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for PreK-12 music education programs. NAfME deter- mined that all schools must have a certain level of quality in the following areas: curriculum, scheduling, professional development, materials and equipment used to teach, and facilities. Tese new resource standards revised those devel- oped in 1994. Tere have been studies have shown that rural music education programs do not always have comparable resources as their urban and suburban counterparts. How- ever, no study has investigated the status of these resources in comparison to the Opportunity-to-Learn Standards.


Using categories of resources identified in the Opportuni- ty-to-Learn Standards, I will describe and evaluate research studies that examine resources available in (1) general education classrooms in rural communities in the United States, (2) music classrooms in rural communities in the United States, and (3) music classrooms in rural commu- nities outside of the United States. An overview of studies in rural education displays that findings from research on rural schools are fragmented. It is difficult to generalize the results in part because resources vary greatly from one rural school to another. Te studies also show that resourc- es impact a teacher’s ability to implement comprehensive programs in general education and music classrooms. Te literature review is part of a thesis that will describe resourc- es in rural elementary general music programs in the state of Michigan, using the 2015 NAfME Standards document as a guide.


Alexandra Billhartz/Central Michigan University Adapting Historical Opera for Greater Audience Appeal: Guidelines from a Broad-Ranging Review of the Literature


Te purpose of this literature review is to establish prin- cipled guidelines toward adapting historical operas for regional or subgroup appeal. Two opposing schools of thought are identified in modern performance of beloved operatic repertoire. Te first is to maintain historical performance practices. Tis trend has merit by wanting to preserve the composer’s original intentions through staging and interpretation. However, evidence demonstrating how operas were composed for positive reception by the audi- ence attending the premiere performance and adapted by composers for subsequent productions reveals this school of thought as problematic. Historical practices instead show the second school of thought to have strong merit, which is adapting operas to appeal to regional subgroups by gender, ethnicity, socioeconomic status, and age. It can be conclud- ed that composers were willing to adapt their original ideas to appeal to the intended audience. In this literature review, previously unrecognized guidelines for adapting operas for modern audiences are drawn from research of music pref- erence, music familiarity, and emotional reactions. Tese ideas help support the conclusion that psychological studies


can positively influence opera adaptations by appealing to the audience’s music preferences and evaluating their emotional reactions to certain musical styles. Psychological principles provide a greater equity in adapting operas for a region’s diverse audience, whether to replace or add to con- sideration of particular subgroups. Overall, the combination of historical information concerning opera reception and adaptation and major psychological principles such as mu- sic preference, music familiarity, and emotional reactions provide a clear method and guideline to effectively adapt an opera to a region or subgroup and can be successfully applied to school and regional productions. Tis will allow future productions to more accurately appeal to the expect- ed audience, proving adaptations are crucial to achieving positive reactions from specific regions and subgroups that are not typical opera audience members.


Phillip M. Hash, Calvin College Te Michigan State Band Association and Tournaments: 1877-1884


Tis study examined the history of state band tournaments in Michigan and the organization known as the Michigan State Band Association (MSBA) that eventually governed them. Te timeframe for this research begins with the first competition in 1877 and ends with the disbandment of the MSBA and tournaments in 1884. Te investigation focused specifically on the (a) organization of the MSBA, (b) rules and procedures of the tournaments, (c) details surrounding the individual competitions held throughout the state, and (d) influence of the tournaments on local culture, partici- pating ensembles, and future band activities in Michigan. Te first Michigan State Band Tournament met in Port Hu- ron in June 1877. Festivities included parades, massed per- formances, and competitions for prizes consisting of silver cups, cash, and new instruments. To ensure equal opportu- nity among the ensembles, bands were divided into classifi- cations based at first on size and instrumentation, and then on ability. In 1879, bandmasters met at Lansing to organize the MSBA to standardize rules, select the location of the annual competition, and assure fairness among participants. Officials added a solo cornet contest to the tournaments in 1878 and expanded this event to other instruments the following year. Te tournaments ended in 1884, probably due to the failure of the competitions to generate a profit for the sponsors.


Benjamin MacDonald/Central Michigan University Understanding the Saxophone Mute


Te purpose of this study is to document the use of saxo- phone mutes, materials used to construct them, and beliefs about their effects on playing. In the past six decades, the saxophone mute has rapidly gained popularity. However,


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