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The Experience of Diaspora: A Look at the African Diaspora in Brazil
Mary Tuck
The Many Disguises of Susanna: A Comparison of the 1786 Premiere and the 1789 Revival of Mozart’s Le nozze di Figaro
Rosemary Heredos
Bauhaus and Meredith Monk’s Elevated Post-Modernism
Marcia Custer
A Century of Evolution: General Music in Historical Context
Rachael Fleischaker
Development, War, Influence: A Historical Review of the Ohio Music Education Association in its Early Days
Darren LeBeau
From Shape Notes to Round Notes: The Legacy of Singing Schools in Ohio
Jonathan Saeger
Sound Before Symbol: The Effect of Aural Activities When Teaching Rhythmic Notation
Beatrice Olesko
Student Assessment in the Ohio Teacher Evaluation System (OTES): Is it Improving Instructional Practices in the Music Classroom?
Rachael Fleischaker
Factors That Affect Director Succession in a Music Education Program
Dawn Bagwell
Beyond the University Walls: Undergraduate Perceptions About Initial Practicum Experiences in Choral Music Education
Jonathan Saeger
The Impact of Choral Participation on Undergraduate Men’s Chorus Members
Douglas Beery
Sitting on the Couch Jammin’ on Guitar: A Case Study of Learning the Guitar Informally
John Owens
Panel Discussion on Autism and the Arts
Presenters: Michael B. Bakan, Lisa R. Audet, Juliann Dorff and Vonnie Michali
Moderator: Andrew Shahriari
click here for abstract and bios
Clan of the Wilderness: The Perpetuation of Finnish Folk Culture through the Music of Korpiklaani
Pete Marjenin
Reviving Scottish Fiddling in the United States
Deanna Nebel
A Stubborn Relationship and its Sponsors
Li Mo
Brain Research Findings Related to Music Learning Theory
Dawn Bagwell
Retention of Male Students in Vocal Music Programs
Doug Beery
A Literature Review of Motivational Theory Applied Within the Large Ensemble Setting
Darren LeBeau
The Panopticon of Music Education: Hierarchy, Surveillance, and Control
John Owens
Why I Hate Advocacy: A Philosophical Look at Advocacy in Music Education
Bryan Helsel
Motivation in Secondary Music Education: Variations in Middle School and High School Student Perceptions
Jonathan Saeger
T.E.A.C.H. to Please: A Look at Dance and Higher Education from an Undergraduate Student Perspective (Panel discussion to be presented at the 2013 National Dance Education Organization Conference)
Presenters: Ashley Lain, Shayna Fischer, Brittany Tosatto and Marcia Custer
The Experience of Diaspora: A Look at the African Diaspora in Brazil
Mary Tuck
Abstract
The experience of music is both individual and collective. In a Diaspora, it has transformative power as well when new cultural products take on an identity that is uniquely its own. Through a discussion of the meaning and symbolism of the new cultural product of the African Diaspora in Brazil, a diasporic identity will be realized illustrated by the evolving use of the traditional instruments, musical forms (secular/religious), dance and language of the African homeland. Brazil is an ideal diasporic study as not only is there direct African influence resulting from a significant population of Bantu that were brought to Brazil due to the slave trade in the 1800s, but also African influences filtered through the Caribbean to Brazil and join to create a unique Brazilian identity with the musical forms of the Choro, Samba, and Bossa Nova.
Bio
Mary L. Tuck is currently pursuing a MA in Ethnomusicology (Kent State). She holds a MBA in Systems Management from Baldwin-Wallace College (Berea OH), a BM in Classical Guitar Performance from Kent State University (Kent OH), and a Certificate in Arts Management from Cuyahoga Community College (Cleveland OH). Mary combines her academics with experiences in the field, specifically with heritage, classical and new music. Through 20 years of these experiences, Mary has developed a rare insight into music making.
The Many Disguises of Susanna: A Comparison of the 1786 Premiere and the 1789 Revival of Mozart’s Le nozze di Figaro
Rosemary Heredos
Abstract
Wolfgang Amadeus Mozart’s 1786 opera buffa, Le nozze di Figaro, was the first of the composer’s three collaborations with librettist Lorenzo da Ponte (1749-1838). It features a strong, memorable female character named Susanna, who is the countess’ maid. Many prominent sopranos of Mozart’s time performed the role, which led Mozart to rewrite many of the musical materials to honor and capitalize on each soprano’s abilities and personal wishes. Indeed, Mozart rewrote both of Susanna’s arias for the Vienna revival production in 1789. Through study of “Al desio di chi t'adora,” which replaced “Deh, vieni, non tardar,” we can gain a better understanding of Mozart’s musical, political, and dramatic development of this iconic character. I propose that the development of Susanna’s character through these arias, as well as the opera as a whole, exemplifies the growing awareness of gender and class relations that finally came to fruition with the beginning of the French Revolution in 1789 (the same year as the Vienna revival of Figaro).
Bio
Rosemary Heredos is a third-year Honors student at Kent State University, where she is studying English Literature and Vocal Performance. A musician from a very young age, she has studied voice for almost 10 years, and is currently in the studio of tenor Timothy Culver at the Hugh A. Glauser School of Music at Kent State. Her studies have given her experience in a wide range of genres, from traditional Irish music, to classic Broadway, to opera, performing at various fairs, recitals, and stage productions across the state. In addition to performing, she is interested in musicology and the relationship between musical, literary, and social landmarks throughout history.
Bauhaus and Meredith Monk’s Elevated Post-modernism
Marcia Custer
Abstract
The Bauhaus art movement is one often typified as austere, functional and without decoration. What does this mean when looking at performance within the Bauhaus school? How did it pave the way for postmodern performance works? By examining Oskar Schlemmer's 1922 Das Ballet Triadische, and comparing it to Meredith Monk's 1966 postmodern work 16mm Earrings, the points of intersection between the two dance pieces will reveal a shared interest in mysticism and elevated concerns for the spiritual.
Bio
Marcia Custer is currently pursuing a Bachelors of Arts in Dance. Since 2012, her choreographic works have been performed at The Ohio Dance Festival (Ashland, OH), The Transforum Fringe Festival, Standing Rock Cultural Arts, and The E.Z. Blackbox Laboratory Show Series (Kent, OH). In 2013, she received the Alpha Psi Omega award for Outstanding Choreographer as well as the School of Theatre and Dance Scholarship Award for excellence in creative work and scholarship. She presented with a panel of colleagues at the National Dance Education Organization Conference in Miami, Florida in the Fall of 2013.
A Century of Evolution: General Music in Historical Context
Rachael Fleischaker
Abstract
The purpose of this study was to explore what general music meant in the context of the twentieth century. The historical foundations were examined by identifying people and events that influenced the development of the curriculum and defined common practices. Questions addressed by this study include: (1) what were the major definitions and characteristics of general music, and (2) what were common practices and curriculum? Information was gathered through examination of Basal textbook series and the writings of music practitioners and philosophers from the early 1900s through the mid-1970s. Areas discussed will be major historical events that had an impact on school music programs, theories of child development that affected approaches and methods in teaching, and philosophical differences that helped to shape and define curricular goals.
Bio
Rachael Fleischaker is a doctoral student in Music Education at Kent State University. She is an Adjunct Professor of Music Education at The College of Wooster and an elementary music teacher in the Canton City Schools. Past experiences include teaching elementary general music and beginning band classes in the public schools for 19 years. Rachael has been a clinician at the Ohio Music Education Association State Conference. She holds a Bachelor of Music Education from The College of Wooster and a Master of Education in Curriculum and Instruction with an Emphasis on Urban Education from Kent State University. Rachael has earned her Level 1 Orff Schulwerk certification through AOSA. She is a member of the National Association for Music Education, the Ohio Music Education Association, the American Orff-Schulwerk Association, and the Dalcroze Society of America.
Development, War, Influence: A Historical Review of the Ohio Music Education Association in its Early Days
Darren LeBeau
Abstract
This historical paper investigated the development of the Ohio Music Education Association from its inception through the conclusion of World War II. Growing from an organization solely concerned with the aspect of band competition in the early part of the 20th century, OMEA developed into an organization concerned with all aspects of music education. The first twenty-five years of the organization saw expansion of its goals and leadership, while being influenced by the great depression, teacher shortages and a world war. A search through standard research databases from journal articles to dissertations was conducted. The search of the Ohio Music Education Association archives in Bowling Green State University Center for Archival Collections and the OMEA website archives, led to a number of themes related to this paper in addition to themes beyond the scope of this paper. The focus of this historical paper was the development of the organization and the occasional influence from society such as the depression and war and OMEA’s response. A brief historical analysis through the development of the organization and its influences will assist and guide the future aims. The first twenty-five years influenced the organization for the future, which had wars, economic high and lows, educational changes, new technologies and global communications. Organizations need continually to evaluate their focus over the years to meet the needs of their current membership by observing the changes in their own culture and the society as a whole.
Bio
Mr. Darren LeBeau has been in the field of education since 1989 and with Revere Local Schools since 1998. Mr. LeBeau earned both his Master’s degree and Bachelor’s degree in Music Education from The University of Akron. At Revere, Mr. LeBeau’s primary responsibilities include Wind Ensemble, Symphonic Band, Jazz Band, the Marching Minutemen and assists with the Revere Middle School band program. He is actively involved in the Ohio Music Education Association and has participated in the OMEA Leadership Academy. He is an active OMEA Adjudicator for Marching Band, Solo and Ensemble and Large Group Adjudicated events. He has also served OMEA as a host for High School Large Group and Marching Band adjudicated events. His professional memberships include the Revere Education Association, Ohio Education Association, National Education Association, Ohio Music Education Association, National Association for Music Education, and American School Band Directors Association.
From Shape Notes to Round Notes: The Legacy of Singing Schools in Ohio
Jonathan Saeger
Abstract
This historical study seeks to discover the legacy of singing schools in the state of Ohio and what contributions the singing schools made to music education.
Bio
Jonathan Saeger is currently working on a PhD in music education at Kent State University. Prior to his PhD work, Jonathan attended Millikin University, where he earned a bachelor’s degree in music education and Illinois State University where he received a master’s degree in choral conducting. Jonathan has 12 years of experience teaching at both the middle school and high school level. Jonathan is an active performer, currently singing with the Kent State University Chorale. Prior to relocating to Ohio, Jonathan sang with Polyphony: Voices of the Southwest, and Quintessence: Choral Artists of the Southwest.
Sound Before Symbol: The Effect of Aural Activities When Teaching Rhythmic Notation
Beatrice Olesko
Abstract
Throughout the history of music education, the best approach to teaching musical literacy has prominently involved the “rote versus note” debate and the “sound before symbol” approach. In recent years, brain research and the emerging field of neurodidactics have provided another layer of insight to the discussion of developmentally appropriate music teaching. These research developments led me to change the approach I was using to teach musical literacy in my own K-4 general music classroom from the note approach to the sound before symbol approach, and prompted a research study to examine the effectiveness of this pedagogical shift. A quasi-experimental study involving two intact classes of third grade students was employed in order to provide more insight into the guiding research question: Does participating in aural activities preceding the introduction of rhythmic notation increase musical literacy? One of the classes was introduced to half notes and half rests using a rote approach, and the other was introduced to the material using a note approach. A post assessment involving rhythm reading and dictation was given to provide quantifiable data relating to each class’ level of musical literacy concerning the new material, and it is hoped results will offer suggestions for improving practice. Recommendations for future research will also be discussed.
Bio
Beatrice Olesko is currently pursuing a Ph.D. in Music Education at Kent State University, and will begin a Graduate Assistantship in the Music Education department in the fall of 2014. She received her B.M.E., with a voice concentration, from Mount Union College (now the University of Mount Union), where she graduated first in her class, and her M.M. in Music Education from Kent State University. Having taught general music at United Elementary in Hanoverton, Ohio for the past seven years, Beatrice’s research interests involve elementary music pedagogy, and the implications the emerging field of neuromusicology has on the pedagogical practices of teaching music to young children.
Student Assessment in the Ohio Teacher Evaluation System (OTES): Is it Improving Instructional Practices in the Music Classroom?
Rachael Fleischaker
Abstract
In 2011, the Ohio Department of Education adopted a new model for teacher evaluation. This model was piloted for two years and is now in effect for many school districts. This study sought to understand the effects of the new model on music educators by investigating the impact of student growth measures required by the Ohio Teacher Evaluation System (OTES) on instructional practices. The participants were music educators employed in public school settings from seven counties in northeast Ohio. The participants specialized in a variety of content areas (instrumental, vocal, and general), had students ranging in age from preschool through high school, and taught in diverse geographic, ethnic, and economic situations. information was collected via an online survey. Responses were used to determine if the OTES model has impacted instructional practices and professional development. It also examined the perceived benefits and drawbacks of the evaluation model by music educators.
Bio
Rachael Fleischaker is a doctoral student in Music Education at Kent State University. She is an Adjunct Professor of Music Education at The College of Wooster and an elementary music teacher in the Canton City Schools. Past experiences include teaching elementary general music and beginning band classes in the public schools for 19 years. Rachael has been a clinician at the Ohio Music Education Association State Conference. She holds a Bachelor of Music Education from The College of Wooster and a Master of Education in Curriculum and Instruction with an Emphasis on Urban Education from Kent State University. Rachael has earned her Level 1 Orff Schulwerk certification through AOSA. She is a member of the National Association for Music Education, the Ohio Music Education Association, the American Orff-Schulwerk Association, and the Dalcroze Society of America.
Factors That Affect Director Succession in a Music Education Program
Dawn Bagwell
Abstract
Whether a music educator is just coming out of student teaching and is hired for their first job, or a seasoned teacher decides that they need or want a change of scenery, the educator has to follow in the footsteps of another teacher. This can have a profound affect on the new director, the music program, and the students. Boe, Cook, and Sunderland (2008) studied attrition rates and found that the three-year attrition rate was 25.5% and after five years it rose to 38.5%. The Center for Public Education (2005) reported that it takes an educator at least five years of classroom teaching before they become effective. Consequently, if teachers are taking a music education job for three to four years and then quitting before they are considered effective, and being replaced by another new teacher, where does this leave the music education students and the music program? This begins to raise questions about the impact that a director succession can have on the incoming director, the students, and ultimately the music program. Therefore, the purpose of this research study is to examine director succession and the impact of the succession on the incoming director, students, and program in an effort to answer the following questions: (1) What issues does a new director face when taking over an established music program; (2) Are there learning gaps in student knowledge that are associated with director change; (3) How does a new director deal with the issues that are associated with director change?
Bio
Dawn Bagwell is a doctoral student at Kent State University, Ohio. She received her Master’s degree in Music Education and is currently working as the Field Observation Advisor for the Music Education Department at Kent State. Prior to serving as Field Observation Advisor, she was a graduate assistant at Kent State University where she was given the opportunity to teach and assist in Choral Methods and Teaching Skills courses as well as Instrumental Methods and Teaching Skills courses. Teaching positions have included elementary, middle and high school general music, choral and instrumental settings. Dawn’s research interests include brain research, Music Learning Theory, field placements, musicology, and middle school band.
Beyond the University Walls: Undergraduate Perceptions About Initial Practicum Experiences in Choral Music Education
Jonathan Saeger
Abstract
The purpose of this study is to explore preservice teachers perceptions during their required practicum experience in a choral methods course. Using a multiple case study design, perceptions of the undergraduate participants will be examined. Areas under investigation include attention to their precollegiate background, perceptions and concerns during their field experience, and post-practicum goals and objectives.
Bio
Jonathan Saeger is currently working on a PhD in music education at Kent State University. Prior to his PhD work, Jonathan attended Millikin University, where he earned a bachelor’s degree in music education and Illinois State University where he received a master’s degree in choral conducting. Jonathan has 12 years of experience teaching at both the middle school and high school level. Jonathan is an active performer, currently singing with the Kent State University Chorale. Prior to relocating to Ohio, Jonathan sang with Polyphony: Voices of the Southwest, and Quintessence: Choral Artists of the Southwest.
The Impact of Choral Participation on Undergraduate Men’s Chorus Members
Douglas K. Beery
Abstract
Choral Music Educators have long encountered the challenge of increasing and retaining males in vocal music programs. A systematic literature review examines the sociological constructs that effect male participation in choral ensembles. The research shows potential implications for the participation, persistence, and deterrents of males in choral music education. The primary research questions and focus of the paper are “What is it about the male choral ensemble that fosters a yearning for participation?”, “Do males experience a greater sense of ownership in an all-male ensemble?”, and “Have surveyed males experienced perceived gender and sexuality issues associated with choral singing?” Often male choruses are not a required musical ensemble by school or institution, yet many choose the opportunity to sing in a choir of men. Addressed first is the researched problem that lies with male involvement in choral singing. Second, the perception of self that is specific to male singers. Third, is a look at perceived gender and sexuality issues that interfere with male involvement in a choir, along with other factors that address males in the realm of choral singing. Finally, the epicenter of the paper reports findings through student surveys to determine the reasons for which males choose to participate in the male chorus. The surveys will take place with young men in a Midwestern university men’s Chorus.
Bio
Douglas Beery is currently a doctoral student at Kent State University, where he is pursuing a PhD in Music Education. In addition to his studies, Mr. Beery is conductor of the Kent State University Men’s Chorus, and serves as assistant conductor of the Chorale. Doug is also on faculty at Youngstown State University as an adjunct professor of music education. Douglas Beery has thirteen years of secondary public school teaching experience, and was choral director at Massillon Washington High School for ten years. Mr. Beery received a Bachelor of Music Education from Capital University and a Master of Music in Choral Conducting from The Ohio State University.
Sitting on the Couch Jammin’ on Guitar: A Case Study of Learning the Guitar Informally
John T. Owens
Abstract
Many guitarists learn to play their instrument with great proficiency informally, which is without formal school music instruction. The purpose of this qualitative study is to examine the lived experience of three guitarists who learned to play music informally. Specifically, this case study examines the following research questions. First, how does a guitarist, who learned informally, describe his or her music learning experience? Second, what musical preparation is needed to learn guitar informally? Interviews, observations, and protocol writing were utilized to gather data derived about the aforementioned factors. Results suggest that participants learn predominantly by ear, are intrinsically motivated, use tools such as YouTube and tablature, and study music they enjoy. In addition, technical concerns were of little importance among participants, especially at the nascent learning stage. Likewise, collaboration was essential for maintaining interest and furthering technical skills. Recommendations for future research and implications for music education are discussed.
Bio
John Owens has extensive experience teaching music to students in California, Arizona, Ohio, and the Navajo Nation. In his professional work, Mr. Owens taught concert band, marching band, jazz band, percussion, orchestra, guitar, choir, and music theory at Page High School in Arizona and Saint Augustine High School in San Diego. He was a faculty member at Coconino Community College where he taught Music Appreciation, Jazz History, and American Popular Music. As a musician in the US Army Band, John has performed in France, Germany, Denmark, Belgium, Bosnia, and Kosovo. He was also a percussionist for the Disneyland Resort and Knott’s Berry Farm. Mr. Owens earned his Bachelor of Arts in Music Education from California State University San Bernardino and his Masters of Music in Music Education from Kent State University. Currently, Mr. Owens is a Graduate Assistant pursuing his Ph.D. in Music Education at Kent State University and works as a curriculum consultant for the national non-profit music organization Little Kids Rock.
Autism and the Arts
Abstract
This colloquium features Michael B. Bakan (Florida State University) presenting about applied ethnomusicology as it pertains to his research on music and autism. This is followed by a panel discussion focused on “Autism and the Arts.” The panel will include Dr. Bakan, as well as Kent State University faculty – Lisa R. Audet (Speech-Pathology), Juliann Dorff (Art Education), and Vonnie Michali (Career and Community Studies).
Bios
Michael B. Bakan is a Professor of Ethnomusicology and Head of World Music in the College of Music at Florida State University. His current research on the ethnomusicology of autism is supported by grants from the National Endowment for the Arts and other agencies.
Lisa R. Audet is an Assistant Professor in Speech Pathology & Audiology at Kent State University. Dr. Audet's research interests focus on early language development in those with ASD, language and literacy, and transition to adulthood.
Juliann Dorff is an Associate Lecturer teaching Art Education in the School of Art at Kent State University. She is a contributing author in the book Understanding Students with Autism through Art (2010) published by the National Art Education Association.
Vonnie Michali is the Director of Program Development for the Career and Community Studies Program (CCS) at Kent State University. The CCS curriculum provides inclusive experiences in Academic & Lifelong Learning, Career Development, and Independent Living.
Moderator: Andrew Shahriari is an Assistant Professor of Ethnomusicology at Kent State University.
Clan of the Wilderness: The Perpetuation of Finnish Folk Culture through the Music of Korpiklaani
Pete Marjenin
Abstract
This paper examines the influence of culture on folk metal, a subgenre of heavy metal. First developing in England during the 1990s, this music has spread throughout Europe, Russia, the Middle East as well as North and South America. While it can be found throughout the world, a prolific number of folk metal bands have emerged from Northern European countries, such as Sweden, Norway, the Faroe Islands, Ireland and Finland. This paper will focus on the Finnish band, Korpiklaani, and will discuss the band’s music, lyrics and image as they explicitly identify and contribute to the continuity of the folk culture and music of Finland through heavy metal music. This work will demonstrate the perpetuation of folk music and culture through the vehicle of popular music, allowing for the transmittance of localized identity to a global audience through culture contact.
Bio
Pete Marjenin completed his undergraduate degree at Mercyhurst University studying Music and Anthropology, with special interests in traditional music of Ireland as well as heavy metal music and culture around the world. He has performed fieldwork in Ireland, documenting the development of the Bodhrán in Irish music and has researched gender, spirituality and the impact of culture on metal music. His field research includes performances by Judas Priest, Rammstein, Exodus, Nine Inch Nails, Soulfly, Arkona, Týr, Korpiklaani, Amon Amarth and Mayhem among others. He is currently an Ethnomusicology graduate student at Kent State University.
Reviving Scottish Fiddling in the United States
Deanna Nebel
Abstract
This paper examines the Scottish fiddling revival in America. Due to its rapid fusion into other fiddling styles, Scottish fiddling did not establish itself as a unique musical genre in the United States. One particular organization, titled “Scottish Fiddling Revival,” or “F.I.R.E.,” is largely responsible for the revival and has established all of the necessary elements within a revival framework to stimulate and maintain this style of fiddling. The organization sponsors official Scottish fiddling competitions, provides teachers to educate and maintain the style, and fosters a community to interact with the revival. This study examines the revival infrastructure and its implications according to an established framework for the continued development of Scottish fiddling in the United States.
Bio
Deanna Nebel is a masters student and TA in ethnomusicology at Kent State University where she is founder and president of the World Music Society. She is also active in the Thai ensemble, African ensemble, and communiversity band. Her research regarding Scottish fiddling in the United States was presented at the CMS national conference in the fall of 2013. Deanna graduated magna cum laude from Westminster College, PA with a degree in music education.
A Stubborn Relationship and its Sponsors
Li Mo
Abstract
The guqin is a kind of Chinese zither with a history stretching back thousands of years. As members of the literati and not professional musicians, guqin players performed for their own enlightenment, instilling their philosophic and aesthetic principles in their repertoires. This effectively distanced the guqin from its contemporary society.
Bell Yung concluded that the focus on the literary content of a guqin composition was a way of splitting with convention. In a diachronic and intracultural study, he argued for the interdependency of the guqin and its surrounding musical culture, which could be extrapolated as similar to the influence the intermingling of these different cultural backgrounds would have on other genres.
Since this paper mainly discusses an ancient Chinese instrument that audiences may not be familiar with, a brief introduction to the guqin and some background stories about several famous historical compositions are included.
Bio
Li Mo graduated from Nanjing Academy of the Arts with a bachelors degree in the Ancient History of Chinese Music. She is now a graduate student in the Ethnomusicology program at Kent State University.
Brain Research Findings Related to Music Learning Theory
Dawn Bagwell
Abstract
Since 1965, research on brain development has expanded and new developments have made researchers question learning theories. While some learning theories have been modified or negated due to brain research, Gordon’s music learning theories continue to gain support. The context of learning has changed over the years and has led to a need to redefine the context of music learning theory as it relates to brain research. Therefore, the purpose of this article is to further define the physiological context by exploring the relationship between Gordon’s research on music learning theory and how the brain processes music by answering the following questions: (1) Does Edwin Gordon’s music learning theory follow the natural progression of the pathway the brain takes for natural learning? (2) Does a child’s skill level follow a sequence? (3)Where does music learning really begin? (4) When does music learning really begin? (5) Does visual representation and spacing of notes tie into tonal pattern processing? Results indicate that brain research is slowly making indications that Gordon’s music learning theory seems to align with brain cognitive processes, and that there are neural connections that are formed from birth. However, the research that has been conducted in the last ten years consists mainly of attempting to identify where in the brain certain musical activities are located. More teachers need to be aware of and use the results of current brain research.
Bio
Dawn Bagwell is a doctoral student at Kent State University, Ohio. She received her Master’s degree in Music Education and is currently working as the Field
Observation Coordinator for the Music Education Department at Kent State. Prior to this, she was a graduate assistant at Kent State University where she was given the opportunity to teach and assist in Choral Methods and Teaching Skills courses as well as Instrumental Methods and Teaching Skills courses. Teaching positions have included elementary, middle and high school general music, choral and instrumental settings. Dawn’s research interests include brain research, Music Learning Theory, teacher pre-service field experience, musicology, and middle school band.
Retention of Male Students in Vocal Music Programs
Doug Beery
Abstract
Choral Music Educators have long experienced the challenge of increasing and retaining boys in vocal music programs. Thus, it is the intention of this paper to bring about a systematic literature review that examines the sociological constructs that effect male participation in choral ensembles. The research will show potential implications for the participation, persistence, and deterrents of males in choral music education. With this research as a backdrop to the motivational implications of male choral singers, the primary research question and focus of the paper will be addressed. What is the Male Chorus’ influence on the musical motivation amongst male participants? Through my teaching experiences, and observations of other choral environments, I have noticed that choral programs (both high school and university) that have a strong, well established male chorus, tend to have a more vibrant male involvement and motivation toward choral singing. I intend to address the researched problem that lies with male involvement in choral singing. Second, I will address the perception of self that is specific to male singers. Third, I will look at perceived gender and sexuality issues that interfere with male involvement in a choir, along with other factors that address males in the realm of choral singing. Finally, the epicenter of the paper will report research findings into the male chorus’ influence on musical motivation among male participants.
Bio
Douglas Beery is currently a doctoral student at Kent State University, where he is pursuing a PhD in Music Education. In addition to his studies, Mr. Beery is conductor of the Kent State University Men’s Chorus, and serves as assistant conductor of the Chorale. Doug is also on faculty at Youngstown State University as an adjunct professor of music education. Douglas Beery has thirteen years of secondary public school teaching experience, and was choral director at Massillon Washington High School for ten years. Mr. Beery received a Bachelor of Music Education from Capital University and a Master of Music in Choral Conducting from The Ohio State University. Mr. Beery is an active member of OMEA and ACDA. He has presented throughout OMEA districts on the subject of building and maintaining the high school vocal music program.
A Literature Review of Motivational Theory Applied Within the Large Ensemble Setting
Darren LeBeau
Abstract
The purpose of this research is to investigate existing literature related to the motivation orientation of individual students within the large performing ensemble setting. Motivational theories identify an individual’s desire to succeed or reasons for failure. Questions guiding this review of literature include the following: Can the individual’s motivational orientation be used to motivate a large ensemble such as a band or choir? How can one member’s feelings of personal success or failure influence the success and failure of the large ensemble? Do the combinations of individual motivation orientations and group dynamic influence the ensemble in a positive or negative manner? I hope to relate several motivational theories to the works of selected motivational speakers who focus on student motivation in school music programs. The review concludes with implications drawn from the body of research and directions for future research.
Bio
Mr. Darren LeBeau has been in education since 1989 and with Revere Local Schools since 1998. At Revere, Mr. LeBeau’s primary responsibilities include Wind Ensemble, Symphonic Band, Jazz Band, the Marching Minutemen and assists with the Revere Middle School band program. Mr. LeBeau earned both his Master’s degree and Bachelor’s degree in Music Education from The University of Akron. He is actively involved in the Ohio Music Education Association and has participated in the OMEA Leadership Academy. He is an active OMEA Adjudicator for Marching Band, Solo and Ensemble and Large Group Adjudicated events. He has also served OMEA as a host for High School Large Group and Marching Band adjudicated events. His professional memberships include the Revere Education Association, Ohio Education Association, National Education Association, Ohio Music Education Association, National Association for Music Education, and American School Band Directors Association.
The Panopticon of Music Education: Hierarchy, Surveillance, and Control
John T. Owens
Abstract
The author interrogates the teacher-centered pedagogical methods that mandate conformity, power, and control in the music classroom. Specifically, this essay examines the hierarchal structure of music education through a Foucaultian lens as it relates to Bentham’s panopticon design. The panopticon prison design, with its guard tower at the center and cells in a circle, generates an unobstructed view of each prisoner. Thus, inmates feel as though they are always being watched. The author investigates how selected literature, such as the work of Friere, Sartre, Jorgensen, Green, Jenkins, Woodford, Sleinis, Bowman, and others, has allowed him to make sense of the panopticon of music education. The social quarantine in music education, derived from its panopticon design, illustrates the oppression of freedom, ethical dichotomies, and a lack of social justice. This essay is divided into the following sections: (1) The Problem; (2) Methodological Framework; (2) The Panopticon from Foucault’s Perspective; (3) The Panopticon of Music Education; (4) Ethical Dichotomies and Social Justice; (5) Escaping the Panopticon and Liberation.
Bio
John Owens has extensive experience teaching music to students in California, Arizona, Ohio, and the Navajo Nation. In his professional work, Mr. Owens taught concert band, marching band, jazz band, percussion, guitar, choir, and music theory at Page High School in Arizona and Saint Augustine High School in San Diego. He was a faculty member at Coconino Community College where he taught Music Appreciation, Jazz History, and American Popular Music. As a musician, John has performed in France, Germany, Denmark, Belgium, Bosnia, and Kosovo during his time in the US Army Band. He was also a percussionist for the Disneyland Resort and Knott’s Berry Farm. Mr. Owens earned his Bachelor of Arts in Music Education from California State University San Bernardino and his Masters of Music in Music Education from Kent State University. Mr. Owens is currently a Graduate Assistant pursuing his Ph.D. in Music Education at Kent State University.
Why I Hate Advocacy: A Philosophical Look at Advocacy in Music Education
Bryan Helsel
Abstract
This paper will examine the types of advocacy currently practiced and promoted in music education today through the lens of philosophers such as Reimer, Mursell, Eisner, Fowler, Higgins, Howard, Gee, Cee, Regelski and others. I will question whether current advocacy practices might serve to only weaken the profession by seeking to maintain status quo. Through the lens of philosophers and through philosophical thinking, I will examine whether advocacy has a positive, negative, or no effect on the field of music education – along with looking at what role our profession’s philosophers have had in creating such effect. I will look at past and current advocacy tactics, and in so doing, advocate for student-centered change as a form of advocacy, which can be a means of propelling the music education profession into the future in a more meaningful manner.
Bio
Bryan Helsel received his bachelor degrees in music education (vocal) and in piano performance from Westminster College in 1997 and earned a master’s degree in piano performance from Duquesne University in 2003. He is the director of choirs and music technology at Butler Area Senior High School. Active in the arts in Western Pennsylvania, Helsel plays piano in the Butler Symphony, organ and keyboards at North Main Street Church of God, trumpet in the Butler Brass Quintet and can be found playing recitals locally or playing jazz and rock music at Pittsburgh area venues. He is listed in “Who’s Who among America’s Educators” as well as “Who’s Who in America.” His professional affiliations include PMEA (Pennsylvania Music Educators’ Association), NAfME (National Association of Music Educators), TI:ME (Technology Institute of Music Education) and ACDA (American Choral Directors’ Association).
Helsel has composed several choral works and has released albums of his own contemporary music. In 2003, he played the premiere of Stephen Barr’s Five Miniatures of Summer for piano, which aired on public radio. He has been the conductor for the community choir of Butler County, and he has guest conducted several PMEA county festivals. He has appeared as guest artist in concertos with Regional Symphonies and bands playing Gershwin’s Rhapsody in Blue, Concerto in F, I Got Rhythm Variations and Saint-Seans’ Carnival of the Animals. As a pianist and singer, Helsel has shared the stage with the likes of Shirley Jones and Garrison Keillor. Aside from performing and conducting, he owns and operates Helsel Music, a full production recording studio, and is currently a doctoral student at Kent State University studying music education.
Motivation in Secondary Music Education: Variations in Middle School and High School Student Perceptions
Jonathan Saeger
Abstract
This study examines the various factors that affect motivation in middle school and high school music students through the lens of two different motivational theories: the expectancy-value theory and the self-determination theory. Through identification of these differences, recommendations will be made to increase the intrinsic motivation levels of both middle school and high school students regarding their participation in secondary music education.
Bio
Jonathan Saeger is a currently working on a PhD in Music Education at Kent State University. Past degrees include a master’s degree in Choral Conducting from Illinois State University and an undergraduate degree in Music Education from Millikin University. Prior to coming to Kent State, Jonathan taught choral and general music in public and private schools for twelve years. As a graduate assistant at Kent State, Jonathan designed and continues to teach a technology course for music education majors. Upcoming professional presentations include the 2014 OMEA Conference in Columbus, Ohio.
Friday, October 18, 2013, 1-2pm
T.E.A.C.H. to Please: A Look at Dance and Higher Education from an Undergraduate Student Perspective (Panel discussion to be presented at the 2013 National Dance Education Organization Conference)
Abstract
T.E.A.C.H. to Please examines the various ways in which dance educators can improve their teaching styles to better serve college students. The panel will explore five aspects of teaching by using an acrostic of the word "T.E.A.C.H." The undergraduate student presenters will enlighten the audience with insight from their perspective, detailing the qualities they admire and think necessary in an educator. How can educators better serve the needs of undergraduate students as they prepare to enter the professional world in the 21st century? The basic structure will be as follows: (a) "Think" outside the box, providing interesting material to spark the creativity in students; (b) "Engage" students, by captivating them with knowledge and experience in the field; (c) "Adapt" to any situation, in a changing environment it is important to be flexible; (d) "Collaborate" with students, making them feel important and involved in their classroom work; (e) "Help" the students, by supporting their progress and striving to create better dancers and people. We feel that educators and students alike would benefit from these qualities in an educator and their implementation in the classroom. After the presentation, the floor will be opened for an interactive discussion where audience members can dig deeper into our viewpoints and provide questions for debate. The panel members hope to open your eyes to a world opposite the teacher; the student has much to offer.
Bios
Ashley Lain is a student at Kent State University. She is a sophomore in the Dance Education program and President of Kent State University's SDEO chapter. She plans on pursuing a career in dance first as a performer then as an educator.
Shayna Fischer is a Junior at Kent State University. She is an event coordinator for the SDEO chapter. She is a Psychology major and a Dance minor with the hopes of attending graduate school in the field of dance therapy.
Brittany Tosatto is a Kent State University student. She is a sophomore Dance Performance major and member of SDEO. Brittany plans to complete her BFA degree and dance professionally.
Marcia Custer is a Kent State University student working towards her B.A. in Dance Studies with a minor in Art History. Following graduation, she plans to work professionally in the field before going to graduate school to earn her M.F.A.
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