The Unrespected Virtuosi: Contrasting the Musical and Social Lives of the Wolof and Azmari Griots
Presented by Nattapol Wisuttipat
The Music of the Coptic Orthodox Church: Introduction of the Coptic Chant and the Current Situation of Coptic Chant in St. Mark Coptic Orthodox Church of Cleveland
Presented by Yuan Ni
Music as the Remedy: An Introduction of How Music Helps Child Soldiers Heal in Uganda
Presented by Elizabeth Recob
Then and Now: A Study of Radicalism in "The Normal Heart" and "Clit Notes"
Presented by Jensen Hykes
Polyamory Under a Constructionist Lens
Presented by Ren J. Harris
An Analysis of Judith Bulter's Gender Performance/Performativity Theory in LGBTQ Texts as seen through a Feminine/Male Gaze
Presented by Liz Woodard
Musical Understandings: Undergraduate Perceptions of Human and Non-human Music
Presented by Lydia Snyder
In the Company of Others: Musical Preferences in a High School Setting
Presented by Alexa McCleaster
“We’ll Make Our Own Way”: Socialization of Non-traditional Music Educators
Presented by David Thompson
Accumulating Capital in Music Education: A Content Analysis of the Music Educators Journal
Presented by Rachael Fleischaker
From the Ground Up: Music Educators’ Curriculum Reconceptualization
Presented by David Thompson
Fun, Function or Forgotten: Parent Perceptions of a Rural Elementary Music Program
Presented by Shannon Nicholson
“What Has Sound Got to Do with Music!?”: An Analysis of Charles Ives’ Psalm Settings
Presented by Brandy Kay Riha
“Hey Get Along Jim Along Josie": Musical Borrowings from Minstrel Song to Children's Song
Presented by Maya Brown
Role Models, Mentors, and Goals: Experiences of Female Band Directors in Ohio
Presented by Kristin Coen-Mishlan
From Theory to Practice: Stories of Innovative Assessment Strategies in General Music
Presented by Rachael Fleischaker
There and Back Again: A Doctoral Student’s Tale of a Round-Trip Journey from the General Music Classroom to the Ivory Tower
Presented by Beatrice B. Olesko
Photographic Representation of Gender in the Music Educators Journal During Postwar America
Presented by Kristin Coen-Mishlan
Persevering Through Challenging Times: Perspectives on Music Education during the Great Depression
Presented by Shannon Mendenhall
Brand new for a half-century: Toward a history of technology based music instruction
Presented by David Thompson
Starting from Three Examples: The Characteristics, Reasons and Social Facts of "Xiaoyuan Minyao" Campus Folk Music
Presented by Haochen Qin
An Undulating Design: Life of Jazz in Akron, Ohio
Presented by Kevin Alexander Wilson
Sing for your “Self”: Imparting Jewish Identity to Children through Music
Presented by Nattapol Wisuttipat
Discovering ‘Something Russian’: A Fieldwork Study of the Balalaika
Presented by Elizabeth Recob
The Unrespected Virtuosi: Contrasting the Musical and Social Lives of the Wolof and Azmari Griots
Presented by Nattapol Wisuttipat
Abstract
Praise singing is one of the prominent musical features throughout Africa. Within a given African cultural group, praise singers, besides being considered musicians, play a crucial role as oral historians who hold genealogical information of their patrons. Praise singing is not only a profession but also a marker of a lower caste in a society. Thus, despite their musical prowess, praise singers are often recipients of derisive attitudes from the higher castes. This paper discusses the contrast between the high musical and low social identity of the praise singers from two cultural groups: the Wolof from Senegal and the Azmari from Ethiopia, by analyzing performances and exploring their statuses in relation to their respective societies.
Bio
Born in Bangkok, Thailand, Nattapol Wisuttipat received his Bachelor of Education (Thai Music Education) from Srinakharinwirot University, Thailand, and is now a graduate student of ethnomusicology at Kent State University. He specializes in Thai classical music, especially piphat music, and has performed in many countries, including the United States, Malaysia, Taiwan, Japan, South Korea and Turkey. Nattapol has recently represented Kent State University Thai Music Ensemble by performing piphat music at University of California Los Angeles.
The Music of the Coptic Orthodox Church: Introduction of the Coptic Chant and the Current Situation of Coptic Chant in St. Mark Coptic Orthodox Church of Cleveland
Presented by Yuan Ni
Abstract
When we first listened to Egyptian music, our primary impression might be that music style is similar with Arabic music. Indeed, not only has the music of Egypt has become Arabized, but also a large part of Egyptian culture has been replaced by Arabic culture. In Egypt, Islam is the state religion. Nearly 84 percent of the population is Muslim. Also, Arabic is the official language in Egypt. However, according to the book of “Genesis” in the Bible, the time of Israel entering Egypt was earlier than Arabs, which implicates Egyptian culture was under the influences of Judaism and Christianity earlier. In fact, Coptic is an older ancient Egyptian language than Arabic. Before Arabs conquered Egypt, the term Copt meant Egyptian. After seventh century A.D, this term specifically referred to Egyptian Christians. The Coptic church is the oldest church in Egypt, dating back to the first half of the first century A.D. The Coptic church has been developing for two thousand years. Since music is an important part of worship, they have abundant church hymns and musical cultures. This presentation will focus on two main parts. The first is the history of the Coptic Orthodox Church traditional music, the second is the introduction of different categories of Hymns and Canticles, musical instruments, and the forms of hymns notation.
Bio
Yuan Ni (11/16/1993) is an international student from Anhui Province, China. She is studying for a Masters degree with ethnomusicology at Kent State University. She has studied erhu, a Chinese traditional instrument, since 1999. In 2009, she was admitted to the Attached Middle School of Wuhan Conservatory of Music to major in erhu performance with the achievement of ranking first nationwide in erhu major. In 2012, she was admitted into the Department of Chinese Traditional Instrument of Wuhan Conservatory of Music with the achievement of ranking first nationwide in erhu major and got her Bachelor’s degree in 2016. She was then admitted Kent State University in August of the same year to the Masters program in ethnomusicology. Currently, she is learning and researching African music and Southeast Asian music.
Music as the Remedy: An Introduction of How Music Helps Child Soldiers Heal in Uganda
Presented by Elizabeth Recob
Abstract
Uganda is currently a war zone where children are abducted from their families and forced to fight and kill. Through all of the tragic experiences they face daily, children still participate in local music gatherings. Music is used as a remedy, as it helps children focus on something other than that of the horrific events they conquer. This presentation will focus on how music comes as an aid to child soldiers.
Bio
Elizabeth Recob is a 2013 graduate of Kent State University earning her B.A. in music education. She is a member of the National Association for Music Education and the Ohio Music Education Association. She is currently attending Kent State again, where she is pursuing her M. A. in ethnomusicology.
Then and Now: A Study of Radicalism in "The Normal Heart" and "Clit Notes"
Presented by Jensen Hykes
Abstract
The goal of social justice theatre is to inspire audiences to change the way they think, feel, or act pertaining to an oppressed group. Change is instilled through an assimilationist, radical, or matter of fact style of writing. Radical writing aims to shock and awe audiences to force them to acknowledge an issue and encourage them to create positive change. Holly Hughes and Larry Kramer utilize this writing style in their work to call attention to injustices against the LGBTQ community. Hughes’s Clit Notes and Kramer’s The Normal Heart were radical works during the time of their initial publications but contain subject matter that warrants them as radical in today’s society as well.
Bio
Jensen Hykes is a senior Global Communication major with a minor in Theater Performance. Theater has always been a source of enjoyment for her and is a field she intends to continue studying. Her academic interests also include gender communication and queer theory, which she hopes to further explore in graduate school.
Polyamory Under a Constructionist Lens
Presented by Ren J. Harris
Abstract
This paper looks at the perception of polyamory in society. It uses plays such as Design for Living and Last Summer at Bluefish Cove as textual examples of these types of relationships. The major argument of this paper focuses on the acceptance of polyamory in a constructionist viewpoint, and how constructionism helps decrease stigma.
Bio
Ren J. Harris is a senior Theatre Studies at Kent State University. She has been immersed in theatre from a young age, but only discovered her academic appreciation for theatre in college. Ren is passionate about new works and plays that focus on giving voice to disenfranchised groups, and has enjoyed the opportunity to discover them artistically and academically.
An Analysis of Judith Bulter's Gender Performance/Performativity Theory in LGBTQ Texts as seen through a Feminine/Male Gaze
Presented by Liz Woodard
Abstract
It is widely accepted that biological sex predetermines gender, which predetermines how one behaves. However, this is a construct of an essentialist society; a society that wishes to place boxes around its population. What’s more, it is expected that our gender determines our sexuality, or ought to. By juxtaposing the two plays, one with a female playwright and one with a male playwright, I determined how the gender of the playwright embodied Judith Butler’s concepts of gender performance and performativity. Society can’t handle deviations from our assigned genders. There must always be a male voice, where infused through a female character or male. Analyzing the text of an LGBTQ play through Butler’s theory sheds light to the binds society places on gender/sexuality and exposes the lack of acceptance and understanding to those who step out of their box.
Bio
Liz Woodard is a third-year honors student pursing her BFA in Musical Theatre as well as a minor in Marketing. Early on, Liz was blessed with wonderful English teachers and is grateful for the opportunity to apply those skills to the complex exploration in collegiate papers. Her love for theatre includes its strength to challenge the constructs created by society. She hopes to further explore the theories and psychology behind gender and sexuality, and corresponding theatrical texts, to develop her own commentary on the progress made, and the future progress required.
Musical Understandings: Undergraduate Perceptions of Human and Non-human Music
Presented by Lydia Snyder
Abstract
Scholars within each discipline of music- historians, theorists, semiologists, therapists, etc., have all debated the difference between music and noise. Many believe sounds become musical when they are organized in some fashion. For others, such as theorist Thomas Clifton, music is that which creates an experiential phenomenon. It is something that changes our emotions. While semiologist Jean-Jacques Nattiez and ethnomusicologist Bruno Nettl believe the concept of music is culturally formed. To address the debate between music and noise, I honed in on these three arguments. My research focuses on a specific cultural group- undergraduate students at Kent State University. I created a survey for students to analyze their understandings of music and how they draw conclusions on what is human and non-human music. Students listened to multiple sound clips. For each clip, they rated whether they agreed or disagreed with the statement "this is music." Sound clips included organized and unorganized sounds of both human and non-human origin. Each clip was also rated on a scale for preference from “strongly like” to “strongly dislike.” This presentation will discuss the results of this survey and the implications it has for the field of music.
Bio
Lydia Snyder is a second-year Master's student in Ethnomusicology at Kent State University. At Kent, she holds a teaching assistantship and is active in the Thai music ensemble. She holds a Bachelor's degree in Music as well as Studio Art and Theatre Arts from Hiram College in Hiram, Ohio. Her research interests include ecomusicology and traditional music of Japan as well as the music associated with ritual, trance, meditation and cognition. Ms. Snyder is a shakuhachi student of Grand Master Michael Chikuzen Gould.
In the Company of Others: Musical Preferences in a High School Setting
Presented by Alexa McCleaster
Abstract
The purpose of this study was to investigate the musical preference differences when in the presence of friends or family. Band and choir students of an Ohio rural high school took part in a simple descriptive survey, asking what genre of music they listen to when they are by themselves, with their family, and with their friends. They were also asked why their musical preference may change and who decides what music is chosen. Some students may be hiding their true musical identity and some may be using music to show their personality.
Bio
Alexa McCleaster is a second year Ph. D. student at Kent State University. She is the band director at Chippewa Local Schools, teaching grades 5-12. Ms. McCleaster holds a Bachelor of Music Education from Kent State University and an M.A. in Integrated Technology from the University of Akron.
“We’ll Make Our Own Way”: Socialization of Non-traditional Music Educators
Presented by David Thompson
Abstract
A major motivation for conducting research on the socialization and identity formation of music educators is to generate insights that will help music teacher educators better prepare their students to lead a music classroom. One assumption in this body of literature is that music education students are being socialized for traditional band, orchestra, choir, and general music teaching positions. No research has been conducted on the socialization of music educators who teach in non-traditional classrooms such as alternative ensembles or technology-based classrooms. This presentation reports on an exploratory, qualitative multiple case study of four non-traditional music educators designed to investigate their process of socialization. Themes were identified from data collected in individual participant interviews and a focus group interview of all participants. An additional purpose of this study was to test the suitability of Clint Randles’ application of the “Hero’s Journey” as a way to conceptualize the socialization of non-traditional music educators.
Bio
David Thompson is a K-12 music educator in Plain Local Schools where he teaches general music and digital music production, and he is a PhD student at Kent State University. His students have given concerts of original music, built their own instruments, and are often asked politely to “keep it down.” Mr. Thompson’s interests lie at the intersection of music, education, and technology. He holds a B.M. in jazz studies from Michigan State University and an M.A. in music education from Case Western Reserve University.
Accumulating Capital in Music Education: A Content Analysis of the Music Educators Journal
Presented by Rachael Fleischaker
Abstract
This study examined the major topics, intended audience, and targeted age (grade) level in featured articles appearing in the Music Educators Journal from 2011 to 2016. The Music Educators Journal is the oldest and most widely distributed music education publication in the United States. Building on Pierre Bourdieu’s concepts of cultural capital, habitus, and doxa, this analysis examined the skills, knowledge, and expertise that MEJ promoted as valuable to its large audience of music educators over the past five years.
Bio
Rachael Fleischaker is a doctoral student and part-time faculty for music education at Kent State University. She holds a Bachelor of Music Education from The College of Wooster (1995) and a Master of Education in Curriculum and Instruction with an Emphasis on Urban Education from Kent State University (2002). Rachael has taught elementary band and vocal music in the public schools for 21 years with 19 of those years in the Canton City Schools. Rachael has been a clinician at OMEA Professional Development Conferences, Ashland University, Kent State University and local school districts.
From the Ground Up: Music Educators’ Curriculum Reconceptualization
Presented by David Thompson
Abstract
Music education scholar Wayne Bowman wrote that “music education, like ‘music,’ is a mosaic, a collectivity rich in diversity and vitality, replete with exciting options.” Many American music educators are exploring these “exciting options” through alternative ensembles such as mariachi and steel pan and through emerging forms of technology-based music learning. However, curriculum decisions associated with these new opportunities may seem daunting. This presentation for current and future teachers, musicians, school administrators, and those with an interest in reform in music education will describe an alternative approach to curricular thinking in new music education. The traditional, positivist, action-and-results based curriculum model can and should be replaced with one that is collaborative and inquiry driven. This new curriculum model empowers music educators to become lead-learners in their classrooms through a four-fold process of awareness, development of conceptual repertoires, currere examination, and critical self-appraisal.
Bio
David Thompson is a K-12 music educator in Plain Local Schools where he teaches general music and digital music production, and he is a PhD student at Kent State University. His students have given concerts of original music, built their own instruments, and are often asked politely to “keep it down.” Mr. Thompson’s interests lie at the intersection of music, education, and technology. He holds a B.M. in jazz studies from Michigan State University and an M.A. in music education from Case Western Reserve University.
Fun, Function or Forgotten: Parent Perceptions of a Rural Elementary Music Program
Presented by Shannon Nicholson
Abstract
The purpose of this paper is to investigate the parental perceptions regarding the purpose and function of an elementary music program. The following research questions will guide this study: 1.What are the social and aesthetic functions of the elementary music program as perceived by the parents of students in kindergarten through 2nd grade of the school district? 2. What are the social and aesthetic functions of the elementary music program as perceived by the parents of students in 3rd through 5th grade of the school district? Data will be collected through an online survey in which parents will rate various functions and purposes of music education according to importance on a Likert scale. In addition to researching the parental perceptions, this study will also investigate the perceptions of administrators and elementary educators in regards to the purpose and function of the elementary music program through existing literature. Implications of this study may provide insight for music educators with details regarding specific music education needs as defined by parents of a specific community.
Bio
Shannon Nicholson is currently pursuing her Ph.D. in Music Education at Kent State University. She graduated from Bowling Green State University in 2001 with a Bachelor’s degree in Music Education, general music emphasis and vocal concentration. Shannon earned her Orff Level 1 certification from AOSA in 2006 and earned her Masters of Music from Boston University in 2008. Currently, she is in her 15th year of teaching K-5 general music at Waterloo Elementary in Atwater, Ohio. Her research interests include general music approaches, popular music in the classroom, as well as strategies and foundations of democratic music education.
“What Has Sound Got to Do with Music!?”: An Analysis of Charles Ives’ Psalm Settings
Presented by Brandy Kay Riha
Abstract
During his early career as a church organist, American-born composer Charles Edward Ives (1874–1954) wrote ten settings of the Psalms based less on the sound of the music and more on innovative technical and theoretical concepts. This approach is evident in “Psalm 90,” the longest of the Psalm settings and the work that most satisfied Ives, which he composed and revised between 1898 and 1924. Among the techniques used are bitonality, text painting, stylistic heterogeneity, and an emphasis on the transcendental aspect of the listening experience. By examining Charles Ives “Psalm 90,” we can also observe how his background as a church musician affected his output as a choral composer. This work exemplifies the overall compositional language of Ives and provides insight into his distinctive style.
Bio
Brandy Kay Riha is working toward a Master of Music in Choral Conducting at Kent State University, where she is a graduate assistant in the choral department. Brandy is the 2016-2017 recipient of the Kent Choral Society Scholarship and as such serves as assistant conductor of the Kent Chorus. In 2013, she received a Bachelor of Arts from Ashland University in Music Theory and Vocal Performance. In addition to leading various workshops on a cappella arranging and vocal percussion, Brandy has done extensive directing and arranging for collegiate and professional a cappella groups and has published a cappella arrangements with Hal Leonard. As a chorister, she has performed at Severance Hall with the Cleveland Orchestra Chorus and currently sings with the Akron non-profit chorus, Singers Companye.
“Hey Get Along Jim Along Josie": Musical Borrowings from Minstrel Song to Children's Song
Presented by Maya Brown
Abstract
Since the late 19th century, research in American children’s vocal music has broadened the assumption that music making is only reserved for adults. This paper focuses on a style of game song associated with the play party—a social activity practiced throughout the American Midwest amongst Christian adolescents in the latter half of the 1800s. With a desire to reject the strict rules of the church as well as avoid reprimand, play party teens adapted the most popular music of the 19th century—the blackface minstrel song—into functional play party songs. Through lyrical analysis, this paper compares and contrasts the original minstrel song, Jim Along Josie, with the play party song adaptation. Lastly, this case study concludes by critically addressing the music education of children’s folk songs today and how it overlooks the opportunity to teach children about the creation of fictitious stereotypes by frequently denying its blackface minstrel history.
Bio
Maya Brown is a graduate student at Kent State in the second year of her Master’s degree in Ethnomusicology. She is a Graduate Deans Award recipient and a teaching assistant who instructs several world music courses at the university. Her research interests include the African diaspora, particularly how 19th century African American entertainment manifests in contemporary forms. She is vocalist who performs in a vocal jazz ensemble out of Cleveland and is a member of the Kent State African Ensemble. In the future, Maya would like to continue teaching at a college level as well as eventually work as an archivist in public sector. She plans to pursue a doctoral degree in either Ethnomusicology or Musicology and hopes to continue to find connections between African American minstrelsy and contemporary performance.
Role Models, Mentors, and Goals: Experiences of Female Band Directors in Ohio
Presented by Kristin Coen-Mishlan
Abstract
Previous literature cites the need for female band directors to have mentors and role models, a lack of female band directors at the secondary level, and their varied experiences in the field. Therefore the purpose of this study is to collect demographic information of female band directors in Ohio, which includes their relationship with mentors and role models, their personal and professional goals, and their experiences as a woman in the field. Specifically, this basic qualitative study will address the following questions: (1) How are female band directors in Ohio using role models and mentors? (2) What are their personal and professional goals? (3) What are their experiences and recommendations for women in the field? A survey was designed from a dissertation and used to collect data. This study furthers the research in the realm of female band directors and their experiences.
Bio
Kristin Coen-Mishlan received her bachelor’s degree in music education from the University of Rio Grande in 2006, and a master’s degree in music education from Kent State University in 2013. She served as band director for eight years at Huntington Local Schools in Ross County, OH, and is currently a doctoral student in music education at Kent State University. Her research interests include feminist studies, social justice, and socio-cultural issues in public education.
From Theory to Practice: Stories of Innovative Assessment Strategies in General Music
Presented by Rachael Fleischaker
Abstract
Student assessment is receiving a lot of attention in music classrooms across the country. General music teachers are often in a position to decide what types of musical skills and knowledge should be assessed. Personal beliefs about music education and external influences, such as state mandates, play a role in how student assessment is used in the general music classroom. The purpose of this investigation was to gain an understanding of general music teachers’ experiences with student assessment and to describe how they merge their beliefs about assessment with their instructional practices. It explored innovative strategies that music teachers use to meet the challenge of bridging theoretical perspectives with practical applications. This investigation also explored what meaning music teachers give to the process of assessment, various types of assessments used in general music classrooms, and how music teachers could benefit from these strategies. A qualitative approach using data from a questionnaire, individual interviews, and participation in a focus group was employed to answer the research questions: (1) How do general music teachers perceive assessment? (2) How do general music teachers merge their beliefs about assessment with their classroom practices? Purposeful stratified sampling was used to select participants who are general music teachers currently teaching in public school settings. Analysis of the data was concurrent with the collection and included open and axial coding that allowed an inductive approach to interpreting major themes consistent across participants’ experiences.
Bio
Rachael Fleischaker is a doctoral student in music education at Kent State University. Rachael is an adjunct professor of music education for the College of Wooster and has taught undergraduate coursework for The Ohio State University Mansfield Campus. She has taught elementary band and vocal music in the public schools for 22 years with the past 20 years in the Canton City Schools. Rachael has been a clinician at OMEA Professional Development Conferences, Ashland University, Kent State University, Wayne County ESC, and local school districts. 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.
There and Back Again: A Doctoral Student’s Tale of a Round-Trip Journey from the General Music Classroom to the Ivory Tower
Presented by Beatrice B. Olesko
Abstract
The purpose of this study is to detail, explain, and derive meaning from my experiences during an academic/personal leave from and subsequent return to my K-4 general music classroom. Specifically, I address the following questions: (1) How has an academic/personal leave of absence from a classroom teaching position affected my pedagogical practices, relationships, and identity as a music teacher? (2) How has engaging in this self-reflection shaped my understanding of the divide between theory and practice in music education and aided me in closing the gap between theory and practice in my own teaching? An autoethnographic approach is used to examine these research questions, and the results of the study are described using first-person narrative. I recount my story of navigating the transitions from full-time classroom teacher to full-time doctoral student, to part-time doctoral student and new mother, and back to full-time classroom teacher, and detail my perceptions of the cultures of each situation. I frame this reflection through literature related to music teacher/doctoral student identity and the divide between theory and practice and music education. It is hoped that this study will allow readers to immerse themselves in my story of change, glean from it insights into their own experiences, and make meaningful connections to current research.
Bio
Beatrice Olesko is currently pursuing a Ph.D. in Music Education at Kent State University and teaching K-4 general music for United Local Schools. 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. Mrs. Olesko has served as an adjunct instructor and graduate assistant at Kent State University where she taught general music methods and musical theatre pedagogy. Beatrice has also served as the editorial assistant for Contributions to Music Education, a refereed journal published by the Ohio Music Education Association. She is an active presenter for the Ohio Music Education Association and her research interests involve elementary music pedagogy, the culturally responsive music teaching, the role of general music methods in music teacher education, and neuromusicology. Beatrice resides in Poland, Ohio with her husband, Nicholas, and their daughter, Amelia.
Photographic Representation of Gender in the Music Educators Journal During Postwar America
Presented by Kristin Coen-Mishlan
Abstract
Few studies have investigated photographic representation of gender in music education publications. Therefore, the purpose of this study will be to replicate the method of Adam J. Kruse, Robin Giebelhausen, Heather N. Shouldice, and Andrea L. Ramsey’s study, which looked at photographic representations in the 1962-2011 publications of Music Educators Journal. The current study will assess issues of the MEJ from 1946-1961. Journal covers and photographic images were collected and categorized by music conductors, teachers or presenters, and named persons. Specifically, the research questions will address how photographic representation has evolved. Implications from this study will address future research concerning how male and female music teachers are represented in textbooks and publications.
Bio
Kristin Coen-Mishlan received her bachelor’s degree in music education from the University of Rio Grande in 2006, and a master’s degree in music education from Kent State University in 2013. She served as band director for eight years at Huntington Local Schools in Ross County, OH, and is currently a doctoral student in music education at Kent State University. Her research interests include feminist studies, social justice, and socio-cultural issues in public education.
Persevering Through Challenging Times: Perspectives on Music Education during the Great Depression
Presented by Shannon Mendenhall
Abstract
The purpose of this paper is to investigate the purpose and role of music education during the Great Depression. The following research questions will guide this study: (1) what are some of the challenges faced by music education during the great depression and how were these challenges overcome? Inform practice? (2) What are some perspectives of the role of public school music education during the great depression? Data included articles from various publications and other primary sources found in the early twenty-first century. In addition to researching the challenges of music education during this time period, this study will also investigate trends in music education, including NBC Radio broadcasts, progressive education and music appreciation. Implications of this study may provide insight for music educators about past practices and the advances of music education despite challenging circumstances.
Bio
Shannon Mendenhall is currently pursuing her Ph.D. in Music Education at Kent State University. She graduated from Bowling Green State University in 2001 with a Bachelor’s degree in Music Education, with a general music emphasis and vocal concentration. Shannon earned her Orff Level 1 certification from AOSA in 2006 and earned her Masters of Music from Boston University in 2008. Currently, she is in her 15th year of teaching K-5 general music at Waterloo Elementary in Atwater, Ohio. Her research interests include general music approaches, folk music and students with special needs.
Brand new for a half-century: Toward a history of technology based music instruction
Presented by David Thompson
Abstract
Contemporary discussions of technology in the American music classroom, particularly those concerning technology based music courses (TBMCs), often promulgate the narrative that this type of music teaching and learning is a very recent addition to school music. Quite to the contrary, various forms of electronic and digital music making have been taking place in schools for approximately a half-century. The purpose of this historical research was to compare contemporary narratives of TBMCs to the narratives that emerge from an analysis of various historical sources. This report will attempt to disrupt the dominant narrative that electronic and digital music in schools is a “21st Century” innovation made possible by the converging factors of increasing computing power and lowering technology costs. Recognizing and “remembering” the narratives of forgotten TBMI pioneers holds powerful implications for present and future music educators.
Bio
David Thompson is a K-12 music educator in Plain Local Schools where he teaches general music and digital music production, and he is a PhD student at Kent State University. His students have given concerts of original music, built their own instruments, and are often asked politely to “keep it down.” Mr. Thompson’s interests lie at the intersection of music, education, and technology. He holds a B.M. in jazz studies from Michigan State University and an M.A. in music education from Case Western Reserve University.
Starting from Three Examples: The Characteristics, Reasons and Social Facts of "Xiaoyuan Minyao" Campus Folk Music
Presented by Haochen Qin
Abstract
Xiaoyuan Minyao (campus folk) is a music genre originating out of college campuses in mainland China starting in the 1980s and peaking in the 1990s. Some of the best works from that era deeply influenced Chinese generations. By listing some examples, this research will analyze the characteristics of this genre within the time period and social background.
Bio
Haochen Qin is pursuing a master’s degree in ethnomusicology under the direction of Dr. Andrew Shahriari at Kent State University’s School of Music. Qin graduated from Nanjing Normal University in 2014 with a MA degree in performance on the sheng, a traditional Chinese instrument. His studies focus on Asian musics, especially from China, Korea and Japan.
An Undulating Design: Life of Jazz in Akron, Ohio
Presented by Kevin Alexander Wilson
Abstract
Ohio has always been a large component in the birth and cultivation of the arts. This region has produced a significant amount of artists that have promoted and shaped many art forms. For this paper, my studies of Northeast Ohio will focus closely on the contributions of Akron for Jazz music drawing upon the history of Akron concentrating on the economic and social development that helped shape and enable the city to become a hotbed for this music, the Howard District stream of venues that provided the music a home and finally the demise of this district and quickly moving on to the rebirth of jazz through the network of venues in this region.
Bio
Kevin Alexander Wilson is a composer from Northeastern Ohio. His works reflect his current studies of ethnomusicology and compositionally draw upon a variety of multicultural influences and have been performed nationally as well as internationally. Kevin has received performances with Grammy Award winning Cleveland Chamber Symphony, University of Akron Symphony Orchestra, Duo Esplanade, the Greater Cleveland Flute Society, Kavazabava, and has also been included in NASA, and SCI conference programs. Kevin has been awarded the Grand Prize of the Ohio Federation of Music Clubs Collegiate Composition award. Kevin is currently pursuing his Ph.D. in Music Theory/Composition and a Masters degree in Ethnomusicology at Kent State University. Kevin has also studied at Central Michigan University and the University of Akron.
Sing for Your “Self”: Imparting Jewish Identity to Children through music
Nattapol Wisuttipat
Abstract
For the young American Jewish population, maintaining Jewish identity while growing up in a fast-paced society is sometimes a struggle. This fieldwork project focused on how aspects of Jewish identity are imparted to youth through music classes at the Temple Beth Shalom, a reformed synagogue in Hudson, Ohio. Through variety of musical activities, students learned not only religious and traditional Jewish songs in Hebrew and in English, but also non-musical Jewish values such as traditions, festivals, and morals. The music class effectively prepared students for the rites of passage at their respective ages and also inculcated them with values that represented their Jewish identity.
Bio
Born in Bangkok, Thailand, Nattapol Wisuttipat received his Bachelor of Education (Thai Music Education) from Srinakharinwirot University, Thailand, and is now a graduate student of ethnomusicology at Kent State University. He specializes in Thai classical music, especially Piphat music, and has performed in many countries, including USA, Malaysia, Taiwan, Japan, South Korea and Turkey. Nattapol’s recent work includes an award-winning presentation on the Relative Nature of Thai Traditional Music through its Tuning System at the 3rd International Conference for Asia Pacific Arts Studies, held in Yogyakarta, Indonesia.
Discovering Something Russian: A Fieldwork Study of the Balalaika
Elizabeth Recob
Abstract
Something Russian is a festival that occurs every October at St. Nicholas Orthodox Church in Mogadore, Ohio. Hundreds of people attend from all over the state during the two-day celebration. Participants are exposed to the cultural traditions of Russia, including a variety of food, dance, and music, as well as religion. This fieldwork project focuses on the music of the Balalaika ensemble found at this festival. Through pictures, videos, historical review, and a study of various types of balalaika, this presentation offers an in-depth examination of the musical identity associated with this local Russian community.
Bio
Elizabeth Recob is a 2013 graduate of Kent State University earning her B.A. in music education. She is a member of the National Association for Music Education and the Ohio Music Education Association. She is currently attending Kent State again, where she is pursuing her M. A. in ethnomusicology.
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