Bell, Book and Candle and Lesbians: A Look into LGBTQ+ Lives Through the Work of John Van Druten
Presented by Phoeby Trask
Addressing Bisexuality, Gender Non Conformance and Performativity through The Color Purple by Alice Walker (adapted for stage by Marsha Norman)
Presented by Chantrell Lewis
The Playground and The Battleground
Presented by Elle Simmons
Students’ Perceptions of Determinants of Quality Music Programs in Rural School Districts
Presented by Eric Bable
Beginning Band Teachers’ Beliefs and Practices Regarding Systems of Rhythm Reading
Presented by BethAnn Hepburn
Development of Social Communities in a High School Musical Theater Club
Presented by William Klein
Don’t Turn the Channel: Television, Music Education, and Stepping into Rhythm
Presented by BethAnn Hepburn
Riding the Waves: A Brief History of Feminist Scholarship in Music Education
Presented by Sarah L. Mattern
Performing Desi: Music and Identity Performance in South Asian A Cappella,
presented by Nicole Christine Muffitt
Beyond the Water: How Pronunciation Affects Melody in the “Water’s Birthday” Celebration in Ahmand-Abad, Iran,
presented by Niousha Eslahchi
The Development Trend of the Erhu Virtuosos After the Twentieth Century in the Perspective of Gender,
presented by Yuan Ni
Love and Respect: Forming the Bandung Philharmonic Community
Presented by Kevin Alexander Wilson
Fictive Families in Drag Culture as seen in La Cage Aux Folles and Hosanna
presented by Alary Sutherland
From Fictive Families to Feminism: An Examination of Jane Chamber's Lesbian Dramas
presented by Samantha Rufo
The Progression of Queer Theory: Essentialism and Constructionism in Paula Vogel’s Work
presented by Maggie Turek
Hebrew’s Mystery: A Relationship between Jewish Religious Music and the Hebrew Alphabet
Presented by Niousha Eslachi
Ume Daiko: A Field Research Project on Traditional Japanese Drumming
Presented by Thomas Hayran
Kids and Communities: A Philosophical and Sociological Look at K12 Music Education
Presented by William Klein
Appalachian Echoes: Sociological Perspectives of Rural Participation in School and Community Music Programs
Presented by Eric Bable
Connections Through Creativity: Sociological and Psychological Views in the Elementary Music Classroom
Presented by BethAnn Hepburn
Orchestral Ebb and Flow: Understanding Retention and Recruitment Practices in the String Classroom
Presented by Diana MacPherson
String Education Advocacy: Considering Best Practices and Approaches,
Presented by Caren Atanackovic
Choralography, Choreography, and Creativity: Adolescent Viewpoints of Movement in the Choral Classroom
Presented by Shannon Nicholson
The Effect of Eurhythmics Instruction on Pulse Perception: A Pilot Study
Presented by Laura M. Wiedenfeld
To Stand or Not to Stand (for a 6th Grade Band Rehearsal); That is the Pilot Study
Presented by Alexa B. McCleaster
The Impact of Orff Schulwerk Teacher Education on Improvisation in the 4th Grade General Music Classroom
Presented by BethAnn Hepburn
Motivational Factors and Gender Differences in the Successful Completion of Music Education Doctoral Programs: A Pilot Study
Presented by Sarah L. Mattern
Fictive Families in Drag Culture as seen in La Cage Aux Folles and Hosanna,
presented by Alary Sutherland
Abstract
Fictive kinship is a concept by Kath Weston used to describe how LGBTQ+ individuals form alternative families among friends and relationships. Using this concept as a basis for exploring how drag culture has a similar model to the contemporary nuclear family and how it relates to theatre. The musical La Cage Aux Folles has excellent examples of both fictive and drag families and we can use this to compare to the play Hosanna and contrast how drag and fictive families are portrayed in theatre. Using sources like RuPaul’s Drag Race and Paris is Burning as representations of drag queens and using these to compare representations of drag culture on the stage we can dissect how the concept of a nuclear family crosses boundaries to apply to drag families and fictive families in LGBTQ+ culture.
La Cage Aux Folles’s comedic approach to familial ties and fictive kinship is a stark contrast to Hosanna’s dark yet realistic feel. The LGBTQ+ families featured in both shows can be translated to the nuclear family concept and then using both scripts and media as examples to show how this concept can be applied to drag and fictive families. Weston’s fictive family concept can be extended beyond just a family and child relationship; with drag families you also see sibling rivalry and other familial relationships. The conflicts that are created from familial ties within both scripts can translate to any audience; these kinds of tensions arise in any family, and the resolutions found within both shows are plausible conclusions to the problems presented.
Bio
Alary Sutherland is a junior within the BFA lighting design program at Kent State University. He has worked on shows outside of the School of Theatre and Dance such as The Laramie Project and currently involved with Stonewall 50+.
From Fictive Families to Feminism: An Examination of Jane Chamber's Lesbian Dramas,
presented by Samantha Rufo
Abstract
This paper served as a comprehensive look at the theories and works studied in my LGBTQ Theater class. In this paper I compare Jane Chambers’ A Late Snow and Last Summer at Bluefish Cove. The theories I chose to examine through these texts are fictive families and lesbian feminism. Theorist Kate Weston examined the phenomena of those who identify as LGBTQ being disowned by their biological families leading them to then develop a “fictive family”. She states that within these fictive families, there are members who satisfied traditional family roles and needs. Chambers does not shy away from this reality as she presents Eva in Last Summer at Bluefish Cove who is recently discovering her sexuality and is eager to come out. As fellow lesbian at the cove, Lil, explains to Eva she needs to be cautious about coming out to her parents. She tells Eva of the trials of the other cove women, “Annie’s mother won’t allow Rae in the house. Sue’s brothers won’t allow her to visit her nieces and nephews…My mother feigned a suicide attempt…I keep reading stories in the gay press about how eighteen-year-olds announce it to their families over Christmas dinner and everybody hugs each other and it’s all hunky-dory. Well, maybe that happens to eighteen-year-olds but it’s never happened to anybody I know” (Chambers 76). Fictive families can be seen in A Late Snow through the way a group of women weather both a snow storm and crumbling romantic relationships. This is seen particularly when Peggy comes to Ellie when her marriage goes south. Peggy laments her lack of agency in life saying, “Your dreams came true…And you did it yourself. You didn’t depend on anyone else. I never could have done that” (Chambers 164).
Lesbian feminism started a revolution of ideas drawing attention from gender and feminist theory focusing it more on queer theory. Lesbian feminism arises from the sexism of the gay liberation movement and the lack of inclusivity in second-wave feminism. From lesbian feminism arose the notion of compulsory heterosexuality which can be defined as the naturalization of heterosexuality and the pathologizing of lesbianism in order to privilege heterosexual masculinity. The mention of feminism is first seen in Last Summer at Bluefish Cove when Eva says to Kitty, “You must be a feminist! I’m trying to become one…” (Chambers 32). Feminism is subtler in A Late Snow but is expressed through Peggy’s compulsory heterosexuality. Ellie tries to get her to admit to her homosexual exploits during college but Peggy vehemently denies it ever happened. She tells Ellie, “Wanda is my friend. That’s all. That’s the way it’s going to stay. I can’t deal with it, Ellie. It takes courage: a kind I haven’t got…I have a nice house, two lovely children, a good job. I’ll settle for that” (Chambers 190).
The theories of fictive families and lesbian feminism are catalysts for a deeper understanding of Chambers’ works: Last Summer at Bluefish Cove and A Late Snow which have notable different endings. Additionally, this essay will highlight the significant achievements of Jane Chambers and the way she shaped playwriting for lesbian women.
Bio
Samantha Rufo is a senior psychology major with a minor in theater management. Transferring to Kent State after freshman year, Samantha quickly became immersed in all that Kent State has to offer. Samantha has been involved with Kent State’s School of Theater and Dance since transferring. She is a proud member of Alpha Psi Omega, as well as the Kent State Honors College. Samantha serves as a part time employee at Hopewell: A Therapeutic Farm Community, and is a research assistant in the Delehanty Lab, secretary of stage management forum, and a crisis text line operator. After finishing her undergraduate education, Samantha plans to pursue a master’s degree in Clinical Mental Health Counseling which will enable her to become a Licensed Practicing Counselor.
The Progression of Queer Theory: Essentialism and Constructionism in Paula Vogel’s Work,
presented by Maggie Turek
Abstract
In this paper, three of Paula Vogel’s most significant plays will be discussed: The Baltimore Waltz, The Long Christmas Ride Home, and Indecent: the former two being earlier works and the latter being her most recent. Within these two plays the theories of essentialism and constructionism will be used to shed new light on the characters, stories, and themes. In addition, the ways in which Vogel’s writing developed and how her ideas progressed alongside the emergence of queer theory will be examined.
In addition, this paper will examine the development of Vogel’s ideas from The Baltimore Waltz to The Last Christmas Ride Home to Indecent. Considering that these plays were written over a period of the last three decades, Vogel created these pieces in the midst of the development of queer theory. Thusly part of this paper will analyze the ways in which the themes in her plays have changed and, perhaps, can be traced along the same lines as the progression of queer theory and history.
Bio
Maggie Turek is a senior BA Theatre Performance major. Though her interests occupy a wide range of subjects within theatre, she has focused a large amount of her time in college to the academic analysis of theatre. This includes recent dramaturgical work on both Kent State University’s main stage production of Emilie: La Marquise du Chatelet Defends Her Life Tonight and Short North Stage’s Vampire Lesbians of Sodom. She is grateful for the opportunity to present her work in this Colloquium Series and is looking forward to continued involvement in theatre and academics.
Hebrew’s Mystery: A Relationship between Jewish Religious Music and the Hebrew Alphabet
Presented by Niousha Eslahchi
Abstract
This project describes the principal types of religious Jewish music. Three significant periods in religious Jewish music will be reviewed: Solomon’s Temple, Classical Jewish religious music, and Contemporary Jewish religious music. The structure of classical melodic notation will be examined to show how it operates through an analysis of the Hebrew alphabet. Field documentation will familiarize the audience with the three song types in Jewish religious music. This project will demonstrate how the ancient music notation associated with Jewish religious song relates to the Hebrew alphabet.
Bio
Niousha Eslahchi grew up in Tehran, Iran, and received her bachelor’s degree from Allameh Tabatabai University of Tehran in Statistics and an MA from Shahid Beheshti University in ancient languages and culture of Iran under the supervision Prof. Esmaeilpour. Her research interests are: music, culture, mathematics, and linguistics. Ms. Eslahchi is also an accomplished pianist, receiving several awards for her performances of traditional Iranian music, known as dastgah, as well as nearly a decade as a teacher.
Ume Daiko: A Field Research Project on Traditional Japanese Drumming
Presented by Thomas Hayran
Abstract
Taiko drumming is a traditional Japanese art influenced by Chinese and Korean traditions since the sixth century. Taiko drumming has been used in a variety of ways, from mere entertainment to military functions and communication. This paper serves as a narrative of my experience investigating the Ume Daiko Japanese drumming group found in my hometown of Berea, Ohio.
Bio
As a native of North East Ohio, Thomas Havran has studied music at various Ohio institutions that include Tri-C, Baldwin Wallace University, Cleveland State University, and the Cleveland Institute of Music. He is primarily a guitarist, but also has experience studying and performing vocal music. After receiving his degree in psychology with a minor in philosophy from Cleveland State, Havran studied education at Hawaii Pacific University, where he learned traditional ways of life, music, and dance. While in Hawaii, he taught at various elementary and middle schools and was invited to join various ensembles at the university. He played marimba and vibraphone for the orchestra, sang baritone in the International Vocal Ensemble, and also played guitar for and directed the university band. Considered one of the best multicultural environments in the world, Thomas developed an interest and passion for studying cultures and musics from around the world. Now at Kent State University, Thomas Havran is studying ethnomusicology while teaching private music lessons at local music stores in pursuit of become a university music research professor.
Kids and Communities: A Philosophical and Sociological Look at K12 Music Education,
Presented by William Klein
Abstract
As with the personal philosophies of individual music educators, ideals on music education sociology can differ greatly from educator to educator. It is the purpose of this presentation to shed light on a personal philosophy of music education and an examination of high school musical traditions through the lens of sociology. Teachers may find themselves more effective on the podium with a connection to both their students and their community. This can be accomplished by knowing both the students and the demographic of the community in which the music educator is teaching. Having perspectives of both students and community may provide critical details for a music educator, and enhance their experience in a particular school or community.
Bio
Bill Klein is Director of Vocal Music at Austintown Fitch High School (Ohio) where he taught middle school for three years, and is currently in his fourth year at the high school level. Bill earned his BME (cum laude) from Youngstown State University, and MME from Kent State University, where he is presently a first-year doctoral student. His research interests focus on music teaching and learning, music and special education, high school musical theater, and choral music education.
Appalachian Echoes: Sociological Perspectives of Rural Participation in School and Community Music Programs,
Presented by Eric Bable
Abstract
Examining sociology as it applies to participation in school and community bands may inform, and begin to alleviate, challenges that are present in rural music education. The factors encouraging membership in community groups may be applied to these school environments. This allows for both facilitating student involvement in music programs, and motivating them to continue participation in music beyond their high school education. These factors may align with non-musical goals like personal accomplishment and related social issues, similar to other reasons students participate in musical study.
Bio
Eric Bable currently serves as the band and choir director at Crestview High School in Columbiana, Ohio. His responsibilities include conducting Concert Band, Marching Band, Chorale, and Chamber singers. He also teaches Drama, Theatre Explorations, and Understanding of Music through Kent State University. Eric serves as Music Director of the Canfield Community Concert Band and Crown Theatre Productions. He received his BME from Slippery Rock University and MM from Youngstown State University. He is currently a doctoral student in Music Education at Kent State University.
Connections Through Creativity: Sociological and Psychological Views in the Elementary Music Classroom,
Presented by BethAnn Hepburn
Abstract
This research presentation will focus on the interpersonal and intrapersonal ways children learn and make connections in an Orff-Schulwerk centered music classroom. The benefits of approaching musical concepts through multiple sensory processes through an active music learning environment will be emphasized. Further highlighted will be the added benefits of a collaborative constructivist approach to student musical creativity, and greater humanity.
Bio
BethAnn Hepburn holds degrees from Cleveland State University and the University of St. Thomas (MN). A doctoral student at Kent State University in Music Education. Her research interests include music education history, Orff-Schulwerk, general music, and curriculum issues. She is the co-author of Purposeful Pathways, Possibilities for the Elementary Music Classroom Books I-IV, and a frequent guest conductor for elementary honors groups at state and county festivals throughout the US. BethAnn currently teaches the General Music Methods courses at Kent State University, and serves as General Music Professional Development Chair for OMEA.
Orchestral Ebb and Flow: Understanding Retention and Recruitment Practices in the String Classroom,
Presented by Diana MacPherson
Abstract
This literature review was undertaken to consider various methods of student retention and recruitment, to better understand established practices in the field. Student attrition is an issue facing many string teachers, and it is hoped this research will support current and future string orchestra teachers and students. This review contains historical and contemporary approaches, student enrollment and perseverance, applicable practices in instrumental ensembles, and relevant research on retention and recruitment in music education settings, among other areas.
Bio
Diana MacPherson received her BM in Cello Performance in 2013 from Kent State University, and will complete her MAT in Music Education this Spring 2019. She will be student teaching at Solon High School with Gerry MacDougall, working with middle and high school string orchestras. In addition to an active performing schedule, she teaches studio cello and string lessons in Northeast Ohio. Her musical and research interests center on cello and orchestra performance, K12 string pedagogy, and historical performance practice.
String Education Advocacy: Considering Best Practices and Approaches,
Presented by Caren Atanackovic
Abstract
The purpose of this literature review was to examine research that shows approaches for advancing successful string music programs. Some teachers encounter difficulties in generating support for their school orchestras, and this review focuses on best practices scholarship for highlighting, promoting, and fostering support in schools and communities. Communication with administration, students, and parents are discussed through the lens of the teacher, along with other work that centers on values and purposes of string teaching and learning in K12 contexts.
Bio
Caren Atanackovic received her Bachelor of Arts in Music at Baldwin Wallace University with a minor in Business Administration and Arts Management. She has studied and performed in several countries abroad, including Austria, Italy, Germany, France, Slovakia, Czech Republic, and Poland. As an active chamber musician, she performs regularly throughout northeast Ohio. Caren teaches beginning through advanced strings in her private studio in Akron, and is currently working on her MAT in Music Education at Kent State University.
Choralography, Choreography, and Creativity: Adolescent Viewpoints of Movement in the Choral Classroom,
Presented by Shannon Nicholson
Abstract
The transition from middle school to high school is where choral directors typically experience a decrease of enrollment, especially among adolescent males. Literature suggests that a common reason for their lack of participation is that they prefer more physical activities where they can experience competition and success. Based on this concept, incorporating movement into choral activities could lead to more enjoyment, active learning, singing ability and possibly increased enrollment in high school choirs. The purpose of this study is to investigate the perceptions of movement in the choral classroom by middle school students. The following research questions guided this study: (1) how does purposeful movement in the middle school choral classroom influence students’ perceptions of their music learning? and (2) how does purposeful movement influence students’ self-efficacy regarding their singing ability? Data will be collected using a survey with responses being scored on a Likert scale. Implications of this study will provide data on the adolescent perception of the choral classroom with the hopes of discovering classroom techniques that will encourage continued participation in choir.
Bio
Shannon Nicholson is currently pursuing her PhD in Music Education at Kent State University. She graduated from Bowling Green State University in 2001 with a BME in general music and voice. Shannon earned her Orff Level 1 certification from AOSA in 2006, and MME from Boston University in 2008. She has taught general music and choir for 17-years in elementary, middle school, and high school settings, and currently for Poland Local Schools. Her research interests include general music approaches, popular music in the classroom, and democratic strategies and foundations in music education.
Motivational Factors and Gender Differences in the Successful Completion of Music Education Doctoral Programs: A Pilot Study,
Presented by Sarah L. Mattern
Abstract
Attrition rates for students in doctoral programs remains a problem in academic disciplines widespread. This includes Ph.D. students in music education. By examining motivational factors that have led former doctoral students in music education to successfully complete their degrees, institutions might gain insight that could prove helpful in assisting future students obtain this achievement. An investigation of the differences between genders regarding motivation and length of time for degree completion might further aide program coordinators in understanding key factors of success, leading them to design programs such that attrition rates might decrease. A questionnaire was used in this quantitative pilot study of former music education doctoral students (n=12) at universities in Ohio who obtained their Ph.D.s within the last 15 years, and seeks to answer the following: What effect does motivation have on music education doctoral students in the completion of their programs? Is there a difference in the motivational factors of female versus male music education doctoral students and the time it takes for each gender to complete their programs? Results indicate no significant difference between genders regarding the length of time for degree completion, though differences were found in both primary and secondary motivational factors for starting and completing doctoral programs in music education. Limitations, implications, and recommendations for future research are suggested.
Bio
Sarah L. Mattern is a second-year doctoral student in music education at Kent State University and a K-2 general music teacher for Niles City Schools. She previously taught general music in a K-8 private school setting and also maintained an active piano and voice studio for over twenty years. She holds degrees from West Virginia University (BME) and Kent State University (MME). Her research interests include feminist studies, sociological and historical perspectives, learning theories of motivation and self-regulation, and general music methodologies in music teaching and learning.
To Stand or Not to Stand (for a 6th Grade Band Rehearsal); That is the Pilot Study,
Prensented by Alexa McCleaster
Abstract
The purpose of this mixed methods study is to examine the effectiveness of 6th grade students standing during an instrumental music rehearsal. Twenty-six students in a rural school district participated in four days of band rehearsal, with the first two days being a seated rehearsal and the following two days, a standing rehearsal. All rehearsals were video recorded and behavior coded for comparison purposes. At the end of the week, students were asked to write about their experience during their rehearsals. Findings show student concentration levels slightly increased during the standing rehearsals and students found the standing to increase their playing capabilities due to breathing and posture. There is a call for more research in this area and a potential for this research to be extended to other body movement studies.
Bio
Alexa McCleaster is a third year Ph.D. student at Kent State University. She is the Director of Bands at Chippewa Local Schools, teaching grades 5-12. Ms. McCleaster holds a Bachelor of Music Education from Kent State University and a Master of the Arts in Education with a concentration in Integrated Technology from the University of Akron.
The Effect of Eurythmics Instruction on Music Theory Students,
Presented by Laura M. Wiedenfeld
Abstract
Despite being designed for collegiate music students and recommended by music theory pedagogues, Dalcroze eurhythmics is seldom used in university settings or outside the general music classroom. The purpose of this pilot study is to examine the effect of Dalcroze eurhythmics instruction on collegiate music theory students within the theoretical framework of cognitivism, specifically concept learning. Will eurhythmics instruction increase student pulse perception? Participants (N = 2) were recruited from a freshmen music theory course at a midsize, Midwestern university. Utilizing an experimental design, participants performed a rhythmic pretest, took part in one Dalcroze eurythmics course, and performed a rhythmic posttest immediately following the treatment. Participants also filled out a brief survey following their performance pretest and posttest, which included questions of rhythmic self-efficacy and demographic information. Results suggest that the course in Dalcroze eurhythmics increased student rhythmic performance accuracy and pulse perception in both participants, as well as increase feelings of efficacy. Implications for further study and implementation of eurhythmics in conjunction with aural skills strategies and collegiate music theory courses will be discussed.
Bio
Laura Wiedenfeld, a native Iowan, received her bachelor’s degree in percussion performance at Arizona State University and continued her education at Southern Methodist University while teaching privately in the Dallas area. She taught general music for grades PK3-8 in the Houston-area for 4 years. Currently, she is a visiting assistant professor of music education at the University of Akron after serving as a graduate assistant at Kent State University, where she is earning her PhD in music education. She earned her three levels of Orff-Schulwerk from SMU and is beginning the certification process in Dalcroze Musicianship through the American Eurythmics Association.
The Impact of Orff Schulwerk teacher education on the instruction of improvisation in fourth grade general music: A pilot study.
Presented BethAnn Hepburn
Abstract
The purpose of this study was to investigate the impact of Orff Schulwerk teacher education course completion on improvisation in the fourth-grade general music classroom. An anonymous survey was completed by 250 elementary music teacher who completed a minimum of one level of Orff Schulwerk training in an American Orff-Schulwerk Association approved curriculum course and currently teach fourth grade general music. Specific research questions were: 1) What influences a teacher’s choices for including improvisation in their fourth-grade music classes? 2) Did the teacher’s confidence increase for structuring improvisation opportunities for their students? 3) What are the Orff Schulwerk media teachers most comfortable using for improvisation? 4) What changed in the teacher’s perception of their teaching as a result of their Orff Schulwerk training? 5) How did more levels of completion impact the use of improvisation instruction? Participants reported an increased self-efficacy in their comfort level to provide improvisation opportunities, with an increased efficacy with melodic percussion with more levels completed. All participants indicated using all of the media from Orff Schulwerk process teaching as modes for improvisation with their students, with a clear distinction of singing being the least comfortable. Findings show teachers felt empowered utilizing new structures for improvisation in their teaching as a direct result of their Orff Schulwerk education courses with the most common structures being question and answer and eight-beat fills. The study revealed time and other demands for programs as the most significant barriers to the feasibility of dedicating time to improvisational experiences in music class. Overall, teachers reported their change of mindset in their own preparation for student experiences and an increased self-efficacy to structure improvisation in their instruction. The teacher participants indicated an increased value in student-ownership and stressed the importance of student-created music as a vehicle for students to musical understanding.
Bio
BethAnn Hepburn holds degrees from Cleveland State University and the University of St. Thomas, MN. She is a doctoral student at Kent State University in Music Education. Her research interests include music education history, Orff-Schulwerk, general music, and curriculum. She is the co-author of Purposeful Pathways, Possibilities for the Elementary Music Classroom Books I-IV, a guest conductor for Elementary honors groups at state and county festivals. BethAnn is a professor for the General Music Methods courses at Kent State University and general music professional development chair for OMEA. BethAnn is an endorsed teacher educator for the American Orff-Schulwerk Association and teaches level I, movement, recorder, and master classes and is a frequent clinician throughout the US and abroad.
Performing Desi: Music and Identity Performance in South Asian A Cappella,
presented by Nicole Christine Muffitt
Abstract
In 1996, the first collegiate South Asian A Cappella Group, Penn Masala, was founded at the University of Pennsylvania. Over the last twenty-two years, nearly fifty such groups have been founded at colleges and universities across the United States. These ensembles blend western popular music with South Asian music, namely Bollywood film songs. Membership in these groups typically involves participants with South Asian ethnic backgrounds as well as participants from various other ethnic backgrounds. Through a case study with the ensemble Dhamakapella, this paper explores the ramifications and outcomes between the multifaceted essence of South Asian A Cappella and the multifaceted ethnicities of its members, using the concept of sign vehicles to show how identities are blended, reinvented, and performed in both musical and social settings.
Bio
Nicole Christine Muffitt is a second-year master’s student in ethnomusicology at Kent State University. Prior to her graduate study, she received degrees in music education and trombone performance also from Kent State. Ms. Muffitt’s current research analyzes the means by which music performance helps to reinforce the concept of individual and group identity. Her other interests include ethnicity, sexuality, and gender, as well as the musical traditions of shape note singing, American fiddling, and masked dances.
Beyond the Water: How Pronunciation Affects Melody in the “Water’s Birthday” Celebration in Ahmand-Abad, Iran,
presented by Niousha Eslahchi
Abstract
People of Ahmad-Abad, a small village consisting of two parts (north and south) separated by a river in Lorestan in western Iran, pronounced the word water as “OU” up to 500 years ago. Today, people who live in northern Iran pronounce this as “AU,” while people who live in the south say, “EU.” Through my field research, I learned that people in the northern part of this village were cut off by the river from the people in the south for nearly 70 years roughly 300 years ago. Today, people in this village celebrate a ceremony known as, “Water’s Birthday” with the same music and song. In this presentation, I will show how different pronunciations of the word for water can affect and change the same melody of this ritual ceremony in two different parts of Ahmad-Abad.
Bio
Niousha Eslahchi grew up in Tehran, Iran, and received her bachelor’s degree from Allameh Tabatabai University of Tehran in Statistics and an MA from Shahid Beheshti University in ancient languages and culture of Iran under the supervision Prof. Esmaeilpour. Her research interests are: music, culture, mathematics, and linguistics. Ms. Eslahchi is also an accomplished pianist, receiving several awards for her performances of traditional Iranian music, known as dastgah, as well as nearly a decade as a teacher.
The Development Trend of the Erhu Virtuosos After the Twentieth Century in the Perspective of Gender,
presented by Yuan Ni
Abstract
Erhu is a traditional Chinese bowed instrument with two-strings. The art of playing erhu as people know it now actually began to develop in the early 1900s. The paper will discuss the innovation and changes of erhu in the past hundred years from the perspective of gender.
Bio
Yuan Ni is an international student from Anhui Province, China. She is studying for Master degree with ethnomusicology at Kent State University. 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 admitted to the major of ethnomusicology in the Kent State University in August of the same year. Her interested areas are Chinese traditional music, gender, cross-culture.
Love and Respect: Forming the Bandung Philharmonic Community,
presented by Kevin Alexander Wilson
Abstract
In late January, early February of 2018, I had the opportunity to conduct fieldwork on the Bandung Philharmonic orchestra in Bandung, Indonesia. During this exploration, I spent most of my time on Java, in Jakarta and then in Bandung, focusing on the orchestra and trying to figure out what makes this orchestra unique and how it will survive in a time where the symphonic orchestra medium has struggled to remain relevant. The Bandung Philharmonic has approached the orchestra with a distinctive perspective, and have accomplished much more in terms of community involvement, outreach, education, and the overall stimulation of the environment.
This presentation will begin with a summary of the beginnings of the BandungPhilharmonic and those whom are responsible for most of the orchestra’s success. I will then focus on the orchestra’s efforts to encourage education, community involvement, as well as its legacy through involvement with commissioning composers, building of instruments, and promotion a diversified Bandung identity. The paper’s perspective relies on the multicultural identity of Java through the lens of globalization, identity, and post colonialism.
Bio
Kevin Alexander Wilson is a composer curious about various perspectives on life and music held by cultures throughout the world. His works reflect a variety of musical characteristics from various origins. He is particularly interested in intercultural and the confluence of composition, and the collaboration and inclusion process of performer input through improvisation. Kevin is a Doctoral candidate in Music Theory/Composition and is also pursuing his Masters degree in Ethnomusicology at Kent State University. Kevin has also studied at Central Michigan University and the University of Akron.
Bell, Book and Candle and Lesbians: A Look into LGBTQ+ Lives Through the Work of John Van Druten
Presented by Phoeby Trask
Abstract
In 1950 being a member of the LGBTQ community was difficult and there were pressures to either stay in the closet and be discrete or to conform to the world around them. Many felt that the only safe space they had was found within the theatre and plays that may or may not have hints of being about them. Bell, Book and Candle by John Van Druten is a perfect example of one of those coded plays. It is easy to see that the main protagonist Gill (a witch in New York City) and subsequently her family could be examined and analyzed as part of the LGBTQ+ community and show the struggles that they face because of that in Mid-century America. With the use of coding and gender stereotypes through the feminist lens, Bell Book and Candle by John Van Druten shows the pressures on LGBTQ+ people to either stay closeted or conform to heterosexual cisgendered norms.
Bio
Phoeby Trask is a student at Kent State University. She is currently working towards her bachelor’s degree in Theatre Production. She resides in Ravenna, OH with her two dogs.
Addressing Bisexuality, Gender Non Conformance and Performativity through The Color Purple by Alice Walker (adapted for stage by Marsha Norman)
Presented by Chantrell Lewis
Abstract
The purpose this presentation is to elaborate on the knowledge of bisexual relationships that occurred in the early 1900’s regardless of the sexual and racial oppression of the time period. Though my paper is written based off a novel/musical it is considered historical fiction and much of the writing within the piece is truthful. I believe that through art and through literature we are able to experience and view through a greater lens, the human experience. The Color Purple by Alice Walker (Adapted for stage by Marsha Norman) walks us through the relationships our main character Celie, is involved in and evolves through. Through the storyline we truly see some women completely dismiss gender norms shape their village as they see it fit. As an audience see many different factors as to how her trauma and/or life has affected her attraction and affection towards certain relationships but most importantly the relationship she has with herself.
Bio
Chantrell Lewis is a Senior BFA Musical Theatre student at Kent State University. During the past four years she has been in a multitude of plays and musicals at Kent State and through regional theatre companies in Cleveland, Ohio as well as making her opera debut this past March through KSU School of Music Opera Program. Lewis is the 2018 Golden Flash Award recipient, an honor given to one Kent State Student per year in recognition of community service, scholarship as well as Kent State pride and tradition. She enjoys writing and has competed in poetry competitions in Chicago, Los Angeles and Cleveland. Her favorite writers are Maya Angelou and Toni Morrison. Lewis will be graduating this Spring and moving to Irvine, California where she will join the University of California’s prestigious MFA Acting Program this Fall 2019.
The Playground and The Battleground
Presented by Elle Simmons
Abstract
I have chosen to view the plays, Hidden: A Gender and Cloud 9, through the theories of Second Wave Feminism and Third Wave Feminism. Second Wave Feminism looks at the oppression of women through an essentialist, binary view of men oppressing women. This is not inherently exclusionary of intersectional, especially trans, women, however in practice this was and/or is often the case. Third Wave Feminism on the other hand approaches gender through constructionism and therefore views the binaries of gender as socially enforced and created constructs. This form of feminism is inherently more inclusive of trans people, though it can still be used to bypass acceptance for other intersectional groups.
The two plays, Hidden: A Gender and Cloud 9, share many parallels on a surface level. They both contain a close examination of queer lives throughout history and both have nonlinear, seemingly illogical timelines. However upon closer examination their theories of gender are quite different. In Hidden: A Gender, Kate Bornstein holds and posits a radical, constructionist view of gender. Her concept is best summed up by the quote “When gender is a binary, it’s a battlefield. When you get rid of the binary, it becomes a playground” from her book Gender Outlaw. Cloud 9, by Caryl Churchill, is rooted deeply within Second Wave Feminism, as it is a product of the 1970’s. This has positives, i.e. the sexual and feminist liberation of the characters after the straight white cis man is killed in the first act. However, it’s initially more nebulously gendered characters are not able to play with their gender/genders as in Kate’s work.
Bio
Elle Simmons is a BFA Musical Theatre student at Kent State University. During her career at Kent State she has been in many plays and musicals on the mainstage at Kent, in the Blackbox productions, and in the Northeastern Ohio area. She sends all her love and thanks to her family, friends, and wonderfully supportive partner Josh Fern.
Students’ Perceptions of Determinants of Quality Music Programs in Rural School Districts
Presented by Eric Bable
Abstract
This study was designed to examine the determinants of quality music programs as perceived by students in a rural high school. Students in rural school contexts typically place emphasis on aspects of community, socialization, and experience when evaluating school related activities. A pilot group (N=9) responded to the open ended “list the elements (factors) that contribute to a quality high school music program.” Responses and the related literature were used to develop a Likert-type survey that was sent to all participants. Participants in the main study were students (N=30) in rural high schools in northeast Ohio. Results showed an alignment with previous research emphasizing experiences, socialization, and community as important determinants of quality high school music programs. This may provide insight for rural music educators to consider extra-musical practices to determine participation.
Bio
Eric Bable is the band and choir director at Crestview High School in Columbiana, Ohio. He also teaches theatre explorations and college credit plus classes through Kent State University. Eric is the music director of the Canfield Community Concert Band and is a music director with Crown Theatre Productions. He received his BM from Slippery Rock University, his MM from Youngstown State University and is currently a doctoral student in Music Education at Kent State University.
Beginning Band Teachers’ Beliefs and Practices Regarding Systems of Rhythm Reading
Presented by BethAnn Hepburn
Abstract
The purpose of this study was to investigate the practices that beginning band directors use for rhythmic reading, and the connection of those practices to elementary general music rhythm systems. There are a variety of rhythmic reading systems used in the elementary general music classroom, and beginning band directors are faced with strategic pedagogical choices to transfer students from a syllable system of reading to traditional counting systems. Beginning band directors (N=52) participated in an electronic survey. Results indicated that beginning band teachers desired collaborative opportunities, which they believed would benefit students and their instruction. Isolation issues impeded collaboration and knowledge of rhythmic readings systems being used in elementary classrooms. Participants indicated that systems of rhythmic reading were used for a variety of purposes, including learning articulations.
Bio
BethAnn Hepburn holds degrees from Cleveland State University and the University of St. Thomas (MN). A doctoral student in Music Education at Kent State University, her research interests include music education history, Orff-Schulwerk, general music, and curriculum issues. She is the co-author of Purposeful Pathways: Possibilities for the Elementary Music Classroom Books I-IV, and a frequent guest conductor for elementary honors groups at state and county festivals throughout the United States and abroad. BethAnn currently teaches the General Music Methods courses at Kent State University and serves as General Music Professional Development Chair for OMEA.
Development of Social Communities in a High School Musical Theater Club
Presented by William Klein
Abstract
Based on the theory of Communities of Practice (Lave & Wenger, 1991), this study was designed to explore formation, development, and preservation of social communities in a high school musical theater club. Participants were three high school students active in their high school’s drama club, and who were not involved in their school’s curricular ensembles. Students were selected from three different areas of the club including cast, stage crew, and make-up and hair committee. Individual interviews were used to gather data on how social communities form and what can be done to maintain them. Extended time spent with each other, outside interaction, and creation of a team or family atmosphere were prevalent themes.
Bio
Bill Klein is the director of vocal music at Austintown Fitch High School in Austintown, Ohio. He has held this position for seven years, teaching three years at the middle school level before moving to the high school level for the past four years. Bill earned his bachelor of music education degree from Youngstown State University and his masters in music education from Kent State University. He is a doctoral student in Music Education at Kent State University. His current research interests are music teaching and learning, music and special education, high school musical theater, and choral music education.
Don’t Turn the Channel: Television, Music Education, and Stepping into Rhythm
Presented by BethAnn Hepburn
Abstract
In the 1960s and 1970s, public television stations impacted music education through development of programs that were informative and pedagogical. Two examples are the WVIZ Cleveland (Ohio USA) televised music pedagogy programs Stepping into Rhythm (SIR) and Stepping into Melody (SIM). A primary goal was to help music teachers and students navigate the challenges in the educational landscape of the times. Topics for consideration are context and chronology of selected televised instruction in the United States, specific characteristics of music instructional programs, and history and background of SIR and SIM. The development of these unique programs, the personalities involved, and pedagogical aims will be discussed, along with impacts on music teaching and learning at the local and national level.
Bio
BethAnn Hepburn holds degrees from Cleveland State University and the University of St. Thomas (MN). A doctoral student at Kent State University in Music Education, her research interests include music education history, Orff Schulwerk, general music, and curriculum issues. She is the co-author of Purposeful Pathways, Possibilities for the Elementary Music Classroom Books I-IV, and a frequent guest conductor for elementary honors groups and clinician for elementary music pedagogy in the U.S. and abroad. BethAnn currently teaches the General Music Methods courses at Kent State University and serves as General Music Professional Development Chair for OMEA.
Riding the Waves: A Brief History of Feminist Scholarship in Music Education
Presented by Sarah L. Mattern
Abstract
Feminist scholarship within the field of music education has made a notable impact on the profession over the years. The purpose of this study is to provide a deeper understanding and awareness of this important history. Three distinct waves of feminism and their representative time periods are examined, as linked to feminist scholarship within music teaching and learning. Key feminist scholars are highlighted, along with their long-term work and contributions. The following research questions serve as a guide for this study: What is feminism, and how is it linked to feminist scholarship in music education?; How has this scholarship developed and changed over the years?; and What impact has feminist scholarship had on the music education profession at large? Implications from this research may prove insightful for both emerging and established scholars concerning the roles and successes of women in the field, and how feminist endeavors might function within the academy moving forward.
Bio
Sarah L. Mattern is a second-year doctoral student in music education at Kent State University and a K-2 general music teacher for Niles City Schools. She previously taught general music in a K-8 private school setting, and maintained an active piano and voice studio for over twenty years. She holds degrees from West Virginia University (BME) and Kent State University (MME). Recent publications include those in Excellence in Performing Arts Research and SmartMusic music educator blog. Her research interests include feminist studies, sociological and historical perspectives, learning theories of motivation and self-regulation, and general music methodologies in music teaching and learning.
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