Colloquium Series: Events & Speakers: Upcoming Events

Key Skills: An Exploration of Piano Use in K-12 Music Education
Presented by Melissa Fucci

Abstract
Among the many skills required of K-12 music teachers, piano playing is key. Music educators utilize piano to teach parts, to accompany ensembles and solos, to lead vocal warm-ups, for classroom management, to structure movement, improvisation, and storytelling, and so much more. Outside the classroom, music teachers play piano for assemblies, ceremonies, and musical theatre productions. Researchers over the years have found that K-12 music educators across the United States consider piano skills highly important in their teaching. Yet they often feel underprepared on these very skills as they transition from pre-service training to begin their careers. This study seeks to explore how K-12 music teachers today utilize the piano in their classrooms and schools, which skills they deem important, and how their undergraduate training prepared them in this area.

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.  Beyond Kent State, Mel has been Music Faculty at University School, a Music Mentor in 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 positions.  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 on 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.

Is a Key the Key to Making a Difference in First Grade Students’ Singing Accuracy?
Presented by Kristine Krejsa

Abstract
The purpose of this study was to determine if singing accuracy is related to the key a song or pitch patterns sung with first grade students using the solfege syllables sol and mi. Two research questions were addressed in this study: 1) Do first grade students sing more accurately when a song or pitch pattern is sung in the key of F Major or C Major?  2) Does the key of C Major or F Major make a difference when labeling the singing voice? A sample of first grade participants (N = 44), divided into two groups, was used for this quasi-experimental study. Class A performed songs in the key of C Major and Class B performed songs in the key of F Major. The SVDM and Singing Voice Accuracy Scale were used to rate the participants singing assessments.

Biography
Kristine Krejsa is the elementary music director at Copopa Elementary School where she teaches Kindergarten through fourth grade general music. She previously taught 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, and has 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 this past fall of 2023.

Teachers Pay Teachers in Elementary Music Lesson Planning: A Survey of Practices
Presented by Jennifer Rozsa

Abstract
Online marketplaces make instructional materials accessible to all, and Teachers Pay Teachers (TPT) is leading the online marketplace race with over seven million teacher created resources and over one billion downloads. This study examined the use of supplementary curricular purchases made by elementary music teachers on the website Teachers Pay Teachers as well as the demographics of the teachers who purchased these items. The purpose of this study was to understand elementary music teachers' uses of Teachers Pay Teacher's online marketplace, and the characteristics of elementary music teachers and types of materials used on TPT are explored. Rooted in the ideas of Dewey’s democracy of education, TPT allows music teachers to share their own lesson planning materials with a wide audience and democratizes this traditional curriculum and lesson planning structure of education. This survey of U.S. elementary music teachers explored experience teaching, education, and. Implications will guide further research on the supplementary use of online marketplaces, like TPT, by elementary music teachers. 

Biography
Jennifer Rozsa, Director of the Cleveland Orchestra Children’s Choruses, is an active mezzo-soprano, sings with the Cleveland Chamber Choir, and teaches K-4 general music in Solon, Ohio. She holds master's and bachelor's degrees in music education with a Kodály emphasis from Capital University's Conservatory of Music and Orff-Schulwerk certification from the San Francisco Orff Course. Her previous experience includes teaching K-8 general music and choir in public, private, and charter schools across Ohio, California, and Chicago. A frequent presenter, she has led sessions at OMEA, OAKE, and Orff-Schulwerk courses in Cincinnati and Kent State, as well as Greater Cleveland Orff Chapter workshops. In 2024, she began her doctoral studies in music education at Kent State University.

The Differences between Queer and Heterosexual Music Education Students’ Concerns about their Future Careers
Presented by David Mehlhope

Abstract
The purpose of this study was to discover if queer preservice students and their heterosexual counterparts have similar fears about entering the teaching field. The guiding questions for this study ask if queer students have the same number of fears as heterosexual students, and what similarities and differences are there between the two groups. Historically, queer educators have traversed through homophobia in the classroom. This harassment has come from their students, fellow teachers, administration and the government. While some of these issues have been addressed in recent years, the queer community can reasonably still have apprehensions entering the field of education. Thus, this survey was created to discover if queer students currently have fears entering the field of education, and to see how these fears line up with their heterosexual peers. The theoretical frameworks used for this paper were queer theory and Fuller’s concern theory. Approximately 55 music education students from two Midwest colleges took part in this study. Data were collected by a survey which asked questions relating to pre-job, in-job and communication concerns. A Likert-type scale was used for the survey, and then the data were examined using correlation analysis.  

Biography
David Mehlhope is a first year PhD student in Music Education at Kent State. He received his undergraduate and master’s degrees 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 queer theory in education, student engagement, and current practices in rural music education. 

Motivation Factors and Demographics of Beginning Instrumentalists’ Guardians
Presented by Melissa Alemán

Abstract
While most beginning instrumental ensemble recruitment efforts focus on students, parents or guardians may be the final gatekeeper to students’ enrollment. Just as every school district is different, the circumstances of each family within it may impact how they value instrumental music. Through the lens of Self Determination Theory, this causal comparative study examined potential relationships between demographic characteristics and the motivation for parents or guardians to enroll their students in a beginning instrumental ensemble. Parents of instrumental students (N = 40) completed a 15-question Likert-type survey of common motivation statements and provided five points of demographic information. Descriptive statistics were used to analyze the data and examine relationships. By better understanding why families support their student participating in beginning instrumental ensembles, beginning instrumental teachers may be able to recruit in more meaningful and efficient ways.

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, and is a founding board member of the Huron All-County Honors Band. She also plays oboe and English horn with the North Coast Community Band and the American Federation of Musicians Local 159. Mrs. Alemán 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.

The Use of Individual Performance Assessment in Choral Classrooms: A Survey of Practicing Teachers
Presented by Andrea Mikolayczyk

Abstract
An essential practice in the choral classroom is for the teacher to hear students sing individually and to provide meaningful feedback for improvement, which can increase performance skills in individual and group performance. Choral teachers use individual assessment of singing in their classrooms to improve student learning, group performances, and classroom instruction. Yet, details on the practices of how choral teachers use individual formal performance assessments to improve student learning and classroom instruction are undefined. The purpose of this study was to survey choral teachers on individual performance assessment practices utilized in middle and high school choral classrooms. Quantitative data were collected and analyzed for common uses and trends for individual singing assessments of choral repertoire, singing techniques, and sight-reading.

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 Bachelor 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.

Music Theatre and School Music Programs: An Investigation into the Musical Skills of Students in Musical Theatre Programs
Presented by Bruce Nist

Abstract
Students in K-12 schools across the country have opportunities to participate in traditional music programs and musical theatre performances. While there is the likelihood that students may participate in both programs, it is also possible that they may choose to only participate in Musical Theatre. The purpose of this study is to examine the relationships that exist between student musical theatre skills (acting, singing, and dancing) and their active participation in school music programs. The study examines this relationship using the theoretical framework of Self-Efficacy theory to determine the level of belief the students have in their abilities regarding Musical Theatre. Students (N = 19) in grades 6-12 who actively participated in their school musical completed an online survey, which was analyzed using descriptive statistics. This analysis was used to answer the questions of whether a relationship exists and if the relationship indicates a preference for a specific musical theatre skill.

Biography
Bruce Nist is a second-year doctoral student at Kent State University. 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. 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.

Latin American Students: Challenges and Opportunities of Studying Music in an English-Speaking Institution
Presented by Patricia Terceros

Abstract
College students have an infinite number of experiences to share when deciding to study abroad. Students from Latin American countries, for example, must face some barriers such as language if they want to study in the US. This study aims to examine the challenges Latino students face when they decide to study music in an English-speaking institution. The topics in question are challenges that Latino students face regarding language, the roles of teachers and mentors, and differences in music teaching and learning compared to their original country. This study was conducted through the lens of Latino/a Critical Theory (Lat/Crit). The participants (N = 4) were selected through purposeful sampling and considering maximum variation. The inclusion criteria were to have a Latino heritage and be a music student in the US. Participants were interviewed in a semi-structured procedure with open-ended questions about their experiences. Data were analyzed through existing themes such as language, the role of teachers and mentors, and differences in music teaching and learning. Students from Latin American countries have a variety of experiences depending on the institution and their previous experience in music. All of them appreciate the connection with their teachers and mentors as a guide as international students.

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 Sao 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.

Imposter Phenomenon in Student Teachers Relative to their Authentic P-12 Teaching Experience: A Pilot Study
Presented by D.J. Colella

Abstract
What is it about the profession of music education that makes imposter phenomenon (IP) so prevalent? A study by Clance and Matthews indicates that about 70% of people experience IP at some point (Gravois, 2007; Sorenson, 2023). Research suggests that feelings of IP are prevalent in music education student teachers (Sorenson, 2022). One hypothesis could be that authentic teaching experiences help students lower their feelings of IP by the time they get to student teaching. The purpose of this research is to find the nature of the relationship between feelings of imposter phenomenon in music education student teachers and their previous authentic teaching experience. This research aims to answer the following questions: 1) what is the variance of feelings of IP in instrumental music student teachers, and 2) is there a correlation between the number of hours student teachers have spent leading authentic music learning environments and their feelings of IP. Due to the nature of this research, a pilot study is necessary in order to develop a survey instrument. This pilot study was conducted with participants from a class of student teachers from one university. After this pilot study has concluded, the researcher intends to widen the study to student teachers in various colleges and universities across the United States.

Biography
D.J. Colella teaches instrumental music for grades 5-12 in the Girard City Schools district, where he has had this position since 2015. For the 2024-2025 school year, D.J. has taken a sabbatical from this job in order to be a graduate student in the KSU Music Education department. In this position, he has been a teaching assistant, taught classes, and acted as a university supervisor for multiple student teachers. In addition to this, D.J. has been taking classes towards his Ph.D. in music education.

The Role of Ghanaian Children’s Musical Games in Enhancing Social Cognitive Development: An Ethnomusicological Perspective
Presented by Dinah Asafo-Adjei

Abstract
Children’s musical games play a crucial role in informal learning processes, fostering cognitive and social development through play. These games, deeply embedded in cultural traditions, engage essential cognitive functions such as memory, attention, language acquisition, and problem-solving. This study examines social cognitive development through the lens of Ghanaian musical games, exploring how rhythm, melody, movement, and repetition serve as cognitive stimulants. By applying an ethnomusicological perspective, this research investigates how these games not only enhance social cognitive abilities but also reinforce communal identity and cultural values. While studies in psychology and music education have explored the cognitive benefits of musical play, there is a gap in understanding its impact within specific cultural contexts. This research addresses this gap by analyzing Ghanaian children’s musical games, focusing on their role in cognitive engagement and development. It also highlights the intersection of culture insights into culturally diverse learning practices. Given the increasing emphasis on multicultural education, this research also provides valuable contributions to the discourse on how cultural variations in musical games influence social cognitive outcomes.

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.

Finding the Groove: The Relationship Between Personal Tempo, Steady Beat Accuracy, and Rhythmic Proficiency
Presented by Maura Saint

Abstract
Human beings are innately programmed to feel vibrations from outside stimuli, but what happens when they are asked to create and maintain a steady beat without aural stimulus? Furthermore, does the ability to perform a steady beat manifest itself in rhythmic pattern accuracy? This study focuses on nine high school music students, their personal tempi, and their abilities to demonstrate both steady beat and rhythmic patterns in an effort to identify if the former has a relationship on the proficiency of the latter. Students' steady beat and rhythm performances were audio-recorded and subsequently graded for accuracy by the teacher-research. An analysis and description of the results followed.

Biography
Maura Saint is currently a Doctoral Student in Music Education at Kent State University. She 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 (’08). Her research interests include music literacy, music theory, and Essentialism as well as choral pedagogy and musicianship.

Does Personality Influence Ensemble Membership: A Pilot Study
Presented by Bruce Nist Jr.

Abstract
Every day, students enter the rehearsal room to participate in a musical ensemble of their choosing. Personality traits impact a variety of decisions that individuals make. Thus, it is possible that personality influences a young person’s membership choices in a performance ensemble. The purpose of this study is to determine what relationship exists between personality type and ensemble membership in a secondary school setting. This pilot study looks to answer whether a relationship between personality type and specific ensemble exists, if any trends exist between personality type and instrument or voice grouping, and how music educators can use this information to increase their effectiveness. The study will address these questions through the framework of Trait Theory. A sample of students in grades 9-12 were asked to complete an online survey that included completing the Big Five Inventory, which was then analyzed using descriptive statistics.

Biography
Bruce Nist is a second-year doctoral student at Kent State University. 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. 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.

The Effects of Reflective and Deliberate Practice Habits on College Students’ Current Practice Methods
Presented by David Mehlhope

Abstract
The purpose of this study is to discover if reflective and deliberate practice will improve undergraduate flute players’ success and relationship with practicing. The theoretical framework of this article is the deliberate practice model (Ericsson et al., 1993). The guiding questions for this study ask if deliberate and reflective practicing can improve efficiency of practice sessions, improve the musicians’ relationship with practicing and improve effectiveness of practice sessions. Six college flute players participated in this study. Data were collected using surveys, journal entries, and in-person interviews. Data were analyzed for general themes that emerged throughout the study.

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 queer theory in education, student engagement, and current practices in rural music education.

Give Me Goosebumps: An Analysis of Music That Evokes Frisson
Presented by Brian Laakso

Abstract
Frisson is also known as aesthetic chills, or to some more commonly, simply goosebumps. It is accompanied by shivers up and down the spine, back, and neck. Ultimately, it is a psychophysiological response to pleasing stimuli, especially as a response to hearing pleasing music. The purpose of this study was to discover exactly what characteristics of music caused a reaction of frisson. I asked adults to identify one musical piece that causes them to experience frisson. They were asked to listen to the piece on YouTube so as to identify the specific timing of the section of the piece that generated frisson. Participants were briefly interviewed to ask them to describe their history of listening to the piece, what they think causes the frisson, and if any specific memories or life experiences were tied to the piece or sounds that might contribute to its favorability.  Research questions include: What specific musical features are most commonly associated with frisson? Do specific life experiences or emotions tied to the music increase the likelihood of causing frisson? Implications include information that can be used by composers to elicit frisson in future compositions, as well as informing participants of other music that may cause frisson so they may experience it again.

Biography
Brian Laakso founded the Music Technology program at McKinley High School in Canton, where he is in his 20th 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 many faiths. He lives on a genius compound in Akron with his wife of 22 years, three brilliant children, two clumsy kittens and two dopey dogs.

Motivations to Participate and Feeling of Community in a Multi-Generational Communiversity Choir
Presented by Patricia Terceros

Abstract
There are many ways of analyzing music-making in a community setting. A choir with multi-age members brings a different approach to be considered. The purpose of this study is to examine motivations to participate and feelings of community among a multi-generational communiversity choir. For this research, there are three questions to be answered: motivations in a singer to be part of an ensemble, changes that older members can notice in their learning process, and elements that a choir member recognizes that make them feel part of the community. The study will be analyzed through the lens of Communities of Practice. Participants were members of the Kent Chorus group that answered an online survey and a follow-up interview with a focus group. Data was from the survey and the focus group were analyzed. Results suggest that Choir members appreciate the community and the process of making music together in a multi-generational setting.

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 Sao 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.