Colloquium Series: Events & Speakers: 2022-2023

Elementary Student Impressions of Diverse Genres Within a Music Assembly
presented by Lisa Heinrich

Abstract
Human perceptions of a live performance can be affected by many variables, both musical and non-musical. Prior researchers have examined adult audience perceptions of classical music, musician dress, concert space, performer movement, lyrics, and social interactions among attendees. Yet, the voices of children are missing from the narrative. The purpose of this study was to examine children’s impressions of a live performance and to determine if students’ perceptions relate to previous music experiences, social stimuli, and/or nonmusical factors. The study involved participants (N = 172) ages 8-12, at a rural elementary school in the Midwest United States. Students attended an assembly of area musicians performing four genres: Classical, Country, Indian, and Rock, and completed a survey about their impressions of the performance. Participants (55%) identified the Rock Band as their favorite performers and selected main reasons as: it is the music they listen to at home (44%); the music was upbeat (23%); and the musician involved them in the performance (15%).

Biography
Lisa Heinrich is a doctoral student at Kent State University and currently 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 earned 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 is the 2019 Medina County Teacher of the Year and a recipient of a Fulbright teaching grant.

Elite Musicianship: How Death Metal Artists Create Their Craft
presented by Brian Laakso

Abstract
Death metal is an offshoot of heavy metal that features fast and complex rhythms, technically difficult riffs, distorted and low-tuned guitars, aggressive drumming, and gruff, growling vocals. While death metal has attracted a cult following in the musical underground since the 1990s, little has been documented about it in the academic world. In this research, the question is explored: how do death metal artists create their craft? I seek to answer this by conducting a case study analysis of one death metal band from Cleveland called Alien Autopsy. I observed a performance and rehearsal of the band, interviewed the group collectively, and spoke individually with the drummer. Vygotsky's theory of social constructivism provided a framework for a qualitative analysis of the conversations. Based on themes in the interviews and observations, it was found that the band collectively creates their music, models their music after other death metal bands, yet makes a unique contribution to the death metal scene. Additional findings from this study help legitimize and validate death metal from an academic standpoint, and shed light upon how one group of these virtuosos create their music.

Biography
Brian Laakso teaches Music Technology at McKinley High School in Canton (Ohio), where he loves learning about youth culture. He holds two degrees from Kent State and is pursuing a doctorate in Music Education. He is the author of the book Alfred's Music Tech 101. He has entertained hundreds of thousands of people as a dueling pianist. Brian lives on a genius compound in Akron with his wife, four children, two kittens, and one dopey dog.

Perspectives of Salient Supporters: Parents and Guardians of Music Students During the COVID-19 Pandemic 
presented by Chad Pittman

Abstract
The COVID-19 pandemic transformed the landscape of K-12 education as suddenly as it appeared. Teachers and students were thrown into new procedures for learning and, in some cases, environments. Virtual learning, masking, social-distance regulations and testing/vaccination requirements initiated new teaching and learning strategies, including home instruction using technology. Ensemble directors creatively prepared music with six feet—or more—of distance between players, on video communication platforms, and without regular rehearsals. Parents certainly experienced and were likely involved in the online distance learning curriculum. Using directed journaling, individual discussions, and focus group interviews, the purpose of this qualitative study is to understand the role and perspectives of parents in music curriculum during the COVID-19 pandemic. Three participants were selected from a rural high school in the Midwest.

Biography
Chad Pittman is Director of Choirs for Northwest High School, in Stark County (Ohio), where he administers an active choral program of seven choirs, serves as Music Director of the annual musical, and assists at Northwest Middle School. Chad further serves as Director of Music and Organist for St. Paul's Evangelical Lutheran Church in Massillon (Ohio). He is currently a doctoral student in music education at Kent State University.

Communities of Practice: Social Interactions and Musical Engagement of High School Music Students 
presented by Timothy Daniels

Abstract
Researchers have established the social importance of the development of communities of practice in a variety of settings including music education (see Beineke, E., 2013; Dixon, E. B., 2018; Virkulla, E., 2016). The purpose of this study is to understand the relationship between the development of communities of practice in music classrooms, and engagement with classroom and non-classroom musical activities from the perspective of students engaged in these communities. This study utilizes Wenger’s (1998) Communities of Practice as a theoretical framework. Students in band, chorus, and orchestra classes in a large, suburban, Northeast high school, were surveyed using an adapted version of the Community Assessment Tool (Verberg, Andriessen, 2006) regarding their feelings of community within their classes, and their engagement in various musical activities. It is hypothesized that increased feelings of community among students will correlate with an increase in reported engagement in students’ music classroom activities, and class related musical (i.e. practicing) activity outside of school. Implications for community development in music classes and their effect on engagement are discussed.

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’s of Music Education from Youngstown State University and a Master of Music from Duquesne University. Research interests include student motivation, assessment practices, and curriculum design. He is currently a doctoral student at Kent State University.

Developing Music Teacher Identity: A Multiple Case Study on Impacts of the Ohio Resident Educator Program 
presented by Will Kish

Abstract
The identities of early career music teachers have developed over the course of many years, including time spent in their undergraduate education, through student teaching, and during their first years as novice teachers. Many of these teachers experienced frustrations and challenges related to an identity development process that is often not effectively guided during their undergraduate education (Conway, 2010). The Ohio Resident Educator Program was developed in order to help early career teachers in the state of Ohio develop good teaching practices (Ohio Department of Education, 2022). The purpose of this study was to determine to what extent the Ohio Resident Educator Program helped build music teacher identity. The study used a multiple case study design, including participants (N = 3) who were interviewed, had directed journaling opportunities, and participated in a group interview. Data analysis and implications for this study hope to provide more insight on this critical topic for the profession.

Biography
Will Kish is a doctoral student at Kent State University and is a band director and general music teacher at Norwalk High School in Norwalk, Ohio. In 2008, he earned his master’s degree from Kent State University where he served as the graduate assistant in bands. His bachelor’s degree in music education is from The Ohio State University. His research interests include social justice in music education, new teacher induction, and several other areas.

Addressing Cultural Appropriation in Music Education: A Review of Literature
presented by Jami Bolton

Abstract
Conscientious music teachers look for ways to use culturally responsive teaching and culturally relevant pedagogy in their classes. This can be challenging when considering what music is to be used, especially when one seeks to appropriately and authentically approach world music, while avoiding the negative issues connected to appropriation. This literature review presentation investigates appropriation, its definitions, and issues. Scholarly sources on this topic were analyzed to determine research, understandings, and best practices related to cultural representation in music teaching and learning. Findings will be shared that help guide music teachers as they choose material for their classes and seek to avoid inappropriate appropriation.

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

TikTok On the Clock: A Sociological Look at Social Media Use Amongst Music Teachers and Students
presented by DJ Colella

Abstract
Social media has become unadulteratedly ubiquitous in American culture and for better or for worse, it is not going away any time soon. This presentation explores how music teachers and students use social media and implications in the classroom. Using the writings of Lucy Green and ideas of groups and practices, we will see how both students and teachers use the application TikTok. This presentation will use this lens to examine how the application is used literally by both of these groups as well as sub-groups, how these groups use TikTok to interact with each other, and what that means for the classroom. This finds that both students and teachers use the application as a source of catharsis, finding groups to which they feel they belong in a way they normally would not be able to both online and in person. Implications of this include understanding why this phenomenon is important to students and teachers, a look at the specific dangers that can be found in using this form of social media for both groups, and how to mitigate those dangers to make the online and real worlds a safer and more inclusive space for all to learn.

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. Margherite 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 a first-year doctoral student in music education at Kent State University.

Musicians for Life: A Philosophical View on Continuity and Music Literacy
presented by Maura Saint

Abstract
It is imperative that music educators prepare students for performance or contribution to the arts after high school graduation. Without a continuing sense of love for music and responsibility to be an active arts appreciator, community and regional arts groups will become under-supported and could quite possibly dissolve. The purpose of this presentation is to inform or remind music educators that they have the responsibility of teaching students how to continue participating in the arts, be it a performer, audience member, supporter, or administrator. This session will address opportunities and options for students to pursue the arts after high school. Additionally, the importance of sight-singing will be explained, and its relevance to secondary and post-secondary participation in the arts will be defined.

Biography
Maura Saint is the Choral Director and Director of the Music Academy at Blackhawk High School in Beaver Falls, Pennsylvania. Maura graduated from Duquesne University with a degree in Music Education (2003) and The University of Pittsburgh with a Master’s in Education and Administration (2008). Maura is currently a doctoral student in Music Education at Kent State University. Her research interests include music literacy, music theory and history, as well as choral pedagogy, and musicianship.

EthnoMusicEducology: A Philosophical and Sociological Perspective for Music Education
presented by Jami Bolton

Abstract
Music teachers and their students face a barrage of challenges in their lives outside the music room. Despite this, they continue to choose music making and learning. Using ideas from the fields of literature and economics, this presentation will frame and explore philosophical aspects of music teaching and learning and why teachers and students continue to choose music. Further explored will be ideas for approaching music education from an ethnomusicological and sociological perspective. Implications and viewpoints include how music teachers can think about the students in their classrooms while creating more culturally relevant experiences.

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

Making Culturally Responsive Choices: Informed Considerations in Selecting Band Repertoire
presented by Jacob Gibson

Abstract
Band directors have always had significant control over the repertoire content of their ensembles. Because of this, students with a different cultural background than the teacher may be forced to participate in music-making that does not correlate with their cultural identity. To alleviate this issue, effective culturally relevant pedagogy (CRP) is an effective strategy. The purpose of this study was to explore the cultural considerations that high school band directors employ when selecting repertoire. The theoretical framework that guided this study was Pagán’s (2022) multilevel framework of racism as a barrier to teacher’s implementation of CRP. Quantitative data were collected using an online survey instrument through a pilot study and main data collection phase. Descriptive statistical analysis of the data was conducted through SPSS.

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 at Fredonia. Current research interests include social justice, conducting techniques, and sociological music education. He specializes in Concert Band/Wind Ensemble and Jazz band instruction. Currently, he is a PhD student and adjunct professor at Kent State University in music education teaching Instrument Class for the Vocal/General Music Educator. Jacob lives happily with his wife Katy, an elementary music educator, and their 1.5 year-old daughter, Joelle.

Winter Guard International Percussion Analysis
Presented by Tanner Bittinger

Abstract
This presentation outlines data gathered from competing independent drumlines in Winter Guard International (WGI) Percussion. Data includes competitive results from the past three seasons, geographical data on current registrations, and a full analysis of competing ensembles in each classification: A, Open, and World. The goal of this presentation is to bring attention to the activity and to draw attention to the lack of information that has been kept over decades of WGI Percussion finals.

Bio
Tanner Bittinger is currently a Music Performance Major graduating from Kent State in Spring 2023. He is the front ensemble coordinator for Revere High School from Richfield, Ohio. Tanner has performed consistently since 2018 with Matrix Performing Arts, Phantom Regiment Drum and Bugle Corps, and Kent State’s Percussion and Wind Ensembles. Through these programs, he has developed relationships that have taught him to work with ensembles and arrangements. Tanner works towards his goals of giving back to the musical community and inspiring young musicians to explore their creativity through Pageantry Arts.

Music in Video Games – The Effect on Mood
Presented by Drew Russell

Abstract
Video game music might appear to be background noise, but even a passive listener can be triggered subconsciously and have a physiological response. The sound in a game can manipulate or control a player’s emotions and potentially guide how they respond to a perilous or nonthreatening situation in the game. It is often said that music is what emotion sounds like and this is particularly true in video games. Maybe in the future video games could be used in psychological interventions through role-playing, thereby tackling issues that are difficult to treat. This would be an exciting possibility.

Bio
Drew Russell is a senior and will graduate in May with a B.M. in Performance – Voice. He studies under Dr. Lara Troyer and is a member of both Chorale and Kent State Opera Theatre. Drew plans to attend Kent State University pursuing a Master of Music in Performance – Voice and will be a graduate assistant at the Glauser School of Music. In his free time, he enjoys working out, playing video games, and currently works as a lifeguard/lifeguard instructor.

Senior Lecture Recital (Condensed Version)
Presented by Stephen Stavnicky

Abstract
The purpose of this presentation is to take the listener through the history, composers’ intentions, and relevance in choice of programming. Throughout this presentation, listeners will also be taken through methods of practice for effective performance, implementation of style, and how each of these works show a unique display of character and story. As this program has a great deal of variety in origin and era, one can see the gradual development of harmonic and rhythmic ideas through time periods, and one will begin to see and hear commonalities.

Bio
Stephen is a senior Trumpet Performance major, studying under Amanda Bekeny. He works as a freelance trumpet player and classical bass/baritone singer all around northeast Ohio and has an abundance of experience performing and teaching. He has also performed in many masterclasses and has been a winner in various competitions. Stephen will be graduating this May and will be attending Indiana University-Jacobs School of Music in the fall of 2023 to pursue a Master of Music degree in both Trumpet Performance and Voice/Opera Performance.

Coming Full Circle: Music in the Age of Revolutions
Presented by Mike Berchert

Abastract
The word “revolution” can be defined in many ways. Normally, in terms of politics, it is a potentially violent change in government as facilitated by the masses. A Revolution of this type can be either political (see the July Revolution of 1830 or the American Revolution) or social (see the Paris Commune of 1871 or the Russian Revolution) in nature. Another definition of “revolution” is to come full circle or make a full rotation. As contradictory as this sounds, many political and social revolutions have done this, with the most notable examples being the French Revolution of 1789 replacing an absolute monarch with an autocratic emperor, and the Russian Revolution replacing an autocratic Tsar Nicholas II with a totalitarian Joseph Stalin. The various revolutions became defining events in the histories and cultures of the nations that underwent said revolutions. Because of how significant these events were, music ranging from folksongs to operas were often written about these events. On top of the actual events themselves providing the basis for many pieces of music, the ideals of revolutions would go on to have a profound impact on the music world.

Bio
Mike Berchert is a junior Music Performance major at Kent State University. He plays the Oboe and English Horn and is a Tenor vocalist as well. Mike performs with the Kent State Wind Ensemble, the Kent State Chorale, and with the Kent State Oboe Quartet. He’s also done some professional work with the Chagrin Falls Studio Orchestra. Mike loves talking about history, as some of the things that have happened in our past can be pretty wild. Music is where his real passions lay, as he’s been in love with music for as long as he can remember.

Vocal Jazz Groups: A History and Musicology
Presented by Joshua Beacom

Abstract
This paper and partial treatise concerns the history of vocal group music and the foundation of scholarly work laid thereon. Containing a brief overview of major vocal groups and stylistic developments within the genre, it provides an examination of the relationship between vocal jazz group music and advancements in recording technology.

Bio
Joshua Beacom is an Award-Nominated Composer and Pianist in the Northeast Ohio area. His work has been featured in various films and performed throughout the state. When he is not composing, he is playing piano for various ensembles or solo recitals. He is currently studying for a bachelor’s degree in Music Composition at Kent State University with Dr. Adam Roberts.

The Long-Term Effects of Vocal Abuse and Phonotrauma in Adolescent Females
Presented by Olivia Eldridge

Abstract
The young female voice has been grouped with male voices for far too long, and because of this, females develop phonotrauma and other related issues at a much more rapid pace than males. This paper will dive into the classification of young female singers, as well as educational tactics that must be utilized to develop the female voice in an appropriate and healthy way in order to avoid lifelong issues.

Bio
Olivia Eldridge is a junior Choral Music Education major here at Kent State, and has been involved with Cantique, Chorale, and Nova Jazz. She is the music director of Kent State’s A Cappella group Vocal Intensity and invites everyone to join them at their concert April 29 at 7pm in the Kiva. Outside of her studies at Kent, she has played the piano for fifteen years, and the viola for eleven years. In her free time, she enjoys reading, biking, and spending time with friends.

Repertoire and Non-formal Learning in the Secondary Choral Music Classroom
Presented by Shawna K. Hinkle

Abstract
Researchers have found that popular music liked by young musicians is appealing to them and can be used to serve as a foundation for learning. As learning occurs within contexts of intentional and incidental learning for the student provided primarily by the instructor in the music classroom, it is crucial for music educators to provide experiences across the continuum promoting explicit and implicit learning outcomes. Non-formal teaching and learning experiences offered by music educators in the secondary vocal music classroom can provide versatility in pedagogical approaches. The purpose of this study was to seek a better understanding of the repertoire utilized by secondary vocal music educators in non-formal learning environments in the secondary choral music classroom.

Bio
Shawna K. Hinkle is a doctoral student in music education at Kent State University and 6-12 vocal music teacher for Dover City Schools. She is also the Artistic Director for the Mount Union Alliance Chorale. She previously taught middle and high school vocal music for Brunswick City Schools and Copley Fairlawn City Schools, general and elementary music, and private keyboard. She holds degrees from Muskingum University (BME) and Kent State University (MME). Her research interests include student learning related to self-efficacy and middle and secondary choral rehearsal pedagogical practices.

Training of Popular Music Educators in Non-Profit Education Settings
Presented by Martin Ryan

Abstract
This presentation outlines findings from a qualitative study conducted on training in non-profit popular music education organizations. In recent years, there has been an increase in non-profit popular music education organizations working outside of school and in an extracurricular context. Little is understood about the training and preparation that educators in these environments receive. The purpose of this study is to examine the training that such educators receive prior to working in the non-profit sector, and what experiences are desired in such an educator.

Bio
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. 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.

Teaching Popular Music Through the Lens of SEL: A Literature Review
Presented by D. J. Colella

Abstract
After the global pandemic that started in 2020, there have been countless paradigm shifts in the world of education. One of the biggest shifts is the focus on social and emotional learning (SEL). According to CASEL, SEL is “the process through which all young people and adults acquire and apply the knowledge, skills, and attitudes to develop healthy identities, manage emotions and achieve personal and collective goals, feel and show empathy for others, establish and maintain supportive relationships, and make responsible and caring decisions” (CASEL, 2023). As teachers focus on SEL in their classrooms, they must see how their content naturally and purposefully supports the SEL competencies. Popular music education (PME) is a subject that, on the surface, seems to fit into the SEL framework. The purpose of this literature review is to examine writings from the 2020 through 2023 through the lens of SEL. This review can shape further research on how we teach both PME and SEL in music classrooms by comparing the basic tenets of each and how they are being talked about by experts in both fields.

Bio
D.J. Colella is the current director of bands at Girard City Schools 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 (‘15) and well as his Master’s degree in Conducting Performance (‘19). 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. Margherite Blue Coat Band and the Lowellville Mt. Carmel Band, and he also sings and plays trombone in the local rock group Guys Without Ties.

Postmodern Band: Learning Practices of a High School Electronic Music Group
Presented by Brian Laakso

Abstract
“Modern band” has been trending among music teachers who are seeking to increase the relevance of their curriculums by incorporating popular music. The term, coined by David Wish, encompasses small ensembles that include drums, bass, guitar, and keyboards, playing in a variety of popular music styles, such as rock, pop, and reggae. However, there are other types of ensembles that do not really fit the modern band definition. One such ensemble is the electronic music group. Much has been written about modern bands and the modern band method, but little has been written about electronic music groups, because many don’t exist. The purpose of this research is to do a case study analysis of a high school electronic music group. This study explores the nuances of how this kind of ensemble differs from the “modern band” popular music ensemble. Using a framework by Johnathan Kramer outlining characteristics of postmodern music, I seek to determine what characteristics the electronic music group shares with postmodern music. Findings indicate that this electronic music group creates music collaboratively, from across a variety of genres, and its characteristics are such that it may be classified as postmodern. This has ramifications and implications to call for a new movement of music ensembles: the “postmodern band”.

Bio
Brian Laakso founded the Music Technology program at McKinley High School in Canton, where he is in his 18th 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 20 years, four brilliant children, two clumsy kittens and two dopey dogs.

Instrumental Music Educators’ Views Regarding World Music
Presented by Jami Bolton

Abstract
In 1991, Terese Volk published a study that assessed the attitudes of instrumental music teachers toward multiculturalism and multiculturalism in music education. Volk’s original study addressed four research questions: “1. What are the attitudes of instrumental teachers toward multiculturalism in general?, 2. What are the attitudes of instrumental teachers toward multicultural musics in music education? 3. What are the attitudes of instrumental music teachers toward multicultural musics in the instrumental program?, and 4. Do instrumental music teachers see a need to alter or adapt the instrumental program to better utilize multicultural musics?” (Volk, 1991, p. 50). This study seeks to assess the same research questions about the views of instrumental music teachers in 2023 by replicating Volk’s study, and to compare the attitudes of teachers from both studies to see if anything has changed in the thirty years since the original study. With a culturally responsive framework as well as a literature review on current terminology for multiculturalism in music, the language of Volk’s original study was refreshed and updated. The survey was administered to instrumental music teachers in the Great Lakes region of the United States. Initial responses indicate teachers hold similar, and possibly even more positive views toward world music. Implications indicate further study is needed regarding pre-service and in-service music teacher training in world music and world music pedagogy. Then need for materials and resources for incorporating world music in instrumental music programs is also discussed.

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

Starting Band Late: An Exploration of the Experiences of Students Who Start a Band Instrument After 5th Grade
Presented by D.J. Colella

Abstract
In many band programs, there are students who start playing their instruments later than when most other students do. For example, even if the band program starts students on instruments in the 5th grade, some students may start a year later, or two years later, or even four. The purpose of this research is to examine the experience of those students who start their instrumental education later than the initial start of instrumental education in the program they are studying. The questions that are meant to be answered by this research are 1) How do these students feel about their role in the band program and 2) How do these students feel about their skill levels compared to their peers. This research is a multiple case study where four students are interviewed and asked about their experience in band. The findings of this research may suggest that these students view themselves as different from their peers in that they feel to constantly be catching up to their peers who have been in band for longer. Even though the four students who were interviewed have had different experiences, finding the common themes in their answers can tell us about what it is like to join band later than usual. As a result, these findings can give band directors insight into how to properly differentiate for these students, and may even help band directors consider if it is appropriate for students to join band after the initial start in the program altogether.

Bio
D.J. Colella is the current director of bands at Girard City Schools 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 (‘15) as well as his Master’s Degree in Conducting Performance (‘19). 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. Margherite Blue Coat Band and the Lowellville Mt. Carmel Band, and he also sings and plays trombone in the local rock group Guys Without Ties.

Unequal Temperaments: The Impact of High School Choir Students’ Personality Types on the Choral Classroom
Presented by Maura Saint

Abstract
The purpose of this study is to explore the perspectives of three veteran high school choir directors on the personality types in their choir and how those affect the classroom environment, management, recruitment, and retention strategies. The secondary purpose is to study the personalities of those directors and explore the strengths and weaknesses of each personality as each participant attempts to meet the needs of their students. The choir directors were interviewed in a group meeting, and their answers were coded. Themes were established from the codes. Findings suggest that student and director personality play a part in the way that the directors manage their classrooms, recruit, retain, and make connections with their students. Further research suggestions are to conduct a current MBTI (Myers-Briggs Temperament Indicator) Test on high school choir students using Form M to assess similarities or differences in personality type compared to previous studies that took place before COVID.

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

Exploring Interactions Between Music Stores and School Programs: A Review of Literature
Presented by Jacob Gibson

Abstract
While an underutilized subfield of literature, music retailer organizations have typically produced literature regarding financial implications and product lines for consumers. At local music retailers, a variety of relationships are formed between the constituents of a K-12 music program (teachers, students, administrators, educational financial supervisors) and the constituents of the music retailer (owner, sales staff, lesson teachers). The purpose of this literature review is to explore the interactions between these relationships between K-12 music constituents and music retailer constituents. This literature review is guided by two central research questions: 1) What different types of relationships are formed between constituents of the K-12 music program and constituents of the music retailer? 2) What are common interactions amongst these relationships? A variety of categories of scholarly literature will be analyzed in this review. This review will conclude with general findings/conclusions from the literature to appropriately address the primary research questions.

Bio
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 (2016). 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 (2018). 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. Currently, Jacob is a PhD student and graduate assistant at Kent State University in music education teaching Instrument Class for the Vocal/General Music Educator and Instrumental Pedagogy for the Choral/General Music Educator. Jacob recently celebrated his first official publication in Contributions to Music Education. Jacob lives happily with his wife Katy, an elementary music educator, and their 2-year-old daughter, Joelle, a budding musician.

Addressing Authenticity in Music Education: A Review of Literature
Presented by Jami Bolton

Abstract
Conscientious music teachers look for ways to use world music and world music pedagogy in their classes. This can be challenging when considering what music is to be used, especially when one seeks to appropriately and authentically approach world music while avoiding the negative issues associated with authenticity. This literature review presentation investigates authenticity, its definitions, and issues. Scholarly sources on this topic were analyzed to determine understandings, research, and best practices related to authenticity in music teaching and learning. Findings will be shared that help guide music teachers as they choose material for their classes and seek to acknowledge and address matters of authenticity.

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

Challenging Tradition: Considering Democracy in the Instrumental Classroom
Presented by Timothy Daniels

Abstract
The purpose of this review was to synthesize literature related to democratic practice in the instrumental classroom, with particular attention paid to the traditional band ensemble. Band education has traditionally been teacher focused and non-democratic, largely due to its roots in the European military tradition (Allsup, Benedict, 2008). This stands in stark contrast to democratic music education in which students have the right to decide how, when, and what they learn, and with whom they learn, and have an equal share in the decision-making process (IDEC, 2005). Sources on this topic were analyzed to assess the current state of democratic education in instrumental education, and the influences on these practices. Intersectionality, or the examination of the interconnected nature of social categorizations, can be used to view this issue, as much of the contemporary research views democratic teaching through a critical lens. Implications for music educators are discussed.

Bio
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 the BME from Youngstown State University and the MM from Duquesne University. Research interests include student motivation, assessment practices, high school band, and curriculum design. He is currently a doctoral student at Kent State University.