Browsing by Author "Kastner, Julie D."
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Item A Survey of Viola Teachers’ Perceptions of Viola Pedagogy(2014-05) Parker, Sophie Elizabeth; Kastner, Julie D.; Hansen, Erin M.; Snyder, John L.; Krager, Franz A.The purpose of this basic qualitative study was to explore college/conservatory-level viola teachers’ perceptions of viola playing and pedagogy. Participants received a link to a researcher-designed survey instrument called the Viola Pedagogy Survey (VPS). VPS questions were designed to help define current practices in viola pedagogy and to assess participants’ perceptions with regard to viola pedagogy. VPS topics included: (a) differences between violin and viola technique; (b) whether or not they encourage students to switch violin to viola and, if so, at what age; (c) methods employed to help former violinists obtain a more violistic sound; (d) teaching style and initial instrument, (e) recommended viola repertoire and etudes; (f) recommended remediation strategies, (g) influential mentors; (h) division of lesson time; (i) goals for students; and (j) important violists of the 20th century. Following a pilot study, 60 surveys were sent out for the main study, and 19 respondents replied, for a return rate of 32%. Participants in the main study (N = 19) were current members of the American Viola Society who self-identified as university or conservatory level viola teachers. The main categories of discussion were organized by corresponding Research Question topics, and included: (a) reasons for choosing or switching to the viola, (b) viola technique, (c) viola pedagogy and methods of implementing remediation, (d) viola repertoire and etudes, and (e) viola mentors. Participants gave five types of responses as to why they chose or switched to the viola, including chamber music, suggestion of teachers or peers, sound qualities, physical aspects, and playing opportunities. Participants described several areas of pedagogical technique unique to viola including right hand, left hand, and sound quality/tone production. Participants also cited many different mentors and influential pedagogues, but only three were mentioned more than once as most important of the 20th century: Karen Tuttle, Heidi Castleman, and Robert Vernon. The participants’ quotes in this study indicate that many violists do see the viola as more difficult, less perfect than the violin. Their quotes also indicate that a violist needs special skills to play the viola, and/or that certain individuals may be better suited to its rigor, given certain physical attributes. Suggestions for future research include surveying a larger population of violists to compare attitudes towards viola pedagogy, then and now, and to observe for the emergence of new important teachers in 21st century viola pedagogy.Item AN ETHNOGRAPHIC CASE STUDY OF ORCHESTRA DIRECTORS AT HISTORICALLY BLACK COLLEGES AND UNIVERSITIES(2015-12) Lundy, Georgianne; Kastner, Julie D.; Durrani, Aaminah O.; Conyers, James L.; Mack, DianneThe purpose of this ethnographic study is to explore the experiences of orchestras directors at Historically Black Colleges and Universities (HBCUs). While there have been a few studies regarding African American orchestra students in public schools, I am unaware of research that has explored these college level ensembles from the perspective of their directors. Critical Race Theory (CRT) was used as a theoretical framework for this study. Specifically, this study sought to answer the following research questions: (a) What are the experiences of orchestra directors at HBCUs? (b) What are the challenges faced by HBCU orchestra directors, and how do they address them? and (c) How do HBCU orchestra directors describe their successes? I chose five participants based on their reputations as successful directors. Data collection included audio-recordings of semi-structured interviews and observations of the directors at their respective campuses. Data were coded and analyzed for emerging themes, and trustworthiness was ensured through member checks, peer review, and data triangulation. Themes that emerged included (a) "Striving for Excellence": the determination of these directors to continue striving for the best from their students, (2) "General Lack of Funds": the shortage of funds for student scholarships and resources, (3) "Do Everything": these directors have limited assistance and wind up doing almost everything for their ensemble, (4) "Teaching Strategies": different approaches regarding how to help students grow musically, (5) "Recruitment Activities": recruitment challenges especially with the shortage of high school orchestras in their areas, and (6) "Critical Race Theory and the world of HBCU orchestras": racism and its effect on orchestra participants and their students. Based on these findings, I recommend that HBCU orchestras receive more support both inside and outside of the African American community. The directors of these programs perform heroic feats within the reality of multiple limitations. Though they are not as well-known as the HBCU bands and choirs, these orchestras and their directors offer a unique glimpse into a fascinating world that future researchers should also explore.Item Antón García Abril: Alba de los Caminos and the Concept of Polimelodiosidad(2016-05) Soria, Yanira; Koozin, Timothy; Hester, Timothy; Kastner, Julie D.; Dirst, MatthewThis essay is focused on investigating the ways in which Antón García Abril uses Polimelodiosidad in his 2007 piano quintet, Alba de los Caminos. Polimelodiosidad is a term to describe a quality of continuous flow of musical expression integrating melody, rhythm, texture, and harmony. It is a melodic quality he seeks to inscribe to the full texture and dynamic flow of the music. It provides a middle ground between tradition and modernism that allows García Abril to project a unique expression of Neo- Romanticism, as it unifies a Romantic concept of expressive melody in continuous variation with modern approaches to rhythm, texture, and form. The first section places García Abril’s compositional style in the context of nineteenth and twentieth century musical developments in Spain. The second section presents García Abril’s musical aesthetic. The third section examines pertinent biographical material. The final section contains the analysis of García Abril’s Alba de los Caminos.Item Beginning Music Teacher Perspectives on Teaching Music in Urban Settings(2018-08) Day, Kiana; Kastner, Julie D.; Hansen, Erin M.; Durrani, Aaminah O.; Hausmann, CharlesIn an effort to gain insight on the lived experiences of novice urban music educators, the purpose of this instrumental case study was to examine beginning music teachers’ perspectives of cultural relevance in relation to music instruction in urban school settings within in a large Southwestern city. Research questions focused on the perspectives that beginning music teachers have about their preparation to teach music in urban settings, the role of student culture in beginning music teachers’ instruction, and the meanings that beginning music teachers place on their experiences of teaching music in urban settings. Data were collected based on Seidman’s (2013) three interview series, consisting of audio recordings from two semi-structured individual interviews for each participant, a 15-20-minute video recording from each participant teaching in their classroom, and an audio recording of one focus group interview. Participants included three beginning music teachers currently employed in urban schools in a major metropolitan city in the Southern United States. In this study, a teacher was considered a beginning teacher if they had zero to three years of experience teaching music in urban school settings. Regarding the participants’ perspectives to teach music in urban settings, four broad themes were revealed consisting of a lack of preservice curricular content related to teaching in urban schools, outside resources as support, individual professional development, and providing hope through music education. Concerning the role that student culture plays in beginning music teachers’ instruction, the results revealed three broad themes related to connectivity & relatability, concerts, and differentiated instruction. The broad themes that were revealed in relation to the meanings that beginning music teachers place on their experiences of teaching music in urban settings were familial roles, respect (giving and receiving), cultural sensitivity, peer support (camaraderie), and lack of internal support. Implications for current music educators as well as music teacher educators and higher education are included in this study. Future research should consider examining teaching music in urban school settings longitudinally, as well as the effect of culturally relevant pedagogy on student retention in urban school music programs.Item Characteristics of Online Music Courses: A Survey of Music Faculty(2014-08) Littles, Dan M.; Kastner, Julie D.; Davis, Andrew; Koozin, Timothy; Bertman, DavidThe purpose of this study was to determine the perceptions of music faculty toward course suitability for online delivery, the pedagogical practices of online music faculty, and the current predominate characteristics of online music courses. A review of the literature found no studies that surveyed music faculty to find the current characteristics of online music courses. A researcher-designed survey was completed by participants (N = 230) from 160 randomly selected institutions accredited by the National Association of Schools of Music (NASM). The majority of participants were from large universities (10,000 or more students) and did not have previous experience teaching music online. Most universities offering undergraduate and graduate courses online have done so for 4 or fewer years. Music history, music appreciation, and religious studies in music were the most commonly offered online undergraduate courses, and music education, music research, and music technology were the most common graduate courses. Participants also rated the suitability of given course types for online delivery. Music Appreciation, Music Business, Music History, and Music Research were found to be somewhat suitable for online delivery, while courses such as Composition, Music Education Methods, Sight Singing & Ear Training, and Applied Instrumental/Vocal Lessons were not considered suitable for online delivery. Additionally, participants with previous online teaching experience rated courses as more suitable for online delivery than those without previous experience (p < .05), and they indicated that written assignments, quizzes, and discussion posts were their most used online assessment strategies. Faculty perceptions of online music courses resulted in a wide range of opinions from positive to strongly negative, indicating that this topic remains a polarizing issue in the field of music. Based on the findings of this survey, a holistic approach to online course development is presented that includes the institution, faculty, and student. Suggestions for further research are presented and include a) developing a theoretical framework for online music course delivery, b) developing best practices for online music learning c) developing faculty training in online course design and facilitation, and d) developing a holistic approach to online course development.Item The Power of Musical Play(2018-10-24) Kastner, Julie D.When thinking about “playing” music, many often think about listening to their favorite band or performing on an instrument. However, the term can also refer to playing with music, taking a hands-on approach to create something new. Educators have long recognized the importance of play in learning, and music educators have begun including creative music play in their classrooms. This musical play can take many of forms, such as student groups making a rock mash-up; an individual creating a multi-track, split-screen music video; or musicians performing in a virtual ensemble. Engaging in music play is a more informal, vernacular approach that allows students to develop many skills valued in 21st Century society, like collaboration, problem-solving, and critical thinking. More importantly, though, the real power of play with music is that it provides opportunities for human connection, artistry, and expression that individuals can take with them and use throughout their lives.Item Promoting Band Participation: A Case Study Of One High School Band Director’s Beliefs(2019-12) Staub, Michael Scott; Kastner, Julie D.; Bertman, David; Hansen, Erin M.; Koozin, TimothyLifelong musical participation is an often-stated goal of music educators, but much of the research considering post-secondary band participation relies on the testimony of current collegiate participants (Isbell & Stanley, 2011; Mantie, 2013; Moder, 2013). To date there have been no studies which explore the beliefs of the high school band director on post-secondary band participation. The purpose of this case study was to describe the beliefs of a high school band director regarding lifelong instrumental music participation and explore how those beliefs shape her daily practice. Fives and Buehl’s (2012) understanding of teacher beliefs served as a conceptual framework for this study. The following research questions guided the study: (1) What, if anything, does one high school band director believe about lifelong instrumental music participation? (2) In what ways do one teacher’s beliefs about lifelong instrumental music participation serve as filters, frames, or guides for action (Fives & Buehl, 2012)? (3) How do beliefs about lifelong instrumental music participation appear in one teacher’s practice on a daily basis? (4) How, if at all, are one high school band director’s beliefs about lifelong instrumental music participation influenced by other contextual factors? This inquiry was a case study of one high school band director, Diane Snyder, who teaches at a large, successful band program in Texas. Data collection occurred over four months and included semi-structured interviews, classroom observations, email responses, and artifacts. The data was coded to determine emergent themes. Trustworthiness was enhanced through prolonged time in the field, multiple data sources, and participant member checks (Creswell, 2007). The themes that emerged from this study center around Diane Snyder’s core beliefs about teaching band: (a) creating a culture of excellence, ownership, and compassionate community; (b) building independent musicians; and (c) learning from mentors. Diane’s central beliefs about teaching band led her to create an environment that encourages post-secondary music participation by providing her students with the skills, confidence, connections, and will to continue. High school band directors might benefit from considering whether they create an environment that supports continued music participation and whether their teaching practice encourages independent musicianship and continued participation beyond high school.