Music Education Commons^™

The Spontaneous Wellsprings Of Music, Nicholas Mcnair

Turning Toward Being: The Journal of Ontological Inquiry in Education

Western Classical Music has traditionally been described in terms of fixed structures, carefully built up by the composer and presented to the performer in the form of a score. This has crystallised over the centuries into an ideological position which, in the last analysis, gives absolute authority to the composer over the performer, severely limiting the freedom of expression of the latter. In this article I seek to reverse this position by pointing to the essential spontaneity, represented by improvisation, that lies at the heart of all music-making, albeit fiercely opposed by the fundamentalism of an endless number of structural …

The Art Of Sustaining Orchestras Through Intentional Educational Experiences, Kimberly Souther

Dissertations, 2020-current

The purpose of this study is to identify the most current and successful advances in audience engagement that champion connection and result in sustainability through purposeful educational experiences.

The Symphony Orchestra currently serves an audience which represents a multiplicity of perspectives, background, and understanding. In an era of expanded canon and outreach to local communities, the orchestra must acknowledge that change is necessary if we are to truly create fulfilling experiences for our listeners. Unfortunately, many orchestras fail to connect their outreach to the concert hall, woefully categorizing their patrons into pre-determined subsets. What if all patrons were trusted with …

Comparative Curricular Study Of Undergraduate Music Education Programs At Ohio Public Institutions, Benjamin Jenkins

Honors Projects

Music Education programs must fulfill numerous requirements to receive approval from multiple accrediting bodies. At the national level institutions must meet the standards set forth by the National Association of Schools of Music (NASM). In Ohio, programs must also follow requirements from the Ohio Department of Higher Education. This study examines undergraduate music education degree requirements from twelve public institutions in Ohio. It discusses how each university fulfills NASM requirements and to gain insight into how they balance the requirements of multiple accrediting bodies.

Evaluating The Perceived Preparedness Of Pre-Service Music Educators To Teach Students With Disabilities, Emily Jarvis

Honors Projects

This study evaluated the perceived preparedness of pre-service music educators to teach students with disabilities based on their university’s curriculum. Ten participants responded to a survey that asked questions on their feelings of preparedness in classroom management, teaching students with disabilities, university education, and personal perspectives. Overall, participants indicated they felt comfortable with teaching students with disabilities, but felt unprepared to teach specific components of disability education based on their program studies alone. Suggestions to improve university programs are based on implementing Universal Design Learning (UDL) practices.

An Examination Of Non-Core Teacher Training In Special Education, Courtney Farber

Masters Projects

Research has shown that many non-core educators such as art, music, and physical education educators may lack the training needed to properly service students with special needs in their classrooms. The undergraduate programs researched were found to only require one course about special education. This lack of training leaves educators unprepared and always wondering how to best teach students with special needs in their classrooms. The lack of educator training also means that students with special needs are not able to participate to their full ability within these classes. This project looks at the training received by educators, the different …

The Reed-Above Embouchure: History, Geography And New Avenues For Clarinet Pedagogy, Gregorio Maria Paone

Dissertations, 2020-current

Clarinet is a versatile and expressive instrument that can be used in a variety of musical genres. This document is intended to investigate its versatility, how to develop it, and whether there are benefits from the adoption of an old approach, which today is generally considered obsolete.

Chapter 1 explores major issues involved in clarinet playing and tone production. I will discuss the physics of clarinet tone, as well as secondary approaches to tone production, such as double-lip embouchure. I will also devote a section of this chapter to clarinet equipment, especially the mouthpiece and the reed, and their mutual …

Singing In Dark Times: Improvisational Singing With Children Amidst Ecological Crisis, Stephanie Schuurman-Olson

Occasional Paper Series

Through this research-creation project -- which is represented by a process-driven ten-minute video -- the author asks what ways of knowing emerge when children and adults, more-than-human, and inhuman engage in improvised singing together in an urban park? This project recognizes our current "dark times" within ecological collapse and operates from a space that hopes to build relationality with sonic ecologies through listening-and-singing experiences, while centering the voices of children and other singers within the ecologies we sing in-and-with.

Diversity Of Choral Festival Literature And The Selection Process, Abigail L. Mcmichen

Honors College Theses

In music education, festival events are a chance to receive feedback from experts in the field. Often, these events have literature lists from which directors are required to choose literature for the event. With choral festivals being so prevalent in music education, the literature lists provided to choral music educators have a major impact on young singers. Literature selection can be intense for choral music educators who decide what factors to consider when selecting literature. The purpose of this study was to explore and analyze the diversity of choral literature through analysis of the Georgia LGPE list while also gaining …

Choral Repertoire: Promising New Directions For Music Theory Teaching, Meghan Hatfield

Music Student Research

Choirs are an integral part of music departments and schools, particularly at institutions with large choral education programs. In its standards for music education, the 2022 NASM handbook states that “Teachers should be prepared to relate their understanding of music… both in general and as related to their area(s) of specialization.” Yet despite the large number of students participating and/or specializing in choir, choral music is nearly absent from music theory textbooks. Perhaps as a result, research has shown that high school choir directors struggle with harmonic score study (Rowher et al. 2014) and, anecdotally, choir students and teachers are …

On Virtue Ethics Theory And Elementary Music Education, Joshua Burgos

LSU Doctoral Dissertations

This dissertation uses virtue ethics theory, teacher research method, and self-study to examine how I perceive myself as contributing to cultivating virtuous persons. Virtue ethics theory, teacher research method, and self-study are empirical, using concrete methods of data generation and analysis, and conceptual, relating to studying philosophical research, ideas, and interpretations (Annas, 2007; Check & Schutt, 2012; Kemmis & McTaggart, 1988). The study aimed to discover how virtue is cultivated through music education and improve teaching practice using virtue ethics theory and empirical research to offer insight into how virtue is cultivated. The study was conducted in an elementary school …

Orff: How His Pedagogy In Early Music Education Came To Be And What Influences Projected His Philosophy Into Popularity Amongst Music Educators, Zachary Gnall

Musicology and Ethnomusicology: Student Scholarship

Carl Orff, a profound music educator, composer, and musician of his time, developed his methodology of teaching early music to young students in the 1920’s. This pedagogy, known as Orff-Schulwerk or simply the Orff Approach, encompasses a student’s ability to use movement, drama, and speech within the context of music to create an engaging and cognitively engaged environment for the students, similar to that of their typical play times. Orff, alongside his colleague Gunild Keetman, developed this approach with through scrutiny over his involvement with the Nazi party, albeit indirect, just after The Great War ended.

Aria Ascending

DePaul Magazine

DePaul University alumna Janai Brugger (SOM ’05) scales the opera world’s heights with a soaring voice, perseverance and dedication to collective creativity.

Depaul Digest

DePaul Magazine

College of Education Professor Jason Goulah fosters hope, happiness and global citizenship through DePaul’s Institute for Daisaku Ikeda Studies in Education. Associate Journalism Professor Jill Hopke shares how to talk about climate change. News briefs from DePaul’s 10 colleges and schools: Occupational Therapy Standardized Patient Program, Financial Planning Certificate program, Business Education in Technology and Analytics Hub, Racial Justice Initiative, Teacher Quality Partnership grant, Intimate Partner Violence and Brain Injury collaboration, School of Music Career Closet, Sports Photojournalism course, DePaul Migration Collaborative’s Solutions Lab, Inclusive Screenwriting courses. New appointments: School of Music Dean John Milbauer, College of Education Dean Jennifer …

Influences On General Music Teachers' Mental Health During The Collective Trauma Of Covid-19, Abigail Van Klompenberg

Visions of Research in Music Education

The purpose of this collective case study was to examine elementary music teachers’ mental health and well-being during the COVID-19 pandemic. The research questions were: 1) What factors influenced music teachers’ mental health and well-being during COVID-19?; 2) How did music teachers support their own mental health and well-being during COVID-19?; 3) How might stakeholders (such as schools, administrators, and community members) better support educators during challenging times? Data included semi-structured interviews, informal observations, and a researcher journal. Participants were three elementary music educators teaching K­­–5 music in geographically and demographically diverse public schools throughout the COVID-19 pandemic. Through “data …

Classroom Management And Student Behavior After The Covid-19 Pandemic: Perspectives From Five Elementary General Music Teachers, Jennifer Gee

Visions of Research in Music Education

The purpose of this study was to examine elementary general music teachers’ experiences and perspectives with classroom management within the context of the COVID-19 pandemic. Participants consisted of five practicing elementary general music teachers in Southern California who participated in three individual interviews, one focus group, and two classroom observations during the fall of 2022. I analyzed data through axial coding (Creswell, 2012), yielding four themes: positive classroom management, social and emotional learning, support from classroom teachers and administrators, and challenges. The findings of this study highlighted participants’ positive perceptions of classroom management, the importance of building relationships, students’ social …

Hey, Teacher, Leave Them Kids Alone: Facilitation In Modern Band, Warren Gramm

Visions of Research in Music Education

The purpose of this investigation was to examine a single modern band ensemble to discover how an ensemble director/facilitator implemented student-centered pedagogical approaches. Examinations of practical applications of facilitation were found due, in part, to an educational approach that promoted the opinions and decisions of students. The facilitator encouraged students to share their knowledge, opinions, and suggestions for the ensemble’s direction. Findings include the significance of sharing knowledge between students in a relaxed atmosphere in which student agency, autonomy, and democratic decision-making were key tenets. Data analysis revealed musical and social benefits with a facilitator who championed a democratized and …

Critical Pedagogy In School Music Programs: Examining The Connections And Disconnections Between Teacher Preparation And Active Teaching, Isabella Harkopf, Kelly Bylica

Visions of Research in Music Education

Music education scholarship has long called for a more critical, socially just approach to teacher preparation. These include curricular opportunities to work with students from diverse contexts in practicum settings, social-justice-oriented readings and professional development, and guided reflection opportunities. However, scholars also note that practicing educators often revert to “traditional” methods of teaching once they enter the field, suggesting a disconnect between music teacher education and practice. The purpose of this qualitative case study was to examine the experiences of three recent alumni of one music teacher education program, paying particular attention to the ways in which these teachers engage …

Editorial Volume 44, Joseph Abramo

Visions of Research in Music Education

No abstract provided.

A Senior Recital: Choral And Instrumental Works On Caring, Acceptance, Decorum, David Patterson

Compositions of David Patterson

A Senior Recital. David Patterson, Professor of Music, Performing Arts Department. Choral and Instrumental Works on caring, acceptance, decorum. University Chamber Singers, Alumni, Faculty & Guest Artist. Friday, October 20th, 2023 7:30pm. University Recital Hall, University of Massachusetts Boston.

"Being Able To Play For A Wider Audience": Student Musician Perspectives On Performing In The Library, Gisele Schierhorst, Christine Fena

Library Faculty Publications

In the United States, the library-as-concert-space has a substantial history and has been a way for libraries of all types to build partnerships and create community, while providing free, educational, and shared experiences for patrons. Less discussed, however, is the impact that informal concerts have on student musicians who perform in academic library spaces. Conventionally, student musicians perform well-rehearsed repertoire in recital halls for an audience that consists of their peers, teachers, family, and friends. These formal performances are often part of the required academic curriculum for music majors. There is little opportunity, however, for them to experience what it …