Music, Theatre, and Dance ETDR Supplementary Files
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Item Open Access Simple to Complex- Keys to Musical Growth in a High School Band Class: Supplemental FilesMonical, Nancy; NMonicalIn the spring of 2019, I implemented a study of key signatures with my high school band to create better theoretical musical understanding amongst my students and create opportunities for individual technical improvement. The goal was to have each student create a personal relationship with every key signature, starting with sound and experience first and notation later. We started with 3 keys: one flat, one sharp, and no flats or sharps. Each week we would add one more flat and sharp to our key signatures. To demonstrate their understanding of a key, students would perform a key signature’s major, natural minor, harmonic minor and melodic minor scales without looking at musical notation. The process of getting my master’s degree has helped me to continue to grow and change as a music educator over time. It has pushed me out of my comfort zone and helped me take risks. I have added more compositional elements to my classes at all levels. I also took a hard look at my literature selections for my concert group. I was empowered to go look for composers outside the mainstream publishers and found great original works for my group to perform that created conversations about musical styles, and the history of concert bands. The creation of my personal music teaching theory helped clarify and solidify my teaching practice grades 5-12. I have a clear purpose to my methodology that is grounded in solid educational theory and experiences beyond my own classroom walls.Item Open Access Developing Lifelong Singers Through Exploration, Performance, and Reflection: Supplemental File 1Boller, Sean; bollersb88In my videos you will see three different lessons and two different grade levels. In lesson one, sixth grade students are learning about musical form and preparing to use Sound Trap to create an original composition in rondo form. Lesson two, my high school women’s choir rehearsed and prepared for their state contest. The last video shows the women’s choir discussing the Kansas State High School Activities Association State rubric and explaining what each category is and what they think it means. After the rubric was explained they listened to themselves perform, rated themselves and justified their ratings. Kansas State University has exposed me to many teaching strategies and has helped me grow as an educator. The two major developments in my teaching have been the use of assessments in the classroom, whether it is peer assessment or self-assessment, and the approach I take to teaching new music. I have learned that I do not need to spoon feed my students new music. The moment that I relinquished control and allowed them to explore and make mistakes I began to see a higher level of accountability from them. My students have learned to be more independent by me stepping back and allowing them to grow as musicians and humans.Item Open Access Applying Emotion to High School Band Performance: Supplemental FilesMahr, Erin; 863261684In my lesson, students learned ways to connect emotionally with their audience through shared experience. In Aaron Perrine’s work, Tears of St. Lawrence, Perrine’s inspiration for his work was watching a meteor shower with his young daughter. After listening to and reflecting on music my students felt a connection to, they discovered that using dynamics and rubato will help add emotion and audience connection to their music. I have developed more as a teacher in this program by putting more thought into my teaching philosophy, and the contemplating the reasons I enjoy teaching daily, supported by the ideas of the philosophers I studied. When learning about these philosophers, I found that I strongly align with David Elliot’s teachings and promote the idea that all students can be creative music makers with the encouragement from their teacher to explore improvisation, composing, and arranging. I encourage my concert band students to discover improvisation in our warm up time by modeling a musical pattern of their creation and having the band echo that same pattern back. In learning about Elliot Eisner, it helped me realize that even if some of my students will not continue with music after high school, their time in my class performing music will give them a source of pleasure and encourage higher thinking skills. By learning about specific music education philosophy, I know what my short term and long term goals are with my students and how I want them to grow as a result of participating in my classes during their time in high school. My overall knowledge as a band director has improved during my time in this program. I enjoyed learning about the history and development of wind band literature and about repertoire I was not familiar with as a musician. Another development of my teaching has been the organization skills learned in my classes. I found new ways to prioritize paperwork and have a thorough band handbook to cover policies and expectations as well as useful information on instrument brands and accessories and recommended private teachers. I also organized my marching band task list into a monthly task list so that I do not feel overwhelmed at any one point in the year.Item Open Access Teaching Music through Listening and Project Based Learning: Supplemental File 1Hake, Samuel; shakeAbstract. My Master’s report will overview my music teaching techniques in Music Technology, my project-based course for 7th and 8th grade students. In this course’s second project, students create their own drum loops with a drum machine and match music loops to make a full sounding song. We utilize the music software “Reason” to introduce Basic song form, Intro/Outro, Melody, Bass Line, and Chordal support in project two. Students will do their best to match their drums with appropriate music loops or match their entire, 60 second song, to the drums they create. A development I’m excited to continue in my teaching for the future is readily teaching the “WHY.” I frequently teach in a hurry to convey as much information as possible but forget to give the students an exact reason or goal for each repetition. This has begun to transform many of the musicians I teach and provides greater comprehension every day I teach. Secondly the Master of Music coursework at Kansas State University has given me a new passion for my own philosophy of teaching music, through the main pillar of listening. Listening can provide students with feedback for self-knowledge in many musical and non-musical situations. This has provided many improvements in student behavior, my behavior, and our group cohesion. I now value teaching with this philosophy in mind because I’ve developed it myself through my coursework. It feels great to teach out of an authentic philosophy, and I’m excited to keep learning and molding what I do for each student.Item Open Access Multi-dimensional Learning in the 5th Grade General Music Classroom: Supplemental FilesHoefer, Katherine Anne; kahoeferMy lesson plan shown in my video teaching demonstration will show 5th graders performing a traditional song from the Apache tribe by singing, playing xylophones and other non-pitched percussion instruments, and playing a passing game. These students will accompany their voices by playing an ostinato pattern on the xylophone. I have developed as a teacher through the Masters’ Program because I have learned new ways of teaching, especially when it comes to exposure to Orff and Kodaly methodologies, and improvisation within the classroom. I am now more comfortable incorporating improvisation, as well as music from many other cultures into my lessons, and my students are growing as musicians and as people due to it.Item Open Access Video Teaching Demonstration and Final Examination: Supplementary FilesBonnewell, Tiffany M.; tiffanbIn the lesson clip shown, students are learning to count rhythms containing rests using the Eastman counting method. The learning target is to prepare students to "count sing" during rehearsals in their advanced choir next school year.Item Open Access Woodshedding in the Middle School Classroom: Supplementary FilesEnns, Darren; darrenjamesennsStudents learned the basics of woodshedding, which is a technique that barbershop choirs use to add harmony to a melody without the use of written music. Building off of previous skills, particularly ear training through use of solfege and Curwen hand signs, students learned how to create their own vocal harmony with any given chord progression. Students demonstrated these skills by singing along with the melody, “You Are My Sunshine.” Through my courses at Kansas State University, two main areas of development have been, 1) continued growth in teaching beginners using Gordon’s Music Learning Theory and Curwen handsigns for ear training, 2) developing a culture of excellence that expands to all vocal students, teaching them strong character, work ethic, and musicianship for a lifetime of making music.Item Open Access Experience, Socialization, Application, and Relevance in Music Education: Supplementary FilesDeal, Madison; mldealThis lesson plan was based on my music philosophy including the aspects of experience, socialization, application, and relevance. Students used aural skills while sight reading new music and singing dominant to tonic chords during warm up exercises. They created movement emphasizing different musical concepts and analyzed new music. I have grown exponentially as a teacher since I started the Masters’ program at Kansas State University. The two major developments in my teaching have been the paradigm switch from product to process and the cultivation of an environment where students take ownership of learning. My students have become independent musicians due to practicing aural skills, learning music theory, and activating higher-order thinking.Item Open Access The Pedagogical Piano Works of Elisenda Fabregas: Teaching Repertoire of Different Styles and Contextualizing her Work in Mainstream Repertoire: Supplementary FilesBaron, Rachel; rbaronThis lecture-recital presents five pieces from the first two books of Elisenda Fabregas’ Album for the Young. These intermediate-level pieces are written in styles ranging from Renaissance to Modern periods. The goal in presenting these works is to analyze what technical and musical skills they develop, suggest ways to teach these pieces, and to explore their interaction with more traditional teaching repertoire. The lecture-recital presents— pedagogical exercises developed to target specific skills needed to play these pieces; performance practice for each genre represented; and finally, pairs each piece with pieces by Bartok, Bach, Czerny, Kahlua, Clementi, Tchaikovsky, Chopin, and Debussy. The works of Fabregas were chosen to promote the work of women composers and to expand the teaching repertoire that students and teachers are exposed to.
