Heuschele, Emily2022-09-262022-09-262022-06https://hdl.handle.net/11299/241743University of Minnesota Ph.D. dissertation. June 2022. Major: Music Education. Advisor: Laura Sindberg. 1 computer file (PDF); xii, 400 pages.From a foundation of Western European classical art music, string education in the United States has evolved into a mosaic of teaching and learning practices. In the first quarter of the twenty-first century, eclectic strings (fiddle, jazz, mariachi, popular music, and other string traditions from around the world) have become ubiquitous at string education conferences. The roots of eclectic string styles are deeply embedded in the history of North America; their emergence in string education arose from the Civil Rights Movement, the subsequent critical examination of music education at the Tanglewood Symposium of 1967, and the resulting initiatives in multicultural and popular music. Eclectic strings began to gain traction in the 1980s as string educators recognized the motivational potential of diverse styles. After the adoption of the 1994 National Standards for Music Education, string educators employed eclectic string styles as frameworks to teach improvisation and connect music to history and culture. At the close of the twentieth century, a growing community of publishers, artists, and educators circulated inventive materials and professional development opportunities for teaching and learning eclectic strings. Technological advancements in the 2000s provided new mediums for expressing and sharing eclectic styles. Tracing the evolution of eclectic strings in American music education through contemporary pedagogical articles, archival materials, and the stories of pivotal string educators revealed enthusiasm and innovation alongside challenges to dissolving the racial and social hierarchical structures inherent in institutionalized string education.enalternative stringseclectic stringsmusic educationmusic education historystring educationstring education historyThesis or Dissertation