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Modern Band Colloquium July 6–9, 2018 1

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Modern Band Colloquium

July 6–9, 2018

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Modern Band Colloquium

July 6–9, 2018

Colloquium CoordinatorsAnn C. Clements, Pennsylvania State University

Clint Randles, University of South Florida

~ ~ ~Program by

James Eldreth, Pennsylvania State University

Sponsored byLittle Kids Rock

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Colloquium Schedule At–A–Glance

Friday, July 6 – Pavilion Building6:00-7:00 PM Registration Opens (Pavilion Building)7:00 Opening Gathering (Coopersmith’s)Saturday, July 7 – University Center for the Arts7:00-9:00 AM Breakfast (Durrell Dining Hall)8:00 Registration Opens (University Center for the Arts)8:30 Setting the Stage – Clint Randles (Instrumental Rehearsal Hall)9:00-9:50 Plenary Session: David Elliott (Instrumental Rehearsal Hall)9:50-10:15 - Coffee Break -10:15-10:45 Paper Session 110:50-11:20 Paper Session 211:25-11:55 Paper Session 312:00-1:00 PM Lunch (Instrumental Rehearsal Hall)1:00-1:50 Plenary Session: Tiger Robison (Instrumental Rehearsal Hall)1:55-2:25 Paper Session 42:30-3:00 Paper Session 53:05-3:35 Paper Session 63:40-4:10 Paper Session 74:15-5:00 Interactive Session 17:00-8:30 Thought Leadership Dinner (Lory Student Center, Ballroom C/D)After Dinner Jam Session (Jam Room, upstairs in Pavilion Building)Sunday, July 8 – Lory Student Center7:00-9:00 AM Breakfast (Durrell Dining Hall)8:30 Day 2 Opening Remarks – Dan Goble (Lory Student Center, Ballroom B)8:40 Modern Band Performance (Ballroom B)9:10-10:00 Plenary Session: John Kratus (Ballroom B)10:00-10:15 - Coffee Break -10:15-10:45 Paper Session 810:50-11:20 Paper Session 911:25-11:55 Plenary Session: Panel (Ballroom B) 12:15-1:15 PM Lunch (Ballroom C/D)1:30-2:00 Poster Session (Ballroom B)2:00-2:30 Paper Session 102:35-3:05 Paper Session 113:10-3:55 Interactive Session 25:00-7:00 Dinner (Durrell Dining Hall)7:00-10:00 Teacher Kickoff Jam (Washington’s)Monday, July 9 – Lory Student Center (LSC)7:00-9:00 AM Breakfast (Durrell Dining Hall)8:30 What have we learned? – Clements, Randles (LSC, Ballroom B)8:45 Working Groups – Elliott, Kratus, Powell, Robison9:30 Sharing thoughts from Working Groups – Clements, Randles10:00-10:15 - Coffee Break -10:15-11:00 Interactive Session 311:00-11:45 Interactive Session 411:45-12:45 PM Lunch (Ballroom C/D)

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ProgramJuly 6, Friday

6:00-7:00 PM Registration (Pavilion Building)

7:00 Gathering (Coopersmith’s)Transportation to Coopersmith’s will not be provided. It is a 7-minute drive or a cheap Uber ride, especially if you use UberPOOL to rideshare with others.

~ ~ ~July 7, Saturday

7:00-9:00 AM Breakfast (Durrell Dining Hall)

8:00 Registration (University Center for the Arts)This is a 20-25-minute walk from the dorms. Golf carts will be available beginning at 8:00 AM and again at 5:00 PM.

8:30 Setting the Stage (Instrumental Rehearsal Hall)Clint Randles, University of South Florida

9:00-9:50 Plenary Session and Discussion (Instrumental Rehearsal Hall)

Music Identities and Popular Musics: A Philosophical PerspectiveDavid Elliott, New York UniversityHow do young people’s felt experiences of popular music contribute to their musical identities and development? This paper constructs answers through a philosophical inquiry that draws support from research in emotion studies, the psychology of personhood, embodied music cognition, and affective neuroscience. A brief introduction to the nature of emotions and popular music is followed by concrete illustrations of selected teenagers’ reflections on their personal emotional experiences of particular pieces of popular music. The discussion then integrates findings in specific psychological and philosophical theories of musical emotions with themes in embodied music cognition that are subsequently applied to contrasting examples of popular music. The paper ends by positing a provisional concept of how the musical structures, lyrics, and contexts of popular music may arouse emotions, communicate expressions of emotions, and contribute to the musical, emotional, and social development of young people.

9:50-10:15 Coffee Break

10:15-10:45 Paper Session 1

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Instrumental Rehearsal HallChanging Clave: Engaging with Music Beyond the Filing CabinetPeter McCoy, SUNY PotsdamMarsha Baxter, SUNY PotsdamNestled near the foothills of the northern Adirondacks in rural, upstate New York, students in the Crane Latin Ensemble explore the rhythmic and musical styles of traditional and contemporary Afro-Cuban music through listening/analysis, performing, transcribing, arranging, remixing, and composing, supported by collaboration with master musicians and cultural insiders within a student-centered, democratic classroom. The group has forged partnerships to promote cross-cultural collaborations with universities, public schools, and community Arts organizations in Canada, Cuba, Mexico, and New York City. Such cultural-musical exchanges reflect a new paradigm that begins to redefine what it means to be a teacher and musician in the 21st century.

Room 158Policy Considerations Impacting the Inclusion of Modern Band in University Music Teacher Education CurriculaJocelyn Prendergast, Truman State UniversityBrittany Nixon May, Brigham Young UniversityWhile public music education curricula have remained largely unchanged for the past 100 years, K-12 music teachers are increasingly offering music classes beyond band, choir, and orchestra ensembles at the secondary level, including music technology, music appreciation, keyboard, guitar, songwriting, etc. (Prendergast, 2017). Further, most states now issue music teaching licenses listing “music” as the subject area rather than specifying a track such as choral, general, or instrumental (May, Willie, Worthen, & Pehrson, 2017), suggesting that highly tracked music teacher curricula are inappropriate. While a number of factors influence undergraduate music teacher education curricula, including accreditation requirements, state legislatures or departments of education, educational trends and technological developments, and institutional traditions (Council for Accreditation of Educator Preparation, 2015; Groulx, 2016, National Coalition for Core Arts Standards, 2014), one important influence should be the preferred music-making genres of the students these future teachers will serve. As the K-12 curriculum expands to include courses beyond the Band, Choir, and Orchestra (BCO) ensembles, such as Modern Band, teacher education curricula will need to respond due to both the philosophical and practical challenges of preparing teachers to meet the musical needs and desires of all public K-12 students. Understanding the policies that inhibit the expansion of music teacher education curricula, real or imagined, is important to those desiring to include other genres of music-making in music teacher preparation programs, including Modern Band.

10:50-11:20 Paper Session 2

Instrumental Rehearsal HallAn Examination of Teaching and Learning Processes in Community and School Steel BandsBrandon Haskett, Saginaw Valley State UniversityThe birthplace of the steelpan is Trinidad and Tobago; however, through various diasporic

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movements, the instrument has spread throughout the world. There are over 600 school and university steel bands in the United States with hundreds more in England and Japan. Additionally, there are numerous community steel bands, professional steel bands, and church steel bands.Traditionally, Caribbean steel bands have been taught by rote through visual and aural teaching strategies. The strongest players are typically taught the parts by ear by the arranger, section leaders teach their sections, and these parts are drilled (sometimes by the section leader and sometimes by the drillmaster). Players typically help each other by demonstrating parts and clarifying the parts throughout rehearsal and during breaks. This peer to peer interaction is crucial to the art form and reinforces the communal nature of the ensemble in the Caribbean. No sheet music is typically used in these traditional settings, and, if used, memorized and left at home. The music is fluid and can be changed at a moment’s notice in rehearsal.In the U.S., there is a mixture of approaches to teaching a steel band. Typically, directors provide students with sheet music, while using rote strategies to clarify rhythmic challenges in the music. Occasionally, directors will teach a piece by ear, and in the U.S., players will typically have some opportunities to improvise, particularly at the high school and collegiate levels. Student to student learning, while still present in some rehearsals, is not as prominent as in the Caribbean. Typically, U.S. steel bands can be, in some ways, more teacher-centered than rehearsals in the Caribbean. The music is more or less considered static, except the improvisation sections.In this study, video-recordings have been made of U.S. high school and collegiate steel bands and Trinidadian youth steel bands and questionnaires regarding teaching and learning completed by students and the directors (or drillmasters). Three schools in each category have been observed three times each. Observations were spread throughout a semester, except for those in the Caribbean, as they were limited by Carnival season and the researcher’s travel limitations. Field notes were taken during each visit.While this study does not provide for generalizable results, it does allow for critical examination of what is occurring in the observed classroom, both for students and for the teachers. This study was conceived as a starting point for conversations regarding steel band pedagogy as there have been no studies, to the author’s knowledge, that examine actual rehearsals of steel bands in a systematic way.Video, field notes, and questionnaire responses have been coded for themes. These data have been examined for teaching and learning strategies (there are both teacher-centered and student-centered approaches used), student responses to instruction, disconnects in the learning process, and social learning that occurs. Strengths and weaknesses of each approach have been examined. Implications and suggestions for learning opportunities with steel bands and materials to support these opportunities are addressed as well as thoughts for the broader music education field.

Room 158From Monticello to Montreux: A Discussion of the Most Highly Acclaimed PME Ensemble in the CountrySteve Holley, McLemore Ave MusicThe Commercial Music Program at the Kent Denver School in Englewood, CO, is home to some of the most exemplary non-traditional ensembles in the country. The bands have been awarded more DownBeat Student Music Awards than any other comparable program in the

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country, have performed with multiple Grammy Award winning musicians, perform regularly in Colorado and throughout the United States, and internationally at the Montreux Jazz (SUI) and Porretta Soul (IT) festivals, as well as the Festival del Tambor in Havana, Cuba. The student musicians have accomplished all this while balancing their academic, athletic, artistic, and personal lives at an independent day school. Our mission statement reads, “Commercial/Popular Music education has grown from the need to not only teach our students music, but to instill in them life skills such as responsibility, professionalism, teamwork, attention to detail, and organization, among others. Through the consumption, rehearsal, study, and performance of multiple genres, the history surrounding the various styles, and the study of standard business practices, we endeavor to develop these skills in our students.” The pillars of music education have long included “traditional” and, more recently, jazz education. What this model neglects is the diversity and inclusivity afforded to our students through popular music education. While marching band might not resonate with a particular student in Denver, perhaps mariachi does. While jazz might not excite a student in New Orleans, perhaps hip-hop does. How do we, as educators and performers, go about shifting the paradigm of music education to include the best of traditional education models while adapting to a changing cultural, pedagogical, and consumer landscape?Taking into account the rich twenty-year history of the program, CMP producer and founder Steve Holley will discuss the beginnings of the program, why the school chose to take this approach to music education, what the students have accomplished, the philosophy behind the program, best practices, and what students take away from their experiences.

11:25-11:55 Paper Session 3

Instrumental Rehearsal HallIncorporating Modern Band and Commercial Styles Throughout the Pre-Service Music Education CurriculumAlexander Koops, Azusa PacificThis session will feature examples of how modern band training could be integrated into a collegiate music education program. Currently at Azusa Pacific University we have a fairly traditional set of music education classes, and there is no “extra” room to add any commercial or modern band classes because the unit load is maxed out for music education majors. One way to address this issue is to have modern band curriculum and pedagogy fit it into existing curriculum. Classes such as guitar techniques, instrumental methods, instrumental literature, as well as service learning requirements will be presented as ways to incorporate modern band. In the spring 18 semester, the instrumental literature class will include 3 hours of training with Little Kids Rock Tony Sauza, the Southern California Rep for LKR, and this will be followed up with work with the community music school associated with the university. The community music school currently offers a rock band, a worship band, and a guitar ensemble in addition to private lessons. There may be an additional rock band added at a local HS as an after-school program. University students have the option to fulfil their service learning requirements (15 hours per semester) by working in the community music school. Current students in the Instrumental literature class will work with either the rock band or worship band students as coaches under the supervision of a professional teacher who has rock-pop-commercial experience.

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Music education majors in guitar techniques class will be offered the option to have the training and follow up with working with the community music school rock band for 10 Saturdays. All students working in the community music school can get their required university service hours fulfilled through this experience.In the future, we will look at making it a requirement in the guitar techniques class. There are already exists a commercial styles class for Commercial music majors at our university. We will be considering whether we can add that class to the music education major requirements and reduce one other unit in the curriculum in trade for that. This session will include time for discussion of a proposed curriculum that incorporates commercial/pop/modern band training in a variety of classes in hopes that university programs everywhere can learn possible ways to adapt their curriculums.

Room 158Flywheels or Engines: Band Directors’ Openness to Change in a World of TraditionJason Gossett, West Virginia UniversityDaniel J. Shevock, Pennsylvania State University – AltoonaLinda C. Thornton, Pennsylvania State UniversityInnovative practices, such as those advocated by the modern band (MB) movement, can be aided by awareness of what practices are actually taking place, otherwise theory stumbles in the dark. In fact, K-12 music teachers, such as traditional band (TB) directors, can serve as advocates and change agents for expanding music curricula in the schools themselves. Within TB scholarship in particular, discussions of change have advocates and opponents (e.g., Mantie, 2012; Fonder, 2014). Change can be toward either more or less traditional practice. For instance, Jorgensen (2003) talked about change as natural, dynamic, and ongoing; and toward “ennobling agency” (xiv), while Fonder (2014) discussed “artistic standards” and, quoting Socrates, warned against change agents “fighting the old” (89). While discussion of change among scholars is documented, the current research provides a critical snapshot of what current TB directors think about change, and can therefore be an engine for, or a flywheel resisting, effective change.The purpose of this research was to explore TB directors’ perceptions regarding change from and/or toward their notions of tradition, as well as their receptiveness to change. Our data reflected a national survey of TB directors (N = 1833) who identified given practices as more or less traditional and indicated their interest, and perception of the TB profession’s interest, in maintaining or changing tradition. The questionnaire was divided into three parts: 1) categorizing practices as more or less traditional and time spent on those practices; 2) indicating if they would like to adjust the amount of time they currently spend on practices; 3) questions about change in TB, drawn from organizational change literature (Drzensky, Egold, & Van Dick, 2012).In general participants reported being satisfied with how much time they spend on many practices listed, particularly those considered more traditional. Participants felt positively about change as well as the necessity of change for the survival and development of band, but they did not see the necessity to change their own practices. Similarly, participants disagreed that tradition is more important than change, but they suggested change means more risk than rewards. There was general agreement with the prompt, “Things, which have always worked, do not need to be changed.” In open ended responses, some participants showed apprehension toward MB practices: “Although I believe that new methods and models are important to consider, I've seen far too many come and go while doing

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irreparable damage to students,” while others seem to embrace MB: "Our course offerings need to diversify!" This snapshot of TB directors provides insight as to how many K-12 music educators may view change and their interest in changing practices and curricula. TB directors appear to have conflicted thoughts regarding change and the necessity for change. These findings suggest those interested in changing the profession have a heavy flywheel to engage in change.

Saturday Afternoon

12:00-1:00 PM Lunch (Instrumental Rehearsal Hall)

1:00-1:50 Plenary Session and Discussion (Instrumental Rehearsal Hall)

What Every Music Educator Can Learn from James BrownTiger Robison, University of WyomingIn the first section, I will briefly present my initial findings from a content analysis from publicly available interviews and writings from Brown and those who knew him. In short, I used three rounds of coding (Miles, Huberman & Saldaña, 2014), paying extra attention to en-vivo codes (Creswell, 2007), from which I generated five emergent themes with narrative descriptions: Grit, social activism, joy, redemption, and intensity.In the second section, I will use audio examples, my own analysis, and accounts from Brown, and other musicians to explain Brown’s structure for his most famous “grooves” and song structures. Typically, Brown thought in two measure phrases in common time, putting the emphasis on beat one of the first measure and using syncopation for the remaining beats to build cyclical intensity. I will present excerpts from popular music that is heavily influenced by these structures from Parliament to Bruno Mars. I will also briefly share Brown’s approach to improvisation, which he often equated to speech. The groove structures and improvisation techniques have clear applications to a spectrum of music educators and those who train them, from musicianship in elementary general classrooms to modern band classrooms. In the third section, possibly in lieu of a formal discussion, I will expound upon section two and engage the audience in some practical strategies to utilize Brown’s lessons in a modern band context for high school or post-secondary students. Specifically, I am interested in demonstrating how to enable students to create grooves indebted to Brown, which I have experience doing in a number of popular music styles including rock, bluegrass, and heavy metal. Finally, I wish to invite willing audience members to rhythmically improvise with Brown’s guidelines.

1:55-2:25 Paper Session 4

Instrumental Rehearsal HallMusic as a Second Language and Orff Schulwerk: Variations on a ThemeMartina Vasil, University of KentuckyMusic as a Second Language (MSL) is an approach to music education that was adapted from Krashen’s Five Hypotheses of Second Language Acquisition. As a learner-centered

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approach, MSL shares many characteristics with another approach to music education that has been widely used in the United States since the 1960s, Orff Schulwerk. The purpose of this presentation is to both compare and contrast Orff Schulwerk with the five hypotheses of MSL: acquired/learned, input, monitor, natural order, and affective filter. While both approaches share many commonalities that center on the theme of student-centered learning, differences between the two reveal both strengths and weaknesses of each approach to prompt deeper thinking in terms of K–12 music education pedagogies.

Room 158Modern Band and Teaching for Artistic Behavior: Long-Lost CousinsJillian Hogan, Boston CollegeMusic educators often report that they are isolated within their school communities because of the nature of their discipline. This isolation can be felt when planning curricula, especially for teachers who want to break the mold of traditional music education and to provide their students with authentic music making experiences. In the field of visual art, there is a large movement of teachers who share similar philosophical beliefs to those who believe in principles of the modern band movement. These art teachers rely on choice-based methods. The most common of these approaches is Teaching for Artistic Behavior. Music teachers can learn from the ideas and struggles of these art teachers as they aim to help their students to think and act as real musicians do. This session has three aims: 1) to explain the development and structure of Teaching for Artistic Behavior (TAB) classrooms in the field of visual art TAB classes are structured in terms of time (most classes begin with a teacher-directed demonstration of about ten minutes, followed by work time, and ending with a sharing session) and presentation of materials (“studios”, such as drawing, painting, or fiber, are opened week by week so children are slowly exposed to different elements of the room, which eventually opens in full). As teachers circulate the room to speak individually with students, learn about their thinking, and help with individual challenges, children learn from posters and other resources around the room, or from their more experienced peers (Douglas & Jaquith, 2009; Jaquith & Hathaway, 2012). TAB students develop their own projects: they struggle to find inspiration, envision an idea, design a plan of action, reflect on their progress, persist through difficulties, evaluate the work as it proceeds, and see the project through to completion. By following their own line of inquiry, students take ownership of their learning, engage deeply with their work and demonstrate both divergent and convergent creative thinking processes. 2) to draw parallels between TAB and progressive music education practicesThe fundamental question to the TAB philosophy is “How do artists work in their studios?” This question is very similar to how progressive music educators aim to provide authentic music making experiences for their students.3) to share concrete examples from music teachers who have used principles of TAB to help create personally meaningful and authentic music making experiences for their studentsBefore learning about informal music learning, I taught in a school a TAB art teacher. I used the TAB philosophy and translated the principles of authenticity and student freedom and agency to my general music room. I will share how I did so and what my struggles were, along with the ideas of teachers from around the country who have used TAB as a jumping point for transforming their music classes.

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2:30-3:00 Paper Session 5

Instrumental Rehearsal HallInclusive Modern BandKevin Droe, University of Northern IowaUsing the theories of Music as a Second Language (MSL), a modern band pedagogy can be an effective way of involving both students with and without special needs in a music making experience. Students participating in a modern band often fulfill different roles in the music making process, allowing for both approaches of Universal Design for Learning (UDL) and differentiated instruction. The low-risk environment of a modern band classroom is conducive to encourage a low affective filter and involve students with special needs who may either require multiple repetitions to achieve a required skill level or prefer repeating music as a tool for regulation. Overall, modern band pedagogy can bring together students with differing needs but with similar musical tastes. This presentation includes examples of a case study in inclusive modern band.

Room 158Music Performance Self-Efficacy, Attitude Towards Music, and Intention to Continue Music Classes of Middle School Concert Band and Modern Band StudentsRodolfo Antonio Castillo, University of South FloridaMusic education research in recent years has documented that the percentage of high school students that participate in music classes makes up roughly 20 to 30 percent of the total student population in most high schools across the country. The decline of students’ interest in continuing to participate in music classes starts at the end of their middle school years. One cause of this phenomenon could be the intrinsic limitations that traditional music ensembles (band, orchestra, choir) impose to the non-participant 70 to 80 percent of students that might have an interest in music but lack previous preparation, or students simply are not interested in being part of such music ensembles and prefer other types of music than traditional classical western music. In the attempt to provide non-traditional music students with other options, schools have started offering other classes such as music technology, iPad ensembles, and more recently have also explored popular music-making with the incorporation of the modern band curriculum. Recent educational research has highlighted the important value of self-efficacy as a consistent predictor of student achievement, and most importantly as the key element that empowers self-esteem. This study aims to investigate and compare self-efficacy, attitude towards music, and intention of future enrollment in middle school students from concert band and modern band music programs. Participants (n=300) are middle school students in concert band or modern band classes in 10 schools in the Southeast, Midwest, and Northeast regions of the United States. Participants will complete a questionnaire consisting of a) Music Performance Self-Efficacy Scale (Zelenak, 2011), and b) Student Attitude Questionnaire (M. J. Brown, 1996). This study is important because will present the music education community with a comprehensive comparative analysis of music performance self-efficacy and attitude towards music in middle school students enrolled in concert and modern band ensembles. The analysis will determine if there are any similarities or differences between the two groups of students, and if music performance self-efficacy and attitude towards music can be used as indicators of future enrollment in high school music classes.

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3:05-3:35 Paper Session 6

Instrumental Rehearsal HallComing Together for Music Education: When Many Heroes UniteClint Randles, University of South FloridaThis presentation is an imaginative take on the change movement in music education that is currently underway, viewed dually through the lens of the author and the work of Joseph Campbell in comparative mythology. Campbell’s seminal work, The Hero With A Thousand Faces (1947), has provided countless scholars in varied disciplines with fuel for exploring their meta-narratives. By uncovering similarities in stories across time, scholars have been able to better understand and interpret present activity (stories in-the-making) and project what might be possible in the future (how our present in-the-making stories might play out). By thinking of change in music education as a journey being undertaken by multiple connected heroes, we as a music education profession can better understand and situate the meaningful work that is currently being done to expand and diversify curricular offerings around the world. The author hopes that this presentation will be a primer for how to begin and sustain change processes in higher education music by explaining how the stages of the journey as outlined by Campbell in his work map onto theories of educational change and curricular work presently being done in the field.

Room 158Instrument Construction in a Society of WasteDan Shevock, Pennsylvania State University – AltoonaA million years ago, echoing clicking beetles, an Erectus child composes a rhythm using two sticks. Responding to a blackbird 40,000 years ago, a Neanderthal child performs an improvised melody on a flute fashioned out of a bear’s femur. Today, a Sapiens child searches the school garden for rocks to place into a discarded water bottle. She’ll construct a shaker to share in music class tomorrow. At the confluence of making, nature, and childhood lies an experience of music for eco-literacy. In the 1920s and 30s, Satis Coleman explored field trips into nature, found sounds and instrument construction as young students composed their own “symphony.” This creative approach to instrumental music was for: expanding knowledge and appreciation, self-cultivation, improving the seeking attitude, fostering initiative, and interdisciplinarity. Today, musicians and music teachers are beginning to recognize their responsibilities in this wasteful society. The Landfill Philharmonic emerges in the Global South, a mirror challenging the Global North’s wastefulness. Many musicians and groups, from Ken Butler, to Uakti, to the Anarchestra are making music with homemade instruments and trash. And music teachers are discovering the benefits of homemade instruments. These music teachers are opening space for students to share their instrument making. The work of historical educators working with instruments and young children, such as the work of Satis Coleman, Gladys Morehead, and Donald Pond, is usually categorized as general, not instrumental music. An instrument is an instrument, except when performed by a young child. However, from a modern band perspective, secondary ensembles have a “general music” aim. That is, popular music, mariachi, iPad ensembles, hip-hop pedagogy, vernacular ensembles and a wide range of others emerge to open space to teach music in all its creative and social glory, and not narrowly defined performance. Following this broader aim, there’s no rationality that dissects historical elementary instrumental music that doesn’t also dissect

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band from itself. With general music itself defined ever narrower—rather than generalists, higher education is filled with Dalcroze, Orff, Kodaly, and Gordon specialists—perhaps the modern band movement will facilitate this work. In this historical and philosophical essay, I recover Coleman’s writings about simple instrument construction. Satis Coleman is presented as a progressive music educator. Her pedagogy employed found sounds using reused materials and simple instruments. This pedagogical approach is pertinent in an era defined by ecological crises. I conclude by elucidating Coleman’s instrument construction and environmental philosophy for music teaching and learning.

3:40-4:10 Paper Session 7

Instrumental Rehearsal HallEnacting Punk Pedagogical Practices for Student-Centered Modern Band ClassroomsGareth Dylan Smith, New York UniversityAcross the US and much of the world, schooling increasingly perpetuates modes of colonial and neo-colonial oppression, reducing music education, in particular, to a set of consciously and unconsciously reified practices that serve to choke students’ creativity and capacity for expression, inhibiting the humanizing potential of music in schools. Modern Band, as a broadly construed set of approaches and practices for the school music classroom, confronts and challenges the traditional north American model of large-ensemble replicative performance as music education. Modern Band teachers, to greater and lesser degrees, seek to, can, and frequently do subvert normative and exclusive, symbolically violent curricula and pedagogical models, proposing and embedding alternative pedagogical approaches based on music-making, collaborative learning, and development of creative and improvisational facility through culturally responsive repertoire and a focus on ‘music acquisition’ (Little Kids Rock, 2017). Working from Kahn-Egan’s five broad characteristics of punk, the presenter demonstrates how culturally responsive curricula in K-12 classrooms across the country can provide vital punk resistance to an exclusive and anachronistic set of ingrained assumptions and practices in music education. The five characteristics or tenets of punk thus framing this discussion are: - A sense of anger and passion that finally drives [one] to say what’s really on his or her mind;- The Do-It-Yourself (DIY) ethic, which demands that we do our own work because anybody who would do our work for us is only trying to jerk us around;- A sense of destructiveness that calls for attacking institutions when those institutions are oppressive, or even dislikeable;- A willingness to endure or even pursue pain to make oneself heard or noticed;- A pursuit of the “pleasure principle”, a revelling in some kind of Nietzchean chasm.(Kahn-Egan, 1998, p. 100)Case studies (Weiss et al, 2017) and participant-researcher observations illustrate how teachers and students daily enact punk resistance, foment critical punk consciousness, and activate punk DIY praxes and creativities among a new generation of youth. Embracing learning of empowerment, identity, agency, and self-expression through making original, personally meaningful music, is a vital component of invigorating and revitalizing music education.More than being fun, self-indulgent, or merely provocative – as punk is sometimes accused of

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being – a punk pedagogical orientation is aligned with, and (this presenter argues) essential to the work of enacting the federal mandate of the Every Student Succeeds Act, that all students are entitled to meaningful music education experiences while at school. Punk pedagogies borrow from anarchist and critical pedagogical schools (Parkinson, 2017; Smith et al., 2017; Torrez, 2012), combined with dynamic, contemporary, collaborative DIY (do-it-yourself) entrepreneurial practices core to the twenty-first century skills our students are likely to need for their futures. Punk is not merely a style of music; it is an ethos and an aesthetic, a modern music-making and educational mind-set, and a potent tool of empowerment for music teachers, their students, and school communities.

Room 158Contemporizing Contemporary EnsemblesJonathan Kladder, Ithaca CollegeModernization of curricular expansion in music teacher education programs have been an ongoing investigation in the music education profession. These expansions have sought to diversify undergraduate music education experiences in ways that include: (1) a diversity of music making experiences utilizing informal and non-formal approaches, (2) pedagogical implementations beyond teacher-centered/directedness, (3) instruments reflecting popular music milieus, (4) music learning within aura/oral methodologies, (5) technologies for mediating, recording, and performing music, (6) spaces supporting learner autonomy, and (7) preparation for hybrid careers in music teaching and learning. Some tertiary institutions have favored curricular expansions while others favored curricular changes to existing coursework requirements. This includes the options of changing or modifying current classes, or removing core requirements to create spaces for new coursework. Previous research illuminated that music education faculty members were the primary leaders in new designs that navigate an interconnected series of institutional barriers (Kladder, 2017). Although some scholarly work has provided insight into what changes have been made to undergraduate curricula, research in this area is limited (Kaschub & Smith, 2014; Williams & Randles, 2017; Williams, 2015). The purpose of this research is to offer insights into the design and redesign of a team-taught/facilitated undergraduate course titled Contemporary Ensembles in Public Schools focusing on contemporary music education. This course, which has been running for eight academic school years, has been a 1 credit requirement for music education majors at a college in the Northeast US. The presenters will share data collected from faculty and students, inside and outside classroom contexts. These data will help to interpret the forces and processes of the course’s implementation and revision. It is hoped that this session will lead others in the field to consider or reconsider how they navigate the rigid structures of formal institutions and processes leading towards contemporizing contemporary practices.

4:15-5:00 Interactive Session 1

Instrumental Rehearsal HallWhere's Their Art? Developing Artistic Disposition Within Your Student MusiciansKatrina Hedrick, Colorado State UniversityThe opportunity for each student to experience a Universalistic music education in order to cultivate individual artistic dispositions is a scholastic necessity that has been articulated and reified by contemporary philosophers in the American music education community. This

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interactive session explores ways to engage in culturally responsive practices in secondary music education through the integration of various musical cultures and pedagogical approaches to effectively cultivate individuals’ artistic dispositions. All instruments are welcome as musicians investigate the emphasis of artistic disposition as a means to increase music educators’ efficacy in curricular design, pedagogical processes, and learning experiences in order to provide students with the opportunity to fully realize their personal artistry.

Room 158Hip-Hop Music in Elementary School? Exploring DJ Culture and the Artwork of Jean-Michel BasquiatMartina Vasil, University of KentuckyTeachers who bring Modern Band into classrooms may know less about creating or facilitating student creation of hip-hop music than guitar-based rock, pop, and country music. However, hip-hop music is a large part of the sonic landscape that children live in today. While exploring current hip-hop music is essential to creating more relevant and engaging musical experiences for children, there is merit to examining early hip-hop music as well. The sonic elements of early hip-hop continue to create a relevancy to the sound that students immediately latch onto, even though early hip-hop took root decades before today’s elementary school children were born. Embedding early hip-hop music within a cultural context and connecting it to art of the same time period can create a deep learning experience for children. Elementary music and art teachers examined the hip-hop scene of 1980s New York City, specifically DJ music and the artwork of Jean-Michel Basquiat. DJ-ing was emerging from New York City’s hip-hop scene while Basquiat was creating his reputation as a graffiti artist. While students in music class examined hip-hop music and the emergence of DJ-ing through stories and videos, students in art class listened to hip-hop (as well as be-bop jazz) while examining the use and meaning of symbols and words in several Basquiat artworks. This culminated in students creating original mixes of music through the DJ application on tablet software (DJing), as well as original art pieces that included symbols and text that held meaning for students themselves as they listened to music and observed text within the world around them. Participants in this workshop will be lead through the creative processes that students experienced and will have the opportunity to create an original mix via the application, “DJing”. Drawing on the literature on participatory culture, student-centered learning, and creativity, the presenter will explore the means by which teachers can create interdisciplinary activities that foster individuality and student-centered learning in elementary music and art classes. Critical questions about popular culture, technology, and education will be framed by several questions: (1) How can teachers create learning environments that are relevant and interesting to students?; (2) How can teachers create student-centered, creative learning activities?; (3) How do teachers bring in cultures other than their own in authentic ways and without appropriating the culture?; and (4) How can teachers decide what elements of artwork and music are appropriate for their school contexts?

7:00-8:30 Thought Leadership Dinner for Higher Education Lory Student Center, Ballroom C/D

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After Dinner Jam Session (Jam Room, upstairs in Pavilion Building)

~ ~ ~July 8, Sunday

7:00-9:00 AM Breakfast (Durrell Dining Hall)

8:30 Day 2 Opening Remarks (Lory Student Center, Ballroom B)Dan Goble, Colorado State University

8:40 Modern Band Performance (Ballroom B)

9:10-10:00 Plenary Session and Discussion (Ballroom B)

A New Kind of Musicianship for a New Era in Music EducationJohn Kratus, professor emeritus, Michigan State UniversityThe purpose of this presentation is to describe a new era in American music education, one that makes much greater use of vernacular musicianship, technology, and individual/group creativity. The session begins with an analysis of two previous eras in American music education: the singing school era, and the large ensemble era. In both these eras, music education and the musicianship taught in schools reflected the musical and social milieu of their times. This is no longer the case. As times change, the nature of music education must also change.

10:00-10:15 Coffee Break

10:15-10:45 Paper Session 8

Ballroom BPop Music and the Lived Musical Experiences of Pre-Service Music TeachersTamara Thies, California State University – Long BeachThe original purpose of this longitudinal qualitative case study was to provide insights into the impact of students’ musical experiences on identity formation, values cultivation, and achievement. In the first iteration of this study (2016), Hispanic and Hispanic first-generation students paired with non-Hispanic pre-service teachers to develop general music teaching materials using children’s songs in Spanish from their own countries of origin. Initial findings indicated that Hispanic students acknowledged increased personal relevancy and confidence (Cuellar, 2014, 2015), greater understandings within their own cultures, and heightened commitment to merge cultures with established pedagogies. Furthermore, participants voiced a need for all students to have the possibility to explore and incorporate their own cultures into existing pedagogies. Subsequently, the second iteration of this study addressed all students’ cultural backgrounds and experiences (Hurtado & Ruiz, 2015) that led to the emergence of pop music songs as significant childhood inspirations for some students.

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Grounded in one of the most culturally diverse cities and campuses in the United States, pre-service music teachers in an elementary general music methods class on the West Coast developed Orff arrangements and lessons using personally meaningful songs from their own childhoods. With a focus toward students who chose pop music songs for inspiration, the overarching research question addressed, How do pre-service teachers in an elementary general music education course perceive the infusion of personal experiences and cultures into established pedagogies? Supplementary research questions addressed (a) How did student experiences impact song choice?, (b) In what ways did students adapt their experiences to creating instructional materials?, (c) What did students learn about their own cultural backgrounds?, and (d) How did using personal experiences and music impact student learning?In addition to field notes, Orff arrangements and student lesson plans, two students participated in semi-structured interviews to specifically inform their choice of pop music as the basis for their projects. Using an HBCU-based conceptual framework (Gasman & Arroyo, 2014), I adapted and applied the model’s Reciprocal Processes and Outcomes categories—identity formation (ethnic, intellectual, leadership), values cultivation (cultural relevancy), and achievement. Findings reveal how the process of developing an authentic, culturally-based music arrangement impacted students’ personal identities, cultures, and musical-pedagogical skill development as well as expand our definition of cultural relevancy. Additionally, the choice of pop music may inform current childhood experiences that differ from previous generations; therefore, pre-service music teachers may better provide the connection we need to adapt and integrate meaningful learning opportunities for our students. By addressing specifics in all students’ cultures, programs can create climates of inclusiveness (Tierney, 1999), provide academic and interpersonal validation to empower their roles as learners (Rendon, 1994), offer a sense of belonging that recognizes simultaneous affiliations in multiple communities (Hurtado & Carter, 1997), and weave culturally responsive tapestries of music making and learning.

Room 322Habits of Mind as a Lens for Looking at Traditional Ensembles, Their Deficits, and the Potential of Modern BandsJillian Hogan, Boston CollegeBackground: Despite increasingly popular efforts to make music education more relevant and student-centered for high school students, most high schoolers who participate in music education still do so in a traditional large ensemble (band, choir, or orchestra). Here, I describe a study that systematically documents what is taught in these environments. I also critically comment on what was not observed being taught in these large ensembles, and speculate how more progressive curricula may be better equipped to teach to the deficits left by traditional ensembles. AimsWhat is actually being taught in high school ensemble-classrooms? My focus is not on the skills of playing an instrument and reading notation, but rather on potential broad habits of mind that may be part of the “hidden curriculum.” The study reported here is an intensive mixed method investigation of the habits of mind being taught in high school ensemble-classrooms. By habit of mind, I refer to broad ways of thinking and working that are potentially useful outside of the music domain. The model that we follow is based on a

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similar study of visual arts teaching in which eight habits of mind were identified as being taught in high school studio art classes (Hetland, Winner, Sheridan, Veenema, 2007/2013). MethodSix high school ensemble (band, choir, or orchestra) teachers were observed and videotaped four times over one school year which totaled more than 900 minutes of active rehearsal. Teachers’ spoken words were coded with a manual that emerged from the data using a combination of deductive and inductive approaches. Twenty-five percent of the total data was coded by two independent coders, yielding a pooled Cohen’s kappa of greater than .8, which is considered good to excellent agreement (Fleiss, 1971).ResultsEight habits of mind appeared to be consistently taught (coded an average of at least 20 times over each 60 minute rehearsal): evaluate, express, imagine, listen, notice, participate in community, persist, and set goals/be prepared. Two that were almost never observed were: appreciate ambiguity (recognize problems that have more than one interpretation), and use creativity (Hogan & Winner, in press). The lack of these two important habits of mind is, I argue, a wake-up call to high school music educators. In order for students to learn to think in authentically musical ways, they must be afforded opportunities to make musically creative decisions independently and with their peers. Environments like those of modern bands provide those opportunities that large ensembles are not. ConclusionsThis study is the first systematic investigation to identify broad habits of mind taught in ensemble-classrooms. Findings support the idea that large ensembles provide training in many broad habits of mind, but are failing in others, including using creativity and appreciating ambiguity. Advocates for modern band curricula can use these findings to bolster their arguments for expansion of modern band programs, as they are better equipped to give students agency as creative, musical thinkers. Parallels will be drawn for each of the habits of mind and the modern band classroom.

10:50-11:20 Paper Session 9

Ballroom BThe Beatles and Student Creativity: A Pathway to Success in Modern BandChristina Baker, Lawton Chiles Middle Academy, Lakeland, FLChristine Guzzetta, Bok Academy Middle, Hillcrest Elementary School of the Arts, Lake Wales, FLThe music of the Beatles has endured over the past 50 years, inspiring many young (and old) musicians to pick up guitar, drums, and bass, to write songs about love and peace. Teachers have utilized their music in classrooms across the world to spark student interest. While initially the Beatles were the popular music of a particular era in world history, their music has taken a canonic status as representative of the best music of the 20th Century, and maybe even of all time.The ubiquity of the rock n’ roll band in the 60s and 70s presented an opportunity for music teachers of the time to harness the creative potential of their students, to help them make the music that most inspired them. While the popularity of rock n roll music has waned since then, the spirit with which it was born is still very much alive. Hip hop music is just one example of popular music with similar roots.This session will be unpacking the legacy of the Beatles music from their roots in Liverpool to their final Apple Building rooftop performance. The presenters will share how the many

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themes emerging from their collective work point to successful teaching in Modern Band settings. Examples of student work will be presented and suggestions for future practice given in a 20-30 minute session.

Room 322Transforming the Habitus: A Music Teacher's Journey Through a Professional Development in Popular Music EducationDonna Hewitt, University of Wisconsin – ParksideThe purpose of this study was to explore the impact of a professional development in popular music education on a music teacher’s actions and beliefs. The researcher immersed herself in workshops and rehearsals with a music teacher and collected data through observations, interviews, artifacts, and field notes over the span of four months. Data were analyzed to determine to what extent musical and non-musical actions and beliefs were present, transformed, or remained the same throughout the course of the study. Findings and themes will be discussed as they relate to Bourdieu’s notion of habitus and teacher change.

11:25-11:55 Plenary Session Panel (Ballroom B)

New Tricks and New Licks: Perspectives of Modern Band Fellowship ParticipantsBryan Powell, Little Kids RockMartina Vasil, University of KentuckyKevin Droe, University of Northern IowaThe increased presence of Modern Band and popular music education at the primary and secondary levels in the United States presents forward-looking music teacher education programs with an excellent opportunity to fully prepare their students to teach in the classrooms of tomorrow. The Modern Band Higher Education Fellowship (MBHEF) is an opportunity created by Little Kids Rock for music education professors to receive instruction in incorporating modern band pedagogies into pre-service music teacher education programs and receive hands-on instruction in playing popular music instruments.This panel presentation will feature music education faculty members who have participated in a 5-day Modern Band Fellowship Experience. Each participant will share their experiences from participating in this hands-on professional development and will share how this experience has influenced their approach to pre-service music teacher education.

Sunday Afternoon

12:15-1:15 PM Lunch (Ballroom C/D)

1:30-2:00 Poster Session (Ballroom B)

Center for Pedagogy in Arts and DesignAnn C. Clements, Pennsylvania State University

The Inevitable Degree in Popular MusicJames Eldreth, Pennsylvania State University

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Communicating Identity: Teacher Identity Development Through Musical CommunicationTravis L. Hale, Rocky Mountain College

Center for Music Education ResearchClint Randles, University of South Florida

2:00-2:30 Paper Session 10

Ballroom BBreaking Down Barriers to Participation: Perspective of Girl Musicians in Modern BandsBryan Powell, Little Kids RockThe majority of research on gender and popular music education suggests that popular music ensembles are still gendered and favor males (Abramo, 2011; Dibben, 2002; Clawson, 1999, Green, 1997, Gregory, 2017; Powell, 2011; Reddington, 2010; Smith, 2013). Bayton (2006) suggests that girls  in all social classes and ethnic groups are restricted in their leisure pursuits compared to boys, and that these constraints include parental restrictions as well as exclusion by male musicians. Recent research suggests that factors such as the age of the female participants in school ensembles and the presence of a female music teacher of these popular music ensembles might mitigate gender-based inequalities in popular music education (Wright, Butler & Bylica, 2017).   This presentation examines the perspectives and practices of female instrumentalists who play in popular music modern bands in their schools. Clawson (1999) stated that instruments are imbued with gender connotations grounded in broader conceptions of gender difference. The research focuses specifically on girls who play the hyper-gendered instruments of electric guitar and drum kit (Creech, 2008).  Interviews were conducted with three  female students between the ages of 9 and 20.  Data collected from interviews show that participation in school-based popular music ensembles can break down barriers to participation in popular music ensembles for girls and help mitigate social and parental constraints that prevent girls  from rocking out.

Room 322I Did That Wrong and It Sounded Good: An Ethnographic Study of Vernacular Music Making in Higher EducationVictor Ezquerra, University of TampaThe proposed presentation is an examination of vernacular music making in a higher education setting. The research study that would be presented was conducted for a successful dissertation, which is currently being revised and reworked into a book. The purposes of the research are: to explore the nature of vernacular music making within institutional music education, contribute to the existing body of literature, refine the existing educational theories and methodologies, improve pedagogical practices, broaden curricula and potential music education community members, and to learn more about the phenomenon of vernacular music making. Three research questions were posed:1. How do musicians in an academic environment learn and create music in vernacular music making cultures and how is musical knowledge represented, communicated, and passed on while making music?

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2. How do vernacular musical experiences in an academic environment differ from musical experiences found in traditional music classroom settings?3. How can academia and music education benefit from knowledge of vernacular music culture and vernacular music making techniques?The participants, undergraduate music education majors attending a university (N=23 for Fall, N=10 for Spring), were investigated throughout the course of the 2012-2013 academic year. The methodology used for collection and analysis of the data was ethnographic; data were collected using several ethnographic techniques including participant observation, field notes, journals, semi-structured interviews, physical artifacts, audio recordings, video recordings, and other multimedia communications. A constructivist framework was utilized. The theoretical framework operated on three main philosophical principles: objective knowledge does not exist—humans “construct” knowledge, human created constructs of knowledge differ, and learning is an active (rather than passive) endeavor.Results showed that students were able to successfully learn, create, and share music in a vernacular manner. Participants took a pragmatic approach to making music. Furthermore, students engaged several aspects of music making they had not encountered in traditional music education (increased student agency and peer socialization/cooperation, improvisation, creativity and composition, emphasis on aural skills, and use of technology. The study demonstrates how traditional and vernacular music cultures can be synthesized and applied in several music education settings or environments, which in turn creates new meanings and contexts for learning music. The study also suggests that vernacular music cultures should be further examined, and vernacular pedagogies could be successfully incorporated as part of the music education curriculum.

2:35-3:05 Paper Session 11

Ballroom BWhere's Their Art? Cultivating Artistic Disposition in 21st Century American Music EducationKatrina Hedrick, Colorado State UniversityArtistic disposition, as an amalgam of our individual and shared experiences, has a profound impact on how we engage and identify with music in a complex and pluralistic musical culture (Eger, 2005; Jorgensen, 2003; Lind & McKoy, 2016; Reimer, 2009; Small, 1998). The American public music educator, as a member of a pluralistic musical culture, is responsible for providing an accessible music education for all students. As such, the educator must provide an education that reflects each student’s identity within a multitude of cultural intersections (Allsup, 2016; Allsup & Benedict, 2008; Jorgensen, 1997; Kratus, 2007; Lind & McKoy, 2016; Reimer, 2009; Small, 1998). The growth of individuals’ artistic disposition is directly related to the ability to aesthetically engage in pursuit of expressing their lived experience (Jorgensen, 2003; Reimer, 2003; Runco, 2014). Furthermore, the opportunity for each student to engage with a comprehensive music education in order to cultivate individual artistic dispositions is an educational necessity that has been articulated and reified by contemporary philosophers in the music education community (Allsup, 2016; Allsup & Shieh, 2012; Danielsson et al., 2016; Jorgensen, 2003; Kratus, 2007; Lind & McKoy, 2016; Reimer, 2009; Small, 1998). Many issues inherent to a postcolonial society working towards social justice—a society wrought with mass shootings, suicides, drug abuse, divisive politics, and an overburdened criminal justice system— complexify the cultivation of a gritty,

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artistic disposition, especially one that enables students to explore the artistic possibilities reflective of lived experience. Emphasis of an artistic mindset in secondary music education settings can facilitate the realization of an individual’s identity and cultural belonging by providing a means of expression through musical expression. However, while contemporary music education philosophers implore practitioners to nurture every individual’s artistic disposition (e.g. Allsup, 2016; Jorgensen, 2003; Reimer, 2003 & 2009; Small, 1998) and policy (e.g. NAfME, 2014), addressing these issues is limited by curricular design, teaching processes, and learning experiences of the student and the music educator. This philosophical inquiry questions which curricular designs, teaching processes, and learning experiences in secondary music education comprehensively lead to students’ development of their own artistic dispositions. Further, this inquiry also seeks to examine the associations between artistic disposition and culturally responsive practices in order to address the challenges that music educators currently face in preparing graduates for successful engagement in a diverse array of contemporary American musical cultures. The purpose of this examination is to consider the use of artistic disposition as a means to increase music educators’ efficacy in curricular scope, professional training, and pedagogical processes in order to provide students with the comprehensive music education. Three normative vignettes (Lecompte, 1999) are used to articulate a philosophical framework related to a Universalist orientation (Reimer, 2009). Each vignette highlights inclusive possibilities present in scholarship on artistic disposition and culturally responsive pedagogy for students to develop interpretive and expressive tools for their lived experiences.

Room 322Communicating Identity: Teacher Identity Development Through Musical CommunicationTravis L. Hale, Rocky Mountain CollegeCommunicating Identity: Teacher identity development through musical communication The concept of identity and the concept of self are complicated and can be multi-layered. Many music researchers within the subject of identity focus with a narrow lens into such dichotomous choices as educator or musician, talent and ability (or loss thereof). A 2004 special issue in Action, Criticism, and Theory for Music Education titled, The Song is You: Symposium on Musical Identity, revolved around the review of Musical Identities, edited by Raymond MacDonald, David Hargreaves, and Dorothy Miell, which focused on the links among identity, music, and the process of musical education. Much of the current research within these articles, focuses on music’s role in identifying with our roles with musicianship, as musicians, identity shift from musician to educator, or non-musicians also having musical identities (Frierson-Campbell, 2004; Hourigan, 2009; Lee, 2004; Parker, 2014; Roberts, 2004). The exploration of identity in broader contexts, as well as, the role of music and music educational experiences in identity development requires a multi-layered approach. There is a need to explore both the roles of social and group contexts, the factors of how we as individuals see our own self, and the roles we play, or the roles that are placed within social and group contexts. The ability to synthesize multiple points of views and factors to help explore identity development through a more focused lens may help discover a deeper level of human understanding, as Bowman (2004) calls, evolving social and moral beings, calling for an alternate view of music and identity development. A theoretical model of identity development must be utilized to investigate this broader

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concept of the implications of musical education and musical experiences on the social and moral development of our identity, leading to our identity construction within various circumstances and moments of our lives. The use of communication theory of identity allows for the complex exploration of diverse and multi-faceted approaches to identity development and music. Hecht (1993) states the study of identity involves psychological, sociological, and anthropological perspectives, stressing the individual, role, social, and communal elements of identity (p. 78), opening the door for questioning how the ways we used music as a form of communication in the expression and development of our identities. The investigation of music educator identity development throughout a teaching career, provides a critical lens to examine current music curricular structures to broaden the scope and inclusion within music education.Irwin (2006) describes a/r/tography in that “the name itself exemplifies these features by setting art and graphy, and the identities of arts, researcher, and teacher (a/r/t), in contiguous relations, interrogating the messy and hazy intersections and qualitative research and arts-based research methodologies. The research includes critical exploration of a music educator’s career through monologues, poetry, photography, and mixed media collage providing an artistic experience, multiple points of view, and personalized connections for the reader and/or audience. This rhizomatic approach is informed by the tenets of varied and diverse methods of artistic representation including, performance based autoethnography, narrative storytelling, ethnodrama, photography, and poetry.

3:10-3:55 Interactive Session 2

Ballroom BUn-“Rap”ping Student-Designed, Multi-Modal LearningTamara Thies, California State University – Long BeachThe pedagogical purpose of this Rap Video Project is to expand pre-service teachers’ music making experiences using an unfamiliar medium for music making that their future students may already know and perform. Training future music educators has many layers that include, but are not limited to, skills with established music literature and pedagogy, emerging practices, and lesser or unknown ways of music making that are often student-centered and not offered in undergraduate music education curriculae. Because it is impossible to train students for every possible teaching setting, I created a rap video project that required students to explore and discover skills they had not developed through their undergraduate music classes. The Rap Video Project was inspired by Judy Lewis’s work in multimodality that expands how we listen, interact, and develop learning through students’ choices in music. After exploring music videos, the underlying themes and meanings, the impact of the visual in the listening process and the purpose for creating music videos, pre-service teachers in an elementary general music class on the West Coast were expected to create a rap with an accompanying video. I provided a basic foundation of process and structure (intro, verse, hook, verse, hook, verse, bridge, hook, outro) as well as websites for using or creating backing tracks. Because music education college students rarely have an opportunity for discovery learning, I differentiated the entry point based on student needs:• Beginner – Using Ludacris’s Llama, Llama, Red Pajama video as a guide, participants will choose a children’s book/story and beats from a provided list. In addition to rhythmic and expressive development, participants will create their own hook to insert in the story.

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• Intermediate – Participants will create their own beats using a provided guide and accessible software, like GarageBand (with some potential alternatives), to build loops for the performance of their children’s book rap.• Advanced – Participants will create their own words and beats from scratch.After sharing the project, guidelines, rubric and student videos, I will guide participants in developing and performing a rap using select children’s books, choosing backing tracks, and creating their own hooks. The session can end with performances or discussing varied student perceptions regarding the rap video project.

Room 322Changing the Face of Music Teacher Education: Lessons from Tampa, FloridaDrake Middlebrook, University of South FloridaJessica Beauleaux, University of South FloridaGarett Clifford, University of South FloridaChris Evangelista, University of South FloridaRichard Saez, University of South FloridaAmong the challenges facing the future of music education is what to do about preparing music teachers to teach classes that do not yet exist widespread. Philosophers in music education have helped the profession think about change and curriculum. Conferences have been devoted to the theme of change. Institutions around North America have begun taking leadership in putting theorization in this area into practice.Music Education at the University of South Florida is a visionary laboratory for the preparation of the next generation of music educators and scholars, and serves as a dynamic site for progressive and foundational teaching/learning and research in music education, within the context of contemporary life. Classes have been removed and new ones added to promote change in music teacher education with learning objectives and learn-centered pedagogy a foremost consideration.This session will be the sharing of personal experiences from undergraduate music education majors at the University of South Florida about their experiences in this innovative program, their professional outlooks at this point in time, and their prospects for bring more students into music classes. They will discuss how they have been encouraged to be creative in their coursework, to think about developing classes in their future jobs, and to dare to be different.

5:00-7:00 Dinner (Durrell Dining Hall)

7:00-10:00 Teacher Kickoff Jam (Washington’s)Bus transportation location: W. Plum St. in front of Laurel Village.Bus pickup times: 6:30, 6:50, 7:15, and 7:45.Transportation back to Laurel Village from Washington’s runs 8:15-10:15.

~ ~ ~July 9, Monday

7:00-9:00 AM Breakfast (Durrell Dining Hall)

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8:30 What have we learned? (Lory Student Center, Ballroom B)Ann C. Clements, Pennsylvania State UniversityClint Randles, University of South Florida

8:45 Working GroupsDavid Elliott, New York UniversityJohn Kratus, professor emeritus, Michigan State UniversityBryan Powell, Little Kids RockTiger Robison, University of Wyoming

9:30 Sharing thoughts from Working GroupsAnn C. Clements, Pennsylvania State UniversityClint Randles, University of South Florida

10:00-10:15 Coffee Break

10:15-11:00 Interactive Session 3

Ballroom BSlap Bass: An Approach to Teaching Rhythmic and Tonal ImprovisationTiger Robison, University of WyomingThe electric bass is a staple of popular music and the slap style of bass, in which players strike string with their thumbs for percussive effect, remains an important facet of the instrument since its inception in the late 1960s. Over the decades, through innovations from bassists such as Larry Graham, Bootsy Collins, Stanley Clarke, Victor Wooten and many others, slap bass has evolved into a diverse skillset of tonal and percussive techniques. In a modern band and music teacher educator context, slap bass offers a unique and often overlooked approach to teaching first rhythmic then tonal improvisation. For example, through the use of left hand muting techniques and a single right hand slap technique, beginners can immediately attain a desirable sound with which to improvise, especially in congruence with a drummer’s right foot. Once comfortable, beginners can use the right index finger to achieve a higher-pitched percussive sound. This thumb and finger combination may be treated as the equivalent to a drummer’s bass drum and snare drums, from which beginners can mimic their favorite drum beats and begin longer rhythmic improvisations. The next step is employing non-muted notes at the octave, which allows an avenue into tonal improvisation. Many more steps follow. I developed these sequences by working with middle school, high school, and collegiate students in a variety of contexts including public school jazz bands, modern bands, private lessons, and outreach programs.In this interactive session, I will engage participants in as many of my sequential techniques, such as the ones described above, as time will allow. Participants will need no prior experience with the electric bass. Unless otherwise advised, I will invite participants to record any portion of the session for their later practice. Because I anticipate many participants will be music teacher educators (MTEs), I will be sure to share typical solutions and helpful methods about teaching slap bass to preservice music educators. For example, many preservice music educators like answers to very specific questions such as those about the placement of the right thumb, and I have developed processes through which they can find

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what placement works best for them. If time allows, I would also like to offer any other questions about electric bass that manifest in working with preservice music educators such as its relationship to string bass, or logistical and gear issues.

11:00-11:45 Interactive Session 4

Ballroom BMusical Improvisation: A Balance Between Freedom and StructureDavid Edmund, University of Minnesota – DuluthJian-Jun Chen-Edmund, University of Minnesota – DuluthMusic education scholars are producing resounding calls for learner-centered pedagogy that promotes creativity, critical thinking, and autonomy through meaningful engagement. The plea for creativity in school music may never have been so fervent. Creativity and problem-solving are promoted in music teacher preparation, professional development workshops for teachers, and in large and small ensemble settings. Improvisation has been a primary focus for music educators who endeavor to develop their students’ creative musical abilities. While guiding students’ improvisation experiences is foreign to some, it has been a staple in the teaching “repertoire” of others. Fear is perhaps the most prominent hurdle for musicians engaged with improvisation. Students and beginning improvisers are not alone in their fear of improvising; musician-educators often face similar fears. Overcoming the fear factor may necessitate scaffolding of improvisation experiences. Fear of improvising may be overcome through many means, including the provision of musical constraints (i.e. limitation of choices), employment of learner-centered flexible approaches, and encouragement of the musical imagination. Suppression of fear expands the boundaries of musical creativity, offering increasingly adventurous musical products and processes. Musical constraints, when balanced with flexibility, offer a structural support in the form of musical familiarity. The nature of structure among creative musical experiences is an essential consideration and exists along a continuum, with a range that can be described from “highly-structured” (with little choice-making) to “entirely-free” (exercising ultimate freedom of choice). Depending upon the musical context and educational/developmental appropriateness, the music educator will balance structure and repetition with more discovery-based approaches. This interactive presentation involves a balance between freedom and structure. We begin by sharing an improvisation experience for college-aged music majors and end with a group musical creation. Our approaches to musical improvisation have been shared with a variety of audiences representing various age groups and ability levels. Session participants are encouraged to bring wind, percussion, string, and vocal instruments. Join us in a community-based engagement of musical improvisation.

11:45-12:45 PM Lunch (Ballroom C/D)

~ ~ ~A special thanks to those who assisted us:

Bryan Powell and the rest of the amazing staff at Little Kids RockDan Goble, Colorado State UniversityJames Eldreth, Pennsylvania State University

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About Our 2018 Modern Band Colloquium Presenters

Christina Baker is the music department chair at Lawton Chiles Middle Academy in Lakeland, Florida teaching orchestra, chorus & guitar. Her undergraduate is from Loyola University New Orleans and is completing her master’s degree in music education from the University of South Florida.  Other achievements include: certified adjudicator, Teacher of The Year, and 2019 Music Educator Grammy Award nominee.

Marsha Baxter currently teaches Music Education courses and co-directs the Crane Latin Ensemble at SUNY Potsdam. Marsha has studied the zaponas [panpipes] with an Ecuadorian master musician and subway performer; the dizi with a former professor of the Beijing Conservatory; and the cedar flute with a Native American storyteller and musician.

Jessica Beauleaux is a senior music education major from Largo, Florida. She has been a part of the USF Chamber Singers the past two years, and was just recently inducted into the Pi Kappa Lambda honors music fraternity. She plans on teaching high school choir and other music classes.

Jian-Jun Chen-Edmund is Assistant Professor of Music Education at the University of Minnesota Duluth. She holds Orff Schulwerk and Kodály certifications. Her research areas of interest include Taiwanese indigenous folk music, connections between music instruction and language development for ESOL students, teacher education, and assessment in music education.

Ann C. Clements is Associate Professor of Music Education at the Pennsylvania State University. Her recent work has focused on application of gaming theory to music education, modern learning in virtual environments, and instructional design in virtual and blended environments. She is mother to a wonderfully creative boy named Charles, an award-winning gardener, and Director of the Center for Pedagogy in Arts and Design.

Garett Clifford is a senior music education major from Tampa, Florida. He is under the instruction of trombonist, Tom Brantley. Garett has the honor of being an Eagle Scout and the president of the University of South Florida chapter of Kappa Kappa Psi. He will finish his degree in Spring 2019.

Kevin Droe, Ph.D. is Associate Professor of Music Education at the University of Northern Iowa. In addition to teaching and research responsibilities, Kevin coordinates the Garage Bands, Open Door Music Project, Amp Camp, and the Spectrum Project, a music, movement, drama and art opportunity for children with differing abilities.

David Edmund is Associate Professor and Chair of Music Education at the University of Minnesota Duluth. His research interests include pedagogy of musical creativity, music for exceptional learners, and teacher artistry. He is an active musician/scholar, with tours and recordings involving chamber, jazz, reggae, soul, pop, and rock ensembles.

James Eldreth is pursuing a Ph.D. in Music Education at Pennsylvania State University. He previously taught elementary music in Missouri and holds Orff-Schulwerk, World Music Drumming, and Little Kids Rock certifications. He is an avid jazz musician, having played lead trumpet for The Temptations and The St. Louis Big Band.

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David Elliott is Professor of Music Education at New York University. He has authored the first and second edition of Music Matters, 46 journal articles, 37 chapters in edited books and, since 1980, he has presented more than 300 keynote papers and invited lectures in 48 countries. He is also an award-winning jazz composer/arranger.

Chris Evangelista is a music Education student from University of South Florida. Chris Evangelista plays the viola and plans on teaching high school orchestra when he graduates in the fall.

Dr. Victor Ezquerra is a musician and educator that currently teaches music at the University of Tampa. His research interests focus on vernacular music making as well as synthesizing non-traditional and traditional aspects of music education.

Dan Goble currently serves as the Director of the School of Music, Theatre and Dance at Colorado State University (CSU) in Fort Collins, Colorado. An arts administrator who is also an active performer, Dr. Goble has performed with the New York Philharmonic for over 18 years, and has been featured with the orchestra as the saxophone soloist on Prokofiev’s Romeo and Juliet, Mussorgsky’s Pictures at an Exhibition, and Ravel’s Bolero, among other works. In addition to the New York Philharmonic, Dr. Goble has performed with the New York City Ballet, The American Symphony Orchestra, The Mariinsky Orchestra, the New York Saxophone Quartet, and the Harvey Pittel Saxophone Quartet. His most recent recording project with pianist Russell Hirshfield, Mad Dances, American Music for Saxophone and Piano (Troy 1251), features the music of David Diamond, William Albright, David Del Tredici, Libby Larsen, and Kevin Jay Isaacs. Dan Goble is a D’Addario performing artist.

Jason B. Gossett is an Assistant Professor at The West Virginia School of Music.  He teaches courses in instrumental methods, percussion pedagogy, psychology of music and history and philosophy of music education.  His research focuses on virtue ethics, values, and the music teacher.

Christine Guzzetta received her BA in Music Education from the University of South Florida and is working toward her Master’s Degree. She teaches steel drums and general music at Bok Academy Middle and Hillcrest Elementary School of the Arts in Lake Wales, FL. She is also the Fine Arts Director.

Dr. Travis L. Hale is an Assistant Professor of Music Education and Director of Bands at Rocky Mountain College in Billings, MT.  At Rocky Dr. Hale has created a Popular Music Ensemble to partner an already established Rock Band, helping to develop a future growth in popular music curriculum instruction.

Dr. Brandon Haskett is an Associate Professor of Music Education at Saginaw Valley State University. He graduated from Arizona State University with a DMA in Music Education and a MM in Percussion Performance. His research focuses on teaching world music ensembles in the public schools and adult/community music education.

Katrina Hedrick has been a professional music educator for eight years and served Colorado public schools and community programs. Katrina specializes in working with students from low-socioeconomic status, establishing student-centric music programs, interdisciplinary curriculum

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development, and community outreach. She focuses on ways to increase culturally responsive and student-centric music education practices, theory, and philosophy for secondary and post-secondary American music education. Katrina earned a M.M. in Music Education from Colorado State University; a B.A in Music Education and Percussion from Fort Lewis College; Orff-Schulwerk Levels Certification from the University of Nevada, Las Vegas; and is currently working towards her Kodály Levels Certification with the Colorado Kodály Institute. During her time at CSU, Hedrick served as a graduate teaching assistant for Music Education Department and the Colorado Kodály Institute; as well as Assistant Director of CSU’s Middle School Outreach Ensemble (MSOE) and the Trying on Teaching Program. Her responsibilities included mentorship of pre-service music teachers in undergraduate college programs and high school student career exploration.

Donna Hewitt is an Assistant Professor of Music at the University of Wisconsin-Parkside where she teaches preservice educators and coordinates the music education program. Her dissertation examined the impact of a professional development program in popular music on a music teacher’s beliefs and practices.

Jillian Hogan is a Ph.D. student in Developmental Psychology in the Arts & Mind Lab at Boston College. She holds an M.M. in Music Education and a B.M. in Clarinet Performance from Boston Conservatory. Jill uses mixed- and multi-methods to investigate what we learn from participating in the arts, and what people believe is learned from arts participation. Her book, Studio Thinking from the Start: The K-8 Art Educator’s Handbook, will be published in Fall 2018 by Teachers College Press. Her research involves the habits of mind that high school music ensemble conductors teach, children’s perceptions of what is learned in music and art class, and the effects of orchestral training on executive functioning in young children. Jill taught general music for six years in schools that specialize in giftedness and special needs inclusion. She also maintains a private piano studio for children on the autism spectrum. www.jillhoganinboston.com

Steve Holley served as the Producer for the Commercial Music Program at the Kent Denver School for nineteen years. During his tenure, the R&B, soul, salsa, and jazz bands were recognized by DownBeat Magazine’s Student Music Awards over a dozen times and performed hundreds of gigs throughout the US and abroad.

Dr. Jonathan Kladder is an Assistant Professor at Ithaca College. His degrees are from the University of South Florida (Ph.D.), Boston University (M.M.Ed.) and Hope College (B.M.Ed). Jonathan teaches music education classes, pursues an active research agenda and is interested in the intersections of music, technology, creativity, and learner-centered pedagogy.

Dr. Alexander Koops joined the music faculty at Azusa Pacific University in 2001. He is a published author and regular clinician at schools throughout California. His writings focus on creativity and composing in instrumental music and include a chapter in Composing our Future, (Oxford University Press, 2012).

John Kratus is currently retired and living in Florida. He is professor emeritus from Michigan State University. He has presented his ideas in most of the world's major music education journals and at conferences in Ireland, Scotland, the United Kingdom, Sweden, Germany, Austria, Greece, Egypt, Japan, China, Malaysia, Canada, and the United States.

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Brittany Nixon May is an assistant professor of music education at Brigham Young University and co-director of the BYU Young Musicians Academy. Prior to her PhD, she taught instrumental and general music in New York and Washington, D.C. Her research interests include early childhood music, music teacher education, music education policy, and arts integration.

Peter McCoy teaches courses in music technology, pedagogy, and global music at The Crane School of Music, SUNY Potsdam. He has taught for 12 years in the P-12 setting and 20 years at the collegiate level, including leading 10 study-abroad experiences to México, Ghana, India, Puerto Rico, and Cuba.

Drake Middlebrook is a senior music education major from Brooksville, Florida. He studies under the direction of bassoonist, John Kehayas. He has been part of the USF Wind Ensemble for the past two years. He is a brother of Kappa Kappa Psi and will graduate in Spring 2019.

Dr. Bryan Powell is the Director of Higher Education for Little Kids Rock, and the Interim Director of Amp Up NYC. Bryan is the founding co-editor of Journal of Popular Music Education, serves as the Executive Director of the Association for Popular Music Education, and also serves as the Chair of the NAfME Popular Music Education SRIG. 

Jocelyn Stevens Prendergast is assistant professor of music at Truman State University in Kirksville, MO where she teaches music and music education coursework and oversees the Music Master of Arts in Education program. She enjoys reading philosophy, conducting music education research, and watching trashy reality television.

Clint Randles is Associate Professor and Coordinator of Music Education at the University of South Florida School of Music where he teaches Creative Performance Chamber Ensemble, Creativity in Music Teaching and Learning, and Philosophical and Historical Perspectives. He is founding editor of the Media Journal in Music Education, the New Directions in Music Education book series (Routledge), and the Musicianship book series (GIA). Randles performs on guitar, mandolin, and Maschine with the USF Rock Fusion Ensemble.

Tiger Robison, Ph.D. is an assistant professor of music education at the University of Wyoming where he teaches courses in elementary general methods, world music, and aural skills.  His research interests include issues of gender, music teacher preparation, and music teacher educators.

Richard Saez is a music education student from USF. He plays trumpet and is under the instruction of Jay Coble. Richard has been part of the USF Wind Ensemble, Orchestra and Jazz Band. In his spare time, Richard performs regularly as a freelance musician.

Music education philosopher, Daniel J. Shevock teaches at Penn State Altoona. He was Assistant Professor of Music Education at Indiana University of Pennsylvania, and taught instrumental and general music with the Pittsburgh Public Schools. Author of “Eco-Literate Music Pedagogy,” (Routledge) Dan’s scholarship blends ecological literacy, improvisation, qualitative research, and criticism.

Gareth Dylan Smith is Manager of Program Effectiveness at Little Kids Rock. A drummer by trade, he has performed mostly with rock, jazz and theatre bands. Gareth has taught music from

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kindergarten through collegiate level in the UK and US. He is a prolific scholar, publishing five books in 2017.

Tamara T. Thies is an Assistant Professor of Music Education at California State University, Long Beach, where she guides pre-service and graduate music education majors in foundational and contemporary curricula. Her research interests currently focus on innovation at the intersection of music education, music technology, and cultural relevancy. 

Linda C. Thornton is Professor of Music Education at The Pennsylvania State University School of Music where she teaches courses in band methods, reflective inquiry, psychology of music, assessment and guides graduate research.  She is active in professional organizations, as a conductor of young bands, and as a saxophonist.

Martina Vasil, PhD, is assistant professor of music education and director of the Modern Band, Orff Schulwerk, and Dalcroze Summer Institute at the University of Kentucky (UK). She teaches courses in general music, popular music education, and qualitative research. She was a member of the inaugural Modern Band Higher Education Fellowship and has established summer Modern Band training at UK as of this year. Her research centers on popular music education and Orff Schulwerk.

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