Colloquium Series: Events & Speakers: Upcoming Events

Traditionalism Versus Modernism Through the Lens of Lutheran Music
Presented by Faith Kaschube

Abstract
In many churches across the country, a common musical debate arises: what style of music is the best to reach their congregation? In the last few decades, contemporary Christian music has risen in popularity. Yet, there is value in the traditional hymns and liturgies as well. This paper compares the current musical contentions with those of the Protestant Reformation and seeks to offer potential solutions to best serve Christian communities.

Bio
Faith Kaschube is in her third year at Kent State University, studying Music Education with a concentration in instrumental music. She has played violin for 11 years and aims to become an orchestra director after graduation. Outside of school, Faith enjoys other artistic endeavors like painting and journaling. She was raised in the Lutheran church, inspiring her interest in the study of Lutheran music.

Visions and Their Effect on Hildegard von Bingen’s Musical Compositions
Presented by Joshua Weikert

Abstract
Hildegard Von Bingen is hailed as one of the most influential and prolific composers of the Medieval era. She composed over 70 compositions and is known for pushing the boundaries of her time. Hildegard is also well known to have had visions. She depicted them as being painful and bright. These visions heavily impacted her everyday life, including her religious beliefs, drawings, etc. Scholars often discuss her music and her visions as separate issues, but they are very much connected. This paper presents evidence of how Hildegard’s visions impacted her musical compositions.

Bio
Joshua Weikert is a Junior Instrumental Music Education Major at Kent State University. His main instrument is the saxophone. Josh performs with the Kent State Symphonic Band, the Kent State New Music Ensemble, the Kent State Saxophone Ensemble, and the Kent State “Impromptu” Saxophone Quartet. Josh has a passion for history as learning about it helps us truly understand and appreciate how music and society have changed over time. In his free time, Josh can be seen in the practice room or in Cincinnati attending a Reds or Bengals game.

Gender and Instrument Selection: An Inquiry 
Presented by Madison Zets

Abstract
Throughout modern music education, the formation of a concert band is standard. What has also seemingly remained standard is gender disparity in instrument selection. The purpose of this paper is to explore the history and link between gender and instrument selection within a band setting. This paper also explores whether this link is caused by internal factors, such as the desire to fit in with peers or what the student naturally gravitates towards, or external factors such as potential bias from students’ parents and band directors.

Bio
Madison Zets is a junior Music Education major at Kent State University with an applied focus in percussion. She is a member of the Kent State Wind Ensemble and the Kent State Percussion Ensemble. Outside of her studies at Kent, Madison enjoys teaching private percussion lessons and playing with her dog, Willow.

The View from the Banyan Tree: Perspectives on Music Education from the Journal of the Indian Musicological Society 
Presented by Jami Bolton

Abstract
In 1970, the Indian Musicological Society was founded. That same year, the society began publishing the Journal of the Indian Musicological Society. According to its early volumes, the journal is “devoted to the study of Indian music and related arts.” R. C. Mehta, the Journal’s first and longtime editor, took a particular interest in music education and ensured that the topic was addressed regularly. Contributing authors in the journal include Indian scholars as well as Western scholars such as Abraham Schwadron and William Anderson. In all 76 of the issues that have been published, there are 506 articles. Over 80 of the articles address topics connected to music education in India and other parts of the world. This study examines the content of the journal and how the subject of music education is addressed.

Bio
Jami Bolton taught band and orchestra in the Alexandria City Public Schools in Alexandria, Virginia from 2002-2012. She taught band at the American Embassy School in New Delhi, India from 2012-2022. Ms. Bolton holds an Associate of Arts and Sciences in Music degree from Ricks College (1997), a Bachelor of Music in Music Education from Brigham Young University (2002), and a Master of Music in French Horn Performance from The Catholic University of America (2005). She is currently a full-time doctoral student at Kent State University. Her research interests lie at the crossroads of music education and ethnomusicology.

Mission Impossible: The Influence of Vanett Lawler in a Male-Dominated Era of Music Education 
Presented by Shawna Hinkle

Abstract
Vanett Catherine Lawler embodied the very essence of a quote by Robyn Rihanna Fenty: “There’s something special about a woman who dominates in a man’s world. It takes a certain grace, strength, intelligence, fearlessness, and the nerve to never take no for an answer.”  In this paper, I seek to share a narrative of the visionary influence and leadership demonstrated by Vanett Lawler through the lens of women’s empowerment. The combination of intelligence and capableness in public relations, task management, and administration enabled Lawler to bring “order out of chaos.” She served a foundational role in the Music Educators National Conference (now NAfME), Pan American Union, and International Society for Music Education. Lawler humbly dominated a male driven arena. The questions guiding this narrative include: How did Vanett Lawler navigate the male-dominated field of music education through her career? In what ways did her visionary perspective influence the future of music education?

Bio
Shawna K. Hinkle is a doctoral student in music education at Kent State University and 6-12 vocal music teacher for Dover City Schools. While serving as a music education adjunct faculty member at Kent State University, she is also the Director of the Kent State University Cantique Choir, Artistic Director for the Mount Union Alliance Chorale, and Conductor of the Tuscarawas Philharmonic Orchestra Treble Chorus. Shawna 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.

Building Human Connections: Teaching and Learning in the Music Episodes of Mister Rogers Neighborhood 
Presented by Tim Daniels

Abstract
Fred McFeely Rogers was responsible for one of the most influential children’s programs in the United States, Mister Rogers’ Neighborhood. Music played an integral part in the show throughout its history. Rogers composed music for nearly every subject that a young person might encounter in their lives from, rather humorously, the fear of getting sucked into a vacuum cleaner, to more serious subjects such as divorce, death, and dealing with emotions. Significant gaps exist in the narrative surrounding his process of incorporating music into the show, and the reactions and takeaways of his young and adult audience members. The purpose of this study is to provide specific insight into the music education themes present in the planning, production, and airing of the music episodes of Mister Rogers Neighborhood (episodes 1546-1550), originally aired in 1985. These themes were illuminated through primary source documents from the Fred Rogers Institute including production notes, planning documents, and personal communications between viewers and Fred Rogers himself. The review of documents indicates Roger’s deep understanding of the power of words, how music is discussed, the importance of presenting widely varied musical styles, and the use of research backed educational strategies.

Bio
Timothy Daniels is a doctoral student at Kent State University and currently serves as the Director of Bands at Norwin High School (PA), where he directs the Marching Band, Wind Ensemble, Jazz Ensemble, and teaches courses in music theory and music technology. Additionally, he serves as the PMEA District 1 Professional Development Representative and is the Vice-President of the Pennsylvania Interscholastic Marching Band Association. Tim earned degrees from Youngstown State University (BME) and Duquesne University (MM). Research interests include student motivation, assessment practices, high school band, and curriculum design.

Meaningful Traditions: Evolution of Shape-Note Singing in the Early Black Church 
Presented by Maura Saint

Abstract
Shape-note singing became an integral part of Christian worship in the United States with the establishment of settlements in the northern states. As the tradition migrated south, the African American population began to assimilate the four-note singing style into their services. Over time, the four shape-note singing system evolved to a seven shape-note system and was used as Gospel music became the preferred musical style. This study aims to address two research questions: (1) what changes did shape-note singing undergo in the early black church, and (2) what changes did the original shape-note system undergo during its assimilation in the nineteenth century? Starting from the foundation of “African American Practice of Shape-Note Singing in the United States,” this paper examines the importance of shape-note singing practices in the early black church and reports on the transition of shape-note singing in the United States during the nineteenth century.

Bio
Maura Saint is the Choral Director and Director of the Music Academy at Blackhawk High School in Beaver Falls, Pennsylvania. Maura graduated from Duquesne University with a degree in Music Education (’03) and The University of Pittsburgh with a Master’s in Education and Administration and Policy Studies (’08). Maura is currently a Doctoral Student in Music Education at Kent State University. Her research interests include music literacy, music theory and history, as well as choral pedagogy and musicianship.

Try To March In Time: A Look Into the Music of an Italian Festival in Ohio 
Presented by D.J. Colella

Abstract
Across the globe, there are an incredible number of musical practices and traditions surrounding the Catholic liturgical feast of Our Lady of Mt. Carmel. These practices and traditions vary from culture to culture, and even from town to town. This means that celebrations of this kind can be incredibly unique. The purpose of this research is to study the history of one of these festivals, the Mt. Carmel festival of the Italian Fraternal Home (IFH) in Girard, Ohio. By looking at artifacts collected by libraries and personal archives, researching local newspapers, and interviewing people who have a generational connection with the festival, this research will look at how these practices and traditions may or may not have changed over time. This includes what the practices and traditions are, their purposes, and what they mean to the people who celebrate this festival. This research concludes that the IFH Mt. Carmel festival has characteristics of Italian musical traditions while still maintaining a uniqueness only found with this festival specifically.

Bio
Since 2015, D.J. Colella has served as director of bands at Girard City Schools where he teaches band for grades 6-12. He attended Youngstown State University, earning both his Bachelor's Degree in Music Education (‘15) as well as his Master’s Degree in Conducting Performance (‘19). He performs in multiple groups around the Northeast Ohio region, including the St. Margherite Blue Coat Band, the Lowellville Mt. Carmel Band, and he sings and plays trombone in the local rock group Guys Without Ties. He also serves as assistant conductor with the Canfield Community Concert Band.

I Don't Fit in Nobody's Scene: The Musical Mission of GG Allin
Presented by Brian Laakso

Abstract
GG Allin's early songs set out to shock the audience by including sexually suggestive lyrics. As he aged, the lyrics became more and more explicit. Finally, in his later years, his lyrical themes turned to violence and destruction as did his stage performances. He was known to punch, kick, and fight audience members, cut himself with broken glass, and defecate onstage as a means of extreme self-expression. However, it was not without purpose. This research attempts to discover how GG Allin formulated his rock n roll mission in the early 1990s, and in what way was it indicative of his mental pathology?  Music was GG's only balm to deal with the internal personal conflict of his mental illness. His music was an expression of his turmoil. Through drug use, a traumatic childhood, and a series of increasingly violent actions, some of which landed him in prison, he began to formulate his rock n roll mission.  This is described in his own words: "My body is the rock n roll temple and my flesh, blood, and body fluids are a communion to the people... Rock n roll is my revenge. My mind is like a machine gun, my body is the bullets and the audience is the target." This research examines how music can act as a release for mental illness, and how music may allow an individual with such tendencies to break down the barrier between fantasy and reality, bringing the chaos and violence expressed in music into the real world, with consequences for people around the artist. It is important to study a figure like GG Allin because it can help us understand how music enables and individual to bring the fantasy of songwriting into the realm of lived reality.

Bio
Brian Laakso founded the Music Technology program at McKinley High School in Canton, Ohio where he is in his 19th year of teaching. He holds two degrees from Kent State and is now pursuing a doctorate in Music Education. He is the author of Alfred's Music Tech 101. He has entertained nearly a million people as a dueling pianist. He is the music director for the Unitarian Universalist Church of Akron, a home for all faiths as well as the non-religious. He lives on a genius compound in Akron, Ohio with his wife of 21 years, three brilliant children, two clumsy kittens and two dopey dogs.