College of Education
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Item Prisms and Polyphony: The lived experiences of high school band students and their director as the prepare for an adjudicated performance.(2012) Miles, Stephen Wayne; Hultgren, Francine; Education Policy, and Leadership; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This hermeneutic phenomenological inquiry is called by the question: What are the lived experiences of high school band students and their director as they prepare for an adjudicated performance? While there are many lenses through which the phenomenon of music preparation and music making has been explored, a relatively untapped aspect of this phenomenon is the experience as lived by the students themselves. The experiences and behaviors of the band director are so inexorably intertwined with the student experience that this essential contextual element is also explored as a means to understand the phenomenon more fully. Two metaphorical constructs - one visual, one musical - provide a framework upon which this exploration is built. As a prism refracts a single color of light into a wide spectrum of hues, views from within illumine a variety of unique perspectives and uncover both divergent and convergent aspects of this experience. Polyphony (multiple contrasting voices working independently, yet harmoniously, toward a unified musical product) enables understandings of the multiplicity of experiences inherent in ensemble performance. Conversations with student participants and their director, notes from my observations, and journal offerings provide the text for phenomenological reflection and interpretation. The methodology underpinning this human science inquiry is identified by Max van Manen (2003) as one that "involves description, interpretation, and self-reflective or critical analysis" (p. 4). I have reflected on the counterpoint of the student experience, and both purposefully and inadvertently, viewed this counterpoint through the various windows O'Donohue (2004) suggests await our gaze in the inner tower of the mind (p. 127). The student experience showed itself through the ensemble culture, the repertoire studied, the rehearsal process, and the adjudicated performance itself. Student conversations and reflections indicate that they experienced both discovery and transformation as they interacted with the music, each other, and their director throughout this process. The fresh prismatic and polyphonic understandings that emerged may offer the possibility for others to consider more deeply the context of how students experience who they are within an ensemble and how that experience shapes their musical understandings and personal growth.Item THE DEVELOPMENT AND VALIDATION OF AN INSTRUMENT TO MEASURE WIND ENSEMBLE ERROR DETECTION SKILLS AMONG INSTRUMENTAL MUSIC EDUCATORS(2012) Koner, Karen Michelle; Hewitt, Michael P; Curriculum and Instruction; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The Instrumental Music Error Detection Test, or IMEDT, was developed to examine error detection ability regarding pitch rhythm and articulation errors in recordings of a wind ensemble. This test was designed to simulate an authentic rehearsal situation. The musical excerpts were selected from grade three band literature and performed with full instrumentation. A total of 30 errors was inserted into the recordings; 12 pitch errors, 12 rhythm errors, and 8 articulation errors. A university wind ensemble recorded the excerpts, first as written, or what was considered to be a "model performance," and a second time with the errors inserted. The completed IMEDT contained two recordings of each of the eight musical excerpts, the first as written and the second with inserted errors. The IMEDT was administered in six different test administration variations to determine the method that was most valid and reliable and had the highest internal consistency. Each test was administered in an individual setting with the participant and me and took approximately 45 minutes to an hour to complete. Sixty two participants completed this first phase of test administration. Using Cronbach's alpha to estimate the reliability and internal consistency, it was empirically decided that the test administration variation of score and recording with non-controlled time (S&R/N) had the highest alpha level. The order of musical excerpts was also determined empirically through this statistical test. Twenty additional participants completed the second phase of test administration of the IMEDT in the S&R/N method, again in a individual setting, taking approximately 40-45 minutes to complete. After data collection was complete, it was determined that the IMEDT was both reliable and internally consistent (á = .72).Item LISTENING TO THE SPONTANEOUS MUSIC-MAKING OF PRESCHOOL CHILDREN IN PLAY: LIVING A PEDAGOGY OF WONDER(2006-11-28) Kierstead, Judith Kerschner; Hultgren, Francine; Education Policy, and Leadership; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This study sings with joy the wonder of preschool children spontaneously being music-makers in play. Through hermenuetic phenomenological methodology provided by van Manen (2003), voices of Heidegger (1962, being-with), Levin (1989, listening), Ihde (1976, music-language), Casey (1993, place), Merleau-Ponty (1962, the body), Levinas (1987, "we"), Arendt (1959, new beginnings), and Steiner (1984; 1985a,b; 1998, human development, freedom) support the work. The study asks: What is the lived experience of preschool children spontaneously making music in play? In Waldorf preschools, forty-six children in three age-differentiated classes are observed and tape-recorded in a pre-study; observations of twenty-four children in a mixed-age class and, during outdoor playtime, an additional twenty-four children from a similar class are observed and recorded in note-taking during a year-long study. Significant themes of will-ing, be-ing, and time-in-place emerge. Freedom to move about in play with peers is essential to music-making that spontaneously expresses Life-lived-in-the-moment. The phenomena of this study -- the songs, chant, and other sound-shapes -- are the being of children, who are not bound by time or by space. In this study, musical form includes a sung-tryptich, a communal-collage, call-response, a transforming chant, and language that sings and stretches into many, varied sound-shapes. The wonder of Life shines through. Teaching music of early childhood is being one's self a music-maker in being-with children. This teaching is preparing a place of beauty, order, and caring, where a rhythmic framework of fine- and living-arts experiences extends the letting-learn, and where the children move about, playing freely with materials that nurture the imagination, indoors and out daily, rain or shine. Teaching is moving through richly developed integrated-circles (songs, poems, and verses, with gestures), worthy of the children's imitation. Teaching is telling tales from the heart, planting seeds of wisdom. Teaching is "reading the children" then creating soft edges in moving-with-one's-own-singing from one activity to another. This is a Pedagogy of Wonder that respects the child's will, enriches the child's Being, lets-be the spontaneous music-making of preschool children in play, nourishing that music-making by being-with the child musically. Listening to the spontaneous music-making of preshcool children in play offers a new beginning.Item Classroom Assessment in U.S. High School Band Programs: Methods, Purposes, and Influences(2006-05-23) Kancianic, Phillip M; McCarthy, Marie F; Hewitt, Michael P; Curriculum and Instruction; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this study was to investigate the relationships among characteristics of high school band directors and their school settings, purposes and uses of classroom assessment methods, and factors that influence the use of classroom assessment. MENC: The National Association for Music Education provided a membership list from which 2,000 U.S. high school band directors were selected by simple random sampling. Participants received a postcard via mail inviting them to complete an online survey. Non-respondents received a second postcard two weeks later and a paper version of the survey four weeks later. The independent variables included 11 personal and 11 school characteristics. The dependent variables included 23 assessment methods, 19 purposes of assessment, and 23 factors that influence the use of classroom assessment. The overall survey return rate was 39.75% (N = 795); the usable response was 31.7% (N = 634). Descriptive statistics illustrated the respondents' use of classroom assessment methods, the level of importance they attributed to purposes of assessment, and the level of influence they attributed to factors that affect assessment. Pearson product-moment correlations and multiple analyses of variance were performed on the data to test 22 null hypotheses. Excepting the MANOVAs (α = .05), the experimentwise alpha was set at .01 to reduce the risk of Type I error. Classroom assessments focused primarily on the evaluation of student performance skills. Lack of time was viewed as a major impediment to assessment. Teachers were more influenced by internal factors (e.g., philosophy of education and class goals) than by external factors (e.g., school requirements and local, state, or national standards). Music colleagues were influential among less-experienced teachers and those who had district-wide assessment training. Three prevalent issues emerged from the results: teacher autonomy, the role of assessment training, and teacher workload. Recommendations included investigating the relationship between teacher autonomy and classroom assessment, examining and improving current assessment training for pre-service and in-service teachers, and developing efficient assessment strategies that have a minimal impact on teacher workload. It was also recommended that the many non-statistically significant findings be examined by future researchers.Item Hearing Others' Voices: An Exploration of the Musical Experiences of Immigrant Students Who Sing In High School Choir(2004-11-29) Carlow, Regina; McCarthy, Marie; Curriculum and Instruction; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this study was to explore the musical experiences of immigrant students in an American high school choral classroom. This study revealed some of the central issues and tensions that immigrant students face as they are acculturated into secondary school music programs. The study explored the experiences of five immigrant female high school students who had emigrated from the following countries: Ecuador, El Salvador, Ghana, and Kazakhstan. The primary participants in the collective case study attended a suburban high school in the Mid-Atlantic region and had been living in the U.S. for three years or less. All participants were enrolled the same entry-level non-auditioned choral class. A survey was given to all choral students at the school which provided demographic information about the overall school choral program. Data collection methods included: semi-structured, in-depth interviews, student and teacher surveys, observations, focus groups, and dialogue journal writing collected over a ten-month period. Participants were encouraged to write journal entries in their native language. Lind's study of classroom environment and Gay's theory of culturally responsive teaching provided two important frameworks for analysis and interpretation of data. Data were coded through the NVivo software system for processing qualitative research. The data were analyzed and interpreted to create four narrative case studies. Findings suggested that the acculturation process for immigrant teenagers entails multiple dimensions with distinct outcomes depending on students' personal histories and educational backgrounds. Data revealed teacher dependence on contextual language in the choral classroom language as a vehicle for transfer of musical knowledge and that English language learners (ELL) are sometimes placed at a disadvantage in the choral classroom because of this reliance. Findings implied that some curricular norms in secondary choral classes such as vocal warm-ups, musical notation, sight reading requirements and choral festivals can be viewed as culturally incongruent with immigrants students' previous musical experiences. Data suggested that immigrant students in choral classes viewed the minimum requirements for participation in a school group, opportunities for public performance, and daily use of English in a non-threatening atmosphere as benefits of their overall high school education.