Browsing by Author "Johnson, Erik, advisor"
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Item Open Access An analysis of young-band repertoire in the context of culturally responsive teaching(Colorado State University. Libraries, 2020) Bennett, Hollie E., author; Johnson, Erik, advisor; Phillips, Rebecca, advisor; Coffino, Kara, committee member; Pippen, John, committee memberRepertoire is a highly discussed topic especially for band music educators (Battisti, 2018; Brewer, 2018; Dziuk, 2018; Koch, 2019; Mantie & Tan, 2019). Many educators even view the "repertoire as the curriculum" (Reynolds, 2000, p. 31) making it a core tenet of the band music classroom. Repertoire can be chosen using a variety of filtering systems including alignment with music education philosophy (Allsup, 2018; Elliott, 1995; Jorgensen, 2003; Reimer, 1959; Reimer, 2009), artistic merit (McCrann, 2016; Ostling, 1978; Ormandy, 1966) and potential for musical learning (Apfelstadt, 2000; Hopkins, 2013). However, many critics of band repertoire claim that it is limiting to inclusive education purposes pertinent to contemporary music education classrooms (Abril, 2003; Elpus & Abril, 2011; Elpus & Abril, 2019; DeLorenzo, 2012; Kratus, 2007; Lind & McKoy, 2016; Soto, 2018). While repertoire is important when taking into consideration the development of comprehensive musical dispositions that are required for students to fully engage with music in their lived experience. Many music teachers may use repertoire alone to foster connections with student cultural referents (DeLorenzo, 2019; Shaw, 2020). However, inclusive instructional approaches such as Culturally Responsive Teaching (Gay, 2010; Hammond, 2015; Ladson-Billings, 2009; Lind & McKoy, 2016), Multicultural Education (Banks, 2015; Banks, 2019; Nieto, 2009), and Funds of Knowledge (Amanti, Moll, & González, 2005; Rios-Aguilar, 2010) can help to address the multitude of diverse student needs within the music classroom (DeLorenzo, 2019; Ravitch, 2010; Shaw, 2010). Guided by the tenets of inclusivity, teachers are also called upon to consider the importance of student cultural validation, background knowledge, as well as becoming increasingly aware of diverse repertoire and increasingly flexible with instruction when selecting repertoire (Abril, 2009; DeLorenzo, 2012; Shaw, 2020). The aim of this study is to provide a framework to help clarify the unique relationship between repertoire for young wind band and opportunities for responsive, student-centered instructional approaches.Item Open Access An investigation of emerging music courses in Colorado secondary schools(Colorado State University. Libraries, 2022) Cort, Madeleine Amy, author; Johnson, Erik, advisor; Grapes, K. Dawn, committee member; Decker, Derek, committee memberEmerging Music Courses (EMCs) are music classes for secondary students outside of traditional ensemble offerings and include courses in composition, music theory, music technology, guitar, piano, and general music. These classes are a growing trend and serve as an access point to music learning for students who play an instrument not offered in ensembles, are not enrolled in traditional ensemble courses, or have musical interests outside of ensemble performance (Abril & Gault, 2008; Kubik, 2018; Sanderson, 2014; Veronee, 2017). Though these courses are popular choices for students (Pendergast & Robinson, 2020) and viable options for teachers looking to increase their course offerings (Freedman, 2019; Sanderson, 2014), music educators historically lack training in the pedagogical practices of these courses (Kubik, 2018; Ruthmann, 2006; Sanderson, 2014). Additionally, there is a lack of research surrounding the EMCs currently being offered by Colorado secondary schools and the practices of experienced EMC educators. The purpose of this study was to investigate the prevalence of EMCs in Colorado's secondary public schools, examine the learning activities currently used in EMCs, explore the beliefs teachers have about music learning in the context of EMCs, and assess the impact of the COVID-19 pandemic on these courses. Findings suggest that a variety of EMCs are offered in Colorado secondary schools, with general music, guitar, and piano as the top three most offered courses. Learning activities in EMCs appear to focus on performing, reading, and appreciating music, in addition to applying skills learned outside of the classroom. The COVID-19 Pandemic affected the enrollment in and availability of EMCs and, to a lesser extent, the instructional delivery of EMCs. Results from follow-up interviews suggest that educators believe EMCs are valuable to their professional goals and students, but more training and preparation is needed in order for teachers to feel confident in their curricular design and delivery.Item Open Access Colorado secondary ensemble teachers' perceptions of the integration of students with disabilities(Colorado State University. Libraries, 2023) Gray, Samuel David, author; Johnson, Erik, advisor; Bacon, Joel, committee member; Lopes, Tobin, committee memberInclusive practices are required of K-12 educators regarding the inclusion and integration of students with special needs through the Individuals with Disabilities Act (1975) and the Every Student Succeeds Act (2015). However, barriers to integrating students with disabilities may exist in secondary performing ensembles. These barriers include paraprofessional staffing, educator efficacy, community stakeholder expectations, and educator professional development. Implementing and understanding these barriers is vital to providing secondary music educators with the proper tools to provide an integrated performing ensemble. While the inclusion of students with disabilities often occurs in a performing ensemble, the scope of integration may vary depending on educator decisions. When an educator faces this situation, understanding any decisional difference is needed. The purpose of this study is to investigate Colorado music educators' perceptions regarding the current practices of inclusion and integration of students with disabilities in Colorado's secondary public schools (middle or high schools). Furthermore, this study examines educators' perceptions regarding inclusive practices where students with disabilities are included in ensemble settings. This study can help inform discussions, methods, and policies related to the professional development of in-service educators and pre-service educator preparatory programs regarding the integration and inclusion of students with disabilities. In this study, the following research questions were asked: What is the level of concern and self-efficacy of Colorado secondary music educators about integrating students with disabilities? What is the relationship between years of teaching experience, concerns, and self-efficacy about the inclusion and integration of students with disabilities? Do Colorado secondary music teachers vary in their level of concern and teaching efficacy at various stages of their career or by school location? The adapted SACIE-R and TSES questionnaire included the concerns subset of the Sentiments, Attitudes, and Concerns about Inclusive Education – Revised Scale (Forlin et al., 2011) and the Teacher Self-Efficacy Scale (Tschannen-Moran & Hoy, 2001). Both scales utilized a four-point Likert scale. Data was compiled from mid-November through early mid-December of 2022. Findings from this preliminary investigation indicate that as educator experience increases, the level of educator concern about integrating students with disabilities decreases. Additional findings suggest no statistical significance between educator district setting and the level of concern and efficacy about students with disabilities.Item Open Access Examining student experiences of choice in reflective practice through the lens of self-efficacy(Colorado State University. Libraries, 2023) Falls, Kristen Breann, author; Johnson, Erik, advisor; Bacon, Joel, committee member; Decker, Derek, committee memberPreservice music teachers starting their first course in a music education program often find themselves under the pressure felt by grades, an overload of new information, and teaching public school students for the first time. Music teacher educators combat the pressure not only by giving reassuring and positive feedback but also by introducing developmental tools to help teachers improve themselves. Scholars have shown that reflective practice is an effective tool for teacher development (Piety et al., 2010; Kennedy et al., 2013; Korthagen & Evelein, 2015, Prilop et al., 2019). There are also varying thoughts on how to best implement reflective practice for the most effective development process, including the framing of teacher self- efficacy and professional identity during preservice music education programs. Yet, there are many differences between how degree programs approach these aspects of teacher development (Lee, 2007; Stanley, 2022). This study continued the exploration of student experiences in reflective practice and how the choice of reflective modalities can increase student agency, and in effect, teacher self-efficacy. Quantitative data for teacher self-efficacy was collected using an adapted version of the Preservice Music Teacher Efficacy measure (Prichard, 2013). The findings of this preliminary study help to expand the knowledge of how preservice music teachers choose reflective practice modalities and how those choices impact their self-efficacy. Implications for this study are framed in both theoretical and practical realms.Item Open Access The music educators journal(Colorado State University. Libraries, 2017) Hedrick, Katrina, author; Adams, Sebastian, author; Gillespie, Andrew, author; Gamache, Will, author; Lampus, John, author; Johnson, Erik, advisorAs the most widely disseminated publication in the music education profession, The Music Educators Journal is a scholarly practitioner journal available to music educators worldwide. The study’s authors examine the past five years of trends in content, discuss their social implications, and anticipate the forward trajectory of our musical culture as it applies to K-12 music education. Data was collected, critically examined, and formatted into an accessible resource for music educators. This research is intended to foster the growth of informed musicians, educators, and positively influence educators in the use of the Music Educators Journal in their own reflective practice.Item Open Access Rural music teacher job satisfaction, retention, and music education's career ladder(Colorado State University. Libraries, 2020) Padron, Casey Lee, author; Johnson, Erik, advisor; Sebald, Ann, committee member; Shupe, Abigail, committee memberIn order to provide an equitable music education to all students, rural schools need to retain experienced, job-satisfied music teachers. Teacher job satisfaction is determined by working conditions, student interactions, goal progress, and self-efficacy (Badri et al. 2006; Lent & Brown, 2006; Williams, 2015). Additionally, rural teacher satisfaction is concerned with community identity (Bumgartner, 2013; Huysman, 2007; McCoy-Wilson, 2011; Richardson, 2017), while music teachers emphasize a strong support system within the school (Howard, 2006; Siebert, 2008; Scheib, 2004). Music teachers and teachers in rural schools have different priorities in determining their job satisfaction, which suggests that rural music teachers have a unique set of values in job satisfaction. Job satisfaction is an important predictor of teacher retention (Stockard & Lehman, 2004; Thibodeaux, 2015; Williams 2015), along with years of experience and preparation for entering the teaching field (Darling-Hammond, 2003; Ingersoll, 2001; Stockard & Lehman, 2004; Strunk & Robinson, 2006). These predictors pose major concerns for rural schools who often employ young, inexperienced teachers (Monk, 2007). Music teachers are especially challenging for rural school districts to retain (Hancock, 2009), which has negative effects on student performance (Barnes, Crowe, & Schaefer, 2007; Kloss, 2012; Russell, 2012; Terry & Kristonis, 2008; Rockoff, 2004) and perpetuates a "rural to urban" career ladder for the music education profession (Bates, 2011; Brossette, 2015; Howard, 2006; Kuntzelman, 2016). This mixed-method study investigated how working conditions, school support systems, teacher characteristics, and community belonging relate to rural music teachers' senses of job satisfaction and the relationship that their job satisfaction has with their decision to retain or leave their current teaching assignment. Quantitative data were collected via questionnaire (Duffy & Lent, 2009) and qualitative data were gathered through multiple-case-study methodology (Stake, 2006) to illustrate both broad job satisfaction considerations across a population of rural music teachers in Colorado as well as specific context-dependent job satisfaction and retention considerations. Questionnaire respondents demonstrated strong relationships between positive affect as a teacher characteristic, organizational support, and perceived fit as a working condition and overall job satisfaction. Case study participants further color these findings by specifying autonomy, participation in a musical community, support from the school community, and by their own strides in making progress toward student-centered goals as factors that contribute positively to their job satisfaction. Detractors from job satisfaction include a low value of music in the school community, dissonance between professional goals and community values, and isolation as an impediment to student-centered goals.Item Open Access Student perceptions of online peer learning in preservice music teacher education: motivation, social-emotional learning, and classroom climate(Colorado State University. Libraries, 2021) Herman, Christina Haarala, author; Johnson, Erik, advisor; Decker, Derek, committee member; Bacon, Joel, committee memberMusic instruction has historically depended upon a master-apprentice model in which teacher-determined goals serve as the focal point of the classroom and reduce opportunities for collaboration among peers (Allsup, 2003; Green, 2008; Wis, 2002). However, collaborative learning practices, such as peer-assisted learning (PAL), have been established as effective instructional methods in a variety of music learning contexts (e.g., Alexander & Dorow, 1983; Duran et al., 2020; Goodrich, 2007; Johnson, 2013). Recently, scholars have extended investigations of collaborative learning practices into the realm of online learning environments (Altinay, 2017; Biasutti, 2011; Raymond et al., 2016; Shawcross, 2019; Thorpe, 2002). Peer-assisted learning experiences have been identified as one of many successful strategies for meeting the diverse needs of students in online contexts (Altinay, 2017; Keppell et al., 2006; McLuckie & Topping, 2004; Raymond et al., 2016; Razak & See, 2010); however, there is a lack of scholarly literature surrounding online PAL in the context of preservice music teacher education Though online learning is not new in the realm of formal education, rapidly developing technologies have increased the impact and prevalence of online learning in many educational settings, including preservice music teacher education (Dumford & Miller, 2018; Statti & Villegas, 2020; Sandrone & Schneider, 2020). Specifically, growing health and safety concerns related to the spread of disease in a global pandemic have necessitated a shift in the delivery of instruction from face-to-face settings to online classroom environments. Given the increasing demand for flexible online learning solutions, music educators would benefit from context-specific knowledge about the interaction of PAL solutions with online music learning environments. Therefore, the aim of this study was to explore student perceptions of an online PAL experience in a preservice music teacher education course through the self-reported lenses of student motivation (Elliot, 1999), social-emotional learning (CASEL, 2003), and classroom climate (Dwyer et al., 2004; Moos, 1979). Quantitative data were collected via questionnaire measures (Coryn et al., 2009; Elliot & Muarayama, 2008; Kaufmann et al., 2016; Kaufmann & Vallade, 2020) and follow-up interviews were conducted with four participants who were selected using a maximum variation sampling approach (Jones et al., 2013; Raymond et al., 2016). Data revealed that student perspectives were likely influenced by their individual motivation orientation, capacity for social-emotional learning, and perception of the online classroom climate. Interview participants provided further context to these findings by sharing their individual experiences with group interactions, peer feedback, student connectedness, and course structure.Item Open Access Teacher-student rapport in the secondary instrumental music ensemble: educational psychology and teacher disposition standards(Colorado State University. Libraries, 2018) Adams, Sebastian Phillip, author; Johnson, Erik, advisor; Phillips, Rebecca, advisor; Frederiksen, Heidi, committee member; Shupe, Abigail, committee memberCritical topics of teaching music continue to undergo philosophical evolution as unique concepts and perspectives are introduced by a variety of experts both in and out of the field. One concern among many is the role of the secondary music educator in the ideal classroom for student learning, part of which is impacted by teacher-student rapport. Teacher-student rapport is defined in this paper by the author as an adaptation of the general definition of rapport by Carey et al. (1986a): the quality of relationship between teacher and student that is characterized by communication and mutual, emotional understanding. The following questions were explored through content analysis of an education practitioner journal as well as literary analysis: how are teacher-student rapport-building strategies informed by the behaviorist, cognitivist, constructivist, and humanist schools of psychology; how can the information garnered from a literary analysis guide the transformation of teacher disposition policy; what are best practice techniques for teachers to build rapport in the secondary instrumental ensemble as implied by the data? It is with the data and discussion of this study that the author hopes to support teachers' positive rapport-building efforts with students in the secondary instrumental classroom through the avenues of immediate classroom application, and policy transformation. Data reveals that articles in the Journal of Educational Psychology examining positive rapport-building elements most comprehensively cite principles of the constructivist school, and the top three cited psychologists are Albert Bandura, Abraham Maslow, and Jean Piaget. Recommendations for teacher disposition policy transformation are suggested to help preservice teachers cultivate positive rapport-building practice, and they include standards for promoting socio-cultural investment, positive expression, student discourse recognition, reflective practice, empathy, and effective communication. Examples of potential applications in the secondary instrumental music classroom include, but are not limited to, engaging in students' referential (Reimer, 2010) connections to rehearsed repertoire and permitting exploration of expressive interpretation of said connections; consistently raising standards of musicianship and community in response to achievement through promotion of reflective processes and demonstrations of exemplary performance; recognizing and utilizing students' abilities to think critically and abstractly about the expression and artistic merit of class repertoire. Other implications of best practice are refined from Bandura's (1986) self-efficacy, Maslow's (1943 & 1971) hierarchy of needs, and Piaget's (1952) schema and genetic epistemology theories. Finally, potential operations in chamber music are presented in relation to constructivist principles.Item Open Access Where is their artistry? Artistic disposition and culturally responsive education in the twenty-first century secondary music classroom(Colorado State University. Libraries, 2018) Hedrick, Katrina, author; Johnson, Erik, advisor; Grapes, K. Dawn, committee member; Sebald, Ann, committee memberArtistic disposition, as an amalgam of our individual and shared experiences, has a profound impact on how we engage and identify with music in a complex and pluralistic musical culture (Eger, 2005; Jorgensen, 1997 & 2003; Lind & McKoy, 2016; Reimer, 2003 & 2009; Small, 1998). The American public music educator, as a member of a pluralistic musical culture, is responsible for providing an accessible music education for all students. As such, the educator must provide an education that reflects each student's identity within a multitude of cultural intersections (Allsup, 2016; Allsup & Benedict, 2008; Jorgensen, 1997, 1998, & 2003; Kratus, 2007; Lind & McKoy, 2016; Reimer, 2003 & 2009; Small, 1998). The growth of individuals' artistic disposition is directly related to the ability to aesthetically engage in pursuit of expressing their lived experience (Jorgensen, 1997 & 2003; Reimer, 2003 & 2009; Runco, 2011 & 2014). Furthermore, the opportunity for each student to engage with a comprehensive music education in order to cultivate individual artistic dispositions is an educational necessity that has been articulated and reified by contemporary philosophers in the music education community (Allsup, 2016; Allsup & Shieh, 2012; Danielsson et al., 2016; Jorgensen, 1997 & 2003; Kratus, 2007; Lind & McKoy, 2016; Reimer, 2003 & 2009; Small, 1998). Many issues inherent to a postcolonial society working towards social justice—a society wrought with mass shootings, suicides, drug abuse, divisive politics, and an overburdened criminal justice system— complexify the cultivation of a gritty, artistic disposition, especially one that enables students to explore the artistic possibilities reflective of lived experience. Emphasis of an artistic mindset in secondary music education settings can facilitate the realization of an individual's identity and cultural belonging by providing a means of expression through musical expression. However, while contemporary music education philosophers implore practitioners to nurture every individual's artistic disposition (e.g. Allsup, 2016; Jorgensen, 2003; Reimer, 2003 & 2009; Small, 1998) and policy (e.g. NAfME, 2014), addressing these issues is limited by curricular design, teaching processes, and learning experiences of the student and the music educator. This philosophical inquiry questions which curricular designs, teaching processes, and learning experiences in secondary music education comprehensively lead to students' development of their own artistic dispositions. Further, this inquiry also seeks to examine the associations between artistic disposition and culturally responsive practices in order to address the challenges that music educators currently face in preparing graduates for successful engagement in a diverse array of contemporary American musical cultures. The purpose of this examination is to consider the use of artistic disposition as a means to increase music educators' efficacy in curricular scope, professional training, and pedagogical processes in order to provide students with the comprehensive music education. Three normative vignettes (Lecompte, 1999) are used to articulate a philosophical framework related to a Universalist orientation (Reimer, 2009). Each vignette highlights inclusive possibilities present in scholarship on artistic disposition and culturally responsive pedagogy for students to develop interpretive and expressive tools for their lived experiences.