Colloquium Series: Events & Speakers: 2021-2022

Music, Technology, Class: A Philosophical and Sociological Viewpoint on Music Education
presented by Martin Ryan

Abstract
This presentation outlines the philosophical approach of Music Generation in Ireland, a popular music education outreach program funded by U2. Taking a student led approach to music education with a focus on creativity, inclusion and accessibility, the impacts of this program will be detailed. Furthermore, as a lead tutor with Music Generation, the presenter will further outline the observed sociological impacts of using music technology in a number of diverse educational settings.

Biography
Martin Ryan is a music educator from Limerick, Ireland who specializes in teaching popular music education through technology. Martin has released four studio albums and toured the world with his musical outfits Anna’s Anchor and The Winter Passing. Whilst pursuing music professionally, Martin also worked as a lead tutor with Music Generation, Ireland’s national music education outreach program funded by U2. He is currently a doctoral student of Music Education at Kent State University.

Another Way of Music Education: Progressive Band for Progressive Times 
presented by Jacob Gibson

Abstract
Music Education has traditionally been implemented through courses in general music, choir, orchestra, and band. Given that this model has remained largely untouched for roughly the past century, it is time to reflect on the value of each of those programs and consider contemporary alternatives that are more pragmatic for contemporary society. Progressive ensembles should be the goal of the future of music education for a multitude of sociological, psychological, historical, and philosophical conclusions, which will be discussed. A goal is a new and more pragmatic approach supplemented with the traditional paradigm as a curricular aim.

Biography
Jacob Gibson is a western Pennsylvanian native. He earned a BA in Music Education with a concentration in Saxophone Performance from Edinboro University of Pennsylvania. While teaching in Pennsylvania as a middle and High School Band Director, he also earned a MM degree in Music Education from SUNY Fredonia. Current research interests include social justice, conducting techniques, and sociological music education. He specializes in concert and wind band ensembles and jazz band instruction. Jacob lives happily with his wife Katy, an elementary music educator, his six-month old daughter Joelle, and two loving puppies, Tessa and Tucker. He is currently a doctoral student in music education at Kent State University.

This What God Feel Like: Hip Hop in Christian Music Education 
presented by Mark Wasilko

Abstract
Christian educational institutions largely avoid teaching about and engaging with hip hop, but if anything, they should be more interested than most. Beyond it being a genre that owes much of its roots to worship music, hip hop artists want to engage with contemporary Christianity. This presentation will explore the merits of hip hop in music education particular to a Christian context because of its relevance, strong faith-based credentials, and high-quality music making. Topics addressed include definitions and rationale, context and explanation, and repertoire and connections in sacred and secular settings. It is hoped this session will clarify some understandings about popular music in K12 music environments.

Biography
Mark Wasilko is a first-year student in the PhD in Music Education program. He is currently the middle school music teacher for Pennsylvania Virtual Charter School as well as the instructor of music technology and recruiting coordinator at Grove City College. He received his B.M. in Music Education from Grove City College and M.M. in Music Technology (Production Track) from the University of Valley Forge, where he wrote his thesis on artificial intelligence composition. He has also studied production and the music industry at New York University Steinhardt. Mark holds research interests in music technology (and how it is taught), emergent musical technologies, arts leadership, and education for individuals who are gifted and talented.

Elements and Value of Hip Hop: Learning Music Through Experience 
presented by Brian Laakso

Abstract
This presentation will outline a proposed undergraduate course which helps students explore elements of hip hop, which include lyric writing (oral), DJing (aural), breakdancing (physical), graffiti (visual), and knowledge (intellectual). Each element will be studied for two weeks, and a culminating research project will be completed. This class would give students a comprehensive overview of the fundamental elements of hip hop, offer a full in-depth experience rooted in the basics, and support understanding of hip hop as a larger movement of multiple art forms, not just a style of music. This is important because hip hop as a musical style is extremely influential in young people’s lives today and can help give them an appreciation for the development of the entire cultural system that is the hip hop musical experience.

Biography
Brian Laakso teaches Music Technology at McKinley High School in Canton, where he loves learning about youth culture. He holds two degrees from Kent State and is pursuing a third: a doctorate in Music Education. Brian is the author of Alfred Publications Music Tech 101. Performance work includes entertaining nearly a million people as a dueling pianist over many years. He lives on a genius compound in Akron with his wife, four children, two kittens and one dopey dog.

W.E. Need to Evolve: Exploring Gender Issues in Wind Ensemble Settings
presented by Jacob Gibson

Abstract
It is the purpose of this presentation to address gender issues found in Wind Ensemble settings. It is the aim to present these gender issues through four unique lenses. What gender issues have arisen historically in wind ensemble settings? What educational philosophy best utilizes social justice regarding gender issues? What sociological implications present themselves from gender issues in wind ensemble settings? How can music students self-actualize themselves through pragmatically just instruction? It is the goal to provide scope through these lenses as to how gender issues are prevalent in wind ensemble settings, and how socially just music educators can approach gender issues.

Biography
Jacob Gibson is a western Pennsylvanian native. He has earned a B.A. in Music Education with a concentration in Saxophone Performance from Edinboro University of Pennsylvania. While teaching in Pennsylvania as a middle and High School Band Director, he also earned a M.M. degree in Music Education from SUNY Fredonia, just outside of Buffalo, NY. Jacob's current research interests include social justice, conducting techniques, and sociological music education. He specializes in Concert Band/Wind Ensemble and Jazz band instruction. Jacob lives happily with his wife Katy, an elementary music educator, his six-month old daughter Joelle, and two loving puppies, Tessa and Tucker. He is currently a PhD student in Music Education at Kent State University.

Unstructured Autonomy: A Foundational Exploration of Informal Music Learning 
presented by Dalton Phillips

Abstract
The purpose of this literature review is to explore the topic of informal music learning using the foundational lenses of history, philosophy, psychology and sociology. Specific questions include: What trends have occurred in the chronology of research on informal music learning?; What philosophical underpinnings have been associated with informal music learning?; What psychological processes and outcomes have been associated with informal music learning?; and What sociological patterns have been observed for teachers and students engaged in informal music learning? Findings in literature related to how students understand and implement practices related to informal, vernacular and popular music learning, music outside of school settings, and other topics will be synthesized in order to address current knowledge pertaining to these questions. Implications will be discussed for the field of music education.

Biography
Dalton Phillips is the director of choirs at Orange City Schools in Pepper Pike, Ohio. He is also a third-year PhD student and adjunct professor at Kent State University. Previously, he taught middle and high school choir in the Mansfield City and New London Local school districts. He earned a Bachelor of Arts in Music from Allegheny College and Master of Arts in Music Education from Case Western Reserve University. His current research interests include social justice in music education, community music, informal music learning, and choral music education.

Inclusion, Creativity, Diversity, Empowerment: A Foundational Review of Selected International Popular Music Education Programs 
presented by Martin Ryan

Abstract
There are several popular music education programs around the world that exist outside of the traditional means of music education such as Little Kids Rock and Music Generation. It is important for music educators to be aware of these alternative approaches that are currently in practice internationally. This presentation outlines the philosophical approaches that exist amongst selected organizations. The history behind the development of these programs will be examined and the associated need for such programs will be compared. The sociological and psychological impacts of these programs will be both compared and discussed. The outcome of this presentation is that attendees will have increased understanding of different practical approaches to popular music education that currently exist.

Biography
Martin Ryan is a music educator from Limerick, Ireland who specializes in teaching popular music education through technology. Martin has released 4 studio albums and toured the world with his musical outfits Anna’s Anchor and The Winter Passing. Whilst pursuing music professionally, Martin also worked as a lead tutor with Music Generation, Ireland’s national music education outreach program funded by U2. He is currently a doctoral student of Music Education at Kent State University.

Looking Through Multiple Lenses: Understanding History, Philosophy, Psychology, and Sociology within the Orff Schulwerk Approach 
presented by Lisa Heinrich

Abstract
In this literature review, elements of music education history philosophy, psychology and sociology related to the Orff-Schulwerk approach will be examined. Questions to be addressed include: What are the origins of Orff Schulwerk in Germany and North America?; Why did the approach gain interest around the world?; What psychological and philosophical understandings support Orff Schulwerk pedagogy?; How does contemporary research apply to Orff Schulwerk practices? This review will provide a summary of definitions, topics, and practices related to the approach and its core ideas, such as cooperative music making. It is hoped that general music and other teachers can use this literature review to inform their understandings and practice about music teaching and learning in broader context.

Biography
Lisa Heinrich is a 20-year veteran educator, currently teaching K-5 general music at Cloverleaf Elementary School in Seville, Ohio, having also worked in Lakewood City Schools, and elsewhere. She holds degrees from Bowling Green State University and Cleveland State University pursuing Music Education and German Studies. Various professional development courses completed include Orff Schulwerk, Music Learning Theory, and Eurhythmics. She is the 2019 Medina County Teacher of the Year and a second-year doctoral student at Kent State University.

The Relationship Between Self-Regulation, Reading and Math Level, and Note Name and Fingering Identification in Elementary Band Students 
presented by Kristin Koterba

Abstract
From a theoretical perspective, domains of self-regulation are key factors in determining a student’s success in learning to play an instrument such as goal settings and strategies.  The purposes of this mixed method study were to a) compare the relationships between elementary band students’ self-regulation, reading and math level, and note name and fingering identification and b) describe how they find success in learning their music to perform on their band instrument.  Questions explored were 1) What is the relationship between self-regulation (SR), reading and math level (RL, ML), and note names and fingering identification (NNFI) in beginning band students?  2) What strategies to learn note names, fingerings, and music do beginning band students use? And 3) How do different levels of learners use help seeking strategies to learn to play an instrument in beginning band?  Using self-regulation as a framework, data was collected using the SRQ-A adapted for music, students’ reading and math levels from their January 2022 MAP tests, and the results of a researcher created note name and fingering identification survey.  Qualitative data was collected via self-directed journaling, observations, and interviews and used the Dimensions of Musical Self-Regulation (McPherson & Renwick, 2000) as a framework for analysis. The quantitative data collected (N=39) showed no significant relationships between the variables, however qualitative themes emerged of a highly self-regulated participant population.  This was confirmed by the quantitative distributions of the measurements.  The participants reported using a variety of methods, including help seeking strategies, to be successful on their instrument.  Implications for future research include the need for normal distribution of the participant population and more in-depth investigations into the strategies or lack of strategies used by beginning band students with varying levels of self-regulation.  This could impact pedagogical approaches for including and reaching learners with a variety of self-regulatory levels. 

Biography
Kristin Koterba holds a B.M. in Music Education and Flute Performance from Kent State University and a M.M. in Music Education from VanderCook College of Music where she is also an active member of the alumni board.  In addition to teaching in Ohio, she has also taught in Georgia and South Carolina.  Currently, Kristin is a band director in the Shaker Heights City School District instructing fifth and sixth grade band, assisting with the high school marching band international trips, and teaching adaptive music.  In the fall of 2017, she began doctoral studies in Music Education at Kent State.  She has been a presenter for OMEA, SMTE, served on various panel discussions, and has been selected to participate in OMEA’s Graduate Research Round Table.  Additionally, Kristin has presented at the International Society for Music Education’s 2018 conference in Azerbaijan and the upcoming 2022 Virtual Australian conference.

Songwriting Teaching Approaches in Ireland
presented by Martin Ryan

Abstract
This presentation outlines the findings from a qualitative study conducted on songwriting teaching approaches from Irish music educators. Songwriting teaching practices in different countries such as the U.S and U.K. have been delivered in very diverse ways The multiplicity of creative perspectives in songwriting can be derived from the broad range of cultural contexts that are encountered in a classroom. The purpose of this article is to examine songwriting teaching approaches by music educators in in Irish educational settings and identifying emerging themes from this data.

Biography
Martin Ryan is a music educator from Limerick, Ireland who specializes in teaching popular music through technology. Martin has released four studio albums and toured the world with his musical outfits Anna’s Anchor and The Winter Passing. While pursuing music professionally, Martin also worked as a lead tutor with Music Generation, Ireland’s national music education outreach program funded by U2. He is currently a doctoral student of Music Education at Kent State University.

​Student Perception of Social-Emotional Activities in the Choral Music Class 
presented by Chad Pittman

Abstract
In addition to providing performance experiences and teaching musical concepts to students in performing ensembles, music educators also serve other roles in the work and lives of their pupils. Music teachers often act as college and career coaches, academic subjects tutors, and counselors/confidants. Many conductors incorporate group dynamic, reflection, and ice-breaking activities into performing ensemble experiences to help students get to know each other, feel comfortable in the group setting, and facilitate relationship building. While these social-emotional activities are beneficial for group dynamics, they also have the potential to impact students as individuals.

Social-emotional learning is a fiery phrase in modern schools and classrooms. It refers to the process of self-awareness, self-control and interpersonal skills that are vital for school, work, and life success. Individuals with strong social-emotional skills are better able to cope with everyday challenges and benefit academically, professionally and socially. Educators incorporate social-emotional learning goals and activities into their lessons each and every day. The purpose of this study was to examine choral music students’ perceptions of social-emotional learning activities on collective efficacy and motivation in the choral music class.

Biography
Chad Pittman is Director of Choirs at Northwest High School, where he conducts and maintains an active choral program of seven choirs. He also serves as Director of Music and Organist for St. Paul’s Lutheran Church in Massillon, where he coordinates and oversees all aspects of the music program and is Artistic Director of Cathedral Concerts in the Evening, the church’s newly established concert series. A doctoral student in Music Education at Kent State University, his research interests include student-centered choral music methods, and socio-emotional learning in the choral music classroom.

Perceptions of Individuals That Left a Pre-service Music Teacher Training Program Before Completion 
presented by Jacob Gibson

Abstract
It is important to understand what factors influence a preservice music teacher’s decision making process when determining if they want to stay in the profession. Understanding these factors can help influence how academic institutions foster development in their students from a holistic perspective. The purpose of this study was to describe the factors that influenced an individual to leave their  music educator training program. Research questions for the study included: 1.) What were the main factors that contributed to preservice music educator training departure? 2.) What were secondary factors that contributed to preservice music educator training departure? 3.) What implications can be concluded from the findings of research questions one and two regarding music teacher educator training institutions? This multiple case study analyzed main and secondary factors that influenced former preservice music educators to leave their midwestern state university music education program. A researcher-designed semi-structured interview instrument was utilized for data collection. Transcriptions of the interviews were analyzed through utilization of NVivo qualitative analysis software to form a priori and emergent codes. A priori codes represented main factors of departure while emergent codes served as secondary factors of departure. Implications included further analysis of mentorship roles in university settings, mental health check-ins with students, and the negative impact of distance learning on student learning. 

Biography
Jacob Gibson is a western Pennsylvanian native. He has earned a B.A. in Music Education with a concentration in Saxophone Performance from Edinboro University of Pennsylvania. While teaching in Pennsylvania as a middle and High School Band Director, he also earned a M.M. degree in Music Education from SUNY Fredonia. Jacob's current research interests include social justice, mental health in music education, and jazz education. He specializes in Concert Band/Wind Ensemble and Jazz band instruction. Jacob lives happily with his wife Katy, an elementary music educator, his six-month old daughter Joelle, and two loving puppies, Tessa and Tucker. He is currently a PhD student in Music Education at Kent State University. 

Situational Interest of Children in K-5 Music Classes 
presented by Lisa Heinrich

Abstract
Music learning can be an enjoyable undertaking that students continue throughout their lifetimes; however, often the opposite is true. Many students in American music classrooms report feeling inadequate or lose interest in music (Renwick & Reeve, 2012). In order for students to stay involved in music learning they need to be motivated to do so. The purpose of this study was to identify common elementary music class activities that K-5 students find most engaging. Participants (N=272) rank ordered nine music class activity types from favorite to least favorite. Students indicated the following to be their highest-ranked general music class activities: playing instruments (35.7%), playing music games (30.1%), creating music (9.6%), working with a partner or small group (7.7%), singing with the class (5.9%), reading music (4.4%), moving to music (4%), music centers (1.8%), and talking about music or musicians (0.7%). Elementary music teachers can motivate students by planning lessons that incorporate activities students enjoy.

Biography
Lisa Heinrich teaches K-5 general music in the 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, as well as Bachelor of Arts in German and Bachelor of Music in Education degrees from Bowling Green State University. Lisa completed teacher education courses in Orff-Schulwerk, Music Learning Theory, and Eurhythmics. She is the 2019 Medina County Teacher of the Year, a recipient of a Fulbright teaching grant, and a second-year doctoral student at Kent State University.

Competitive Contexts of Marching Band: A Qualitative Investigation of Band Directors in Transition 
presented by Timothy Daniels

Abstract
Competition is a major component of many band programs, particularly as it relates to marching band. Directors of both competitive and non-competitive programs must manage their programs in various competitive contexts and work towards the benefit of students. Competition or non-competition has been shown to affect the goal-orientation and attitudes towards performance and music of students and directors. Students and directors engaged in competitive activities tend to have more performance-oriented attitudes than their peers not engaged in competition.

O’Leary (2016) conducted a phenomenological study to examine directors “in competition”. This study seeks to extend that study by examining directors “in transition” with their programs. A phenomenological approach is used in this study to understand the experience of six high school band directors who have transitioned their programs from competitive to non-competitive or vice-versa in the last five years. Data were collected via semi-structured interviews, transcribed, coded and combined into themes. Goal-orientation theory was used as a framework to examine the results. Emergent themes include changes in goal-orientation, a student-centered focus through transition, director backgrounds and influences, and changes in classroom teaching.

Biography
Timothy Daniels 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. Tim earned a Bachelor of Music Education degree from Youngstown State University and Master of Music Degree from Duquesne University. He is currently a second-year doctoral student at Kent State University. Tim has presented research at the 2021 NAfME Eastern Division Conference.

Instrumental Music Teacher Self-Efficacy for Inclusion in Ensembles: Successful Strategies for All Students to Succeed
Presented by Kristin Koterba

Abstract
In the last decade, music education has seen a renewed commitment for equity and access across all age groups and domains including instrumental ensembles. The purposes of this mixed method study proposal are to (a) compare contributing factors to instrumental ensemble directors’ levels of instrumental music teacher self-efficacy (IMTSE) and instrumental music teacher self-efficacy for inclusion (IMTSE-I) and (b) explore strategies instrumental music teachers with high music teacher self-efficacy for inclusion use in their ensembles. Using Bandura’s (1977) construct of self-efficacy from his social cognitive theory as a framework, this study seeks to answer the following questions: (1) In an instrumental ensemble setting, what are the relationships between IMTSE, IMTSE-I, and their demographic characteristics? (2) What do instrumental music teachers perceive as attributing to their levels of efficacy? and (3) What strategies for learning are instrumental music teachers with high IMTSE-I providing students in their ensembles?  This study will use modified versions of the Teacher Sense of Efficacy Scale (Tschannen-Moran & Woolfolk Hoy, 2001), Music Teacher Identity Scale (Wagoner, 2015), Concert Band Directors’ Self-efficacy for Teaching Strategies Scale (Regier, 2021) and the Teacher Efficacy for Inclusive Practices scale (Sharma et al., 2012) to create a hybrid scale for instrumental music teacher self-efficacy and inclusive practices.  Instrumental music ensemble teachers from across the United States will be invited to participate in the study followed by a purposeful sampling for a multiple case study of the teaching strategies used by music teachers with high music teacher self-efficacy for inclusion.  Results are anticipated to show that music teachers who report high IMTSE will predict high levels of music IMTSE-I.  It is hypothesized that teachers with more experience will have higher IMTSE and IMTSE-I and novice teachers with lower IMTSE-I will report lack of preservice preparation in the area of inclusion.  It is also hoped that through the multiple case study of high IMTSE-I educators that strategies for teaching music to all students will provide an opportunity for preservice teachers to develop mastery experiences and state music education associations to focus professional development in the areas of inclusion strategies in ensemble settings.

Biography
Kristin Koterba holds a B.M. in Music Education and Flute Performance from Kent State University and a M.M. in Music Education from VanderCook College of Music where she is also an active member of the alumni board.  In addition to teaching in Ohio, she has also taught in Georgia and South Carolina.  Currently, Kristin is a band director in the Shaker Heights City School District instructing fifth and sixth grade band, assisting with the high school marching band international trips, and teaching adaptive music.  In the fall of 2017, she began doctoral studies in Music Education at Kent State.  She has been a presenter for OMEA, SMTE, served on various panel discussions, and has been selected to participate in OMEA’s Graduate Research Round Table.  Additionally, Kristin has presented at the International Society for Music Education’s 2018 conference in Azerbaijan and the upcoming 2022 Virtual Australian conference.

Experiences with Informal Music Learning in the Choral Classroom
Presented by Dalton Phillips

Abstract
A proposal for a multiple case study of informal learning will be presented. The purpose of this research will be to examine the experiences of choral music teachers and their students with informal music learning. Findings in related literature will be synthesized in order to address current understandings on the topic. Then the method for a multiple case study will be detailed. Cases will include the choir programs at three to four schools. Data collection will include documentation, interviews, direct observations, and artifacts. Cross-case synthesis will be used as an analysis technique.

Biography
Dalton Phillips is the director of choirs at Orange City Schools in Pepper Pike, Ohio. He is also a third-year PhD student and adjunct professor at Kent State University. Previously, he taught middle and high school choir in the Mansfield City and New London Local school districts. He earned a Bachelor of Arts in Music from Allegheny College and Master of Arts in Music Education from Case Western Reserve University. His current research interests include informal music learning, social justice in music education, community music, and choral music education.

Who am I?: Perspectives of Mid-Level Choral Identities in Varying High School Ensembles 
Presented by William Klein

Abstract
The purpose of this dissertation proposal seeks to understand why students in mid-level high school choral ensembles experience a decreased level of choral identity when compared to their peers in top-level choral ensembles. Mid-level choirs are defined ensembles consisting of students who have singing skills but were not selected for the top-level groups (Major, 2017). Mid-level choral students identify as choir students more with the possibility of auditioning into a top-level group (Major, 2017). This dissertation proposal seeks to understand why students in mid-level choral ensembles current selves identify as less of a choir student than their peers in the top-level ensembles. Using Tajfel and Turner’s (1979) social identity theory as a theoretical framework, this study seeks to understand a) in what ways is choral identity affected as students’ progress upward in a choral hierarchy?, b) what are the differences in choral identity between top-level and mid-level high school choral ensembles?, and c) how does placement of the choir in which a student sings affect their choral identity? It is the desire that dissertation helps to fill the gap in relation to high school mid-level choirs’ lack of current-selves choral identity. Additionally, it seeks to discover pedagogical methods to increase choral identity in mid-level high school signers. It is hypothesized that students in mid-level choirs will continually experience decreased feelings of choral identity until they either successfully audition into a top-group or are treated in a similar way as their peers in top-level groups. 

Biography
Bill Klein earned his B.M. from Youngstown State University and his M.M. from Kent State University. He is currently a Ph.D. student at Kent State University. High school choral identities and communities drive his current research interests. Bill has worked in the Austintown Local Schools district for ten years, spending three at Austintown Middle School, and the past seven at Austintown Fitch High School. There he conducts four choral ensembles, teaches a variety of general music courses, and directs the drama department. Bill resides in Austintown with his wife, Megan, the sons Liam and Mickey, and their dog, Charles Henry.

Motivational Modulations: A Mixed Methods Study Examining Motivational Factors and their Changes for Instrumental Students in Rural Settings 
Presented by Eric Bable

Abstract
Motivation, recruitment, and retention have long been focal points in music education research. These studies often seek data generated by music educators, from students in urban and/or suburban settings, or from students in attendance at music festivals and camps. Students attending schools in rural settings are often overlooked when considering these topics. The purpose of this mixed methods study proposal is to (1) determine what factors motivate students in rural settings to join and continue in instrumental (band) music programs, (2) examine how motivational factors change for students as they progress through different stages of instrumental music (band) programs in rural settings, and (3) find what factors encourage students to leave instrumental music (band) programs at different levels in rural settings. Using the lens of Self Determination Theory (Ryan & Deci, 2012) and its related “mini-theories,” this study seeks to answer the following research questions: (1) What factors motivate students in rural settings to participate in instrumental music (band) programs?, (2) How do motivational factors to participate change for students at different levels of instrumental music (band) programs in rural settings?, and (3) What factors encourage students to leave instrumental music (band) programs at different levels in rural settings? This study will incorporate the Participation Motivation Questionnaire from the field of sports research that will be edited to fit the context of instrumental music education to measure student motivation quantitatively. Students attending schools in rural settings from across the United States will be invited to participate in the survey. Once the survey is completed, purposeful sampling will be used to conduct individual and group interviews with students at different levels of instrumental music (band) programs (including students who have left these programs if access is available) to further investigate motivational factors. It is anticipated that results will indicate motivational factors shift by student age, with younger students in rural settings will be more highly motivated goal-oriented extrinsic factors and older students finding motivation through intrinsic mastery-oriented factors that rely more heavily on the quality of the experiences and the peers involved in the instrumental music (band) program. An additional expectation is that the music teacher and their actions, temperament, and approach to education will be a motivational factor at all levels.

Bio
Eric Bable holds a B.M. in Music Education from Slippery Rock University and a M.M. in Instrumental Conducting from Youngstown State University. He currently teaches in the Crestview Local School District where his responsibilities include coordinating the instrumental music program for grades 5 through 12, assists with choir in grades 5 through 8, and teaches high CCP classes through Kent State University. Eric also coordinates the high school theatre program at Crestview. Outside of his teaching responsibilities he is the music director for the Canfield Community Concert Band and on the board of directors for the Squeaky Wheel Theater Company. In the Fall of 2018, Eric began doctoral studies in Music Education at Kent State University. He has presented at OMEA, SMTE, the PAL Colloquium Series, and will present at the upcoming 2022 Virtual Australian conference.

The Nature of Peer Learning During Orff Schulwerk Rhythmic Compositions
Presented by BethAnn Hepburn

Abstract
The goal of this proposed qualitative study is to examine the triadic relationship students, their peers, and the teacher throughout a collaborative Orff Schulwerk composition process. The intention of this inquiry is to discover and describe the nature and means of peer cognitive apprenticeship interactions and peer to peer tutoring strategies throughout a collaborative Orff rhythmic composition process. This brings about the following questions: 1. What modes do peers use to communicate with each other during a group collaboration composition project? 2. What media and strategies do peers employ to support each other during a rhythmic composition task? 3. How do communication strategies change throughout the stages of the creative process and teacher prompts?  An examination of the peer interactions throughout the creative stages of an Orff Schulwerk collaborative composition group activity may help inform music educators how students construct knowledge through various modes of learning in this social context.

Bio
BethAnn Hepburn holds degrees from Cleveland State University and the University of St. Thomas (MN). A doctoral student at Kent State University in Music Education, her research interests include music education history, Orff-Schulwerk, general music, and curriculum issues. She is the co-author of Purposeful Pathways, Possibilities for the Elementary Music Classroom Books I-IV, and a frequent guest conductor for elementary honors groups at state and county festivals throughout the United States and abroad. BethAnn currently serves on the NAfME General Music General Council and is the GM Music Professional Development Chair for OMEA.

Do You Hear the People Sing? The Social and Legal Power of Vocal Music During the 2020 BLM Protests 
presented by Charlotte Lee

Abstract
In the age of the Internet, live news, and social media, is protest music still an effective catalyst for change? One can answer this question by investigating the history and structure of protest song in America in correlation with the Black Lives Matter movement of 2020. Analysis of both literature and current events suggests that the usage and spread of protest music—specifically vocal music—is integral to the success of social movements, calling for action, spreading knowledge, and binding protestors together emotionally and physically. This analysis seeks to trace the use of protest song by the Black Lives Matter movement to determine its social and legal effects. 

Biography
Charlotte Lee is a junior pursuing a B.M. in Vocal Performance and a B.A. in Criminology & Deviance. She sings in Cantique, Chorale, and KSU’s Opera Theatre, as well as playing in her church’s handbell choir. She loves looking at music through a sociological lens, and upon graduation from Kent she intends to pursue a PhD in Criminology.

Klezmer: An Overview and Contemporary Insight into the Authentic Jewish Musical Genre 
presented by Silas Haplea

Abstract
Klezmer as a genre of music in the United States has persevered through many challenging times such as the Great Depression and World War II. While the revival of klezmer in the 1970’s helped this wonderful folk music reach a new generation of performers and listeners alike, it also brought rise to many ensembles appropriating the sound, leading to an erasure of authentic klezmer ensembles. In this paper, I will be elaborating on what makes klezmer unique, what it has done to enhance music in the United States, and where we can find it being performed in the present day.

Biography
Silas Haplea is attending his third year at Kent State University, pursuing a Bachelor’s degree in Music Composition, studying under Dr. Adam Roberts. He has performed with many large ensembles, including playing bass drum for two years in Kent State University’s Marching Golden Flashes, singing tenor for two years in the Tenor/Bass chorus Coro Cantare, and currently singing tenor in the Kent State University Chorale. He also sings with the a cappella group Vocal Intensity, and would like to perform again as a tenor in the Cleveland Chamber Choir for their summer season.

​Real-World Source Music in Science-Fiction/Fantasy Film Scores 
presented by Kaitlin Nordstrom

Abstract
Composers for fantasy and science-fiction films can transform source music from cultures around the world to contribute to the film’s world-building – i.e., a description of the story’s fictional setting – so that the viewer has a deeper understanding of the context of the story than they would with a score that uses Western art music only to convey the emotions associated with each scene. Diegetic music, field recordings, and direct influences from real-world cultures are examples of source music in Howard Shore’s Irish-influenced The Lord of the Rings: The Fellowship of the Ring (2000) score, Ludwig Göransson’s African-influenced Black Panther (2018) score, Vangelis’ heterogenous Blade Runner (1982) score, and Hans Zimmer’s diversely expansive Dune (2021) score. Each of these film scores employs a different level of cultural authenticity for different purposes and with different metacinematic results.

Biography
Kaitlin Nordstrom is a third-year music education student at Kent State University with a minor in world music. She plays oboe in the university orchestra and has been a member of Kent Chorus, African Ensemble, Steel Band, and Thai Ensemble. She has an interest in ethnomusicology and cultural anthropology, and she would love to learn how to play as many different instruments from around the world as possible. Kaitlin also has a scholarly interest in film scores, and she wrote an honors research paper in 2020 on the role of music in comedy films. Her goal is to teach elementary general music and continue learning about different cultures through research and travel.

Key and Tempo Color: Valence and Arousal of Figurative Descriptors in Romantic Piano Literature,
presented by Alena Miskinis

Abstract
This study explores the emotional effect tempo and key have on recent music listeners’ perception of Romantic piano literature. Throughout Western music history, numerous scholars have developed cohesive charts that assign particular characteristics to specific key signatures and modes. Others have suggested the adoption of certain conventions (e.g., C minor is dark), the unconscious perception of the well-tempered tuning system, and the psychological sharp-flat phenomenon. However, these models are unavoidably reductive as they only account for the key signature of a piece to assign affect instead of observing other vital musical elements including dynamics, articulation, harmony, and timbre, among others. Therefore, this study hypothesized that tempo, while certainly not the only musical component involved in key “color”, significantly affects perceived musical affect. After collecting a corpus of 1,231 figurative descriptors from scholarly textbooks and YouTube comments, each word was emotionally quantified using Mohammad’s (2018) valence-arousal generator and categorized into 24 keys and 4 tempi. Results not only support the common assumption that major and minor modes evoke pleasant and unpleasant affects respectively, they also suggest that slower pieces are more neutral in valence and arousal and that minor modes are more versatile in affective expression. Findings from this study can inform musicians during the process of programming a performance as they search for new repertoire and a specific musical character or affect.

Biography
Alena Miskinis is an undergraduate majoring in Piano Performance, Psychology, and English, conducting research under Dr. Joshua Albrecht and studying piano under Dr. Donna Lee. Alena has presented her research nationally and internationally including in Brazil with her team’s invention, Virtual Harmony, which combines Virtual Reality and Music Therapy to reduce stress. Alena is currently working on her honors thesis which explores metaphors and musical expression, and hopes to attend graduate school for sports and performance psychology to address performing artists’ health. Most recently, Alena was featured with the orchestra as the undergraduate winner of the concerto competition and presented her paper at the International Society for Music Perception and Cognition. Alena also enjoys singing in the KSU Chorale, serving as a church musician, writing, volunteering, exercising, and sharing smiles with all of her inspiring and supportive family, friends, teachers, and mentors for whom she is unceasingly grateful.

Big Five Model of Personality and the Art Song 
presented by Racquel Ritchie

Abstract
The Big Five Model of Personality consists of extraversion, neuroticism, conscientiousness, agreeableness, and openness to experience. Previous research has shown correlations between participants’ Big Five traits and their musical preferences. The aim of this research was to discover whether art songs could exemplify certain Big Five traits. Analyses were conducted based upon key and meter, tempi and dynamics, musical figures, texture, and background of the composer and lyricist. This research includes analyses of songs by Rodgers, Schumann, Hundley, Granados, and Debussy. Analyses were then used to make connections with Big Five traits. This technique of giving a song a personality can be used as a performance or pedagogical tool, and future studies may also want to explore instrumental music.

Biography
Racquel Ritchie is a senior and will graduate in May with a B.A. in Music and a B.S. in Psychology. She studies voice with Dr. Jay White and is a member of Cantique and the Kent State Opera Theatre. She is a research assistant in the Clinical Affective Science lab, the Vice President of Psi Chi, and the treasurer of Student Advocates for Classical Singing. Racquel plans to attend graduate school for a master’s degree in Clinical Mental Health Counseling. She aims to eventually earn a doctorate in psychology and become a professor and researcher. In her free time, she enjoys running, reading, and playing video games.

Walt Disney’s Golden Boys – The Life and Works of the Sherman Brothers
presented by Jacob McKee

Abstract
Richard and Robert Sherman are one of the most dynamic and successful songwriting duos of the 20th century. However, there is little scholarly writing about the duo. This research examines each of the Sherman brothers’ major works and their life stories.  Research was conducted on how they started working together starting from a very young age, their songwriting process, their projects, their achievements, and the cultural impact that they had, especially in the 1960s and 1970s. Along with a look at the relationship between the brothers, research was done on their relationship with the media giant Walt Disney, and how he inspired their writing.

Biography
Jacob McKee is a junior choral Music Education major. He is a member of the Kent State Chorale, Nova Jazz Singers, and has sung with the Cleveland Chamber Choir on several occasions. He is passionate about jazz music and popular music pedagogy in the classroom. In his free time, Jacob enjoys watching basketball and loves Disney!

Retention Rates from the COVID-19 Pandemic in Middle School Bands: How do Instructional Activities Affect Retention?
Presented by Jacob Gibson

Abstract
Music educators have faced a growing number of students leaving their ensembles due to complications associated with the pandemic period. The purpose of this study was to describe the relationship between retention rates of middle school band programs and instructors’ choices of particular instructional activities. Quantitative data were collected using an online survey to measure the retention rates of middle school ensembles and determine which instructional activities led to higher retention rates.

Biography

Jacob Gibson is a western Pennsylvanian native. He has earned a B.A. in Music Education with a concentration in Saxophone Performance from Edinboro University of Pennsylvania. While teaching in Pennsylvania as a middle and high School Band Director, he also earned a M.M. degree in Music Education from SUNY Fredonia. Jacob's current research interests include social justice, conducting techniques, and sociology of music education. He specializes in Concert Band/Wind Ensemble and Jazz band instruction. Jacob lives happily with his wife Katy, an elementary music educator, his six-month old daughter Joelle, and two loving puppies, Tessa and Tucker. He is currently a PhD student in Music Education at Kent State University.

In the Mixing Zone: The Proximal Development of DJing Skills
Presented by Brian Laakso

Abstract
DJs have become ubiquitous in modern music; they appear in nightclubs, on the radio, at weddings, and at school dances. Many DJs earn millions per year and influence music listeners around the globe; however, DJing is rarely taught in schools, so little is known about how people learn the skills associated with DJing. The purpose of this study was to uncover the hidden world of DJ mentorship and training, which often happens informally. Vygotsky's theories of "More Knowledgeable Other" and "Zone of Proximal Development" provided a framework for a qualitative analysis of the conversations. Based on themes in the interviews, it was concluded that the participants did not have a formal mentor; rather, they learned by listening to other DJs perform, discussing the art of DJing with other DJ colleagues, and experimenting on their own to figure out "what works". Participants also provided information on how they might structure formal DJ classes to become mentors themselves. 

Biography
Brian Laakso teaches Music Technology at McKinley High School in Canton, where he loves learning about youth culture. He holds two degrees from Kent State and is pursuing a third: 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 lives on a genius compound in Akron with his wife, four children, two kittens and one dopey dog.

Artist Teacher’s Identities in Music Education
Presented by Martin Ryan

Abstract
This presentation outlines the findings from a qualitative study conducted on professional popular musicians who also work in education, also known as artist teachers. The study focuses on artists teacher’s identities within music education. Over the last 10 years, there has been an increase in artist teachers within the world of popular music education. This increase has been seen as a result of traditional school music curriculum not fully catering for all the musical interests which students display today. The purpose of this study was to examine the roles & motivations of these educators and explore their teacher identities within music education

Biography
Martin Ryan is a music educator from Limerick, Ireland who specializes in teaching popular music through technology. Martin has released four studio albums and toured the world with his musical outfits Anna’s Anchor and The Winter Passing. While pursuing music professionally, Martin also worked as a lead tutor with Music Generation, Ireland’s national music education outreach program funded by U2. He is currently a doctoral student of Music Education at Kent State University.