Colloquium Series: Events & Speakers: 2019-2020

The Kent Shindig Old-Time Jam: Creating Musical Community
Presented by Anuthep Meelertsom

Abstract 
My field project focuses on old-time music and how people create a musical community in Kent, Ohio. My interest began when I heard music in downtown Kent near the corner of Main and Water Streets. I introduced myself to David Badagnani, a member of the group, who gave me information about the Kent Shindig old-time jam, which included the history of old-time music, musical Instruments, Old-Time traditional tunes, and tradition of the Kent Shindig jam. My presentation will focus on why people are attracted to this music and also the role the Kent Shindig ensemble plays as both entertainment and as a medium for the preservation of American musical culture.

Bio
Anuthep Meelertsom is a first-year graduate assistant and student in Ethnomusicology at Kent State University. He received his bachelor degree in music education at the Faculty of Education, Chulalongkorn University in 2017. Anuthep regularly appears as a Jakhay (floor zither) soloist and has performed with many prestigious orchestras and ensembles in Thailand as well as internationally.

Tu Hi Mai Mera: Christianity and Indian Identity in Music
Presented by Alexis Hill

Abstract
This paper is an exploration of Christian music being expressed through Indian culture. With Christianity being surpassed in India by Hindu and Islam, the voice of the people and songs that represent them is sometimes lost in the observation of Indian culture. In the United States, Indian believers are creating new churches and traditions that innovate contemporary Christian music and culture. In Aurora, Ohio, New Life Indian Fellowship has found its voice in the community and continues to make strides in educating Christians in the global influence of praise music.

Bio
Alexis Hill is pursuing a Masters of Arts in Ethnomusicology at Kent State University. She received her Bachelor of Vocal Performance also from Kent State in the spring of 2019. During her undergraduate career, she had roles in 10+ operas with the Kent State Opera Company, and participated in three choirs, including the Kent State Chorale. She had the privilege to present an original composition entitled “Halim el-Daboots” at the College Music Society’s National Conference in Vancouver, Canada in October of 2018. She presented South African Gumboots: The Making of “Halim El-Daboots” at the annual Society for Ethnomusicology – Midwest chapter conference in Dayton, Ohio in March of 2019.

Applying a Sociological Lens to the Music Classroom and the Middle School Choirboy
presented by Dalton Phillips

Abstract
This presentation will first explore how music educators can apply a sociological viewpoint to their classroom. The implications of both a macro- and micro-sociological perspective will be discussed. Then the topic of the middle school choirboy will be addressed in regard to sociological factors. Issues of gender stereotypes and the changing voice will be presented, along with suggestions for practice.

Bio
Dalton Phillips is a first-year PhD student and graduate assistant at Kent State University. Previously, he taught middle and high school choir in the Mansfield City and New London Local school districts. He earned a Bachelor of Arts in Music from Allegheny College and Master of Arts in Music Education from Case Western Reserve University. His current research interests include urban music education, community music, informal music learning, and choral music education.

Calming the Waves: Maintaining Success in a Sea of Sociological Change
presented by Will Kish

Abstract
Change is inevitable.  The persistence of change has long caused music educators to find new methods and means to keep their students moving toward the goal of becoming complete musicians.  Large-scale sociological and cultural change can be a tremendous obstacle to success in every endeavor, including music.  This presentation will discuss how one band program is facing a tremendous change in socio-economic status and demographics.  Despite the consequences of change, success is still possible.  Several methods for maintaining success will be discussed.  In examining the future of band programs, discussion will include the place of marching band in the school music program and some options available if its replacement becomes inevitable.

Bio
Will Kish graduated with his BME from The Ohio State University in 1999.  That fall, he was hired as the band director at Norwalk High School in Norwalk, Ohio.  In 2006, he became the graduate assistant in bands at Kent State University, and he earned his MME in 2008.  He is in his 19th year as a high school music teacher, and currently working toward his PhD in music education at KSU.  His research interests include music learning in a large ensemble context, social barriers to music education, and improving musical opportunities for all students.

The Discipline of Achievement: Self-Concept and Self-Efficacy in the Choir 
presented by Shawna Hinkle

Abstract
The discipline of achievement refers to a maintained effort and personal desire for focus and attention given to the development of musical skills.  Degree of talent does not necessarily determine degree of achievement.  A disciplined rehearsal strategy demonstrates consistent effort providing an atmosphere for personal application of concepts and growth as musicians. This presentation will focus on one perspective of how a disciplined choir rehearsal routine consistent from grades 6-12 and aligned with personal pedagogy maintains retention and helps with student self-concept and self-efficacy.  An environment in which students feel accepted and appreciated promotes a positive self-concept. Enjoying musical moments while seeking collaboration in the form of open dialogue promotes self-evaluation which may encourage young musicians to aspire to higher levels of musicianship improving self-efficacy.

Bio
Shawna K. Hinkle is currently a doctoral student in music education at Kent State University and 6-12 vocal music teacher for Dover City Schools.  She previously taught middle and high school vocal music for Brunswick City Schools and Copley Fairlawn City Schools, general and elementary music, and private keyboard.  She holds degrees from Muskingum University (BME) and Kent State University (MME).  Her research interests include student learning related to self-efficacy and middle and secondary choral rehearsal pedagogical practices.

From Her Point of View: Characteristics and Experiences of Female Music Education Professors in Ohio
presented by Sarah Deskins

Abstract
Societal changes over the last several decades have led to increased career opportunities for women, including those in the academy. It is important to consider particular disciplines within higher education in order to gain insight into the collective stories of these female scholars. The purpose of this study is to examine the characteristics and experiences of female music education professors at colleges and universities in Ohio. Symbolic Interactionism Theory, which focuses on the subjective meanings that come from unique individual perspectives, serves as the theoretical framework for this study. Using an adaptation of a survey by Fiske (1997), a quantitative method is used to examine the following: participants’ background information, significant role models or mentors, stress-related factors, perceptions regarding the most motivating and challenging factors in their career growth and the most difficult barriers to women in music education in higher education, as well as other contributing factors in the lives of these professionals. The following research questions serve as a guide for this study: What are the characteristics of female music education professors in Ohio? What experiences do female music education professors report from their professional work? Implications from this study may prove insightful for the profession as a whole, as well as for emerging scholars, in better understanding the lived experiences and perspectives of these female music educator professors, and perhaps highlight where change in the academy might be merited.

Bio
Sarah L. Deskins is a third-year 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 maintained an active piano and voice studio for over twenty years. She holds degrees from West Virginia University (BME) and Kent State University (MME). Recent publications include those in TRIAD, Contributions to Music Education, Excellence in Performing Arts Research, and SmartMusic music educator blog. Her research interests include feminist studies, sociological and historical perspectives, learning theories of motivation and self-regulation, and general music methodologies in music teaching and learning.

On the Band Wagon: Social Factors Encouraging Participation in School Band Programs
presented by Eric Bable

Abstract
This study examines the social factors that encourage participation in high school band programs. High school band students from a school in the north east, Ohio participated in a survey meant to evaluate the role of social factors in determining their reasons for participating in the band program available at their school. The enculturation of adolescents plays an important role in their group and self-identification. Previous studies have shown that students use music as both a means for inclusion and exclusion within their social circles (Adderly, Kennedy, & Berz, 2003). The study is based on the concept outlined by the social identity theory (Tajfel & Turner, 1986).

Bio
Eric Bable currently serves as the band and choir director at Crestview High School in Columbiana, Ohio. He also teaches theatre explorations and college credit plus classes through Kent State University. Eric is also the music director of the Canfield Community Concert Band and is a music director with Crown Theatre Productions. He received his BM from Slippery Rock University, his MM from Youngstown State University. He is currently a second-year doctoral student at Kent State University.

Just Keep Singing: Impacts of Social Experiences on Participation for Females in High School Choir 
presented by William Klein

Abstract
Participation in secondary school choral ensembles is a consistent topic of research in the field of music education. The purpose of this study was to investigate social factors in secondary school choral ensembles and how those factors affected female participation. Social Identity Theory (SIT) was the theoretical framework through which this study was guided as it looks to explore social situations and how said social situations affect human behaviors. Two research questions guided the study: What social factors and experiences are found in Northeastern Ohio high school female choral ensembles? How do these social factors and experiences contribute to choir participation? A survey instrument validated by Major and Dakon (2016) was utilized for the study and analyzed using descriptive statistics. Possible outcomes for the study looks to determine social factors that contribute to female participation in secondary school choral ensembles.

Bio
Bill Klein is a second-year doctoral student at Kent State University. He is currently the vocal music director at Austintown Fitch High School where he has held this position for eight years. Bill earned his B.M. in music education at Youngstown State University where he studied piano with Dr. Caroline Oltmanns. He later attained his M.M. in music education from Kent State University. His current research interest resides in the field of choral music education and teacher education and effectiveness. Bill currently resides in Austintown, OH with his wife Megan, their son Liam, and their dog Charley.

Enculturation in Professional Learning Communities: A Survey of Orff Schulwerk Community Members
presented by Laura Wiedenfield

Abstract
The purpose of this study is to examine how Orff Schulwerk (OS) community members interact with the OS professional learning community and if that relates to their feelings of belonging within that community through the theoretical lens of situated learning. I seek to answer these questions using a descriptive survey instrument that will be distributed through the American Orff Schulwerk Association (AOSA) Official Facebook page. In addition to inviting participants via the AOSA Facebook page, members will also be encouraged to share this with their local AOSA chapters, utilizing snowball sampling. I hypothesize that OS teachers who respond will feel most connected to the community and interact with it through multiple ways, including in person and online, as they are members of this online community. I also hypothesize that the more levels training they have done will correlate with their sense of belonging to the OS community and increase the likelihood that they will identify as an OS teacher. Further study on the process of enculturation through qualitative study is needed to understand the phenomenon of enculturation through situated learning, but this study may shed light on reasons why people feel connected to a specific learning community and how they interact with and within that community.

Bio
Laura M. Wiedenfeld, a native Iowan, received her bachelor’s degree in percussion performance at Arizona State University and continued her education at Southern Methodist University while teaching privately in the Dallas area. She taught general music for grades PK3-8 in the Houston-area for 4 years. Most recently, she served as a graduate assistant at Kent State University, where she is earning her PhD in music education. She earned her three levels of Orff-Schulwerk from SMU and is beginning the certification process in Dalcroze Musicianship through the American Eurythmics Association. She continues to be a teaching assistant and adjunct professor in Northeast Ohio.

Culturally Responsive Teaching in the Urban Music Classroom: A Review of the Literature
presented by Dalton Phillips

Abstract
Culturally responsive teaching incorporates the background knowledge and experiences of ethnically diverse students in order to provide them with a more effective and meaningful education. The purpose of this review of literature is to examine the use of culturally responsive teaching by urban music educators. Specific questions addressed include: Who are urban music educators?; Who are urban music students?; What is culturally responsive teaching?; How and why do urban music educators use culturally responsive teaching? Findings in the existing literature will be synthesized in order to address current knowledge pertaining to these questions. Implications of the research findings will be discussed and applied to the field of music education.

Bio
Dalton Phillips is a first-year PhD student and graduate assistant at Kent State University. Previously, he taught middle and high school choir in the Mansfield City and New London Local school districts. He earned a Bachelor of Arts in Music from Allegheny College and Master of Arts in Music Education from Case Western Reserve University. His current research interests include urban music education, community music, informal music learning, and choral music education.

Interactions of Students with a Reading Disability: Stories from Sixth Grade Band Members
presented by Kristin Koterba

Abstract
Inclusion of students with exceptionalities, such as a reading disorder, has afforded all students the opportunity to participate in music, but little is known about their experiences and identity in a performing ensemble.  The purpose of study is to explore the social identity of three sixth grade band members who have a documented reading disability. In this qualitative study, participants were identified as children who have an unexpected reading disability, meaning this was the only area of an identified disability.  This study was conducted using the framework of Social Identity Theory because it allowed the participants to describe their self-image and how others may perceive them without assuming they identify in a preconceived social group.  The following research questions were used:  What is the self-image of students who have a reading disability in sixth grade band?  How do students with a reading disability feel others within the school culture perceive them in the band?  Potential outcomes from this study could impact the way teachers develop the culture of their ensemble programs, insight on how to make ensemble classes more inclusive, and ways to empower students to develop their sociocultural identity in the school environment.

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.  In the fall of 2017, she began doctoral studies in Music Education at Kent State.  She has made poster session presentations and clinic sessions at OMEA, served on various panel discussions, as well as presented at the International Society for Music Education 2018 Conference in Baku, Azerbaijan. 

Music Teacher Moms: Merging the Professional with the Personal
Presented by Sarah L. Deskins

Abstract
In the past, the majority of music teachers were women, and many of them became mothers at some point in their lives. The number of women in the dual role of music teacher and mother, however, was historically small. In recent decades, the number of music teachers who are also mothers has increased dramatically. The purpose of this study is to examine the characteristics, circumstances, and personal and professional challenges and opportunities of music teacher moms in the Music Teacher Mommies Facebook Group. Role Theory, which refers to the social values and scripts and the agreement of those within a society, is the theoretical framework for this study. A quantitative survey method was used to examine participants’ background information, primary teaching areas, employment status, perceptions of roles as mothers and music teachers, and other considerations. The following research questions served as a guide for this study: What are the characteristics of music teacher moms? What are the circumstances of music teacher moms? What are the personal and professional challenges and opportunities that music teacher moms face in relation to their career and motherhood? The results of this study seek to provide the profession with better insight into the lived experiences of music teacher moms in the hope that stronger music education support networks might be put in place to better ensure their personal and professional success in this dual role as music teacher and mother.

Bio
Sarah L. Deskins is a third-year 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 maintained an active piano and voice studio for over twenty years. She holds degrees from West Virginia University (BME) and Kent State University (MME). Recent publications include those in Bluegrass Music News, TRIAD, Contributions to Music Education, Excellence in Performing Arts Research, and SmartMusic music educator blog. She was also the graduate recipient of the 2017-18 and 2018-19 Performing Arts Library Colloquium Series' Excellence in Research Award. Her research interests include feminist studies, sociological and historical perspectives, learning theories of motivation and self-regulation, and general music methodologies in music teaching and learning.

Life Got in the Way: Considerations Regarding Multiple Levels of Orff Schulwerk Teacher Education
Presented by Laura M. Wiedenfeld

Abstract
Professional development for elementary general music educators has been closely studied in the past twenty years, particularly the needs and wants of teachers. Teachers report preferring summer intensives, often offered through and within communities of practice, for their professional development needs. These intensives are often sponsored by communities of practice, such as the American Orff-Schulwerk Association (AOSA). Despite the reported needs of teachers participating in professional development, factors contributing to continued engagement with Orff Schulwerk teacher education, or any music-specific approach, have not been examined. The purpose of this survey is to examine factors contributing to participants continued or discontinued engagement in Orff Schulwerk teacher education. Orff Schulwerk teacher education participants were invited to take part in a survey via social media or through an email from their course director. Respondents were asked a series of questions regarding their continued participation in teacher education courses, particularly if they took more than one year between education courses or stopped before completing their certification in Orff Schulwerk (a curriculum spanning three summers). By gaining more insight into the reasons why teachers continue or do not continue with on-going professional development opportunities or communities of practice, teacher educators and learning communities may better support participants after their summer intensives, as well as how to work with school administrators to support on-going teacher professional development.

Bio
Laura M. Wiedenfeld, a native Iowan, received her bachelor’s degree in percussion performance at Arizona State University and continued her education at Southern Methodist University while teaching privately in the Dallas area. She taught general music for grades PK3-8 in the Houston-area for 4 years. Most recently, she served as a graduate assistant at Kent State University, where she is earning her PhD in music education. She earned her three levels of Orff-Schulwerk from SMU and is beginning the certification process in Dalcroze Musicianship through the American Eurythmics Association. She is currently a graduate assistant and adjunct professor in Northeast Ohio.

Singing Voice Development in Children and Rutkowski’s Singing Voice Development Measure (SDVM): A Literature Review
Presented by Sarah L. Deskins

Abstract
Singing has been a fundamental part of the general music curriculum in the United States since the late 1830s, when music curricula was first introduced into public schools. As a result, one primary objective of general music education has been teaching children to sing. A number of instructional approaches to assist children in their ability to sing have been utilized over the years, and even with the most successful strategies, some children are still not capable of using a singing voice. In fact, this remains one of the most problematic issues in elementary general music instruction. Children often enter into the schooling process with various levels of singing competency and development. Children’s vocal ranges have been a topic of curiosity for music education researchers for nearly a century; however, research has only focused on children over the age of five within the last several decades, particularly regarding changes and development of their singing behaviors and the multifaceted reasoning behind these. Nonetheless, age was found be a factor in children’s singing ability in early studies, with recent studies indicating considerable improvement in singing ability after first grade and even probable through fifth grade. Rutkowski’s Singing Voice Development Measure (SVDM) is an instrument that measures the use of the singing voice in children. This tool was developed to determine a more reliable way to define the various phases of children’s vocal development, and to offer a dependable method for music educators and music education researchers to measure and give terminology to the use of children’s singing voices. This literature review will consider the topic of children’s singing voice development and SVDM in assessing where young students are in this musical developmental process.

Bio
Sarah L. Deskins is a third-year 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 maintained an active piano and voice studio for over twenty years. She holds degrees from West Virginia University (BME) and Kent State University (MME). Recent publications include those in Bluegrass Music News, TRIAD, Contributions to Music Education, Excellence in Performing Arts Research, and SmartMusic music educator blog. She was also the graduate recipient of the 2017-18 and 2018-19 Performing Arts Library Colloquium Series' Excellence in Research Award. Her research interests include feminist studies, sociological and historical perspectives, learning theories of motivation and self-regulation, and general music methodologies in music teaching and learning.

Blackface in Opera
Presented by Ezra Keeton

Abstract
Blackface is widely acknowledged as a harmful device which can be offensive and hurtful to communities of afro-descent. In this paper, I explore the continued use of blackface by contemporary opera companies in spite of much popular and critical objection to the practice, and how, in at least one case, an artist asserted her agency against the practice.  In 2019 Tamara Wilson, soprano for The Metropolitan Opera, became embroiled in a heated debate for refusing to wear dark makeup on her face and body when cast in Arena di Verona’s production of Aida, ending their 106-year streak of continuous use of blackface in their annual production of the opera.  As further examples, this research will include the casting of traditionally afro-centered characters in popular operas such as the titular role of Othello and also Monostatos of Die Zauberflöte. This work demonstrates the exclusionary messaging these opera productions send to individuals who might otherwise participate in the art, and how overtly racist production choices like these prevent more nuanced conversations centering around racial equity from taking place.

Bio
Ezra Keeton, Senior, is a vocal performance major and tenor at Kent State University. He studies under Dr. Lara Troyer. He is an active performer with opera and musical theater locally and works as a Choral Scholar for Christ Church Episcopal Hudson. He plans to continue his education after graduation with a focus on pedagogy.

Corea Versus Bartók: Compositional Devices in Solo Piano
Presented by John Martin

Abstract
Various sources cite Béla Bartók as a major factor on the harmonic and rhythmic stylings of Chick Corea. This influence from Bartók to Corea is consistently and specifically cited in regards to the composers’ collections of piano works - Bartók’s Mikrokosmos and Corea’s Children’s Songs. This seems quite plausible; both composers have backgrounds in musics with unique rhythmic and harmonic devices. However, on a close analysis, the two collections of piano works are not comparable. While both utilize similar larger scale compositional devices, there are not substantial rhythmic or harmonic similarities to accurately name Bartók’s Mikrokosmos as a major influence on Corea’s Children’s Songs.

Bio
John Martin is a junior pursuing instrumental music education. John is active in many ensembles at Kent State University, being both a percussionist and pianist - Jazz Combo, Jazz Orchestra, Wind Ensemble, Nova Jazz Singers, Percussion Ensemble. Along with his school-
related studies, he is also active in the music ministry at Berlin Center United Methodist Church. There, John directs the choir, and plays organ, in addition to playing keyboards/banjo and singing back-up vocals in the praise band. In his free time, John likes to compose and record
music.

How a Serpent Slithered Its Way into the 1995 BBC Adaptation of Pride and Prejudice
Kelsy Morrison

Abstract
The musical ensemble performing at the Netherfield ball in the 1995 BBC Miniseries adaptation of Jane Austen’s Pride and Prejudice includes a serpent. While neither the materials about the making of the series nor resources discussing the film music address how or why the decision to use a serpent was made, they do indicate that the filmmakers cared about historical accuracy and made decisions about other background aspects of the film based on careful research. Journal articles and books indicate that the serpent was indeed commonly used in Regency-era England, and that its inclusion at a private ball is a reasonable possibility. Even so, it is highly unlikely that British filmmakers in the 1990s would have included an instrument that had fallen completely out of use had it not been for a successful revival movement started two decades earlier in their country.

Bio
Kelsy Morrison is pursuing BAs in Music and German, as well as minors in Classics and Ancient, Medieval, and Renaissance Studies. Her research interests include issues in Early Music as well as Western Art Music in English- and German-speaking countries from the Medieval
through the Romantic periods. She is particularly interested in relating musicology to other Liberal Arts disciplines. Before enrolling at Kent, Kelsy homeschooled her five children full-time. During her husband’s Navy career, she studied as circumstances permitted, from doula
training to college courses in Ancient Greek. She also played trombone in homeschool band with her children. Now settled into civilian life, Kelsy is attending college full-time, with the intention of eventually pursuing a doctoral degree in historical musicology. An avid Jane Austen fan, she also enjoys knitting and sewing, and hopes to learn how to stand-up paddleboard one day.

An Examination of the Use of the Orpheus and Euridice Story throughout History
Presented by Megan Roden

Abstract
By highlighting prominent reiterations of the story from various points in history, one can see how ideas have evolved, or stayed the same over time. Different points of the story resonated with different librettists and composers, and different alterations were necessary for the story or point they were trying to make. Often, alterations were made for political statement, religious interpretation, festivities, different poetic emphasis, and social context. In this paper, the following works are referenced: Virgil’s Georgics, Ovid’s Metamorphoses, Poliziano’s Orfeo, Peri’s l’Euridice, Monteverdi’s l’Orfeo, Luigi Rossi’s Orfeo, Christoph Willibald Gluck's Orfeo ed Euridice, Haydn’s L'anima del filosofo, Jacques Offenbach’s Orphée Aux Enfers, and Anaïs Mitchell’s Hadestown. The final analysis of the 2019 musical Hadestown shows how elements and alterations essential to the story, even as far back as the Baroque period, are still prevalent in contemporary works.

Bio
Megan Roden is a junior pursuing choral music education, along with a minor in jazz studies. She is an active member of the Kent State Chorale, the Nova Jazz Singers, and the Jazz Combo program. This semester she performed at OMEA Conference and Tri-C Jazz Festival with the Nova Jazz Singers. She is interested in storytelling and how it intertwines with the arts, as well as how jazz music can be an essential teaching tool in the American choral classroom.

The History of Steel Pan: Myths, Facts, and Modern Performance Practice
Presented by Jennalee Quillen

Abstract
The steel pan, a melodic instrument made from 55-gallon oil barrels, is one of the only instruments invented during the 20th century. During Trinidad and Tobago’s period of British colonial rule, the islands used music as a way to express their creativity and culture. The steel drum emerged from their love of music and subsequently became an integral part of the islands’ culture. Today, it is their national instrument, and a national competition is held annually during Carnival where steel bands compete in a competition called Panorama. This paper intends to give a concise history of the road to the modern steel drum as we know it today.

Bio
Jennalee Quillen is a Junior Music Education Major and World Music Minor studying at Kent State University. Her primary instrument is percussion. She is a member of the Percussive Arts Society as well as the Ohio Music Education Association. She is an active member of the Hugh A. Glauser School of Music community and holds an officer position for the Kent State Percussion Society. She is also an active member of Kent State’s Honors College.

Motivational Factors that Affect Paticipation in Collegiate-Based Town and Gown Choirs
Presented by Dalton Phillips

Abstract
Lifelong participation in music has been a goal of music educators in the United States since the colonial era. A popular form of lifelong musical involvement and education in this country is choral singing. Community choirs represent one way that adults can participate in choral singing. Collegiate community choirs, known as town and gown choirs, represent a unique option for musical engagement that is always intergenerational. The purpose of this study was to determine the motivational factors that affect participation in collegiate-based town and gown choirs. Participants included members of town and gown choirs at Kent State’s main, Salem, and Tuscarawas campuses. Variables included participants’ musical backgrounds, motivational factors that affect participation, and how motivational factors for participation differ between college students and non-student community members. Data were collected using the Education Participation Scale developed by Boshier (1982) to measure motivation for participation in adult education. Implications of the research findings will be discussed and applied to the field of music education.

Bio
Dalton Phillips is a first-year PhD student and graduate assistant at Kent State University. Previously, he taught middle and high school choir in the Mansfield City and New London Local school districts. He earned a Bachelor of Arts in Music from Allegheny College and Master of Arts in Music Education from Case Western Reserve University. His current research interests include urban music education, community music, informal music learning, and choral music education.

Perceived Barriers to Participation in OMEA Solo and Ensemble Adjudicated Events
Presented by Will Kish

Abstract
Many researchers have demonstrated that ensemble directors believe participation in solo and ensemble adjudicated events is beneficial to their students. Researchers have also demonstrated music teachers’ propensities for providing their students with activities from which they will benefit. Despite this, many teachers do not enter their students in solo and ensemble adjudicated events. The purpose of this study was to determine which barriers have kept middle and high school ensemble directors in the state of Ohio from enrolling their students in solo and ensemble adjudicated events. Directors (N = 199) completed a researcher-designed survey through which their attitudes toward the events and the barriers that stand in the way of enrolling were measured. Surveyed directors believed solo and ensemble adjudicated event participation benefited their students as musicians. Participation barriers identified with the strongest agreement included outside of school preparation time and private lesson cost.

Bio
Will Kish graduated with his BME from The Ohio State University in 1999.  That fall, he was hired as the band director at Norwalk High School in Norwalk, Ohio.  In 2006, he became the graduate assistant in bands at Kent State University, and he earned his MME in 2008.  He is in his 19th year as a high school music teacher, and currently working toward his PhD in music education at KSU.  His research interests include music learning in a large ensemble context, social barriers to music education, and improving musical opportunities for all students.

Rural and Suburban Secondary Vocal Music Students: A Look at Self-Efficacy
Presented by Shawna Hinkle

Abstract
Self-efficacy can be defined as one’s belief in one’s ability to achieve a goal or outcome. Previous researchers have asserted that self-efficacy beliefs influence achievement in both academic and music settings. The purpose of this quantitative study was to examine the self-efficacy of secondary vocal music students in a school district characterized as rural by the 2013 Ohio Department of Education typology chart. Using Bandura’s (1986) construct of self-efficacy as the theoretical framework, Zelenak’s (2010) Music Performance Self-Efficacy Scale (MPSES) was administered to secondary music students to gather data related to self-efficacy in vocal music performance. Results were analyzed in relationship to three independent variables: students’ grade level, years of participation in secondary vocal music ensembles, and gender. Bandura’s (1986) four sources of self-efficacy provided the dependent variables (mastery experience, vicarious experience, verbal/social persuasion, and physiological and affective states) used in the MPSES. The findings suggested a need for additional research in the development of self-efficacy teaching strategies for music educators to implement in the vocal music ensemble setting.

Bio
Shawna K. Hinkle is currently a doctoral student in music education at Kent State University and 6-12 vocal music teacher for Dover City Schools.  She previously taught middle and high school vocal music for Brunswick City Schools and Copley Fairlawn City Schools, general and elementary music, and private keyboard.  She holds degrees from Muskingum University (BME) and Kent State University (MME).  Her research interests include student learning related to self-efficacy and middle and secondary choral rehearsal pedagogical practices.

The PPAT and its Effect on Student Teaching: Reflections from a Student Teacher and Cooperating Teacher
Presented by Jonathan Saeger

Abstract
The purpose of this study was to explore the perspectives of a student teacher and his cooperating teacher and their experiences related to the Praxis Performance Assessment for Teachers (PPAT) submission process. The PPAT is a four-task assessment created by Educational Testing Service to assess student teachers nationally. This was a reflective case study focused primarily on the PPAT submission process and its effect on the student teaching experience. Data included interviews with a student teacher who completed the PPAT as part of a pilot program prior to the implementation of the PPAT submission requirement for licensure. Themes include the disruption of the Institutional Triad, university support, and PPAT utility. Both participants described how the PPAT submission requirement disrupted the Institutional Triad consisting of the student teacher, cooperating teacher, and university supervisor. Both participants identified areas where increased support by the higher education institution would have been beneficial. The participants disagreed on the utility of the PPAT. The student teacher viewed it as just another requirement while the cooperating teacher valued certain aspects of the PPAT. Suggestions for improved PPAT preparation are provided.

Bio
Jonathan Saeger is an Assistant Professor of music at University of Mount Olive where he directs the Concert Choir and Men’s Choir. He also teaches applied voice and music education courses. Previous work includes serving on the music faculty at Western Illinois University and teaching secondary music for twelve years in Florida, Illinois, and New Mexico. Jonathan earned a B.M. in Music Education at Millikin University, and an M. M. in Choral Conducting at Illinois State University, and is pursuing a PhD in Music Education at Kent State University. Jonathan lives in Dudley, NC with his wife Lauren, who is currently a DMA candidate at the University of Illinois in Jazz Performance.

Name That Tune: A Survey of Preservice Music Educators’ Knowledge of American Folk Songs
Presented by Laura Wiedenfeld

Abstract
In an increasingly diverse and pluralistic society, what folk songs are being taught, sung, and remembered by music instructors in the United States? Several studies examined student familiarity with folk songs (Prickett & Bridges 1998; Prickett & Bridges, 2000; Prickett & Bridges, 2001), music method course content (Gauthier & McCrary, 1999), and a national survey of music educators. Without a national curriculum or songbook, questions of what American folk songs should be or should include was last critically examined via content analysis in 2000 (McGuire). As Americans’ access to music and media evolves, what songs do people recognize, sing, and share with others? The purpose of this study is to examine the folk music that is considered to be culturally relevant and known in 2020.

A survey instrument consisting of ten folk tunes based on previous studies was developed and sent to undergraduate music students at a mid-major, Midwest university. Convenience sampling was used. Participants listened to ten folk tunes that were played by the researcher on recorder and then asked if they could teach the song with 100% accuracy, if they could perform it with 80% accuracy, if they recognized the song, or if they did not know it. The results of this survey may provide music educators and music teacher educators insight into what folk songs are known to their students and how population and demographic shifts influence knowledge of folk songs.

Bio
Laura M. Wiedenfeld, a native Iowan, received her bachelor’s degree in percussion performance at Arizona State University, and continued her education at Southern Methodist University while teaching privately in the Dallas area. She taught general music for grades PK3-8 in the Houston-area for 4 years. She has also served as a visiting assistant professor of music education at the University of Akron, where she continues to teach as an adjunct professor. She earned her three levels of Orff-Schulwerk from SMU and is beginning the certification process in Dalcroze Musicianship through the American Eurythmics Association.  Most recently, she serves as a graduate assistant at Kent State University, where she is earning her PhD in music education. She is an active clinician and researcher, focusing on professional learning communities and purposeful assessments for elementary music students.

Pitch Imperfect: Acknowledging the Psychosocial Development of the Adolescent Singer
Presented by Shawna Hinkle

Abstract
The thought of teaching middle school music, whether it be band, choir, general music or orchestra, can be overwhelming to the point of causing a panic attack for some novice music educators along with some veteran music educators. This presentation will focus on acknowledging the psychosocial development of the adolescent and constructive ways to design a middle school music environment that cultivates growth and maturation of students as well as the musicians within them. Middle school music teaching strategies and pedagogical practices derived from a literature review that can be implemented into the middle school music classroom will be discussed. Therefore, pitch imperfect could possibly become pitch perfect.  

Bio
Shawna K. Hinkle is currently a doctoral student in music education at Kent State University and 6-12 vocal music teacher for Dover City Schools.  She previously taught middle and high school vocal music for Brunswick City Schools and Copley Fairlawn City Schools, general and elementary music, and private keyboard.  She holds degrees from Muskingum University (BME) and Kent State University (MME). Her research interests include student learning related to self-efficacy and middle and secondary choral rehearsal pedagogical practices.

Modes of Creativity: Peer Learning During an Orff Schulwerk Rhythmic Composition
Presented by BethAnn Hepburn

Abstract
This presentation will highlight the interpersonal & intrapersonal ways children learn and make connections in an Orff-Schulwerk centered music classroom. Learning modes peers use to help each other during composition will be examined. The added benefits to a collaborative constructivist approach to musical creativity and humanity will be highlighted.

Bio
BethAnn Hepburn, holds degrees from Cleveland State University and the University of St. Thomas, MN. A doctoral student at Kent State University in Music Education. Her research interests include music education history, Orff-Schulwerk, general music, creativity, and curriculum. She is the co-author of Purposeful Pathways, Possibilities for the Elementary Music Classroom Books I-IV and a guest conductor for Elementary honors groups at state and county festivals. BethAnn is the general music professional development chair for OMEA.