Megan Warzecha/University of Michigan – Ann Arbor Male Peer Modeling in the Kindergarten Music Classroom
Te purpose of this action research study was to design, implement, and refine an approach to using male peer modeling in Kindergarten general music. Research ques- tions investigated the male kindergarten students’ and peer models’ descriptions of the interactions, my perceptions of the effects of the peer-modeling process on both groups of students, the students’ parents’ perceptions of the effects of the process, and whether male peer modeling affected both the older and younger boys’ perceptions of singing. Two sixth grade peer models interacted with and taught songs to kindergarten students in two different classes throughout two action research cycles, switching between the two cy- cles. Data was collected through observation and interview. I transcribed parents’ emails and my teacher-researcher journal. I analyzed my teacher/researcher journal, video footage, and interviews for themes. I transcribed and coded the interviews between the sixth-grade boys and myself and between the sixth-grade boys and the Kindergarten stu- dents. Temes that emerged included the peer models’ rela- tionships with the Kindergarten students, the peer models’ vocal quality, and the anomaly of a male elementary school music teacher.
Roundtable Presentations
Becky Marsh/MI State University Te Role of Classroom Observation in Pre-Service Music Teacher Socialization (In Progress)
Classroom observations and field-teaching experiences are common practices in music teacher preparation programs. Te 2015-2016 Handbook of the National Association of Schools of Music states that institutions should encourage observation and teaching experiences prior to formal ad- mission to the teacher education program and that, ideally, such opportunities should be provided in actual school situations. While researchers studying early field experienc- es in pre-service music teacher education have examined pre-service teachers’ perspectives, student teacher readiness and performance, and music teacher identity development, research exploring the role and processes of classroom observations may inform music teacher educators in their work with pre-service music teachers.
Despite being a common element of introductory music ed- ucation and methods courses, there is little research to date that examines the role of classroom observations in pre-ser- vice music teacher socialization. “Teacher socialization” has become widely studied in the context of music teacher education. In her evaluation of a music teacher preparation program, Conway found that, although pre-service field-
work surfaced as one of the most valuable aspects of teacher preparation, participants identified early observations without context as lacking value and expressed the need for research focus on classroom observations as a part of pre-service music teacher socialization. Powell stated that research examining observation methods and sequencing would be especially valuable to understanding pre-service music teachers’ skill development.
Te need for continuing research focused on classroom observations in pre-service music teacher education is acknowledged in past literature, but classroom observation has yet to be investigated in depth aside from its connec- tion to field-teaching experiences. Te purpose of this study is to explore the role of classroom observations in the socialization of pre-service music teachers enrolled in an introductory music education course at a large Midwestern university. Te research questions guiding this study are: 1. In what ways, if any, do pre-service music teachers’ perceptions of teaching change as a result of complet- ing several classroom observations over the course of a semester?
2. In what ways, if any, do pre-service music teachers’ per- ceptions of student behaviors (in the context of a music classroom) change as a result of completing multiple classroom observations over the course of a semester?
3. What do pre-service music teachers find most and least valuable about classroom observations required for the course?
Data include semi-structured interviews with the partici- pants, participants’ written notes during the observation, participants’ post-observation reflections, and the research- er’s fieldnotes from observing the participants during the music classroom observations. It is the researcher’s hope that this study will contribute to the body of work that informs music teacher educators in their preparation of pre-service music teachers.
Chuck Norris/Grand Valley State University Identification of a Voice Exercise Protocol for the Development of Vocal Vibrato in the Choral Setting
Te purpose of this study is to identify a cohort of vocal exercises that, practiced on a regular basis, will facilitate development of vocal vibrato in the high school choral setting. Recent studies suggest that there are two basic philosophies of or preferences for vocal/choral tone: 1) blended and 2) soloistic. Typically, conductors who favor a blended tone concept are cautious about the use of vibrato in choral singing, although most in this category do not necessarily oppose vibrato in choral tone to a minimal degree. Conversely, conductors who favor a more soloistic approach to choral singing allow and even encourage the
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