Colloquium Series: Events & Speakers: Upcoming Events

Musical Understandings: Impacts of Elementary Music and Reading Literacy on Children’s Learning and Development
Presented by Kristine Krejsa

Abstract
Through my teaching experience I feel that music and reading literacy can help student development with skills carried into adulthood. Aspects of this approach include sight before sound, comprehension in musical performance, rhythmic and melodic skills, vocal expression, and vocal inflection. This presentation will define a musical and reading literacy approach, highlight various theoretical and practical aspects of teaching and learning in elementary music classrooms, and applications of skills later in life. Scholars such as Gordon and Chall have described how literacy learning at an early age positively impacts literacy learning and development. Implications of these practices are that parents can sing expressively to their children, move rhythmically with purpose, and other benefits and outcomes. It is hoped that further inquiry and practice in these areas will help inform music teachers to lead their students toward a richer musical life as children and in adulthood.

Biography
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 1. 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 fall of 2023.

The Growing Teacher: Philosophy and Practice in Rural Music Education
Presented by David Mehlhope

Abstract
Many undergraduate music education students often base teaching philosophies on experiences from their K12 school programs. It is not uncommon for these beliefs to reshape once they obtain their first teaching position. If these students choose to pursue a career in rural music education, they will adapt to include the new challenges they face in the classroom. Rural music teachers often face issues based on a lack of resources and financial instabilities, which can affect one’s philosophy on music education. This presentation will address philosophical practices relative to rural teaching and key practices in rural settings. Topics include flexibility, financial issues, organization, community, life skills, and being a musical leader. Having young educators understand these elements can allow them to see more success in their first few years of teaching. Another aim of this session will be to inspire a larger conversation about rural school issues and invigorate more solutions. 

Biography
David Mehlhope is a first year PhD student in Music Education at Kent State. He received his undergraduate and masters degree in Music Education from Ohio University. 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. 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. Research interests include assessment practices, student engagement, and current practices in rural music education. 

Contemporary Approaches to Music Education: Universal Design for Learning and Co-Teaching
Presented by Melissa Alemán

Abstract
Universal Design for Learning (UDL) and Co-Teaching (CT) are both powerful tools to meet the needs of every student in the room. This presentation will explore the ways music educators can use these approaches to improve student learning. UDL follows the mindset “what is good for some is good for all” and by embracing this pedagogical approach, music educators can make their program more accessible and relevant to their students, and foster the success and growth of musicianship in all its forms. Co-teaching can be more than a head director and their assistant taking turns on the podium. By using the approaches to co-teaching outlined by Dr. Marilyn Friend, music educators can better focus their efforts and skills to meet the needs of their students and build a culture of teamwork. Promising practices for implementing both of these approaches in the instrumental music classroom will be provided and discussed.

Biography
Melissa Alemán is a band director at Norwalk City Schools where she 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-Elect of OMEA District 2, plays oboe and English horn with the North Coast Community Band, and is a founding board member of the Huron All-County Honors Band. 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.

Considering Musical Theatre in Music Education: Social and Psychological Impacts on the Student Population
Presented by Bruce Nist

Abstract
Musical Theatre offers many unique opportunities for students in school music programs to collaborate within and outside of the music department. Additionally, musical theatre can have a positive impact on student mental health. Naturally there are also challenges that educators must address in both the social and psychological components of the genre. While there are no silver bullets to these challenges, this discussion will offer some potential solutions and/or preventative measures that educators can utilize to help mitigate the impact of these challenges on the students and the program. 

Biography
Bruce Nist is a second 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.

Culture, Community, Collaboration: Perspectives on International Music Teaching in Bolivia, Brazil, Argentina
Presented by Patricia Terceros

Abstract
To understand another human being, we need some details to work on. For example, sharing our likes and dislikes is a general way to know, relate, and have empathy for another person. What about if we need to understand another culture or community? The music teaching perspectives for this presentation are analyzed through the lens of culture, community, and collaboration between the teacher and students. Some of the concerns and considerations are how the sociological aspect influences the learning process and what type of adjustment needs to be made based on the culture and community. The purpose of this presentation is to share details on music teaching and learning from three specific countries: Bolivia, Brazil, and Argentina. First, a brief analysis of the culture and community, and then how teachers and students collaborate in musical settings. Some of the outcomes that were identified are the language, level of musicianship of the members, and general willingness to collaborate in the learning process. The considerations provided will be based on the perspective of international music teaching observed through my experiences, along with suggestions and standard practices for working in music teaching settings.

Biography
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.

Perfectionism, Isolation, and Identity: Music Teacher Burnout Considering the Gender Spectrum
Presented by D.J. Colella

Abstract
For some time, the subjects of music teacher burnout and gender identity have been written about extensively. At the same time, both topics have become more open and known than in previous decades. Results of earlier research demonstrates differences in experiences of burnout between men and women. However, since gender is much more complex than the binary of male and female, it is beneficial to look at this topic with a more detailed lens. Research questions for this dissertation proposal are (1) What are factors that may demonstrate burnout in high school music teachers?, and (2) To what extent is there a correlation between burnout and gender identity in high school music teachers? The purpose of this research was to investigate the relationship between the gender spectrum and burnout in high school music teachers. Utilizing a survey sent out to current high school music teachers, this research seeks to find which gender spectrum demographics correlate with higher levels of burnout and to what extent. It is hoped that this research will be able to find factors of burnout that correlate with various parts of the gender spectrum. Through this research, policy can be shaped to better support all music teachers regardless of gender identity.

Biography
D.J. Colella is the current director of bands at Girard City Schools (Ohio) where he teaches band for grades 6-12, and has served in this position since 2015. He attended Youngstown State University for both his Bachelor's Degree in Music Education (2015) as well as his Master’s Degree in Conducting Performance (2019). Outside of academia, he also performs in multiple groups around the Northeast Ohio region, including as the assistant conductor with the Canfield Community band, a performer with the St. Marguerite Blue Coat Band and the Lowellville Mt. Carmel Band, and he also sings and plays trombone in the local rock group Guys Without Ties. He is presently on sabbatical from his appointment at Girard City Schools in order to be a graduate assistant here in Kent State University music education program. 

Valuing Their Feelings: Emotions Elementary Children Experience During Music Classes
Presented by Lisa Heinrich

Abstract
Emotions in music can involve aesthetic responses to music, as well as sensations musicians experience while performing. It is well-documented that many musicians experience performance anxiety (Abel & Larkin, 1990; Boucher & Ryan, 2011 Fehm & Schmidt, 2006; Kaleńska-Rodzaj, 2020; Ryan, 2004; Ryan et al., 2022; Ryan & Andrews, 2009; Sieger, 2017); yet not all do. (Kaleńska-Rodzaj, 2020; Ryan et al., 2022). Performance emotions likely vary depending on the context of a performance (Fehm & Schmidt, 2006). The array of emotions that elementary children feel when asked to perform during music class has not yet been documented. The purpose of this proposed study is to explore the range of emotions elementary children experience when asked to perform in a formal music education setting. The research questions to be answered are: 1. How do students describe their feelings about performing in a formal music setting?; and 2. What contexts do elementary children describe when discussing their feelings about performance? Data collection will involve classroom observations, semi-structured interviews of children, and researcher journaling throughout the data collection process. Readers can draw their own conclusions after reading detailed descriptions with quotations from children.

Biography
Lisa Heinrich is a doctoral student at Kent State University and currently teaches K-5 general music in Cloverleaf Local Schools. She previously held teaching positions with the Lakewood City Schools, Lakewood Congregational Church, and the Austrian Ministry of Education. Lisa holds a Master of Music degree from Cleveland State University and Bachelor of Arts in German and Bachelor of Music in Education degrees from Bowling Green State University. She has completed multiple courses in Orff-Schulwerk, Music Learning Theory, and Eurhythmics. She presented several sessions at OMEA Professional Development Conferences as well as general music teacher workshops. She is the 2019 Medina County Teacher of the Year and a recipient of a Fulbright teaching grant.

Drifting Away: Differential Rater Functioning Over Time in the Context of Large Format Marching Band Competitions
Presented by Timothy Daniels

Abstract
Competitive marching band continues to be a major component of many band programs across the United States. Competitive events represent high stakes assessment for many directors and students and has been linked to increased stress levels for both groups (Eubanks, 2016; Silviera, Silvey, 2020). Various authors have cited many non-performance factors that influence competitive outcomes including socio-economic factors, gender of the director, and rehearsal time, among others. Several studies have identified the evaluators themselves as the largest single factor influencing scores (Bergee, 2007; Wesolowski, 2017). Wesolowki (2017) used Differential Rater Functioning Over Time (DRIFT) as a model to explain variance in judges’ scoring of musical performances. This study uses components of that study to examine DRIFT in a marching band context. Questions driving the research are 1.) In large marching band competitions, do individual judges demonstrate differences in severity/leniency, related to the judging criteria, across time points? 2.) Do judges demonstrate differential ratings with regard to performance order? And 3.) Can judges commentary across a competition be used to predict difference in scoring across time? Data collection will involve using a rater-by-time interaction model, coupled with qualitative explanations in a Quant-qual mixed methods design. Variables of DRIFT including performance time, order of performance, rating criteria (judging sheets) and the raters themselves will be examined. Research results may help in developing more equitable evaluation models for musical ensemble performances. 

Biography
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, music technology, and popular music history. 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 the Bachelor of Music in Education from Youngstown State University and the Master of Music in Education from Duquesne University. Research interests include, music curriculum and assessment practices, and competition in school music. 

The Role of Children’s Musical Games in Enhancing Cognitive Development: An Ethnomusicological Perspective with a Focus on Ghanian Culture
Presented by Dinah Asafo-Adjei

Abstract
This study examines the role of children’s musical games in fostering cognitive development, emphasizing their ethnomusicological significance in Ghanaian culture. Musical games, often seen as a source of entertainment, serve a deeper purpose by enhancing memory, problem-solving skills, social collaboration, and emotional intelligence. Drawing on fieldwork conducted in Ghana, this research explores how traditional games such as ampe integrate rhythm, melody, and movement to stimulate neural pathways, aiding in learning and adaptability, this presentation highlights the universal yet culturally specific benefits of musical games in childhood development. It also underscores their role in transmitting oral traditions, preserving cultural identity, and uniting communities. This study calls for a renewed appreciation of musical games as both educational tools and cultural treasures, advocating for their inclusion in early childhood education curricula worldwide.

Biography
As a graduate student in ethnomusicology at Kent State University, I draw inspiration from the rich musical traditions of my homeland, Ghana. My academic journey began with an undergraduate degree in music, where I specialized in the atenteben, a traditional Ghanaian flute. This unique instrument has shaped my understanding of the profound ways music serves as a tool for communication, education, and community building. My research explores the intersection of music and society, with a particular focus on the role of children’s musical games in cognitive development across diverse cultural contexts. Through an ethnomusicological lens, I aim to shed light on how these games contribute to holistic growth and preserve cultural heritage.

Satanic Panic: The Black Metal Culture War
Presented by Patrick Scranton

Abstract
This presentation investigates the history of black metal and its relationship with extremist political ideologies, masculinity, race issues, and controversy both historical and present. In the past, black metal rose to international attention through the various crimes and events transpiring in the late eighties through the early nineties in Norway. In which accusations of ties to political extremists were rampant, and in some cases true, but were not overly organized. As time advances, and political tensions rise in the western world, these niche groups have grown in size and influence. This presentation uses public legal records of crimes, interviews of people involved in such events, and journalist accounts of events both past and present. Through these methods, three main camps of people are found within the realm of black metal fans and musicians. The first being those that associate with right wing extremism, those that associate with left wing extremism, and those that refuse the inclusion of politics within black metal altogether. The conflict that commonly arises between these groups, as well as the mainstream media, is centered around differing ideologies about power, masculinity, freedom, and race. Through examining these differing ideologies, this presentation aims to inform people how to identify these groups and hopefully foster conversation towards nonviolent solutions.

Biography
Patrick Scranton is a graduate student in his second year at Kent State University studying ethnomusicology. He previously studied music technology at Kent Sate University at the stark campus, focusing on music production and live sound as a student worker. His research interests include metal music, religion, culture, politics, hip-hop, electronic music and popular music studies.

The Tanbur as History and Heritage: A Cultural Study of its Role in Yarsan Spirituality
Presented by Soroush Torabi

Abstract
This paper delves into the historical evolution of the tanbur, a sacred instrument central to the Yarsan (Ahl-e Haqq) faith, predominantly practiced by Kurdish communities in Western Iran and Eastern Iraq. By tracing its origins from ancient Mesopotamian civilizations to its profound integration into Yarsan rituals, the study illuminates the tanbur's transformation into a powerful symbol of divine connection. The instrument's role in rituals, particularly the Jam ceremony, underscores its significance as a vessel for preserving spiritual traditions and communal identity. This historical exploration highlights the tanbur’s enduring legacy as a musical instrument and a cornerstone of Yarsan cultural heritage, enabling the faith to navigate challenges of marginalization and persecution while maintaining its spiritual and cultural essence

Biography
Soroush Torabi is an music scholar and musician specializing in Iranian music. He is currently pursuing his M.A. in ethnomusicology at Kent State University, where he is also a teaching assistant instructing Music as a World Phenomenon course. His thesis, titled Sound, Spirit, and Idealism, The Tanbur’s Role as a Sacred Instrument in Yarsan Faith, explores the cultural and intellectual significance of Tanbur as a musical instrument within its cultural context. Completing his undergraduate studies in Iranian Music Performance, Soroush is a professional Tar and Setar player with extensive performance experience, including in international music festivals in Iran. His research interests include philosophy of music, cultural identity, and the intersection of music and metaphysics.

Take Five: Philosophical and Practical Ways to Implement Jazz in the Kodály Classroom
Presented by Jennifer Rozsa

Abstract
Kodály trained music educators in the United States recognize that the use of folk music from their students’ culture is an essential aspect of Zoltán Kodály’s Concept of music education. However, these music teachers are not using American music, like Jazz, in their classes and instead opt for European folk and Classical music. The purpose of this session is to present five philosophical reasons and practical ways to implement Jazz into an elementary Kodály based class. If Kodály’s concept of mother tongue music is to be fully realized in American music classrooms, then Kodály music teachers need to implement Jazz, one of the few examples of ‘folk music’ from the U.S. and our closest counterpart to Western Classical music from the USA, into their classes. Practical applications of integrating Jazz music into the Kindergarten through 8th grade including listening activities, movement, and instrument playing will be shared. 

Biography
Jennifer Rozsa, Director of the Cleveland Orchestra Children’s Choruses, performs as a mezzo-soprano, 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.

Survival of the Fittest: Philosophy, Conflict, and Success in the Music Classroom
Presented by Andrea Mikolajczyk

Abstract
Music teachers’ philosophies of music education influence all aspects of their teaching, including the decisions, emphases, and cultures created in their music classrooms.  Teachers are often firmly rooted in their philosophy, but what if their developed philosophy of music education conflicts with their classroom environment due to situations beyond the teacher’s control?  This presentation examines my philosophy of music education and conflicts caused by repercussions of the COVID-19 pandemic on the culture in the ensemble classroom, newly implemented music ensemble requirements, and scheduling decisions that restructured the middle school ensemble voicings.  To transform the classroom environment I found resolution through evolving my philosophy to include culturally responsive classroom practices.  By sharing these experiences I hope to encourage discussion among and individual professional growth for music educators who may be experiencing conflict and are seeking resolution between philosophy and practice.

Biography
Andrea Mikolajczyk is the middle school choir director at Kenston Local Schools in Chagrin Falls, Ohio. During her eighteen-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 is a doctoral student in Music Education at Kent State University and is interested in research regarding the use of curriculum and assessment in the choral classroom.

Caring for Kids: Music Education and Social Emotional Learning
Presented by Melissa Fucci

Abstract
The principles of social and emotional learning are a natural fit with teaching in the arts. This presentation will explore some of the ways music education intersects with Social Emotional Learning (SEL), forming what leading expert Dr. Scott N. Edgar calls MSEL or Musical Social Emotional Learning. SEL has become a subject of much research and a guiding force in American education. Since the mid-1990’s it has steadily grown to be included in many schools and teacher training programs. So much of what music educators do naturally and intentionally in their teaching is connected to emotion, expression, and collaboration. Teaching music is much more than training students in a set of skills.  The arts are a dynamic way for students to explore and have an outlet for their thoughts and feelings. They allow people to connect and feel a sense of belonging. Music education offers many valuable opportunities to care for students holistically and to help them care for themselves and each other.

Biography
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 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.