do using the consensual assessment technique, and 3) make the case for a group of teachers as expert judges of creativ- ity using the consensual assessment technique.
Results suggest that multiple types of assessment groups (peer students, teachers, random adults) were reliable raters of creativity using this technique. Correlations suggested, however, that peer students and random adults rate a prod- uct as creative because they liked it or found it unique. The correlations further suggest that expert teachers in a field rate creativity based on the quality expected for the skill level of their students.
Bryce Craig, Central Michigan University The Uses and Effectiveness of Color in Music Notation
The purpose of this literature review is to sort out com- positional, performance, and educational uses of color as a music notation device and evaluate its effectiveness. In spite of a long and varied use of color in music, modern no- tation guidebooks overlook it as an option. Color was used in the early development of music notation as but one tool to symbolize musical sound on paper, declined in use after 1600 with developments and costs of music printing, and reemerged and expanded in the late nineteenth century to include uses for educational, performance, as well as com- positional purposes. Color has been used both to enhance standard notation and replace it in newly invented nonstan- dard notation systems. In evaluating its use as a notational device, hierarchical rankings of color are found to be more objective and clear in indicating a composer’s intentions. Purposes for color in standard notation exposed in the literature are to highlight, sort, and learn musical details for conducting, music reading, music theory, and instrumental techniques. Color’s use in nonstandard notation systems varies and includes attempts to notate emotion and visually display musical motion to an audience in a music perfor- mance. This review points out that color could potentially help solve shortcomings of standard notation, that more research is needed on colored notation in general, and that color can play a role in future music notation developments as it did in early music notation developments, if used in a consistent and clear fashion.
Lisa J. Furman, Olivet College Addressing Social Justice and Equity in Preservice Music Education
A recent study by Furman (2012) examined the personal and professional life experiences of three lesbian instru- mental music educators. The participants of the study each experienced marginalization and discrimination in rela-
tion to their perceived lesbian identity, and although the focus of the study was on the personal and professional life experiences of these courageous women, each spoke of a personal commitment to students and to addressing and challenging bullying, harassment, and discrimination in their classrooms. Each participant of the study suggested that experiencing marginalization and discrimination in relation to their sexual identities brought a heightened level of awareness to their teaching in relation to the need for creating nurturing and supportive instrumental music class- room environments. Participants also suggested that their instrumental music teacher education program did little to prepare them for the challenges they would face as lesbian instrumental music educators and spoke of the need to bet- ter prepare future instrumental music educators in meeting the needs of all students in the music classroom regardless of their race, religion, gender, disability, or sexual identity. Few would argue that these are important concerns within music education or would question the need to prepare pre- service music educators to meet the needs of all students. Acknowledging there is little room for augmentation in an already packed undergraduate music education curriculum, the question becomes how can higher education institutions prepare preservice music teachers to address the diverse needs of students in music education classrooms?
Based upon the findings of the Furman (2012) study, the purpose of this literature review is to: (a) review research regarding existing social justice and equity preparation in music education; (b) review research regarding social justice and equity in general education; and (c) to discuss potential teaching approaches for including social justice and equity preparation in preservice music education. Sug- gestions for future research will also be included.
Jairo Garcia, Central Michigan University How to Teach Piano to Someone Who Starts Late in Music
The purpose of this literature review is to highlight prob- lems and solutions in helping adult beginning pianists to succeed. Compared in the review are traditional piano and classroom music pedagogies, child and adult learning abilities, expectations of child and adult learners, unique advantages of adult learners, in search of strategies to im- prove the musical skills of those who decide to start playing the piano in late teen or early adult stages of life. Whereas children are perhaps more malleable and readily influenced, adults have advantages in perception and insight, which suggests that the role of the piano teacher needs to shift from one of providing information and correcting errors to one of guiding the adult learner’s self discovery. Whereas a common expectation is for children to start early to reach a high level of musical ability, the common expectation for
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