Symposium Participants
Joseph Abramo
Joseph Abramo, Ed. D. is an Assistant Clinical Professor of Music Education in the Neag School of Education at the University of Connecticut where he teaches courses in instrumental methods and supervises student teachers. In 2011, he was the recipient of the Outstanding Emerging Researcher Award from the Center for Music Education Research at the University of South Florida. He is a co-chair of Gender Research in Music Education (GRIME) and a co-editor of its on-line, peer-reviewed journal Gender, Education, Music, Society. He is also the Chair Elect of the Philosophy Special Research Intrest Group of the National Association for Music Education. His articles include publications in the Journal of Research in Music Education, Music Education Research, and Music Education Research International and his areas of research include popular music, gender, cultural studies, race and multiculturalism, disability studies, poststructuralism, and constructivism. Dr. Abramo's conference presentations include the American Education Research Association, New Directions in Music Education, Suncoast Music Education Research Symposium, the National Association for Music Education, International Association for the Study of Popular Music, and The International Conference on Social Justice in Music Education among others. He holds degrees from Teachers College, Columbia University, Michigan State University, and the Crane School of Music at SUNY Potsdam. He previously served as an Assistant Professor of Music Education at Hartwick College in Oneonta, New York.
Randall Everett Allsup
Randall Everett Allsup holds degrees in music performance and music education from Northwestern University and Teachers College Columbia University. Currently associate professor of music education at Teachers College, he teaches courses in creativity and problem-solving; democracy and music education; and philosophies of music, education, and arts education. His research focuses on the problems and promises of pluralism, music teacher preparation, and democratic and moral philosophy. In 2009, Allsup was awarded a Fulbright grant to teach and conduct research at the Sibelius Academy, Helsinki, Finland. He is past chair of the International Society for the Philosophy of Music Education (ISPME) and the Philosophy Special Research Interest Group (SRIG) of the Music Education Research Council. He serves on the advisory boards of the Bulletin of the Council for Research in Music Education and Music Education Research.
James R. Austin
James Austin is Professor of Music Education and Associate Dean for Undergraduate Studies at the University of Colorado Boulder. He currently teaches graduate courses and directs dissertations and theses. Dr. Austin received a Bachelor of Music degree from the University of North Dakota, and Master of Arts and Doctor of Philosophy degrees from the University of Iowa – all degrees were awarded with highest honors. Prior to his arrival at the University of Colorado, he taught instrumental music (grades 4-12) in Minnesota, served as a graduate teaching and research assistant at the University of Iowa, and was on the music education faculty at Ball State University in Muncie, Indiana.
Dr. Austin’s research interests include student motivation and self-concept development, teacher education, classroom-level assessment, and school/arts policy implications of educational reform. His publication record is extensive, including articles in the Instrumentalist, the Music Educators Journal, Update, General Music Today, Contributions to Music Education, the Journal of Research in Music Education, the Bulletin of the Council for Research in Music Education, Psychology of Music, the American Educational Research Journal, and the British Journal of Educational Psychology. He regularly presents papers at national and international conferences and currently serves on editorial boards for Psychology of Music, and the Journal of Research in Music Education. From 2000 to 2005, he served as Program Chair and Chair of the Music Education Special Interest Group within the American Educational Research Association, and from 2004-2006 he was Chair of the MENC Measurement and Evaluation Special Research Interest Group.
Dr. Austin remains active as a consultant, clinician, and guest speaker in public schools and on college campuses. He holds memberships in the Colorado Music Educators Association, the National Association for Music Education (MENC), and the American Educational Research Association. In 2004, he was awarded the Richard Bern Trego faculty fellowship by the College of Music at CU-Boulder.
Dr. Austin’s research interests include student motivation and self-concept development, teacher education, classroom-level assessment, and school/arts policy implications of educational reform. His publication record is extensive, including articles in the Instrumentalist, the Music Educators Journal, Update, General Music Today, Contributions to Music Education, the Journal of Research in Music Education, the Bulletin of the Council for Research in Music Education, Psychology of Music, the American Educational Research Journal, and the British Journal of Educational Psychology. He regularly presents papers at national and international conferences and currently serves on editorial boards for Psychology of Music, and the Journal of Research in Music Education. From 2000 to 2005, he served as Program Chair and Chair of the Music Education Special Interest Group within the American Educational Research Association, and from 2004-2006 he was Chair of the MENC Measurement and Evaluation Special Research Interest Group.
Dr. Austin remains active as a consultant, clinician, and guest speaker in public schools and on college campuses. He holds memberships in the Colorado Music Educators Association, the National Association for Music Education (MENC), and the American Educational Research Association. In 2004, he was awarded the Richard Bern Trego faculty fellowship by the College of Music at CU-Boulder.
Janet R. Barrett
Janet Barrett, Associate Professor of Music at the Bienen School of Music at Northwestern University, is a general music specialist and researcher. Her research interests are in curriculum studies, interdisciplinary approaches in music education, and professional development in music teacher education. She is the co-author of Looking In On Music Teaching (McGraw-Hill/Primis, 2000), Sound Ways of Knowing: Music in the Interdisciplinary Curriculum (Schirmer, 1997), and Constructing a Personal Orientation to Music Teaching (Routledge, 2010). She also served as editor for Music Education as a Crossroads (Rowman & Littlefield, 2009). She is a contributor to the New Handbook of Research on Music Teaching and Learning, the International Handbook of Research in Arts Education, the Oxford Handbook of Music Education, Music Education Research, Bulletin of the Council for Research in Music Education, Research Studies in Music Education. She previously taught general and choral music in Iowa and Wisconsin. She is national chair of the Society for Music Teacher Education.
Barbara Beekman
Barbara Beekman grew up in northwestern Connecticut, and graduated from St. Michael’s College in 1979 with a degree in Biology. Her professional experience includes stints in operational analysis, computer software, and IT consulting. Ms. Beekman has lived in Canton NY for the last 23 years, joining the Canton Board of Education in January 1999. In July, she was re-elected to her 7th term as President. She is married to Peter Beekman and has two children, Erica (23) and Christian (20).
Norman Chirco
Norman Chirco graduated from Port Byron High School in 1979. He earned a bachelor’s degree from Hobart College in Geneva, NY in 1983; obtained a Juris Doctor from Thomas Cooley Law School in Lansing, Michigan in 1986. He was admitted to the New York State Bar in 1987 after which he began his practice, focusing on criminal matters, family court matters, real estate, workers’ compensation and social security disability. Chirco was elected to the Weedsport Central School Board of Education in 1995 and has served continuously since that date. He is presently in his 17th year on the Board of Education and has served 4 terms as President. He is married to Amy Fults Chirco and has 4 children, David 18, Elizabeth 16, Michael 14, and Robert 7.
Robert Cutietta
Robert Cutietta is dean of the Thornton School of Music at the University of Southern California. He has published a wide range of articles on many subjects related to Music Education. These have appeared in journals such as The Music Educators Journal, Journal of Research in Music Education, The Bulletin of the Council for Research in Music Education, Psychology Today, The Psychology of Music, The American Music Teacher and many others. He is also author, co-author or editor of four books and has contributed chapters to several others including The Handbook of Research on the Teaching and Learning of Music. He has sat on the editorial boards of the Journal of Research in Music Education, and Contributions to Music Education. His most recent book, Raising Musical Kids: A Parent’s Guide is published by Oxford University Press.
Prior to his appointment as dean, Dr. Cutietta had a successful career as a musician and researcher. He was director of the School of Music and Dance at the University of Arizona and held faculty positions at Kent State and Montana State Universities. He received his doctorate in music education and psychology from Penn State University and his undergraduate and masters degrees from Cleveland State University.
Prior to his appointment as dean, Dr. Cutietta had a successful career as a musician and researcher. He was director of the School of Music and Dance at the University of Arizona and held faculty positions at Kent State and Montana State Universities. He received his doctorate in music education and psychology from Penn State University and his undergraduate and masters degrees from Cleveland State University.
Krista Easton
Krista Easton, of Potsdam, New York, has been actively teaching music in the public schools of New England for sixteen years. She holds her bachelor’s degree in Music Education from the Eastman School of Music, and a master’s degree in Music Education from the Crane School of Music at SUNY Potsdam. She has just recently completed her master’s thesis on the subject of democratic education and co-constructing curriculum in the high school guitar classroom. Her thesis employed the powerful action-based self-study methdology. She has taught general music, chorus, orchestra, music theory, world drumming and guitar classes in grades K-12 throughout New Hampshire (where she was named teacher of the year in the North Country in 2007), Connecticut, Maine, and New York. She is an Orff certified teacher, and has presented numerous workshops in Orff methodology and world drumming over the past 10 years. She currently teaches grades 7-12 at St. Lawrence Central School in Brasher Falls, NY, where she also acts as adviser of the Tri-M Music Honor Society.
Brian Franco
Brian Franco is a music teacher in the Weedsport Central School District in Weedsport, NY, where his responsibilities include middle school general music, chorus, jazz band and the high school theater program. Over the last three years he has developed a secondary elective program focusing on the performance, creation and analysis of popular music called Music Industry. This program has been widely successful and is part of a public school-university partnership that serves as a curricular model for preservice students at the Crane School of Music, SUNY Potsdam. Franco holds a BM in Music Education and is currently pursing a master's degree at the Crane School of Music. He has presented at venues such as the NYSSMA Winter Conference and the New Directions in Music Education Conference in Michigan, and recently contributed to the book Messengers of Music: The Legacy of Julie Ettie Crane (Information Age Publishing, 2011). His curriculum can be found online at www.weedsportMI.com
David Gleason
David Gleason is a music educator, pianist and composer living in New York's Capital Region. He received a M.A. from Tufts University where he studied ethnomusicology and composition. He has researched folk and popular music in Puerto Rico and Cuba and is a contributing ethnomusicologist to the Museo Del Barrio’s permanent collection online. As a jazz and Latin pianist he has performed with ensembles such as RumbaNaMa, The Boston Latin Band, The Either/Orchestra, and The Empire Jazz Orchestra. He has also performed with Lee Konitz, Laurel Masse, Fred Wesley, Danilo Perez, and John Fedchock. He currently leads the Latin jazz ensemble, Sensemaya. Mr. Gleason studied music education and jazz studies at the Crane School of Music at Potsdam, New York. He has taught at the John Sayles School of Fine Arts in Schenectady High School at Schenectady, NY and Rensselaer Polytechnic Institute at Troy NY. David Gleason is also the author of The Total Blues Keyboardist (Alfred 2011).
Phillip Greco
Phillip
Greco is a
music educator in the Farmingdale Public Schools, Farmingdale, NY where
he
teaches K-7 general music. At Farmingdale, he has been instrumental in
introducing constructivist learning theory to the music education
faculty and
creating curricula focused on projects and technology
integration.
Phil is a frequent presenter at conferences and teacher workshops devoted to re-conceptualizing music education curriculum around personalized/collaborative learning and cultivating dispositions as learning goals in music education. Recent presentations include the Society for Music Teacher Education (SMTE), Suffolk County Music Educators' Association (SCMEA), the New York State School Music Association (NYSSMA), Westminster Choir College-Rider University, and various public school districts throughout New York State. Most recently he has worked with the Dade County Music Educators as a consultant for creating project-based curricula for the Dade County Schools, Dade Country FL. In addition, Phil serves as a core member in the public school-university partnership program that serves the preservice music education students at the Crane School of Music at SUNY Potsdam.
Phil is a founder and the coordinator for the Society for Ethics in Education; a non-profit organization that provides professional growth opportunities for educators and opportunities for learners to exhibit personal learning projects in music. He received both his undergraduate and graduate degrees in music education from the Crane School of Music at SUNY Potsdam. Phil also holds a certificate in educational administration.
Phil is a frequent presenter at conferences and teacher workshops devoted to re-conceptualizing music education curriculum around personalized/collaborative learning and cultivating dispositions as learning goals in music education. Recent presentations include the Society for Music Teacher Education (SMTE), Suffolk County Music Educators' Association (SCMEA), the New York State School Music Association (NYSSMA), Westminster Choir College-Rider University, and various public school districts throughout New York State. Most recently he has worked with the Dade County Music Educators as a consultant for creating project-based curricula for the Dade County Schools, Dade Country FL. In addition, Phil serves as a core member in the public school-university partnership program that serves the preservice music education students at the Crane School of Music at SUNY Potsdam.
Phil is a founder and the coordinator for the Society for Ethics in Education; a non-profit organization that provides professional growth opportunities for educators and opportunities for learners to exhibit personal learning projects in music. He received both his undergraduate and graduate degrees in music education from the Crane School of Music at SUNY Potsdam. Phil also holds a certificate in educational administration.
Jeffrey Kimpton
Jeffrey Kimpton is President of Interlochen Center for the Arts, where he leads its distinguished portfolio of internationally recognized programs in arts education, public broadcasting and presentations. He is a graduate of the University of Illinois-Urbana with degrees in music education, school and arts administration. Mr. Kimpton has a 36-year record of innovative leadership, in teaching and administration in K-12 school districts in New York, Minnesota and Kansas, in for-profit work as Director of Education for Yamaha Corporation of America, in philanthropy as director of public engagement at the Annenberg Institute at Brown University, and as director and professor of music education at the School of Music at the University of Minnesota-Twin Cities. A frequent author, speaker and consultant, Mr. Kimpton brings his many experiences in arts leadership--as teacher, administrator, advocate and futurist--to organizations and new generations of leaders creating new thinking for changing times.
Marsha Kindall-Smith
Marsha Kindall-Smith earned a MusB at Oberlin College in piano and music education, MA at Ohio State University in piano and music education, and EdD from Boston University in curriculum and teaching. During a forty-year career, she was a private piano teacher, general music teacher, choral director, and performing arts coordinator. She retired as co-chair of music education at the University of Wisconsin-Milwaukee where she taught undergraduate methods courses, graduate courses in arts assessment and mentoring music teachers, and supervised research. Her research interests are performance assessment, urban schools, social justice, and African-American spirituals that she performs. She received the 1997 Massachusetts Lowell Mason Award, the 2003-2004 University of Wisconsin-Milwaukee Distinguished Undergraduate Teaching Award, the 2009-2010 Oberlin College Distinguished Alum Award in Music Education and Brick on the National Association of Music Education Walk of Fame, and the 2011 Ambassador Award from the National Association for the Study and Performance of African-American Music. Her publications include a chapter in Teaching Music in the Urban Classroom (Rowman & Littlefield, 2006), articles in International Journal of Music Education, Music Educators Journal, The Mountain Lake Reader, National Journal of Urban Education and Practice, Wisconsin School Musician, Massachusetts Music News and Journal of Music Teacher Education (in print).
Shannon McCabe
Shannon McCabe Aridgides has begun her fourth year as a music educator near Boston, Massachusetts. A native of Syracuse, New York, Shannon participated in many local music ensembles including the Syracuse Symphony Youth Orchestra. Shannon is a 2007 Crane graduate in music education and flute performance. Her interest to pursue music education blossomed after participating her freshman year in a summer abroad teaching program in Puebla, Mexico lead by Marsha Baxter (of the Crane School of Music at SUNY Potsdam). Shannon continued her love for world music by pursuing a master's in Ethnomusicology at UCLA. Her research focused on Mexican Americans outside of Los Angeles who brought their community together through the teaching of son jarocho, a traditional folk music from Veracruz, Mexico. She presented a portion of her thesis, “Son Jarocho por El Centro: Pedagogy, Performance and Community in a Non-Formal Environment” at the Society for Ethnomusicology Southern Chapter conference in Los Angeles, 2009. After completing her MA in 2009, Shannon moved to Boston and currently teaches 6th -8th grade chorus and general music at Peabody Public Schools, Peabody, MA. She continues to look at student engagement in the classroom by making music relevant to student experiences and by creating activities designed around student-centered learning.
Melissa Natale-Abramo
Melissa Natale-Abramo is a music educator and Department Chairperson for the Fine & Practical Arts at North Salem MS/HS in North Salem, NY. Dr. Abramo holds degrees from Teachers College, Columbia University, Northwestern University and SUNY Potsdam/Crane School of Music. Her dissertation investigated the construction of instrumental music teacher identity from a poststructural perspective. She has presented at various conferences including the American Educational Research Association, the International Society for the Philosophy of Music Education, and Establishing Identity: LGBT Issues and Music Education, and published in the Bulletin for the Council of Research in Music Education, Diverse Methodologies in the Study of Music Teaching and Learning (2008, vol. 1) and Situated Research in Music Education (in press, vol. 5) of the American Educational Research Association Music Education SIG's book series, Advances in Music Education Resarch.
Christopher Santantasio
Christopher
Santantasio received his Bachelor's degree in Music Education and Euphonium
Performance in 2010 from the Crane School of Music. He currently teaches music
at Gateway Lab School in Wilmington, Delaware, which opened its doors in the
fall of 2011. Gateway Lab Charter School works with children in grades 3-7 that
are struggling to achieve academic success in a traditional classroom
environment. Mr. Santantasio oversees the development of the music department,
teaching elementary and middle school general music, chorus, popular guitar
class and the culinary arts program. The school’s band program is currently in
development and he hopes to have that up and running by the beginning of the
2012-2013 school year. In February 2012, only months after the opening of the
school, the students under his creative direction offered the school’s first
performance. He has been elected as the teacher representative to the school's
executive board, on which he oversees grant writing and fundraising efforts.
His efforts earned Gateway its first grant from the Delaware Division of the
Arts. Mr. Santantasio recently collaborated with Marsha Baxter
(of the Crane School of Music at SUNY Potsdam) on an article “From the Bandstand to the Classroom: Thinking and Playing
Grooves,” slated to appear in Music Educator’s Journal in the fall of 2012.
Also an active musician, Chris is a member of the First State Symphonic Band
and was recently invited to perform with the Greater New York Wind Symphony at
the Anches d’Azure Music Festival in La Croix Valmer, France. Mr. Santantasio
previously served as band director in the Syracuse City School District and
is a native of Monroe, New York.
Tim Savage
Tim Savage is a native of Malone, N.Y. He holds a Bachelor of Science (1984) and Master’s (1996) in Music Education from the Crane School of Music, SUNY Potsdam. He resides in Canton with his wife, Jill and two daughters, Kate and Abbie. Tim is currently the Director of Bands for Grades 7-12 at Canton Central School where he also teaches High School Music Theory and Music Alternatives in a constructivist context. Adjunct at St. Lawrence University since 2005, Tim has directed the Wind Ensemble, Chamber Winds and in Fall 2007 launched the SLU Improv Lab, with which he is currently engaged. Tim remains active as a professional musician; currently playing baritone sax in Northern Symphonic Winds, reeds with the Wally Siebel All Star Big Band, and piano in a variety of small jazz groups and venues. Over the past 25 years, Tim has conducted a number of All-District, All-County, and Area All-State Bands and Orchestras. He is President of the Orchestra of Northern New York Board of Directors, Treasurer of the Crane School of Music Alumni Association, and Chairperson for the New York State Band Directors Association (NYSBDA) Statewide Honor Jazz Ensemble.
Teresa Smith
Teresa Smith graduated from Crane School of Music with a degree in Music Education with a concentration in special education. Much of her career has been spent working with emotionally disturbed teenagers in residential settings. She was recently named one of the Top 12 Music Education Innovators and is featured in Dr. Caron Collins’ book, Messengers of Music (Information Age, 2011). She was named “Teacher of the Year” by students and colleagues for the 2010-2011 school year.
Sandra Stauffer
Sandra Stauffer is Professor of Music in Music Education at Arizona State University where she teaches both undergraduate and graduate courses. Dr. Stauffer's research interests include creativity, composition, and music teacher preparation, using narrative inquiry, arts-based educational research, and qualitative research designs. Her recent publications include a co-authored / co-edited book on narrative inquiry in music education, as well as research articles on children and adolescents as composers and music teacher education. Her creative activities include collaborations with various educators and musicians, including work with composer Morton Subotnick on the development of his music software programs for children.
In addition to her research publications, Dr. Stauffer has written articles on music teaching and learning for various audiences, and designed and contributed to pedagogical publications and texts. She was a contributing author for The Music Connection textbook series, and she is a primary author for the Silver Burdett Making Music text series. Her work also includes education materials for orchestras and other performing arts organizations. She is a popular guest lecturer, clinician, and consultant for music education and arts education organizations throughout the United States and abroad.
Dr. Stauffer was the first Evelyn Smith Professor of Music (2003-2006) at ASU, and she currently serves as coordinator of doctoral studies in music education. Prior to joining the ASU faculty, she was a faculty member and Coordinator of the Music Education Division at the Peabody Conservatory of Music in Baltimore. Dr. Stauffer has taught general, choral, and instrumental music in the public schools of Pennsylvania, Michigan, Virginia, and served as a volunteer teacher in Arizona. She is a graduate of West Chester University (PA) and the University of Michigan.
In addition to her research publications, Dr. Stauffer has written articles on music teaching and learning for various audiences, and designed and contributed to pedagogical publications and texts. She was a contributing author for The Music Connection textbook series, and she is a primary author for the Silver Burdett Making Music text series. Her work also includes education materials for orchestras and other performing arts organizations. She is a popular guest lecturer, clinician, and consultant for music education and arts education organizations throughout the United States and abroad.
Dr. Stauffer was the first Evelyn Smith Professor of Music (2003-2006) at ASU, and she currently serves as coordinator of doctoral studies in music education. Prior to joining the ASU faculty, she was a faculty member and Coordinator of the Music Education Division at the Peabody Conservatory of Music in Baltimore. Dr. Stauffer has taught general, choral, and instrumental music in the public schools of Pennsylvania, Michigan, Virginia, and served as a volunteer teacher in Arizona. She is a graduate of West Chester University (PA) and the University of Michigan.
John W. Sutton
John
Sutton is a lifelong resident of New York State residing in the Galway Central School
District in western Saratoga County, and since 2004 has been serving as a member of the Galway
Board of Education. During his tenure on the Board, he has served three terms as President. Outside of his service to Galway Central School, Mr. Sutton is an
attorney maintaining a sole practice located in Galway. He is a graduate of SUNY Binghamton and Albany Law School. He is a member of the New York Bar Association and Saratoga County Bar Association.
In addition to being a father of a music education student at the Crane School of Music, Mr. Sutton played both trumpet and baritone horn while attending Galway Central and has since enjoyed playing in several community bands organized by Galway instrumental music teacher and Crane music education graduate Gary Barrow. He is also the founder of the “Galway Little Theater” and takes special enjoyment from appearances in Neil Simon comedies having recently appeared in “The Sunshine Boys” as Willie Clark and “The Odd Couple” as Oscar Madison.
In addition to being a father of a music education student at the Crane School of Music, Mr. Sutton played both trumpet and baritone horn while attending Galway Central and has since enjoyed playing in several community bands organized by Galway instrumental music teacher and Crane music education graduate Gary Barrow. He is also the founder of the “Galway Little Theater” and takes special enjoyment from appearances in Neil Simon comedies having recently appeared in “The Sunshine Boys” as Willie Clark and “The Odd Couple” as Oscar Madison.
Amy Swartelé
Amy Swartelé teaches courses in art studio-painting at SUNY Potsdam. She has exhibited in solo and group exhibitions throughout the USA, as well as in Belgium, France, Spain, Italy, India and Canada. Her recent solo exhibits include Montreal's Kerozene Gallery and the SJS Gallery in Waterloo, Belgium; and group exhibits at the Grand Palais in Paris, France, and Lleida, Spain, where she was awarded the grand prize for Figurative Art.
Kevin Tims
Kevin Tims (B.M. in Music Education from the Crane School of Music at SUNY Potsdam in 2000; M.M. in Music Education from Ithaca College in 2004). Kevin Tims has taught music in the Brentwood Union Free School District in Brentwood NY for the last twelve years. He has experience teaching music at every grade level (K-12), and for the past 8 years has been teaching music theory at Brentwood High School. With a goal of making creativity a major part of the music curriculum, he hosts the annual district-wide "Student Composer Night"; this is where students can present their innovative and creative work for the public.
Mr. Tims has given workshops in pedagogy including "Applying Technology to Music Teaching" in 2006 and "Unleashing the Power of Students’ Minds through Project-Based Learning" in 2011 for the Suffolk County Music Educators’ Association. In the winter of 2012, he was a founder of the Society of Ethics in Education and is currently a board member. Also active as a pianist, he performs numerous piano and chamber recitals throughout Long Island, NY.
Mr. Tims has given workshops in pedagogy including "Applying Technology to Music Teaching" in 2006 and "Unleashing the Power of Students’ Minds through Project-Based Learning" in 2011 for the Suffolk County Music Educators’ Association. In the winter of 2012, he was a founder of the Society of Ethics in Education and is currently a board member. Also active as a pianist, he performs numerous piano and chamber recitals throughout Long Island, NY.
Evan Tobias
Evan Tobias is Assistant Professor of Music Education at Arizona State University where he teaches both undergraduate and graduate courses and heads the Consortium for Digital, Popular, and Participatory Culture in Music Education (CDPPCME) @ ASU, which he founded in 2009. He also serves as a faculty member of the HIDA Digital Culture Initiative. Prior to his appointment at ASU, Dr. Tobias taught a technology in music education course at DePaul University and middle school instrumental and general music in New York.
A specialist in secondary general music, Dr. Tobias' recent research focuses on creative uses of technology, issues of social justice, expanding beyond traditional music curricula, and approaches to integrating popular culture and music in music classrooms. His work is published in the Mountain Lake Reader and Collaborative Action for Change: Selected Proceedings from the 2007 Symposium on Music Teacher Education edited by Margaret Schmidt. He is a frequent presenter at state, national, and international conferences including the Music Educators National Conference, Society for Music Teacher Education, International Society for Music Education, International Society for Improvised Music, Association for Technology in Music Education and others. Tobias holds a Ph.D. and Master of Music in music education from Northwestern University and Bachelor of Music in music education from the Crane School of Music at SUNY Potsdam.
A specialist in secondary general music, Dr. Tobias' recent research focuses on creative uses of technology, issues of social justice, expanding beyond traditional music curricula, and approaches to integrating popular culture and music in music classrooms. His work is published in the Mountain Lake Reader and Collaborative Action for Change: Selected Proceedings from the 2007 Symposium on Music Teacher Education edited by Margaret Schmidt. He is a frequent presenter at state, national, and international conferences including the Music Educators National Conference, Society for Music Teacher Education, International Society for Music Education, International Society for Improvised Music, Association for Technology in Music Education and others. Tobias holds a Ph.D. and Master of Music in music education from Northwestern University and Bachelor of Music in music education from the Crane School of Music at SUNY Potsdam.
Linda K. Thompson
Linda Thompson, Ph.D., is associate professor in music at Lee University. Her Ph.D. in Music Education, from University of Arizona, included a minor in Teaching and Teacher Education.
Prior academic positions include assistant professor at the Crane School of Music, SUNY-Potsdam, and at the University of Minnesota – Twin Cities.
Thompson's research interests include preservice teacher development, particularly teacher beliefs and development. She has presented at local, state, national, and international conferences and is published in the Journal of Research in Music Education, the Bulletin of the Council of Research in Music Education, Journal of Music Therapy, Music Educators' Journal, and General Music Today.
Thompson is immediate past-chair of the national Society for Music Teacher Education, and serves as co-editor of Advances in Music Teacher Education, the book series of the Music Education SIG of AERA. Thompson also serves on the advisory board of the Desert Skies Symposium for Music Education.
Prior academic positions include assistant professor at the Crane School of Music, SUNY-Potsdam, and at the University of Minnesota – Twin Cities.
Thompson's research interests include preservice teacher development, particularly teacher beliefs and development. She has presented at local, state, national, and international conferences and is published in the Journal of Research in Music Education, the Bulletin of the Council of Research in Music Education, Journal of Music Therapy, Music Educators' Journal, and General Music Today.
Thompson is immediate past-chair of the national Society for Music Teacher Education, and serves as co-editor of Advances in Music Teacher Education, the book series of the Music Education SIG of AERA. Thompson also serves on the advisory board of the Desert Skies Symposium for Music Education.
James Trybendis
James Trybendis is an educator and musician living and
teaching in New York City. After earning a B.M. in Music Education and Musical
Studies from the Crane School of Music at SUNY Potsdam in 2004, James was
awarded one of the four prestigious artist/teacher scholarships administered by the Crane School of Music at SUNY Potsdam to teach in
New York City. The “Teach Music in
New York City” project was a congressionally directed grant that involved the
collaboration of the New York City Department of Education, VH1 “Save the Music
Foundation” and The Crane School of Music music education department. It's primary purpose was to place exceptional artist/teachers in New York City public schools in order to build music education programs in the city. As a scholarship recipient, James began
his teaching career at James Madison High School in Brooklyn, New York, where
he continues to this day. At Madison High, James works with all
levels of students interested in playing wind-band instruments—beginners through advanced; conducts the orchestra for musical
productions; and directs an award winning marching band that performs throughout
New York City. From 2005-2008 James held the position of assistant conductor of the New York City All-City Symphonic Band. James continues to be an active performer,
playing trombone with the Brooklyn Conservatory Orchestra, New Amsterdam
Symphony, and The Bach on Broadway Ensemble. In 2009 James completed his M.A. in Music and Music
Education at Teachers College, Columbia University.
Betty Anne Younker
Betty Anne Younker, Ph.D. (Northwestern University) returns to the University of Western Ontario as Dean and Professor of Music Education of the Don Wright Faculty of Music. She was on faculty from 1997-2000 during which time she was awarded the Dr. Pedro Goldman Award Faculty of Music Students Council. In addition, she was awarded the distinguished Alumnus of the Year by Pennsylvania State University College of Arts and Architecture (2008). Before returning to University of Western Ontario, Younker was Associate Dean for Academic Affairs and Associate Professor of Music Education at the University of Michigan.
Her research interests include critical and creative thinking within the disciplines of philosophy and psychology. Publications include articles in national and international journals and chapters in several books. Paper presentations have occurred at state, national, and international conferences.
Before appointments at the university level, Dr. Younker taught in band, choral, and general music settings in the public school system as well as taught flute students from beginning to university levels of performance. Presently she serves on several editorial boards and committees for a variety of professional organizations.
Her research interests include critical and creative thinking within the disciplines of philosophy and psychology. Publications include articles in national and international journals and chapters in several books. Paper presentations have occurred at state, national, and international conferences.
Before appointments at the university level, Dr. Younker taught in band, choral, and general music settings in the public school system as well as taught flute students from beginning to university levels of performance. Presently she serves on several editorial boards and committees for a variety of professional organizations.
Undergraduate and Graduate Students' Presentations
John Bernstein, Genevieve Brigida, Nicholas Murray and Benjamin Rybolt
Stories of Learning to Teach Music: Four Narratives in Search of an Audience
This study presents the stories of four practicum students in their development and constructions of teaching in a music teacher education program. A constructivist theoretical framework was used to pose questions, gather data, and construct individual representations of their processes of learning to teach music. Schwab’s commonplaces served as an analytical and interpretative device for constructing four individual narratives. Implications for continued growth in student teaching are presented.
This study presents the stories of four practicum students in their development and constructions of teaching in a music teacher education program. A constructivist theoretical framework was used to pose questions, gather data, and construct individual representations of their processes of learning to teach music. Schwab’s commonplaces served as an analytical and interpretative device for constructing four individual narratives. Implications for continued growth in student teaching are presented.
Brianna Benitez & Victor DeJesus
Tales from the City
This presentation presents the stories of two student teachers placed in two different urban settings for their student teaching experiences. Ideas and issues discussed relate to attitudes toward working in urban environments and skills needed to work with diverse cultures. Specific examples are used to illustrate these ideas. A major goal is to discuss how music teacher education programs might educate future teachers for classrooms that are diverse in terms of race/ethnicity, nationality, social class, language and other differences (Nieto, 2004).
This presentation presents the stories of two student teachers placed in two different urban settings for their student teaching experiences. Ideas and issues discussed relate to attitudes toward working in urban environments and skills needed to work with diverse cultures. Specific examples are used to illustrate these ideas. A major goal is to discuss how music teacher education programs might educate future teachers for classrooms that are diverse in terms of race/ethnicity, nationality, social class, language and other differences (Nieto, 2004).
Ryan Bregaudit, Christina Silbermann andJonathan Somer
Curious Collaborative Creativity
Student and community musicians share their research projects that shaped their spring semester Comprehensive Musicianship through Performance (CMP) experiences in the Campus Community Band. This member-run ensemble designed, developed and presented 20 collaborative projects during their rehearsals culminating in an Informance on May 15, 2012 for the public. Projects included research on music history, cultures, instruction, music enhancements, publicity, art, dance, improvisation and guest composer-conductors.
Student and community musicians share their research projects that shaped their spring semester Comprehensive Musicianship through Performance (CMP) experiences in the Campus Community Band. This member-run ensemble designed, developed and presented 20 collaborative projects during their rehearsals culminating in an Informance on May 15, 2012 for the public. Projects included research on music history, cultures, instruction, music enhancements, publicity, art, dance, improvisation and guest composer-conductors.
Nadine Cunningham, Katie Hess, Codi Ng, and Kristen Swift
Lab Orchestra
The Lab Orchestra class is offered to all upper-level music education majors. The members of the class have been practicing methods to connect “out of school” music with “in-school” music, especially in the large ensemble setting that is currently prevalent in our public schools. Students developed their musical vocabulary and improvisation skills on both their major and secondary string instruments. Members of the class have created and performed original compositions (including a fugue and a 12-tone piece) as well as arrangements of contemporary non-classical music, combining knowledge from their theory and aural skills classes with their awareness of school music needs. Through discussion and media examples, students provide insight to their creative process, and how this type of project could be used in school ensemble settings.
Kim Callahan and Andrew Tilles
Developing Teacher Voices
The National String Project at Crane expands string education opportunities in the North Country while providing teaching experiences for university students at the Crane School of Music. Through written reflections and weekly meetings with faculty mentors and fellow interns, preservice teachers discuss lessons learned about their students, as well as discoveries about their own learning and development as teachers. This presentation shares the stories of two student-teacher participants and the process of developing their own “teacher voices." Reflections from previous NSP interns who are now working in the field of music education are also shared.
The National String Project at Crane expands string education opportunities in the North Country while providing teaching experiences for university students at the Crane School of Music. Through written reflections and weekly meetings with faculty mentors and fellow interns, preservice teachers discuss lessons learned about their students, as well as discoveries about their own learning and development as teachers. This presentation shares the stories of two student-teacher participants and the process of developing their own “teacher voices." Reflections from previous NSP interns who are now working in the field of music education are also shared.
Joshua Emanuel, Crane alumnus '11
Evaluation of the Educational Benefits of Telematic Performance with High School Students
"Telematics" is the interaction between humans and computers. In the summer of 2012, high school students in Anderson, IN played a concert with musicians in Indianapolis, IN. By using the Internet and high quality video communications software, the musicians were all able to perform together. The purpose of this project was to examine the potential benefits of telematic performance for music education. Three elements of music education were evaluated: improvisational skills, use of technology, and collaboration. Some elements of telematic music still need improvement, such as the lag caused by Internet speeds and the lack of repertoire that takes the lag into consideration. The students involved, as well as those in the audience, completed surveys based on these elements. The responses were generally positive, indicating that the students felt that this was a positive learning experience for both musicians and audience. This project evaluates these responses and required future improvements.
Josh Emanuel is a music educator, percussionist, composer, and music technology specialist from Suffern, NY. After receiving his B.M. in Music Education from the Crane School of Music in 2011, he continued his studies at Indiana University Purdue University Indianapolis (IUPUI). At IUPUI, Josh taught music theory and music fundamentals courses to undergraduate students while working towards his M.S. in Music Technology. His graduate work focused on using music technology to further music education. He spent much of his time working with the IUPUI Telematic Collective as a composer, performer, and technology specialist. Expanding on his work with the Telematic Collective, Josh is exploring the potential of telematic performance in music education.
"Telematics" is the interaction between humans and computers. In the summer of 2012, high school students in Anderson, IN played a concert with musicians in Indianapolis, IN. By using the Internet and high quality video communications software, the musicians were all able to perform together. The purpose of this project was to examine the potential benefits of telematic performance for music education. Three elements of music education were evaluated: improvisational skills, use of technology, and collaboration. Some elements of telematic music still need improvement, such as the lag caused by Internet speeds and the lack of repertoire that takes the lag into consideration. The students involved, as well as those in the audience, completed surveys based on these elements. The responses were generally positive, indicating that the students felt that this was a positive learning experience for both musicians and audience. This project evaluates these responses and required future improvements.
Josh Emanuel is a music educator, percussionist, composer, and music technology specialist from Suffern, NY. After receiving his B.M. in Music Education from the Crane School of Music in 2011, he continued his studies at Indiana University Purdue University Indianapolis (IUPUI). At IUPUI, Josh taught music theory and music fundamentals courses to undergraduate students while working towards his M.S. in Music Technology. His graduate work focused on using music technology to further music education. He spent much of his time working with the IUPUI Telematic Collective as a composer, performer, and technology specialist. Expanding on his work with the Telematic Collective, Josh is exploring the potential of telematic performance in music education.
Daniel Donovan, Katherine Mueller, Lawrence Perez, Christopher Oill, Malissa Tong
Participant-Observation in a Middle School Chorus
This study presents the findings of an inquiry-oriented component of a college choral practices courses. Nine college students undertook a participant-observation approach to learning more about teaching middle school chorus by spending 1 day a week over the course of a month in a grade 7 and 8 chorus. Joseph Schwab’s “commonplaces” (Teacher, Learner, Subject Matter, and Socio-cultural Milieu) guided their on-site observation/participation experiences. Divided into small groups, the college students selected and studied in depth one of the four commonplaces. Data were gathered through observations, short surveys and interviews with middle school students and the chorus teacher. Data were then individually analyzed and collectively synthesized into “lessons learned.” A review of scholarly literature devoted to choral music education practices supplemented the entire study and helped placed the inquiry experience into a larger professional teaching context.
This study presents the findings of an inquiry-oriented component of a college choral practices courses. Nine college students undertook a participant-observation approach to learning more about teaching middle school chorus by spending 1 day a week over the course of a month in a grade 7 and 8 chorus. Joseph Schwab’s “commonplaces” (Teacher, Learner, Subject Matter, and Socio-cultural Milieu) guided their on-site observation/participation experiences. Divided into small groups, the college students selected and studied in depth one of the four commonplaces. Data were gathered through observations, short surveys and interviews with middle school students and the chorus teacher. Data were then individually analyzed and collectively synthesized into “lessons learned.” A review of scholarly literature devoted to choral music education practices supplemented the entire study and helped placed the inquiry experience into a larger professional teaching context.
Kathryn Hess
Looking at Music Teacher Development: A Self-Study of Three Undergraduate Teaching Experiences
This self study highlights key teaching experiences taken from String, General Music, and Special Education courses. It is grounded in an examination of Crane’s teacher development program. Using tools and concepts from Constructing a Personal Orientation to Music Teaching (Campbell, Thompson, & Barrett, 2010) and a Suzuki Teaching Principles course (Hersh, 1996), I constructed a personal teaching profile. Sources used to create my profile come from: re-examination of coursework goals, lessons and curricular plans, meetings with mentors and peers, lesson videos, descriptions of pupils’ development, and self-reflection. I conclude by looking to the future and sharing personal and programmatic possibilities that arise from perspectives gained.
This self study highlights key teaching experiences taken from String, General Music, and Special Education courses. It is grounded in an examination of Crane’s teacher development program. Using tools and concepts from Constructing a Personal Orientation to Music Teaching (Campbell, Thompson, & Barrett, 2010) and a Suzuki Teaching Principles course (Hersh, 1996), I constructed a personal teaching profile. Sources used to create my profile come from: re-examination of coursework goals, lessons and curricular plans, meetings with mentors and peers, lesson videos, descriptions of pupils’ development, and self-reflection. I conclude by looking to the future and sharing personal and programmatic possibilities that arise from perspectives gained.
Nicole Mihalek
The Electronic Portfolio: A Learning Tool for Preservice Music Educators
Portfolios in professional music teacher education programs seek to chronicle students' growth as preservice teachers in the field of music education. This presentation features a student-created electronic portfolio accompanied by a narrative. A process, rather than a product perspective, is taken in the conceptualization of the portfolio. This particular electronic portfolio is drawn from "Principles of Music Education," the first course in a student's professional development sequence here at the Crane School of Music. Videos of past teaching, responses to class readings, personal blogs, and identification of related areas of education for further research are used to illustrate and inform readers' of student learning and illustrate student thinking and growth. An additional goal for presenting an initial portfolio is to discuss its effectiveness as a tool for learning and tool for making visible the effects of undergraduate teacher preparation. Implications for continued use through the program are open for dialogue.
Portfolios in professional music teacher education programs seek to chronicle students' growth as preservice teachers in the field of music education. This presentation features a student-created electronic portfolio accompanied by a narrative. A process, rather than a product perspective, is taken in the conceptualization of the portfolio. This particular electronic portfolio is drawn from "Principles of Music Education," the first course in a student's professional development sequence here at the Crane School of Music. Videos of past teaching, responses to class readings, personal blogs, and identification of related areas of education for further research are used to illustrate and inform readers' of student learning and illustrate student thinking and growth. An additional goal for presenting an initial portfolio is to discuss its effectiveness as a tool for learning and tool for making visible the effects of undergraduate teacher preparation. Implications for continued use through the program are open for dialogue.
Krista Easton
A Teacher Self Study of a Co-Constructed Curriculum in a High School Guitar Class
Democratic education is an approach that partners students and teachers in active pursuit of shared interests—allowing students to shift their traditional roles as receptors of knowledge to investigators of knowledge. Teachers that venture into co-curricular design, likewise, experience a shift in their teaching roles—moving from individuals who transmit knowledge to taking on multiple roles, including those of researchers, resource brokers, learners, and observers. The purpose of this study was to examine a co-constructed curriculum in a high school guitar class that I designed and to examine myself as a teacher involved in a self-study (Samaras, 2010). Four questions guided the study of the curriculum: (a) How do people learn to make music? (b) What motivates learners? (c) What strategies do students use to solve their own musical problems? and (d) What does the evidence suggest about the success of learning in a co-constructed curriculum class? A single question guided my self study: What did I learn about teaching, student learning and curriculum design? Results of the study are shared in this presentation with suggestions for continued study provided.
Democratic education is an approach that partners students and teachers in active pursuit of shared interests—allowing students to shift their traditional roles as receptors of knowledge to investigators of knowledge. Teachers that venture into co-curricular design, likewise, experience a shift in their teaching roles—moving from individuals who transmit knowledge to taking on multiple roles, including those of researchers, resource brokers, learners, and observers. The purpose of this study was to examine a co-constructed curriculum in a high school guitar class that I designed and to examine myself as a teacher involved in a self-study (Samaras, 2010). Four questions guided the study of the curriculum: (a) How do people learn to make music? (b) What motivates learners? (c) What strategies do students use to solve their own musical problems? and (d) What does the evidence suggest about the success of learning in a co-constructed curriculum class? A single question guided my self study: What did I learn about teaching, student learning and curriculum design? Results of the study are shared in this presentation with suggestions for continued study provided.
Brian Franco
Teaching Music for the I-Generation: Re-Conceptualizing Music Teaching and Learning
A perennial concern within the music education community suggests that it is difficult to incorporate popular music classes into a school curriculum while still providing learning experiences that are vibrant, authentic and defendable. Informal conversations with teachers in the music education field suggest that the inclusion of popular music dilutes the quality of students’ musical experiences while simultaneously reducing the nature of students’ learning to “surface level” or superficial learning. Although both practice and research literature suggest other wise—both philosophically and practically—skepticism continues: How can a music class focused on performance and creativity be designed and implemented to address the interests of contemporary learners while simultaneously addressing substantive learning in music education? This session address these concerns and issues through the use of curriculum reform. A case study of two courses in my own school district is used to illustrate how popular music can be implemented successfully (i.e., substantively) in a non-ensemble and an ensemble setting. Organization models along with key learning experiences and assessment criteria are presented. Trends in enrollment statistics along with student, parent and community feedback is also provided.
A perennial concern within the music education community suggests that it is difficult to incorporate popular music classes into a school curriculum while still providing learning experiences that are vibrant, authentic and defendable. Informal conversations with teachers in the music education field suggest that the inclusion of popular music dilutes the quality of students’ musical experiences while simultaneously reducing the nature of students’ learning to “surface level” or superficial learning. Although both practice and research literature suggest other wise—both philosophically and practically—skepticism continues: How can a music class focused on performance and creativity be designed and implemented to address the interests of contemporary learners while simultaneously addressing substantive learning in music education? This session address these concerns and issues through the use of curriculum reform. A case study of two courses in my own school district is used to illustrate how popular music can be implemented successfully (i.e., substantively) in a non-ensemble and an ensemble setting. Organization models along with key learning experiences and assessment criteria are presented. Trends in enrollment statistics along with student, parent and community feedback is also provided.
Michael Oquendo
Great Expectations: Music Student Teaching
This study presents a narrative of the experiences of a single student teacher. Clandinin and Connelly's (2004) articulation of narrative inquiry is used as a theoretical framework. Attention is given to pedagogical themes and ideas that emerged out of the experience. Story telling, narrative construction and literary references are used to convey both overall gestalt and individual meaning. Questions for music teacher educators and cooperating teachers are posed for consideration.
This study presents a narrative of the experiences of a single student teacher. Clandinin and Connelly's (2004) articulation of narrative inquiry is used as a theoretical framework. Attention is given to pedagogical themes and ideas that emerged out of the experience. Story telling, narrative construction and literary references are used to convey both overall gestalt and individual meaning. Questions for music teacher educators and cooperating teachers are posed for consideration.
Veronica Phillips
Action Research for Empowerment and Improvement
In this study, I sought to (a) identify which strategies teachers used to teach beginners bow hold, (b) which strategies would be the most effective for future students, and (c) how strategies were modified to teach more experienced students. To do this, I observed a teacher teaching bow hold, conducted a teacher survey and student survey. I coded results to generate answers to my questions and look for relationships among any factors that might emerge from analysis. Results showed that two strategy types were the most effective and that neither had to be modified for older students. This led to formulating a specific action plan for teaching. This plan involves analyzing, editing, evaluating and reflecting on my own strategies. I plan to use this cycle to help students achieve more in the classroom and foster my own growth as a teacher.
In this study, I sought to (a) identify which strategies teachers used to teach beginners bow hold, (b) which strategies would be the most effective for future students, and (c) how strategies were modified to teach more experienced students. To do this, I observed a teacher teaching bow hold, conducted a teacher survey and student survey. I coded results to generate answers to my questions and look for relationships among any factors that might emerge from analysis. Results showed that two strategy types were the most effective and that neither had to be modified for older students. This led to formulating a specific action plan for teaching. This plan involves analyzing, editing, evaluating and reflecting on my own strategies. I plan to use this cycle to help students achieve more in the classroom and foster my own growth as a teacher.
Elizabeth Sterling
“NonMusical People”
This study presents the results of research focused on the perceptions of self-proclaimed "nonmusical" people with regard to their own musicality and subsequent behavior. The project was guided by a narrative theoretical framework and drew from literature concerning the self and identity (Farnsworth, 2010, Lamont, 2002, North & Hargreaves, 2008), global conceptions of musicality (Blacking, 1973, Green, 2002, Kingsbury, 1988), and processes of narrative inquiry (Clandinin & Connelly, 2000). Findings indicated that although each individual had unique experiences with music and chose to interact with it in his/her own way, all tended to base their perceptions of musicality on similar assumptions about what “musical” people know and can do. The significance of these assumptions and their implications for current practices in music education are presented.
This study presents the results of research focused on the perceptions of self-proclaimed "nonmusical" people with regard to their own musicality and subsequent behavior. The project was guided by a narrative theoretical framework and drew from literature concerning the self and identity (Farnsworth, 2010, Lamont, 2002, North & Hargreaves, 2008), global conceptions of musicality (Blacking, 1973, Green, 2002, Kingsbury, 1988), and processes of narrative inquiry (Clandinin & Connelly, 2000). Findings indicated that although each individual had unique experiences with music and chose to interact with it in his/her own way, all tended to base their perceptions of musicality on similar assumptions about what “musical” people know and can do. The significance of these assumptions and their implications for current practices in music education are presented.
Will Sutton
Reflections on Music Teaching in a General Music Practicum
This study highlights key events in learning to teach general music. Employing a content analysis of journals, logs, lesson plans and units, a personal teaching profile is presented about: (a) relationship of theory and experience, (b) the role past experiences play in teaching, (c) how theoretical knowledg, experience and reflection can be used to guide future thinking and practice. Implications for continued learning are explored through several different theories of teacher development (Fuller, 1969; Furlong and Maynard, 1995; Frede 2003; and Fessler, 1992 and Berliner, 1994). Implications for continued growth in student teaching are presented.
This study highlights key events in learning to teach general music. Employing a content analysis of journals, logs, lesson plans and units, a personal teaching profile is presented about: (a) relationship of theory and experience, (b) the role past experiences play in teaching, (c) how theoretical knowledg, experience and reflection can be used to guide future thinking and practice. Implications for continued learning are explored through several different theories of teacher development (Fuller, 1969; Furlong and Maynard, 1995; Frede 2003; and Fessler, 1992 and Berliner, 1994). Implications for continued growth in student teaching are presented.
Matthew Wurtzel
Revise, Reform and Replace: Reinventing Music Theory Teaching and Learning for Secondary Students
This curriculum study presents a framework for teaching music theory for secondary students based upon an analytical examination of music theory as a function of human knowledge construction and use. Contemporary knowledge and social theories of learning are used to anchor the design of key experiences and outcomes within the framework. Interviews with university music faculty, HS teachers and secondary school-age students along with content analysis of existing slected high school theory courses and AP exams in music theory were used to inform the study. A model curriculum using project-based learning is provided for teacher consideration and use.
This curriculum study presents a framework for teaching music theory for secondary students based upon an analytical examination of music theory as a function of human knowledge construction and use. Contemporary knowledge and social theories of learning are used to anchor the design of key experiences and outcomes within the framework. Interviews with university music faculty, HS teachers and secondary school-age students along with content analysis of existing slected high school theory courses and AP exams in music theory were used to inform the study. A model curriculum using project-based learning is provided for teacher consideration and use.