin method. He simply loved children and enjoyed what he was doing. I know that some teachers have followed the tradition of Suzuki’s lessons filled with a great sense of humor, but for some other teachers, the focus perhaps has shifted to teach students violin skills in a professional manner. There is no standard approach to teaching in current Suzuki Method in Japan.

In short, although there have been a few positive changes in the contemporary Suzuki Method in Japan, including a gradual emphasis on technical aspects, it is discouraging that the method has become so technical and has lost the improvisational style of Suzuki’s teaching and playful family atmosphere, in the past 50 years.