Colloquium Series: Events & Speakers: Upcoming Events

A View from the Bench: The Choral Collaborative Pianist
Presented by Melissa Fucci

Abstract
As an indispensable member of the choral leadership team, the collaborative pianist does much more than their title would imply. In addition to playing voice parts and accompaniments, they may lead sectionals, make rehearsal recordings, coach soloists, and more. While collaborative piano training programs continue to rise in number in the United States, it is important to consider what skills should be included in training and how best to prepare pianists for future work with choral ensembles. In this qualitative investigation I interviewed collaborative pianists working with a variety of choirs to get their perspectives on the roles they inhabit, the skills required for this position, and the training they believe enables success in this area. I investigated the following research questions. What is the perspective of a group of choral collaborative pianists on the skills and knowledge required for this job? What are their perspectives about the training needed to succeed in this position?

Bio
Melissa Fucci is a Professor of Music at Kent State University.  She has filled many roles in the School of Music, the School of Theatre and Dance, and the Early Childhood Education Program.  Her areas of teaching at KSU have included piano, music education, choral, world music, early childhood music, musical theatre, music theory, and more on multiple campuses.  Mel has been on Music Faculty at University School, a Music Mentor on the Music!Words!Opera! project with Opera Cleveland, and a Music and Movement Specialist at the Cain Park School for the Arts to name a few.  She has conducted a wide variety of choral and instrumental ensembles, music directed and played over 100 musical theatre productions, and is a collaborative performer and private instructor of piano. Mel earned her Bachelor of Music in Performance from Baldwin-Wallace College (now University) Conservatory of Music and her Master of Music in Conducting from Kent State University.

Engaging Choral Students in Meaningful Learning: A Conceptual Content Analysis of Sight-Singing Materials
Presented by Andrea Mikolajczyk

Abstract

Since the introduction of singing schools and tune books in the United States during the early 1700s, teaching choral students sight-singing skills has been a curricular expectation of the choral classroom. Choral music educators can use published sight-singing materials as a resource to implement music literacy objectives in their lessons. However, published sight-singing materials differ in music literacy content, sequence practices, and instructional recommendations. The purpose of this study was to complete a conceptual content analysis of five frequently used choral sight-reading materials created for novice level musicians. The theoretical framework used to conduct the conceptual content analysis was Merrill’s (2002) First Principles of Instruction theory. Merrill’s four learning principles describe guidelines that promote meaningful and engaging learning through activation, demonstration, application, and integration. Two research questions guided this study: (1) In what ways do each of these texts follow Merrill’s First Principles of Instruction? and (2) In what ways do each of these texts diverge from Merrill’s First Principles of Instruction? The results of this study may assist preservice and in-service choral music educators to choose sight-reading materials that support teaching strategies that prompt student engagement and support the integration of music literacy skills when performing choral repertoire.

Bio

Andrea Mikolajczyk is the music director for choir, band, and orchestra at Holy Name High School in Parma Heights, Ohio. During her nineteen-year career in education, Mrs. Mikolajczyk has taught general music, band, and choir at various elementary and high schools in the Cleveland area and has had significant roles directing and assisting with K-12 musical theatre productions and high school marching bands. Mrs. Mikolajczyk has participated in professional activities regarding music curriculum at the district and state levels, including work with the Fine Arts Standards Working Group: Music for the Ohio Department of Education. She has a Master of Music Education from The University of Akron (2012) and a Bachelors of Music in Music Education and an art minor from Bowling Green State University (2006). Mrs. Mikolajczyk started her doctoral studies in Music Education at Kent State University in the fall of 2023 and is interested in choral curriculum and assessment.

ChatGPT for Choral Programing: Uses and Perspectives for Conductors
Presented by Jennifer Rozsa

Abstract

Middle school choral conductors approach their repertoire planning in a variety of ways but universally agree that programming is vital to the success of their students and program. Prior research shows that choral programming is time consuming, rooted in the conductor's philosophy and experience, approached from a wide range of viewpoints, and important to student success, since choral repertoire is the textbook for the class. With A.I. gaining more traction with adults in the workplace each year, how will choral conductors use this tool in their work, and will they use A.I. for the demanding and important choral programming? The purpose of this study is to explore choral repertoire programming and discover conductors' perspectives on the use of A.I. to help with programming. The research questions for this study: 1) What criteria do a small group of middle school choral conductors currently use when programming concerts? 2) When giving these criteria to a generative A.I. program, what points of comparison do these directors make between their choices and the A.I. results? 3) In what ways do these directors believe generative A.I. can be used to develop concert programming? This study examined the repertoire programming criteria of middle school conductors (N=5) 24-25 school year and used ChatGPT to create an A.I. generated program based on the 24-25 conductors’ criteria. The participants were initially interviewed about their choral repertoire criteria and factors, then after the A.I. generated choral program was created, participants were interviewed about their view about using the A.I. generated program for their choral program. Expected implications of this study will guide conductors' future use of A.I. to assist in their repertoire planning and current feelings about the role of A.I. in their work.

Bio

Jennifer Rozsa, Director of the Cleveland Orchestra Children’s Choruses, sings with the Cleveland Chamber Choir, and teaches K-4 general music in Solon, Ohio. She earned her master's and bachelor's degrees in music education with an emphasis in the Kodály Philosophy from Capital University's Conservatory of Music in Columbus, Ohio, and her Orff-Schulwerk certification from the San Francisco Orff Course. Previously, Jennifer taught K-8 general music and choir in public, private, and charter schools in Ohio, California, and Chicago. She has presented general music sessions at OMEA, OAKE, Cincinnati and Kent State Orff Courses, and at the Greater Cleveland Orff Chapter workshops, and started her doctoral studies in music education at Kent State University in 2024. 

Preservice Choral Music Teachers: Navigating Their Preparation for Student Teaching
Presented by Patricia Terceros

Abstract

The music education degree usually takes four academic years to be completed. In the United States, the last semester of this degree is considered student teaching where students will have a full experience on the field. Students in this category are also known as preservice teachers. The purpose of this study is to analyze, from the student’s perspective, the level of professional and emotional preparedness among music education students from a Midwestern public institution before going to student teaching. There are three research questions: (1) How comfortable preservice music teachers are about the content of their choral method classes? (2) What type of challenges students experienced in their preparation for student teaching? (3) In what ways do students feel really prepared before going to student teaching? For this interpretive qualitative study, the main data collection procedure were individual interviews of music students in their last semester before student teaching and post-service music education teachers who student taught in the last academic year. Some of the analyzed themes were experiences before student teaching, classroom management, and level of preparation in general. This study provides an insightful understanding of music education students at this institution and their navigation before student teaching.

Bio

Patricia Terceros began her academic career in Santa Cruz de la Sierra, Bolivia, where she studied Violin Performance at the Instituto Superior de Bellas Artes. In 2016, she became a member of the Philharmonic Orchestra of Santa Cruz de la Sierra, doubling as a violist and Assistant Director of the Choir. In 2016, she obtained her bachelor’s degree in music education at Universidade de São Paulo, Brazil. In 2017, she presented her research on Spanish choral singing for non-Spanish speakers in San Juan, Argentina, and the next year, she presented in Quito, Ecuador. She earned her Graduate Certificate in Choral Studies at Missouri State University in 2021 and completed her Master's in Choral Conducting at the University of Central Arkansas in 2023. Ms. Terceros is currently pursuing her PhD in Music Education at Kent State University.

Trophy Hunting: Competitive Marching Band in Modern Music Education
Presented by Bruce Nist

Abstract
The idea of having a marching band in a public-school setting is nearly ubiquitous across the United States. Throughout the fall, it is standard that some form of a marching band will be present during football games, community parades, and/or pep rallies. While many public schools will offer marching band as a course option, there is a significant difference between when marching band is for entertainment purpose only and when there is a competitive aspect added to the course. The purpose of this literature review is to analyze the implementation of a competitive marching band focusing on the modern era of the activity. The guiding questions for this study are: why should marching band have a competition component included and what are the educational benefits to including marching band in a music education program. To answer these questions, the study will review literature on the history of marching bands in the United States, a philosophical discussion on why to implement competitive marching bands, how marching band helps students to grow socially, and finally how marching band can impact student performance in other music education courses.

Bio
Bruce Nist is a third-year doctoral student at Kent State University. Currently, he teaches musical theatre at North Canton Middle School in North Canton, Ohio. In addition to his primary teaching position, he is also actively involved in teaching percussion through private lessons and marching bands throughout the Northeast Ohio area, serving as an adjudicator for the OMEA Marching Band Circuit and the Playhouse Square DAZZLE Awards, and performing in pit orchestras throughout the area. He has a B.S. in Music Education from Case Western Reserve University, a M.S. in Instructional Design and Technology from Full Sail University, and an Ed.S. in Educational Leadership from Bowling Green State University.

Looking at the Literature: Foundational Understandings of Preservice Choral Music Education
Presented by Patricia Terceros

Abstract
College students, according to their degree, will be required to take specific classes following the university curriculum. Choral music education students, in most institutions, will have to take choral or general method classes as a requirement. The intent is to learn the content but also to practice how to apply or teach it in their future as teachers. This project will include four different approaches to analyze the preparation of choral music students. From a historical perspective there will be background information about choral music education. At the same time, the importance of interaction among peers from a sociological point of view, the level of confidence relative to psychological research, and what process students experience when defining their personal teaching philosophy. The purpose of this literature review is to analyze the experiences of choral music students and their development before going to student teaching.

Bio
Patricia Terceros began her academic career in Santa Cruz de la Sierra, Bolivia, where she studied Violin Performance at the Instituto Superior de Bellas Artes. In 2016, she became a member of the Philharmonic Orchestra of Santa Cruz de la Sierra, doubling as a violist and Assistant Director of the Choir. In 2016, she obtained her bachelor’s degree in music education at Universidade de São Paulo, Brazil. In 2017, she presented her research on Spanish choral singing for non-Spanish speakers in San Juan, Argentina, and the next year, she presented in Quito, Ecuador. She earned her Graduate Certificate in Choral Studies at Missouri State University in 2021 and completed her Master's in Choral Conducting at the University of Central Arkansas in 2023. Ms. Terceros is currently pursuing her PhD in Music Education at Kent State University.

Changing the Score: A Literature Review of Culturally Relevant Pedagogy in Choral Classrooms
Presented by Jennifer Rozsa

Abstract
Culturally Relevant Pedagogy has been a core aspect in music teaching since its development in the 1990s. Culturally Relevant Pedagogies view each student’s culture as an asset, not a deficit, to the teacher’s practice and application of this pedagogy seeks to build confidence and cultural competence, as well as develop critical consciousness in students. Scholars such as Ladson-Billings, Gay, and Django sought to define and develop culturally relevant pedagogies in education. While in music, choral conductors eagerly attempted to apply these educational ideas to their classroom. However, without a clearly defined method for applying Culturally Relevant Pedagogies there is a need for choral conductors to rely on the vast literature from the Choral Journal to find commonalities of practice. With the varying and often overlapping definitions and applications of these ideologies, I will use the literature to explain these frameworks, especially as they are used in the choral classroom. The guiding questions for this study: 1) What are foundational considerations of culturally responsive teaching (CRT) in choral classrooms? And 2) How have CRT practices been applied in choral education settings? This literature review will encompass four lenses: philosophy, history, sociology, and psychology, to examine culturally relevant teaching pedagogy in choral classrooms. Aspects of the method include investigations the philosophical roots of Culturally Relevant Teaching (CRT), the historical evolution of CRP, the sociological differences between CRP, CRT, and Culturally Sustaining Pedagogy, and the psychological applications of Culturally Relevant Pedagogies in choral classrooms. It is hoped that implications of this literature review will give a clearer account of the 40+ year journey to guide educators, including choral conductors, in their work to champion prioritizing student culture in their classrooms. 

Bio
Jennifer Rozsa, Director of the Cleveland Orchestra Children’s Choruses, sings with the Cleveland Chamber Choir, and teaches K-4 general music in Solon, Ohio. She earned her master's and bachelor's degrees in music education with an emphasis in the Kodály Philosophy from Capital University's Conservatory of Music in Columbus, Ohio, and her Orff-Schulwerk certification from the San Francisco Orff Course. Previously, Jennifer taught K-8 general music and choir in public, private, and charter schools in Ohio, California, and Chicago. She has presented general music sessions at OMEA, OAKE, Cincinnati and Kent State Orff Courses, and at the Greater Cleveland Orff Chapter workshops, and started her doctoral studies in music education at Kent State University in 2024. 

You Can’t Play Flute, You’re a Boy! Sex Stereotyping of Beginning Band Instruments
Presented by David Mehlhope

Abstract
Beginning band directors have several responsibilities they must perform daily. Some of these duties include teaching instruments, managing a classroom of children, and recruitment. When recruiting for band programs, directors aim to match students with instruments they enjoy and are naturally drawn to. However, there is a noticeable trend among students regarding which instruments they prefer. In Abeles and Porter (1978), it was discussed how prevalent sex stereotyping is in the recruitment of beginning band members. The purpose of this literature review is to examine writings on the sexual stereotyping of musical instruments in beginning band programs. The guiding questions for this review are (1) What is sex stereotyping in music education, and how has it evolved in recent decades? (2) What are impacts of sex stereotyping in instrumental music education settings? Implications for this review include better understanding the student experience, educating music directors about this phenomenon, and offering guidance on addressing these concerns in music classrooms.

Bio
David Mehlhope is a second year PhD student in Music Education at Kent State University. He received his undergraduate degree in Music Education and a Minor in Conducting from Ohio University in 2019. David taught band and choir at Barnesville Exempted Village School District for three years. He taught 5th through 12th grade band, 5th through 12th grade choir, marching band and the spring musical. David then went back to Ohio University where he earned his MM in Music Education, along with a certificate in Musical Leadership and Conducting. His teaching experience has led him to pursue his graduate degrees in hopes to improve music education and to enrich the minds of aspiring music educators. 

Game on! A Synthesis of Research on Game-Based Learning for the Music Classroom
Presented by Kristine Krejsa

Abstract
Young learners are active, and playing is something that most children enjoy doing. To facilitate this playful nature, teachers must create a learning atmosphere that is not monotonous and applying game-based learning in the classroom is one of the methods. GBL is an educational approach where games are utilized as tools to enhance student engagement and facilitate the learning process (Chmiel, 2024). This concept is the use of actual games as a primary tool for teaching and learning. The purpose of this literature review is to examine different ways GBL can be used in music classrooms. Two guiding questions for this investigation are: 1. What does GBL look like in the classroom? 2. What are some of the fundamental concepts that make GBL successful in the classroom? To address these questions, a look into the literature on GBL from a music education perspective will be undertaken as well as studies in educational and business research. The findings will be presented through the lens of history, philosophy, sociology, and psychology. Some benefits of game-based learning include reducing performance anxiety, iterative problem solving, self-motivation, creativity, and developing musical skills. Game based learning is a valuable tool that connects formal and informal music instruction in the 21st century, and further research is needed to translate these findings into practical strategies for educators. 

Bio
Kristine Krejsa is the elementary music director at Copopa Elementary School where she teaches Kindergarten through fourth grade general music. She started teaching in the Columbia Local School district in 2004. She is a member of ASBDA (American School Band Directors Association) and the General Music Chair for OMEA District 4. She has also been a member of AOSA (American Orff-Schulwerk Association). Mrs. Krejsa has also completed all three levels of Orff-Schulwerk and completed John Feierabend Conversational Solfege Level One. Mrs. Krejsa started her teaching career instructing fifth through twelfth grade bands including marching band. She has also taught seventh through twelfth grade choir, jazz band, and pep band. She received her undergraduate degree from Baldwin-Wallace College and her Master’s degree in Music Education from The University of Akron. She started her doctoral studies in Music Education at Kent State University in Fall 2023.

Including Everyone: The Evolution and Impact of Sensory-Friendly Concerts
Presented by Melissa Alemán

Abstract
Sensory-Friendly Concerts (SFCs) have developed as inclusive musical performances designed to accommodate individuals with a variety of sensory needs. This literature review examines the evolution and impact of SFCs through historical, psychological, philosophical, and sociological lenses. It explores how SFCs have been defined and implemented since their inception in the early 2000s, and their place in the Community Music Therapy (CoMT) movement (Question One: How have sensory friendly concerts evolved over time?). Psychological and sociological research highlights the positive influence on attendees’ well-being, inclusion, and community involvement (Question Two: What psychological, social, and cultural impacts are reported for attendees and other stakeholders?). Philosophical questions are raised about social justice, inclusion, and the value of making school performances more accessible (Question Three: Which ethical and philosophical arguments support or critique adaptations?). By understanding the evolution and impact of Sensory-Friendly Concerts, educators can cite the enduring effectiveness of the event to advocate for its more regular use in and out of schools.

Bio
Melissa Alemán is a band director and general music teacher at Norwalk City Schools where she teaches 5th-grade general music, co-teaches band grades 6-12, and teaches middle school jazz band. She started at Norwalk City School District in 2018 after graduating from Kent State University. She holds a master’s degree in music education from the University of Michigan. Mrs. Alemán has also taught music theater and dance in Otwock, Poland with the Kosciuszko Foundation. She is a member of ISME (International Society for Music Education), ASBDA (American School Band Directors Association), is the President of OMEA District 2, plays oboe and tenor saxophone with the North Coast Community Band and Big Band, respectively, and is a founding board member of the Huron All-County Honors Festival. She has presented at a conference for OMEA on teacher evaluation and a conference for ISME on co-teaching with her own co-teacher, Will Kish. Her research interests include poverty and suburban music education. She is currently pursuing her doctoral degree in music education at Kent State University.

Spirituals in Contemporary Choral Classrooms: A Review of Literature
Presented by Andrea Mikolajczyk

Abstract
Spirituals, religious folk music originating from the enslaved Africans brought to North America in the 17th century, have a long history as a genre in choral repertoire of the United States. Throughout that time the teaching practices of choral music education have evolved, progressing to today’s twenty-first century pedagogical practices which include the use of cultural appreciation. However, due to the genre’s extensive history and essential cultural considerations, acquiring the resources and skills to authentically teach and perform spirituals in the twenty-first century could not only be a challenge, but be overwhelming for choral music educators. The purpose of this literature review was to examine the spiritual genre through the lenses of history, philosophy, sociology, and psychology. The guiding questions were: (1) What are contemporary perspectives regarding the performance of spirituals in choirs? and (2) How can cultural appreciation practices shape the teaching and performance of spirituals in choirs? Studies surveyed included articles, journal submissions, dissertations, textbooks, and others. These were used to compile a broad examination of the spiritual genre in historical, philosophical, sociological, and psychological contexts. The method utilized was reading, content analysis, and designating themes to find and review works that aided in addressing the guiding questions. The information collected was then organized in the following sections: (1) Historical Implications, (2) Cultural Appreciation, (3) Social and Cultural Connections, and (4) Authentic Performance Practices. It is hoped that the results from this literature review will assist choral music educators in deepening their knowledge of the spiritual genre and inform their teaching practices for the contemporary choral classroom.

Bio
Andrea Mikolajczyk is the music director for choir, band, and orchestra at Holy Name High School in Parma Heights, Ohio. During her nineteen-year career in education, Mrs. Mikolajczyk has taught general music, band, and choir at various elementary and high schools in the Cleveland area and has had significant roles directing and assisting with K-12 musical theatre productions and high school marching bands. Mrs. Mikolajczyk has participated in professional activities regarding music curriculum at the district and state levels, including work with the Fine Arts Standards Working Group: Music for the Ohio Department of Education. She has a Master of Music Education from The University of Akron (2012) and a Bachelors of Music in Music Education and an art minor from Bowling Green State University (2006). Mrs. Mikolajczyk started her doctoral studies in Music Education at Kent State University in the fall of 2023 and is interested in choral curriculum and assessment.

Between Tradition and Tension: The Controversial Inclusion of African American Spiritual and Gospel Music in High School Choral Programs
Presented by Maura Saint

Abstract
The African American spiritual and gospel genres have been considered by many as standard repertoire in the high school choral classroom. After the 2025 removal of DEI policies, installment of divisive concept laws, and surge in white Christian nationalism, many high school choral directors are left wondering if they can continue to include this repertoire in their programs or face negative repercussions. Further exploring the data provided by NAfME in “Divisive Concept Laws and Music Education” (2023), this study aims to describe the perspectives of high school choir directors as they navigate programming African American spirituals and gospel music in 2025. Semi-structured interviews were conducted with five Pennsylvania public high school choir directors. Findings suggest that the choral directors interviewed are continuing to program as they have in the past, and one negative reaction had been experienced as of the conclusion of this study.

Bio
Maura Saint is an accomplished music educator, conductor, and performing artist with over 20 years of experience in choral music and arts education. She serves as Choral Director at Blackhawk High School in Beaver Falls, Pennsylvania, where she directs multiple ensembles, develops advanced music curricula, and trains future music educators. Maura earned her Bachelor of Science in Music Education from Duquesne University and a Master of Education from the University of Pittsburgh, where she also obtained certifications in K-12 Principalship and Curriculum Supervision. She is currently pursuing a Ph.D. in Music Education at Kent State University. Beyond her work in education, Maura co-founded Voces Solis, a professional-level choral ensemble in Pittsburgh, and served as its Co-Conductor and President of the Board of Directors. She has presented at professional conferences, including the Kent State Performing Arts Colloquium Series, and contributed to publications such as the Choral Journal and Polyphony.