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Second-Grade Students’ Lived Experiences During Formal And Informal Music Learning Activities, Celina Liana Reed

Theses and Dissertations

Historically, elementary music educators have led their classrooms using predominantly formal, teacher-led activities. Recently, music educators have allowed students to organize their own informal music learning activities. Few researchers have examined elementary students’ lived experiences during formal and informal music activities. My education and 9 years of early childhood and elementary music teaching experiences contribute to my research qualifications. The purpose of this research was to examine my second-grade students’ lived experiences during formal and informal music learning activities. Following were the guiding research questions: (a) What do second-grade students think and how do they feel during formal music learning …

A Holistic Approach For Neurodivergent Learners In The High School Choral Classroom, Peter Allen Haley

Theses and Dissertations

There is a wealth of literature in the fields of music education, music therapy, and psychology regarding neurodivergent people, but next to no pedagogical material relating to large-group practices, particularly within the choral rehearsal. Many, if not most high school choir directors will encounter neurodivergent students in their programs at some point and will likely not know which strategies effectively include their neurodivergent learners in their classrooms. This paper includes a survey of existing research and literature related to music education (particularly secondary choral music education) and Universal Design for Learning, and offers rehearsal techniques, classroom management strategies, and repertoire …

Co-Constructive Music Improvisers: An Ethnographic Case Study, Emma Elizabeth Young

Theses and Dissertations

The purpose of this exploratory ethnographic case study was to examine music improvisations co-constructed by my elementary students and me, their music teacher. Guiding research questions were (a) How do my elementary students and I co-construct music improvisations? (b) How do I describe our music improvisations? (c) How do my elementary students describe our music improvisations? (d) How do my elementary students describe their own music improvisations? (e) How do my elementary students describe their peers’ music improvisations?

I facilitated co-constructive music improvisation sessions with each music class at Coosa Elementary School for seven weeks during Fall 2020. Each student …

Cultivating Socially Just Concert Programming Perspectives Through Preservice Music Teachers' Band Experiences: A Multiple Case Study, Christian Matthew Noon

Theses and Dissertations

As the music education profession continues to adapt to the needs of an increasingly pluralistic society, scholars and practitioners have begun to concern themselves with issues of social justice (e.g., equity, diversity, inclusion, or access). For band directors, one way to address such topics is through the purposeful programming of music by underrepresented composers or music that otherwise conveys messages about societal issues. As such, undergraduate music education majors who participate in concert bands might encounter a variety of compositions. Further, given that those ensemble experiences may be a primary factor in preservice music teachers’ commitment to their degree programs—and …

Improvisation In A Fourth-Grade Music Class, Lauren Julia King Driscoll

Theses and Dissertations

With the intent of improving the understanding of music learning, I investigated the processes of tonal, rhythm, melodic, and harmonic improvisation among my fourth-grade students and me. The following were the guiding research questions. 1. How did I adapt music improvisation strategies for my intact class of fourth-grade students? 2. How did those students participate in music improvisation experiences? 3. How did those students describe their music improvisation experiences? Seventeen fourth-grade students participated in this study, and I participated in this study as a participant observer. Over the course of five weeks, I taught ten 50-minute music classes, where I …