aspects of music education can be mined for compositional techniques and inspiration. This paper concludes that behav- iors of the ideal composition mentor should be modeled by music teacher-educators, especially the ability to incorporate the search for compositional tools into analysis. Following this is a discussion of how educators in various positions may contribute to the growth of composition in music cur- riculum.


Daniel J. Albert (Michigan State University), “Anyone can be a Musician”: The Influence of Classroom Culture on Students’ Identities as Musicians


The purpose of this study was to examine how the classroom culture of a music technology class influences students’ iden- tities as musicians. Research questions included (1) What actions, if any, does the music technology teacher employ to create a classroom culture that influences students’ musical identities? (2) What are students’ perceptions of the class- room culture? (3) What are students’ perceptions of how the teacher helps to create the classroom culture? (4) What other factors do students identify as influencing the classroom cul- ture besides the teacher? (5) What are students’ perceptions of how the classroom culture influences their identities as musicians? Data sources for this ethnographic case study in- cluded interviews with one music technology teacher and four students, one focus group interview, field notes, and re- cordings of classes.


Findings determined that the classroom culture, which was conducive to active student participation and successful ex- periences, helped to create normative classroom practices that were influential in reinforcing students’ musical identi- ties. Students reported that the affirming and positive class- room culture continually motivated them to compose and to push themselves to new artistic levels, thus deepening their identities as musicians throughout the semester. Further- more, the teacher’s and students’ constructive criticism and positive interactions regarding student compositions contin- ually encouraged and affirmed students’ efforts to compose works that were meaningful to them. This, in turn, strength- ened students’ identities as musicians and encouraged them to compose more.


Results of this study suggest that music educators may wish to examine the cultures of their classrooms. Educators that employ measures to promote a positive classroom culture, such as modeling positive peer interactions through positive teacher-student interactions, may assist with strengthening students’ musical identities. This, in turn, may encourage students to participate in composition-based activities and influence them to participate in musical activities during and after graduating from secondary school. Jessica Ray King (Central Michigan University), This is


47


not a Toy—Core Fundamentals of High-Level Viola Perfor- mance: A Literature Review


The purpose of this literature review is to identify funda- mental components of a potential system to aid violists in practicing, playing, and performing to their utmost potential. High-level playing is comprised of both technical and musi- cal excellence. Three foundational components foster high- level viola playing: physical and mental wellness, deliberate and meditative practice, and specified technical develop- ment. Furthermore, this review maintains that following a tailored wellness regime and conducting focused, positive practice sessions aids violists in developing a core, solid technique that leads to expressive, emotional performanc- es. The evidence also suggests that adherence to a tailored wellness regime and conducting focused, positive practice sessions facilitates technical development that leads to in- creased musicality, expressive, emotional performances, and long, healthy careers.


Mark C. Adams (Michigan State University), Cooperative Teaching and Learning in the Vernacular Music Ensemble


This poster presents a review of literature on cooperative teaching and learning found in traditional classrooms (both music and non-music), as well as teaching and learning methods found in vernacular ensembles. The goal of this re- view is to prepare for an ethnographic study observing coop- erative techniques found in a popular music-making group, in order to compare to definitions found in the literature ex- amining classrooms that are more formal in nature.


Several definitions of cooperative learning exist, but most scholars agree that these instructional strategies include stu- dents working together while sharing ideas. Through this sharing, students are working toward a common goal, getting the most of their individual achievement while equally help- ing other group members accomplish the highest of theirs. Cooperative lessons include positive interdependence, face- to-face interaction, individual accountability, interpersonal and small-group skills, and group processing. However, au- thors intended these definitions for more traditional music ensembles. Cooperative teaching and learning has yet to be defined in a vernacular music-making group.


We invite you to join us for the 6th Annual MMEA Research Symposium, to be held on Thursday, January 21st, 2016 at the Michi- gan Music Conference (Grand Rapids, MI). Please also stop by our Research Poster Session, to be held on Friday, January 22nd, 2016 at the MMC.


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