of the Kiwanis, and the hiring of a science teacher who just happened to have marching band experience. Without Dykhouse and the Kiwanis, there could have been a much longer wait before the high school had a band.
“Meet Te Author” Poster Presentations
Zoe Deschaine (Central Michigan University) Benefits Of Audiological Training For Deaf Students In A Music Education Setting
Te purpose of this literature review is to establish the importance of music education and audiological training to foster speech recognition, pitch discrimination, and emo- tional recognition in individuals who use cochlear implants. Cochlear implants distort the sounds brought in through electrical impulse so individuals need to undergo audio- logical training. Cochlear implants are the main means of intervention in individuals who are profoundly deaf, and audiological training for and with these individuals fosters a better sense of self, community, and life skills. Family sup- port and involvement is an important factor in the success of this therapy, since it helps develop one’s self- perception, as well as social perceptions. Music education, especially for deaf individuals, has evolved throughout the years, going from a strictly oral and aural approach to total communi- cation and use of American Sign Language. With this has come the development of exercises to help determine the amount of hearing loss, range of decibels heard, and amount of speech recognition processed. Music education and audiological training are great counterparts for individuals who use cochlear implants to develop listening skills and life skills, especially since there are exercises that overlap in both disciplines. Audiological training and music education combined can foster 4 benefits for individuals with cochlear implants: social, familial, personal, and educational, as well as the benefits previously mentioned.
Michael Hopkins (University of Michigan) Development of an Instrument to Measure Students’ Chamber Music Rehearsal Processes, Relationships, Motivation and Satis- faction
University music departments offer performance courses in chamber music to students with a diverse range of musical experiences and achievement. Instructors place students in groups with the goal they will work productively as a team. While researchers have examined the musical and social collaboration between musicians in chamber mu- sic ensembles (Blum, 1986; Butterworth, 1990; Davidson & Good, 2002; King, 2006; Murnighan & Conlon, 1991; Rounds, 1999; Tovstiga, Odenthal, & Goerner, 2005; Young & Coleman, 1979) variables influencing the success and
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satisfaction of student chamber groups remains a largely unexplored area of research.
Wageman, Hackman, and Lehman (2005) developed the Team Diagnostic Survey (TDS) to diagnose the strengths and weaknesses of work teams’ behavior and performance. Te TDS was based on a model of team effectiveness pro- posed by Hackman and colleagues (Hackman, 1987, 1990, 2002; Hackman & Wageman, 2005). Te TDS provides a measure of team task processes, quality of members’ work relationships, and individuals’ satisfaction.
Te purpose of this study was to develop a new survey instrument, the Chamber Music Satisfaction Scale (CMSS), to measure the strengths and weaknesses of chamber music groups’ rehearsal processes, relationships, motivation and satisfaction. Te 68 survey items were adapted from the TDS.
Te CMSS was administered to 170 university students attending a midwestern university—30 liberal arts majors registered for a non-major chamber music course, and 140 music majors enrolled in chamber music courses. Explor- atory Factor Analysis (EFA) revealed a four-factor solution explaining 57.21% of the variance with 12 variables loading on two factors, and three variables loading on three factors. Cronbach’s alpha for the CMSS was .97, with reliability for the four subscales ranging from .75 to .92. Next steps in- clude administering to a larger sample at other colleges and universities, and conducting CFA to establish reliability and validity of CMSS constructs.
Corey Jahlas (Central Michigan University) Te Self-Ac- tualizing Ensemble: A Literature Review of Conductor/ Musician Relationships as a Means to Foster Higher Func- tioning Rehearsals
Te purpose of this literature review is to categorize existing definitions of conductors-musician relations into a hierar- chical model that could be utilized to create higher func- tioning rehearsals. Conductor-musician connection in the literature is labeled by a variety of terminology, with defini- tions remaining more abstract than concrete. Evident in the body of literature is that this connection is multi-faceted, complex, observable, and replicable. Referencing Maslow’s Hierarchy of Needs model and Tuckman’s model of group development, four distinct stages of connection between musician and conductor become apparent. Te “Role Development” stage occurs at the beginning of ensemble formation. It consists of establishing, understanding, and accepting roles and norms of operation of and for musicians and conductors in an ensemble. Without an understanding of these basic tenants of ensemble, a group likely cannot
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