to electric lighting. Even though life in the late 1800s was very different from today, some things have not changed much. Music teachers still often write and/or arrange their own materials. They still are active musician/educators, and they still, like Emerson, try to make where they work a musical place to live.


Poster Session Friday, January 17, 2014


Daniel J. Albert, Michigan State University Performance-Based Ensemble Directors to Non-Perfor- mance Based Music Educators: Transformations in Identity


Despite changing societal and cultural needs over the last 50 years, the large performance-based ensemble continues to serve as the dominant paradigm of secondary school music teaching and learning in the United States. Several researchers have studied successful secondary music teach- ing settings that are non-performance based and are more congruent with children’s cultural practices outside of the music classroom, including settings that focus on the use and creation of popular music, composition, and technol- ogy. Teaching these types of classes may require a shift, or transformation, in identity. An examination of inser- vice music educators’ transformations in identity and the phenomena that lead to these transformations could assist music educators as they develop their careers and explore these types of teaching settings. Ultimately, it may encour- age more music teachers to create additional non-perfor- mance based classes in secondary schools.


The purpose of this study was to examine why music edu- cators who identified as secondary school ensemble direc- tors in their early careers now identify as secondary school music educators who embrace non-performance based methods of teaching and learning music. Research ques- tions included: 1. What were the influences that motivated these music educators to transform their identities? 2. Were there any personal or professional challenges during the transformation of identity process? If so, what were they and how were they overcome? 3. What are the educators’ perceptions of their efficacy of teaching music through non-performance based methods, rather than the traditional performance-based ensemble?


This study utilized a multiple case study design with a phenomenological theoretical framework. I purposefully selected four participants whose identities have changed from that of secondary school ensemble directors to that of non-performance-based secondary school music educa- tors. Data sources included transcripts from semi-structured interviews, one focus group discussion, and artifacts from


participants’ music classes. Data triangulation and member checking enhanced the trustworthiness of the data.


Results suggest that inservice professional development with regards to non-performance-based methods of teach- ing and learning, relevance of popular music and technol- ogy to students’ lives, teachers’ desires to improve the gen- eral music experience for students, and frustration with the exclusivity and lack of accessibility of instrumental music education motivated participants to transform their identi- ties. Participants felt that the teaching of music through non-performance-based classes improved their efficacy of music teaching in all areas, including large ensembles.


Implications for teaching practice include the development of professional development courses grounded in non- performance-based methods of music teaching and learning and complementing secondary music offerings to include multiple non-performance based classes that feature modes of learning that are relevant to students.


Ashley D. Allen, Central Michigan University Teaching Anxiety Experienced by Music Education Methods Students


(Abstract provided above under Research Symposium)


Nicholas H. Anderson, Central Michigan University Ideal Techniques in Teaching Jazz Improvisation


The purpose of this literature review is to identify and cate- gorize effective techniques for teaching jazz improvisation, enabling music educators to cultivate stronger musician- ship in jazz. First, learning environment, involves giving a class a name that implies improvisation and varying large group rehearsal with individual and small group practice; in addition to other related techniques. Second is listening, which includes explanation of why listening is important, use of professional recordings, playing or imitating what they hear, and transcribing recordings. Third are techniques for jazz rhythm, which explanation of its importance, use of appropriate rhythmic syllables, and manipulation of rhythm in jazz improvisation. The final category comprises tech- niques for scales and patterns, including their importance, what students should know about scales, and limited-note improvisations, scales, and creating motifs. Issues not identified in the literature are other possible applications of technology, the impact of gender and other individual dif- ferences in learning to improvise.


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