over time, there have become variations on the saxophone mute. To better understand how the saxophone commu- nity is actively using saxophone mutes, 40 professors of saxophone were contacted and asked to complete a survey, which specified how and why they use saxophone mutes. A trial run of the survey was conducted with college students and the results showed there are discrepancies concerning saxophone mutes. Aſter reviewing the information collect- ed from the surveys, we will have a better understanding of the ways in which the saxophone mute is being used. Tis project is currently in progress. Responses are being collected from the professors and will then be analyzed and complied.


Christopher M. Marra Podium Proficiency: Foundational Components of Effective Conducting


Te purpose of this paper was to identify and synthesize the foremost research in ensemble conducting through the lens of music education. Nonverbal communication, gesture/ expression, and rehearsal techniques including error de- tection emerged as the most applicable to ensemble educa- tors’ success on the podium. Extant literature in nonverbal communication revealed that visual stimuli such as posture, confidence, facial expressions, and even professional attire of the director can influence students’, parents’, and admin- istrators’ perceptions of effective conducting. Eye contact can have a particularly interesting influence on classroom management and expert conductors seem to demonstrate greater mastery of this skill.


Researchers suggested that gesture and expression can have a meaningful influence on performance and listening experiences, however others have not found similar links. Scholars have questioned the best ways to acquire these skills, suggesting that preplanned gestures do not have a significant influence on conducting outcomes. Performers may also have a role in the success of enacting conduct- ing gestures. Some offered that training is needed to help ensemble members learn these intended messages and elicit more consistent eye contact.


Finally, effective conducting and sound pedagogical in- struction work in tandem. Error detection ability and other effective rehearsal techniques require a substantial amount of “on-the-job” training, which may contribute to the in- securities found among new music teachers. Based on this review of literature, I recommend several avenues for future research including more longitudinal studies, qualitative methodologies, and completing studies in more realistic ensemble environments with a greater variety of participant populations.


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Jessica Marra/University of Michigan-Ann Arbor Constructivism and the String Ensemble Classroom


Constructivism is the active process of interpreting the world through the application and development of reflective knowledge (Fosnot & Perry, 2005; Kincheloe, 2008; Mat- thews, 2003). Music education researchers and practitioners have grappled with how constructivism can be enacted in the ensemble classroom. When an ensemble educator strives to engage students beyond preparing and performing their concert music, they are likely enacting some aspect of constructivist principles. However, as ubiquitous as learn- er-centered teaching approaches may be, disagreements still exist in the music education community as to how these practices are best integrated into the ensemble experience. Tis literature review will describe various approaches to incorporating constructivist principles into the instrumen- tal ensemble classroom. Te paper includes definitions and historical context of the commonly referenced forms of constructivism as well as a synthesis of ideas that emphasize socially constructed knowledge, learning, and understand- ing. Recommendations for application and incorporating these principles into the ensemble classroom using instruc- tional technology.


Jessica Marra/University of Michigan-Ann Arbor Meeting New Music Teachers Where Tey Are: A Digital Mentoring Program Focused on Orchestra Content-Specific Support


Te purpose of this study was to use digital mentoring to identify the orchestra-specific pedagogical content knowl- edge (PCK) needs of first-year music teachers teaching outside their content area of strength. Te descriptive case study occurred during the 2015-2016 school year and involved two first-year teacher participants teaching and mentee experiences (both individual and collective). Re- search questions included: (a) how do two first year teachers describe their challenges, needs, and concerns specific to orchestral pedagogical content knowledge? and (b) how do the participants interact within and describe their experi- ences specific to the digital mentoring environment? PCK supports emerged as: (a) planning and anticipating the needs of their string orchestra students, (b) need for their continued growth as teacher learners, and (c) the need for specific recommendations and affirmation of the instruc- tional choices. Te digital mentoring environment was per- ceived as a positive opportunity for flexibility and frequency of meeting beyond what was offered at their school site. Te use of debriefing rehearsal footage via FaceTime meetings also served as a tool for teacher self-reflection.


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