Sixteenth-Century Analytical Approaches to Polyphonic Modal Classification
Presented by Patrick Wickliffe
The State of Music Theory in the Early Eighteenth Century According to Rameau's "Traité de l'harmonie" and Fux's "Gradus ad Parnassum"
Presented by Jaime Yamaguchi
Pearl of Africa Music Awards: A Concentration on the Popular Music of Uganda
Presented by Elizabeth R. Recob
Reggae: A Vehicle for Social Consciousness
Presented by Charlie Occhipinti
Legend Valley Concert Venue and Campground: Festival Demographics
Presented by Nadine Hoopingarner
The Under-Navel Matter: Sexuality as Folk Aesthetics in Luk Thung Music
Presented by Nattapol Wisuttipat
Kindling Unity: Incorporating Philosophy and Sociology in Elementary Music
Presented by Laura M Wiedenfeld
Women in Music Education: Appreciating the Past, Awakening the Present, Anticipating the Future
Presented by Sarah Mattern
Small but Mighty: Solo Teaching in the Rural Schools
Presented by Angeline Shelton
The Sociological and Psychological Implications of the Shaker Experience
Presented by Kristin Koterba
Chan Buddhist Chant: The Path to Enlightenment Through Recitation
Presented by Charlie Occhipinti
Some Say Love is a Piano Bar: The Role of Music in Community Cultivation at Ingy's Piano Bar
Presented by Nicole Muffitt
Yume Daiko: Traditional and Modern Taiko Drumming in Strongsville, Ohio
Presented by Kayla Raville
Pickin’ and Grinnin’: Appalachian Old Time Music and Traditional Balladry as Collaborative Experience
Presented by Andy Martinez
From the Ground Up: The Philosophical Underpinnings of Orff Schulwerk
Presented by Laura M Wiedenfeld
Dialectical, Democratic, or Open: A Look at Emerging Philosophies in American Music Education
Presented by Shannon Nicholson
Navigating the future and the past: Non-traditional music education and the tradition of innovation
Presented by David Thompson
Am I Too Sick?: Music Teacher Health and Absenteeism
Presented by Kristin Koterba
General Music Teachers’ Perceptions of District-Mandated Professional Development and Its Impact on Teaching Practices
Presented by Sarah Mattern
To Go or Not to Go: Perspectives of Small School Directors Regarding Concert Band Adjudication
Presented by Angeline Shelton
Parochial School Music Teachers’ Identity: Intersections of Music Education and School Communities of Faith
Presented by Laura Wiedenfeld
Dvořák’s Aria
Presented by Mackenzie Wells
Sixteenth-Century Analytical Approaches to Polyphonic Modal Classification
Presented by Patrick Wickliffe
Abstract
This presentation will examine aspects of modal theory as applied to the practice of polyphony in the Sixteenth Century. Composers under examination will include Josquin des Prez and Jacob Obrecht. Theorists under consideration will include Gioseffo Zarlino and Heinrich Glarean. This foundation will seek to demonstrate the process by which a system of eight modes is developed throughout plainchant and into a system of twelve modes by the height of the Renaissance. Topics for analysis include the Guidonian Gamut and related pedagogical tools developed within the tradition of musica practica; background and theories of Heinrich Glarean which are developed in his seminal work, Dodecachordon; background and theories of Gioseffo Zarlino pertaining to the reordering of the hexachord and the numerical models of the senario which are developed in his le Istitutioni harmoniche; and changes in polyphonic music which occur throughout the Sixteenth Century, revealing an increasingly complicated conceptualization of diatonic and modal theory.
Bio
Patrick Wickliffe holds a Master of Music from the Cleveland Institute of Music where he studied with Antonio Pompa-Baldi. At Oberlin Conservatory Mr. Wickliffe studied with Robert Shannon and Peter Takács. Mr. Wickliffe is currently pursuing the PhD in Composition and Music Theory at Kent State University. Recent engagements include collaborating in various recitals and performances at area music schools from 2007 to 2016. Most recently, Mr. Wickliffe has collaborated at Malone University and at Cleveland State University from 2007 to 2009. He has played collaborative and solo recitals at the Cleveland Institute of Music in Spring 2006 and 2007 featuring music of the Nineteenth and Twentieth centuries. Mr. Wickliffe has performed two recitals at Oberlin Conservatory in 2004 and 2005 featuring a portion of Olivier Messiaen’s Catalogue d’Oiseaux.
Mr. Wickliffe currently serves as Director of Music at St. Joan of Arc Catholic Church in Chagrin Falls and is pursuing the PhD in Music Composition and Theory at Kent State University. His church career has spanned eight years and has included assistantships, internships, and staff positions at area churches including St. Angela Merici Catholic Church, First United Methodist Church of Macedonia, and Plymouth Church, UCC, of Shaker Heights, where he studied music ministry and organ with Jim Riggs and Todd Wilson. Mr. Wickliffe maintains active membership in the AGO as well as the National Pastoral Musician’s Association (NPM), and the Church Music Association (CMA).
The State of Music Theory in the Early Eighteenth Century According to Rameau's "Traité de l'harmonie" and Fux's "Gradus ad Parnassum"
Presented by Jaime Yamaguchi
Abstract
The world of music theory has always been changing and evolving. In the periods before the Age of Enlightenment (which can also be called Late Baroque), the Renaissance and Early Baroque periods, music treatises focused mainly on defining modes, categorizing church chants into certain modes, establishing counterpoint rules, improving solmization systems, and notation. Two of the theorists who have made important contributions to music theory during the Age of Enlightenment, are Jean-Philippe Rameau and Johann Joseph Fux. In this paper, we will look at the state of music theory in the early eighteen century according to Rameau's Traité de l'harmonie and Fux's Gradus ad Parnassum. These treatises will help us see whether or not the topics that were being discussed in the Renaissance and Early Baroque periods carry over into the Age of Enlightenment, and if any new music topics have emerged in the early eighteenth century.
Pearl of Africa Music Awards: A Concentration on the Popular Music of Uganda
Presented by Elizabeth R. Recob
Abstract
Pearl of Africa Music (PAM) Awards is a yearly competition that contributes to the popular music scene in Uganda. Not only are the musicians themselves included in this competition, but producers, writers, judges, sponsors, and the audience are as well. Together they construct what is known as popular music in Uganda. Different categories provide multiple winners. Another competition is the Kampala Music Festival, which is a yearly competition between schools in Uganda. This presentation will address the differences and similarities of both competitions, focus on the current popular musicians of Uganda, and explore how popular musicians are using their platform to address the war.
Bio
Elizabeth Recob is a 2013 graduate of Kent State University earning her B.A. in music education. She is a member of the National Association for Music Education and the Ohio Music Education Association. She is currently attending Kent State again, where she is pursuing her M. A. in ethnomusicology.
Reggae: A Vehicle for Social Consciousness
Presented by Charlie Occhipinti
Abstract
As Jamaica transitioned from a colonized nation to an independent nation in 1962, the realities of a repressive government were being spotlighted through their music. From ska to rocksteady to reggae music, Jamaica’s precarious political and social environment was being exposed through the creation of a national musical identity: reggae music. As ska transformed into rocksteady and rocksteady into reggae the music became more politically and socially driven. As a musical artform, reggae has permeated many cultures and countries around the world. In an effort to better understand the magnetism of reggae that transcends culture, I will look at the lyrical substance of the music. SOJA (Soldiers of Jah Army) is a Grammy-nominated reggae band from Arlington, VA. Their past 3 albums have topped the reggae charts and they have performed worldwide tours. This paper looks at the lyrical content of SOJA’s music in an effort to draw conclusions about the social and political consciousness of one of America’s top reggae bands. Through lyrical analysis I will compare SOJA’s social and political commentary to the original themes in reggae music in the late 1960s and early 1970s.
Bio
Charlie Occhipinti grew up in eastern North Carolina. He received his Bachelor’s degree in bass trombone performance from Appalachian State University in Boone, NC. He is currently a graduate student in the ethnomusicology program at Kent State University. His research interests are Jamaican, Caribbean, African, and Asian music with particular interest in social and political activism through music, hip-hop culture, reggae music, and jazz history.
Legend Valley Concert Venue and Campground: Festival Demographics
Presented by Nadine Hoopingarner
Abstract
Legend Valley Concert Venue and Campground has been hosting events since the early 1970s. Located in the Village of Thornville in southern rural Ohio, this venue has hosted historically significant music events such as the Grateful Dead and Willie Nelson. Over the years, Legend Valley developed a commonality at every event hosted through music genres and demographics. A reflection of the historical timeline at Legend Valley is Resonance Music and Arts Festival. Established in 2015, Resonance takes place September 21 through 24 2017, with genres including bluegrass, global fusion, and rock. Consistency of event type could reflect the venue’s geographic location being a rural region. Pattern of performances may also pull a certain demographic from across the country and locally alike. Contrary to its history, Legend Valley hosted this years’ inaugural Lost Lands Music Festival September 29 – October 1, 2017. Lost Lands’ stated “musically and culturally, we represent a new direction for Legend Valley. We are guests…help us make a great first impression and make it a place headbangers can call home for years to come.” The new direction includes bass, dubstep, and riddim genres, which may attract a new demographic that the venue and Thornville has not previously hosted. My research will focus on demographics of the Resonance Music and Arts Festival and Lost Lands Music Festival. In order to pursue a greater understanding of how music genre affects the variation of demographics, Resonance and Lost Lands will be juxtaposed. I will seek similarities and differences in the festival demographics behavior and treatment of the venue. I will also examine how each festival uses the venue to create its intended environment. Methods for research include participant observation and interviews with the venue owner, festival organizers, attendees, and musicians. I will describe my findings in a twenty-minute presentation at the end of fall semester.
Bio
Nadine Hoopingarner is an undergraduate student in the Anthropology department. She will receive her Bachelor of Arts degree in December 2017 with a cultural focus and minors in Globalization, Space, and Identity and Human Sexuality. Hoopingarner’s research interest includes music festival culture. She has research experience on how much music affects people and influences their decision to attend Electric Forest Music Festival. Her current study involves variation in festival demographics at the same venue.
The Under-Navel Matter: Sexuality as Folk Aesthetics in Luk Thung Music
Presented by Nattapol Wisuttipat
Abstract
Sexuality is something not to be overtly spoken by Thai people. However, references to sex and sexual content are often found disguised in many forms of art, including music. Using ethnomusicological approaches, this presentation looks at the ways in which sexual implication is embedded and changes over time by considering visual and textual elements of folk repartee of Central Thailand and luk thung - a genre of Thai popular music. The increasing prevalence of sexuality in luk thung should not be seen as a subversion of Thai cultural value. Rather such topic represents a folk aesthetics that contrasts sharply with the court-derived idealist tenets; and enables it to compete with other popular music genres.
Bio
Born in Bangkok, Thailand, Nattapol Wisuttipat received his Bachelor of Education (Thai Music Education) from Srinakharinwirot University, Thailand, and is now a graduate student in ethnomusicology at Kent State University. He specializes in Thai classical music, especially piphat, and has performed in many countries, including USA, Malaysia, Taiwan, Japan, South Korea and Turkey. In addition, he has also participated in several non-Western music ensembles including Javanese gamelan, Trinidadian steel drum, and that of African Ewe cultural group. Wisuttipat is currently working on his thesis that focuses on pedagogy of Thai classical music in the United States of America.
Kindling Unity: Incorporating Philosophy and Sociology in Elementary Music
Presented by Laura M Wiedenfeld
Abstract
A breath ignites each piece of music, kindling a creative space in which musicians work and experience the music as one. How do we kindle this creative space in today’s elementary music classroom? What music should we play? What approach or pedagogy best suits our collective needs and values? Through philosophical and sociological inquiry, we find justification for our actions. This presentation seeks to describe how creative play, mutual respect, and active music making, among other concepts, may coexist within the modern elementary music classroom.
Bio
Laura Wiedenfeld is currently a graduate assistant and PhD student at Kent State University. A native Iowan, she received her bachelor’s degree in percussion performance at Arizona State University and continued her education at Southern Methodist University. She earned her three Orff Levels at SMU and continues to use and study this approach.
Women in Music Education: Appreciating the Past, Awakening the Present, Anticipating the Future
Presented by Sarah Mattern
Abstract
Women have made significant contributions to the field of music education. Some have held leadership positions while others have served in a variety of other important roles. Consciously or not, women have served as role models to future generations of women for over a century and continue to do so today. This presentation seeks to answer the following: What issues regarding past and present issues of female leadership in music education are worthy of consideration? How can women in music education proactively serve as role models and positively shape how their female students see themselves and envision their futures? It is hoped that the significant impact that women have played in advancing the cause of music education will be more fully realized and understood by the profession.
Bio
Sarah L. Mattern is currently a doctoral student in music education at Kent State University and a K-2 general music teacher for Niles City Schools. She previously taught general music in a K-8 private school setting and also maintained an active piano and voice studio for over twenty years. She holds degrees from West Virginia University (BME) and Kent State University (MME). Her research interests include feminist studies, philosophical and historical perspectives, and general music methodologies in music teaching and learning.
Small but Mighty: Solo Teaching in the Rural Schools
Presented by Angeline Shelton
Abstract
How does a music educator measure success? Is this measured by how many students take their class or how many students choose music as a career? Music education is about expanding the knowledge base of their students, teaching the act of making music, and understanding their students enough to tailor the education, making it meaningful to the community of learners. In rural schools this has become more challenging for the solo educator. This presentation will discuss the dynamics of rural schools and the increased demand upon educators as jobs are cut and music educators are forced into a solo teaching environment. Program success depends upon the ability of the teacher to help students become more engaged in the learning experience through student leadership, student guided learning, and the collaboration between educator and students for repertoire choices and style development.
Bio
Angeline Shelton, a music education doctoral student at Kent State University, has been teaching instrumental music and choir at Maplewood Local Schools since 2007. She has earned the Bachelor of Music in Music Education (2005) and Master of Music in Performance (2011) degrees from Youngstown State University. Her research interests include Health and Wellness in the Music Classroom and Instrumental Studies
The Sociological and Psychological Implications of the Shaker Experience
Presented by Kristin Koterba
Abstract
The Shaker Experience creates a diverse and academically driven school system that provides experiences beyond the classroom. The Shaker Heights (OH) school district’s current strategic plan has fully embraced the Shaker Experience and has had a positive impact to the number of students receiving music education in the band program. As a result, the band program has grown in numbers and diversity, giving a more accurate reflection of the school’s population. There is a performing band ensemble for students of all abilities and interest levels. With having a program that is inclusive to all learning abilities, it is important to track students who may get ‘lost’ in the mix. Taking time to “track” students will help give a teacher clarity on who may need interventions and how to modify or adapt music for a student to reach their level of success. After working with students tracked as “behind,” I have observed that many of them also have reading comprehension difficulties. Investigatory conversations with reading intervention specialists have led to the development of techniques that help students cope with their reading challenges. Students have shown growth and offered insight into what works and doesn’t work. I will share the techniques and strategies I have explored and how they continue to evolve. By investigating reading techniques, teaching students to track their music will put them on the track to success in fulfilling the Shaker Experience.
Bio
Kristin Koterba holds a B.M. in Music Education and Flute Performance from Kent State University and a M.M. in Music Education from VanderCook College of Music. Currently, Kristin is a band director in the Shaker Heights City School District teaching fifth and sixth grade band, assisting with high school marching band, and teaching adaptive music. She also taught middle and high school band and general music in Georgia and South Carolina. In the fall of 2017, Kristin began doctoral studies in Music Education at Kent State. Research interests include social justice issues in music education, music education pedagogy, and music psychology.
Chan Buddhist Chant: The Path to Enlightenment Through Recitation
Presented by Charlie Occhipinti
Abstract
Chant is used as a method of sutra (sermons of the Buddha) memorization in Chan Buddhism. Through chant, practitioners are able to clear their minds to better receive the knowledge gained through the teachings of Buddha by creating a spiritual connection to Buddha. Through fieldwork with Chan monks at Cloudwater Zendo, the Zen Center of Cleveland, this paper analyzes the history, structure and role of chant in Chan Buddhism.
Bio
Charlie Occhipinti grew up in eastern North Carolina. He received his Bachelor’s degree in bass trombone performance from Appalachian State University in Boone, NC. He is currently a graduate student in the ethnomusicology program at Kent State University. His research interests are Jamaican, Caribbean, African, and Asian music with particular interest in social and political activism through music, hip-hop culture, reggae music, and jazz history.
Some Say Love is a Piano Bar: The Role of Music in Community Cultivation at Ingy's Piano Bar
Presented by Nicole Muffitt
Abstract
The community of Ingy’s Piano Bar congregates weekly on Sunday evenings for a collaborative singing experience at Tear-EZ, a bar serving a primarily gay clientele in Akron, Ohio. Stacks of music books rest on tables, allowing participants to perform a variety of pop, jazz, and musical theatre selections, while pianist Deborah “Ingy” Ingersoll serves as the focal point and facilitator, encouraging people to find their voice through song. This paper considers the role music plays in cultivating community cohesion among the participants at Ingy’s Piano Bar through fieldwork experiences as a participant-observer in this environment.
Bio
Nicole Muffitt, a native of Chicago Illinois, holds degrees in music education and trombone performance from Kent State University, and is currently pursuing her masters degree in ethnomusicology. Ms. Muffitt has been featured as a panelist at the 59th Annual College Music Society Conference, and has completed several research projects, including her undergraduate thesis, entitled From Contest to Classic: A Review of Literature for the Trombone from the Paris Conservatoire. Her interests include American musics, organology, and music and identity.
Yume Daiko: Traditional and Modern Taiko Drumming in Strongsville, Ohio
Presented by Kayla Raville
Abstract
Taiko has evolved from its earliest uses as a drum on the battlefield to a prominent feature of the modern musical experience in Japan. Yume Daiko, a traditional and modern taiko drum group from Strongsville, Ohio, teaches the history, music, and culture of this ancient tradition to American audiences through performances in northeast Ohio and surrounding areas. This paper will focus on the history of taiko drumming, its past and present uses in Japanese culture, and the success of its crossover into the world music scene in the United States.
Bio
Raised in West Babylon, New York, Kayla Raville received her B.M. degree in Music Education from the State University of New York at Fredonia in the Fall of 2011. After working as a private piano teacher, she returned to college to pursue a M.A. degree in ethnomusicology at Kent State University in the Fall of 2017. She is a full-time graduate assistant teaching Music as a World Phenomenon. Kayla’s musical interests are focused on East Asian music, specifically of Japan.
Pickin’ and Grinnin’: Appalachian Old Time Music and Traditional Balladry as Collaborative Experience
Presented by Andy Martinez
Abstract
Music and storytelling are deeply rooted in Appalachian life and cultural identity. Old time music and traditional balladry are strongly communal activities, which help establish a sense of history and place. In this paper, I will examine how these musical traditions help shape the musical landscape and regional culture of the North Carolina Blue Ridge Mountains. Through interviews with individuals from the area, as well as a literature review of historians and professional storytellers and ballad singers from North Carolina and the surrounding area, I will present a cohesive portrayal of the role this type of music plays in Appalachian life.
Bio
Andy Martinez is a third-year master’s student in the Anthropology department at Kent State University, with a concentration in cultural anthropology. Raised in Stow, Ohio, their undergraduate degree is in anthropology from Bowling Green State University. For their master’s thesis, they are studying the importance of traditional balladry to cultural identity in the North Carolina Blue Ridge Mountains. They intend to pursue a PhD in folklore, studying Okinawan folk music and festivals.
From the Ground Up: The Philosophical Underpinnings of Orff Schulwerk
Presented by Laura M Wiedenfeld
Abstract
The Orff Schulwerk approach was first developed in 1920s Germany. Influenced by the early 20th Century expressionists, Dorthee Günther and Carl Orff combined “primal” creativity and movement with music, creating a new pedagogy at the Günther Schule. In the global dissemination of Orff Schulwerk in the 1960s, the philosophical underpinnings were often overlooked. This paper seeks to uncover the grounding philosophical thoughts. Areas include historical context, philosophical influences, and pedagogical influences, among others. It is hoped that these findings will clarify the philosophy of the approach and assist practitioners in their elemental music study.
Bio
Laura Wiedenfeld is currently a graduate assistant and PhD student at Kent State University. A native Iowan, she received her bachelor’s degree in percussion performance at Arizona State University and continued her education at Southern Methodist University. She earned her three Orff Levels at SMU and continues to use and study this approach.
Dialectical, Democratic, or Open: A Look at Emerging Philosophies in American Music Education
Presented by Shannon Nicholson
Abstract
Designing a music education environment to incorporate active learning pedagogies can be difficult as new methods of theory and practice emerge. This paper seeks to bring to light recent music education philosophies through a theoretical and practical lens which could function as a useful resource for music educators. The purpose of this paper is to compare the theoretical component, methodological component, didactic models, and operational exemplars of three emerging philosophies in music education. The data for this will be collected from literature of three American music education philosophers: Jorgensen, Woodford and Allsup. The findings were that student-centered learning were central to all philosophies, however, there was some dissonance between the components of each philosophy.
Bio
Shannon Nicholson is currently pursuing her Ph.D. in Music Education at Kent State University. She graduated from Bowling Green State University in 2001 with a Bachelor’s degree in Music Education, general music emphasis and vocal concentration. Shannon earned her Orff Level 1 certification from AOSA in 2006 and earned her Masters of Music from Boston University in 2008. Currently, she is in her 16th year of teaching and currently teaches choral music for middle school and high school for Poland Local Schools in Poland, Ohio. Her research interests include general music approaches, popular music in the classroom, as well as strategies and foundations of democratic music education.
Navigating the future and the past: Non-traditional music education and the tradition of innovation
Presented by David Thompson
Abstract
Innovative music educators are creating new opportunities for students in classrooms that can resemble recording studios, where the laptop is the primary instrument, and a baton is nowhere to be found. This paper is written by, and for, the music educator teaching in such a classroom who finds difficulty navigating the tensions between tradition and innovation. What, exactly, is being innovated? What traditions should be preserved? Is this teaching really as innovative as rhetoric suggests? Randles’ Theory for Change in Music Education and Kratus’ Small Acts of Subversion are used as models to support the position that innovative music educators are not merely “caught” between tradition and innovation. They are creating in a tradition of innovation.
Bio
David Thompson is a K-12 music educator in Plain Local Schools where he teaches Music Production, and he is a PhD student at Kent State University. His students have given concerts of original music, built their own instruments, and are often asked politely to “keep it down.” Mr. Thompson’s interests lie at the intersection of music, education, and technology. He holds a B.M. in jazz studies from Michigan State University and an M.A. in music education from Case Western Reserve University.
Am I Too Sick?: Music Teacher Health and Absenteeism
Presented by Kristin Koterba
Abstract
Using Siegrist’s (1996) effort-reward model as a framework, the purpose of the study was to gain an understanding of possible health risks of music educators and why they may or or may not take sick leave to address health concerns. A survey design was used to collect data from 181 participants in K-12 schools from across the United States. Participants reported stress/anxiety, burnout, exhaustion, hearing loss, shoulder/back pain as being top ailments from which they suffer. Nearly 98% of participants reported attending school sick or unwell. Variables such as gender, age, years of experience, and teaching context were also examined as music teachers’ decisions to take or not take leave. Further research in this area could examine inequities in school district leave policies and explore ways music teachers could bring balance to their personal and professional lives.
Bio
Kristin Koterba holds a B.M. in Music Education and Flute Performance from Kent State University and a M.M. in Music Education from VanderCook College of Music. Currently, Kristin is a band director in the Shaker Heights City School District where she teaches fifth and sixth grade band, assists with high school marching band, and teaches adaptive music. In the fall of 2017, Kristin began doctoral studies in Music Education at Kent State. Her research interests include social justice issues in music education, music education pedagogy, and music psychology.
General Music Teachers’ Perceptions of Professional Development and Its Impact on Teaching Practices
Presented by Sarah L. Mattern
Abstract
Meaningful professional development has long been a concern of the teaching profession. This extends into the field of music education, as K-12 music teachers desire professional development opportunities that will add to their knowledge base and also assist them in their daily teaching practices. General music teachers may feel this need more strongly than their instrumental and choral music teacher counterparts. This may be due to the distinct differences of general music teachers’ responsibilities and isolated environments, with fewer opportunities to collaborate with peers. If professional development within districts was specifically aimed at meeting the needs of general music teachers, this might help to alleviate issues of isolation and promote collaboration with peers. For this reason, it is important to consider what professional development exists for general music teachers within their districts. This quantitative study considers general music teachers in two northeastern Ohio counties and seeks to answer the following: What percentage of general music teachers in Trumbull and Mahoning Counties have had district-mandated professional development focused on the needs of general music teachers within the last two years? How do these teachers view specialized versus generalized professional development? Were there differences in general music teachers’ feelings of isolation for those who collaborated with others outside of professional development versus those who did not? It is hoped that a better understanding of the professional development needs of general music teachers as related to issues of isolation and collaboration will be more fully realized as a result of this study.
Bio
Sarah L. Mattern is a doctoral student in music education at Kent State University and a K-2 general music teacher for Niles City Schools. She previously taught general music in a K-8 private school setting and also maintained an active piano and voice studio for over twenty years. She holds degrees from West Virginia University (BME) and Kent State University (MME). Her research interests include feminist studies, philosophical and historical perspectives, and general music methodologies in music teaching and learning.
To Go or Not To Go: Perspectives of Small School Directors’ Regarding Concert Band Adjudication
Presented by Angeline Shelton
Abstract
Small school band directors make decisions every year regarding whether or not to participate in concert band adjudicated events considering factors unique to their school environment, teacher and student past experiences, and the value of the experience for their students and for themselves. Through Social Identity Theory, this qualitative study will seek to understand the attitudes of directors toward band adjudication, what characteristics of small schools effect decisions to participate, and in what ways to directors feel that ratings from contest define them professionally. Band directors from seven small schools, having enrollment of fewer than 300 students in grades 9-12, were contacted through email to participate in an interview. Transcriptions of the interviews were analyzed for emerging themes and commonalities between director attitudes. Findings include the common feeling of knowing the program’s place in the school hierarchy and accomplishing goals within that structure while knowing that contest is neither required nor encouraged by the schools. Directors expressed that stress in preparation for the event may be worthwhile to keep standards high. Further research could focus on contest structure becoming friendly environments for small schools.
Bio
Angeline Shelton, a music education doctoral student at Kent State University, has been teaching instrumental music and choir at Maplewood Local Schools since 2007. She earned Bachelor of Music in Music Education (2005) and Master of Music in Performance (2011) degrees from Youngstown State University. Her research interests include Health and Wellness in the Music Classroom and Instrumental Studies.
Parochial School Music Teacher’s Identity: Intersections of Music Education and School Communities of Faith
Presented by Laura M. Wiedenfeld
Abstract
When crafting identity, music educators reconcile their dual role as musician and educator. The identity of parochial school music educators, however, requires a third role of instructor within a religious institution. The identities and unique challenges of parochial school educators has long been overlooked in the literature, particularly within music education. Through this collective case study of five parochial school music educators in Ohio, their interviews were examined using the lens of identity theory. Analysis revealed commonalities of early music socialization, unique teaching opportunities, and collaboration within their school communities. Further research regarding parochial school music teacher identity is needed to examine their roles in these communities of faith.
Bio
Laura M. Wiedenfeld is a PhD student and Graduate Assistant in Music Education at Kent State University. A native Iowan, she received her bachelor’s degree in percussion performance at Arizona State University and continued her education at Southern Methodist University. She earned her three Orff Levels at SMU and continues to study this approach.
Dvořák’s Aria
Presented by Mackenzie Wells
Abstract
Antonin Dvořák’s operas, while well-loved in Czechoslovakia, were almost completely unknown in the United States because they were often considered musically and stylistically confused. Rusalka, his most renowned opera, did not see the popular stage until the Met produced it in 1993 with acclaimed Czech singer Gabriela Beneckova. After many mediocre reviews, it was not seen again on the Met stage until 1997 when Renee Fleming played the title role. This paper draws from reviews in several newspapers, including the New York Times, to argue that Renee Fleming is responsible for this opera’s success and fame in the United States. It also hypothesizes that this was not achieved through a complete, well-produced work of art, but rather in the ability of the leading lady to carry the show, often shown through the performance of the well-known aria “Song to the Moon”.
Bio
Mackenzie Wells is a junior vocal performance major at Kent State University. She is currently studying with Marla Berg. Mackenzie is heavily involved in Kent’s Opera Program, Women’s Chorus, and the Honors College. She plans to continue her education by seeking a master’s degree in vocal performance in 2019.
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