Escolar Documentos
Profissional Documentos
Cultura Documentos
C O N T E N T S
Comm ents from the Editor
Ruth V . Brittin
3
SPECIAL TOPICS DIVISION
Sounds in the Silence: Research on Music and Deafness
Alice-A nn Darrow
5
Skill Developm ent in Rhythm Perception and Performan ce: A Review o f Literature
James L . Reifinger Jr.
15
INSTRUMENTAL DIVISION
Including Composition in Middle School Band: Effects on Achievement, Performance, and Attitude
Patricia E. Riley
28
Socioeconomic Status and Instrumental Music: What Does the Research Say
about the Relationship and Its Implications?
Daniel J. Albert
39
CHORAL DIVISION
Changes in Choral Student Perceptions of the Music Contest Experience
Rick A . Stamer
46
ELEMENTARY DIVISION
Enga ging Elem entary-Age C hildren with O pera
Frederick Burrack and Carla Maltas
82
Choral Division
Mary Kennedy
Un iversity of Victoria, British Colum bia
Martha Miller
Foot of Ten Elementary School, Duncansville, PA
Elementary Division
Dennis Siebenaler
California State University–Fullerton
Nancy S. Rasmussen
MEN C Sta ff Walworth Elementary School, Walworth, WI
Legal Statement
UPDATE: Applications of Research in Music Education is copyrighted by MENC: The National Association for Music Education. You can read or download
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Comments from the Editor
It’s autumn and time for an update on Update: Applications of Research in Music Education. These
comments address five areas:
• Thanks to our editors who have just completed six years of terrific service
• A welcome to our new editors
• News on the health of our journal
• Ways to improve access to Update
• Introducing our new authors
Our sincere appreciation goes to John Geringer, Nancy Rasmussen, and Patricia Costa-Kim,
who have spent countless hours reading submissions, giving advice, and helping authors develop the
very best research papers possible. What will they possibly do with all that extra time (chuckle,
chuckle)? We will miss them on the board but look forward to new collaborations and research with
them in the future.
We eagerly start a six-year partnership with Martha Miller (elementary practitioner), Abby
Butler (choral practitioner), and Alice-Ann Darrow (special topics researcher). Update is unusual in
its specific mission to bridge research and “real world” practice; we balance the editorial board to
represent both perspectives. A look at the editors’ institutions shows they come from different parts
of the country and bring different teaching and research strengths. I am sure you will enjoy the fruits
of their experience.
So how is Update faring overall? Here are highlights of my report to the Society for Research
in Music Education in Salt Lake City, spring 2006. In my last biennial report (fall 2004), I
summarized our move from hard-copy publication to online publication. There had been concern
Update would wither with this change; however, the news two years ago was promising. The
number of submissions was stable and the publication ratio (acceptances to submissions) was a little
higher than usual but acceptable at 42%. We were very pleased, two years ago, to learn that MENC
would leave the journal issues on its Web site for perpetuity. That issue of access had been a point
of concern; after all, authors do not want to send their material if their future readers cannot easily
access it! MENC’s decision to continuously display previous issues was a major turning point, and
we thank the leadership for this vision.
Now to the last biennium. Submissions didn’t just remain stable, they increased. From April
2004–April 2006, there were 57 submissions. Submissions for the previous three biennia were (going
back in time) 45, 46, and 52. So we broke through to an all-time high! Our publication ratio was the
most conservative ever (30% rate for 2004–2006, compared to 42%, 33%, and 37% before,
respectively). This is a healthy publication rate that indicates the journal’s maturity and stability
within the new format.
Over the last two years, we had more special-topics papers than papers in other categories,
which is customary. In 2004–2006, there were a few more choral papers than usual (which is
fantastic, since that category tends to be a bit underrepresented compared to instrumental and
elementary papers). General music, particularly at the secondary level, is an area in which we could
use more papers. Overall, special-topics papers have made up almost half (43%) of the papers
published since the tracking of this data (beginning in 1989). Elementary (18%) and instrumental
(16%) are followed by general music (12%) and choral (11%) categories. Of course, the categories
themselves are a bit arbitrary, since a topic may apply to more than one area. However, this gives us
a glimpse of the journal overall.
Ruth V. Brittin
Editor, Update: Applications of Research in Music Education
E-mail: rbrittin@pacific.edu
Alice-Ann Darrow
Irwin Cooper Professor of Music Therapy and Music Education at Florida State University in Tallahassee.
E-mail: aadarrow@mailer.fsu.edu
This article is based on the Invited Researcher presentation given at the MENC National
Biennial In-Service Conference in Salt Lake City, Utah, April 2006. Included in the article are
hyperlinks to audiovisual materials; these illustrations range in size from photographs of
several hundred kilobytes (KB) to video clips of over 30 megabytes (MB).
efore starting, I thought I might first ex- I thought I would start this presentation
B plain something about the title of this
presentation, “Sounds in the Silence: Research
by sharing how I developed this particular
research interest, and then share with you a
on Music and Deafness,” as the first part might few studies that were particularly meaningful
be a bit misleading, and the term deafness in the to me, and why I believe they are perhaps
second part is often misunderstood. The term important to music education.
deaf does not mean “without hearing,” but
rather, “a loss severe enough that hearing Early Awareness of Hearing Loss
alone cannot be used for the purpose of pro- My interest in deafness came from
cessing speech.” The term Deaf with a capital several sources, and it came long before my
“D” signifies those people who share a lan- interest in music. My first awareness of hear-
guage (American Sign Language) and a culture. ing loss came very early. My father and most
In reality, very few persons are totally without of his 10 siblings had hereditary hearing loss.
hearing. Most people who are considered deaf My father’s hearing aids were not the subtle
are able to use their residual hearing to listen inner-ear aids that we see today; he wore the
to music. Due to its typical range of frequen- old-fashioned body aid that was quite obvious.
cies and intensity, music is generally far more I was able to determine what sounds my
accessible than speech to those with a hearing father valued by observing when he chose to
loss. wear his hearing aids. He always wore them
The reason I explain the terminology first to listen to the minister’s sermons on Sundays
is because over the years, the topic of music and to listen to music, but not always to
and deafness has prompted numerous ques- listen to my mother—much to her frustration.
tions, occasional skepticism, frequent bewil- As a child, I wondered what he heard when
derment, and considerable good-natured he listened to music, and it was this curiosity
ribbing—much of that ribbing from my friend that led to a number of early studies.
and former University of Kansas colleague John Looking back, I realize that my father
Grashel, who never let me say the word “deaf” was often isolated in social situations—even
without responding, “What?” And I, being oh-so- at the dinner table, as evidenced by frequent
slow to catch on, always dutifully repeated what I comments he made that were totally unrelated
had just said—much to his delight. to the table conversation—and more disturb-
After viewing the excerpts, students were interviewed individually and a content analysis done
of their responses to these video clips. The differing views of deaf and hearing subjects are illustrated
in these interview excerpts. Figure 3 gives an interpretation of comments by the two deaf students in
the video.
Student 1
The man who did rap, that was good. It made a strong impression.
Hearing people wonder how a deaf person hears music. We are connected
to the music by feeling the vibrations. You can see it was a very inspiring
performance. It was exciting to see the socialization, too. So hearing people
ask, “You can hear music?” Sure, we connect to the music because we can
feel it, and image it in our minds.
Student 2
OK, the dancing rapper . . . that was wonderful. Wonderful. I can’t
describe that one. There are no words to describe it. It was a different
perspective. The deaf man was dancing with the music and all the hearing
people were watching him. You could see he felt and followed the music. I
liked that one. It showed that deaf people are equal. We are on an equal
level with hearing people. I also enjoyed the socialization that was involved.
As educators, we should remember the media are not always accurate in their portrayal of
persons with disabilities, and yet they have incredible power to influence our perception of
others—particularly those with whom we have little contact.
usic educators continually seek the most 1983). Newborns’ hearing thresholds are 15 to
M effective and efficient methods to teach
musical skills such as rhythm perception and
30 decibels higher than adults, but by 6 months
of age, the threshold is only 10 to 15 decibels
performance. Researchers have examined the higher (Olsho, Koch, Carter, Halpin, & Spet-
emergence of rhythm perceptual and perfor- ner, 1988). Two tones are perceived as not
mance skills and have investigated specific sounding simultaneously at thresholds of 11
aspects of these skills. Their findings may help milliseconds apart for 6- to 12-month-old in-
in crafting the most productive instructional fants and at 5.6 milliseconds apart for 5-year-
approaches for various developmental stages. old children, compared to 5.2 milliseconds
This article reviews studies on rhythm percep- apart for adults (Trehub, Schneider, & Hen-
tion and performance published primarily derson, 1995). With simple three- and four-note
within the last 15 years and includes some patterns, infants as young as 7 months can dis-
important historical studies to provide a more criminate tempo and rhythm changes and can
complete description of current knowledge. detect rhythm changes despite changes in fre-
Organized developmentally, this review quency or tempo (Trehub & Thorpe, 1989).
examines the development of rhythmic skills
first in infants and preschoolers, then most Performance
extensively in school-age children. Skill devel- Recent research has investigated the
opment in infants and preschoolers is consid- effects of early exposure to music on musical
ered only briefly because the main interest for performance. A longitudinal investigation by
music educators is school-aged children. Im- Tafuri and Villa (2002) uniquely involved both
plications for instructional practices are con- the prenatal and postnatal stages. Fetuses in
sidered. Studies with adults are not included an experimental group experienced music 3 to
unless they are relevant to rhythmic develop- 4 months before birth, because their mothers
ment in children. received music lessons weekly and sang and
listened to music daily. Fetuses in a control
Infants group did not receive any special prenatal
music stimulation because their mothers did
Perception not participate in any music lessons.
Because human hearing usually begins After birth, the infants’ vocalizations
during the sixth month of prenatal life, music were recorded at 2, 4, 6, and 8 months, and
perception occurs before birth. Fetuses begin the mothers notated in diaries additional in-
responding to sounds outside the womb as formation about vocalizations and music re-
early as their 24th week of development, and sponses. The recordings of 18 infants in the
by the 28th week they present consistent re- experimental group revealed a large percent-
sponses to sounds (Birnholz & Benacerraf, age of ascending and descending glissandos as
• Divide students into two groups with 1 or 2 students assigned to play each step of the E-flat
major scale: do, re, mi, fa, sol, la, ti, and do. Each group has a conductor, who points at the
students designated to play the scale steps, indicating pitch, duration, tempo, articulation, and
dynamics. Each of the two conductors is given a slip of paper containing the name of one tempo
marking, one dynamic marking, and one articulation (Group 1: moderato, piano, staccato; Group
2: adagio, forte, tenuto). As they compose a melody, they are choosing the pitches and durations
they think sound good together.
• Instruct conductors to start and end their compositions on do. The two groups rehearse their
compositions separately and then perform for each other. The nonperforming group tries to
guess the tempo, dynamic level, and articulation that the performing group is demonstrating.
ocioeconomic status (SES), as defined by teaching for that activity may be influenced
S Bornstein and Bradley (2003), is “the rel-
ative position of individuals, families, or
by SES as well, as Kozol (1991) and Ogbu
(1974) suggest. However, does this influence
groups in stratified social systems where also extend to instrumental music instruc-
some societal values (e.g., occupational pres- tion? A review of the published literature can
tige, education) are not uniformly distrib- assist practitioners in becoming more aware
uted” (p. 2). Kozol (1991) argued that SES is of the possible influences of SES on instru-
a factor that influences teaching and sub- mental music programs. The purpose of this
stantiated his thoughts by describing the article is to review the published literature
dismal conditions and equipment of low- addressing recruitment, retention, and partic-
SES schools he visited. In those schools, ipation in instrumental music; student atti-
teachers often had low expectations and tudes toward music; and school support for
standards for minority students, a finding instrumental music. At the end, the article
supported by Ogbu (1974). Kozol concluded offers recommendations for teaching prac-
that the public often does not acknowledge tice and future research in these areas.
the inequalities in education that so many
students suffer and stated that “none of the SES Research in Instrumental Music
national reports I saw made even passing
reference to inequality or segregation. Low Recruitment, Retention, and Participation
reading scores, high dropout rates, poor McCarthy (1980) studied student
motivation—symptomatic matters seem to performance achievement and retention by
dominate the discussion” (p. 3). examining the influence of individualized
Kozol’s findings could have implications and group ensemble instruction and student
for instrumental music. Monetary invest- demographic characteristics on two mea-
ments necessary to participate in an instru- sures of music reading and dropout for one
mental music program include obtaining and school year. Participants were urban fifth-
maintaining an instrument and purchasing and sixth-grade beginning instrumental
supplies such as reeds, oil, strings, and sheet music students (N = 1,199) in a northern
music. Low-SES parents may value school U.S. industrial city. Teachers (N = 10) met
activities such as instrumental music pro- with their students once a week for small-
grams, but the associated costs may prohibit group or individual practice. Subjects were
their children from participating. classified as low-SES students if, according
If SES influences one’s choice to partic- to a map, they lived in a low-SES neighbor-
ipate in a school activity, then the quality of hood. Forty-three percent of the subjects
Significant differences were found in student perceptions in terms of the ratings aspects of
music contests from the ensemble perspective across the grade-level groups. Overall, the students
placed more emphasis on this aspect of the music contest as sophomores than they did two years
later as seniors. Specifically, sophomores, significantly more than seniors, believed that being
recognized as an award-winning organization was the ultimate goal of the ensemble (see Table 2,
survey statement 7), and receiving a Division I rating was the most important aspect of ensemble
competitions (see Table 2, survey statement 21).
No significant differences were found in student perceptions in terms of the musical aspects
of music contests from the individual perspective across the grade-level groups. A review of mean
scores revealed that seniors found judges’ comments to be more important than the rating the
choir received (see Table 3, statement 8). Sophomores believed that competing against other
choirs could enhance student musicianship (see Table 3, statement 9).
Significant differences were found in student perceptions in terms of the benefits and
detriments of music contests from the individual perspective across the grade-level groups.
Overall, sophomores placed more emphasis on this aspect of music contests. Specifically,
sophomores, more than seniors, got excited about getting ready to participate in choral music
contests (see Table 5, survey statement 13). Seniors more than sophomores believed that too
much emphasis was placed on choral contest participation (see Table 5, survey statement 19).
No significant differences were found in student perceptions in terms of the benefits and
detriments of music contests from the ensemble perspective across the grade-level groups. A
review of mean scores revealed that sophomores believed that preparing for ensemble competi-
tions increased motivation for students to practice (see Table 6, survey statement 20) and
increased group spirit (see Table 6, survey statement 23).
Significant differences were found in student perceptions in terms of the social/travel aspects
of music contests from the individual perspective. Overall, sophomores placed more importance
on this aspect of music contest participation than seniors did. Specifically, sophomores stated that
choirs that attend music contests have more fun than choirs that do not attend music contests
(see Table 7, survey statement 16).
The term pedagogical focuses on instruc- teaching in a number of ways: teachers will
tional methodologies used in teaching prac- be able to realize the ideological basis to
tice. Pedagogical reflection involves intro- teaching, teachers will see themselves as
spection on practical matters. With respect being in continual formation, and teachers
to the choral classroom, areas such as class- will try to create more democratic
room management, rehearsal procedures, classrooms (Brookfield, 1995). The nature of
choir seating formations, and learning se- large-group dynamics commonly found in a
quences are examples of pedagogical issues choral ensemble lends itself to teaching
on which a teacher might reflect. Curricular democratic and responsible ways of living in
reflection concentrates on concepts being the world.
taught. In the choral realm, repertoire serves
as the vehicle for learning the specific objec- Historical Foundations
tives of the curriculum, which include vocal Dewey is generally acknowledged to
technique, music theory, music history, have set the foundation for reflection in
sight-reading, and ear-training. Personal reflec- teaching (Goodman, 1984; Gore, 1987;
tion centers on attributes of a teacher’s per- Kruse, 1997; Ross & Hannay, 1986; Smyth,
sonality and life situations outside the class- 1992; Valli, 1997). In How We Think (1933),
room that influence practice. Connected to Dewey described attributes of the ideal
the personal category are reflections on pro- teacher. According to Dewey, teachers
fessional aspects of a teacher’s life that are should acquire a habit of ongoing thought-
linked to the teaching environment. These fulness and examination of beliefs and theo-
points of professional reflection include in- ries they use to inform their instruction of
teractions with colleagues and administra- students. This process of reflection helps
tors, as well as opportunities for extended teachers develop specific orientations, such
learning throughout the teacher’s career. as open-mindedness, responsibility, and
The label of critical reflection is used to wholeheartedness. Reflection can, therefore,
understand the transformation of a teacher’s lead into acting in a “deliberate and inten-
practice to reflect the contextual reality of tional fashion” (1933, p. 78), which pro-
the teacher and students, and it requires motes purposeful teaching.
evaluation of educational goals in light of Schon draws from the writings of
social, moral, and political dimensions. A Dewey in The Reflective Practitioner (1983).
critically reflective process will affect Schon views teaching as an activity filled
n 2002, the Festival Commission of the possible score in the KMEA district choral
I Kentucky Music Educators Association
(KMEA) initiated a sight-singing compo-
performance evaluation.
Instrumentation
The survey used in this study was developed by the lead author and based on personal
observations of district sight-singing evaluations as well as a thorough review of the literature.
Questions were designed to determine how sight-singing was structured in the rehearsal process,
which pitch systems were used, what kinds of materials were used, where and how choral directors
received training for teaching these skills, if and what other exercises were used to develop sight-
singing skills, and directors’ perceptions of the effects of preparing for sight-singing evaluation.
The questions are shown in figure 1.
5. Did you teach sight-singing in a systematic way before KMEA required it at district
performance evaluation in 2002?
6. Does your choir continue to practice sight-singing after KMEA evaluation? If yes, is the
amount of time and attention devoted to sight-singing consistent with that prior to district
performance evaluation?
7. Which pitch system does your choir use for sight-singing?
8. Do you use Curwen hand signs as a teaching aid? If yes, how and/or when do you use
hand signs?
9. Do you require your students to use hand signs? If yes, when are they typically used?
10. What percentage of rehearsal time do your students use hand signs?
11. Do you use pitch activities (e.g., solfège ladder) other than sight-singing exercises?
12. Do you use dictation activities or games?
13. Do you give individual sight-singing performance tests to your students? If yes, how
frequently during the school year?
14. Do you believe that the process of preparing for sight-singing evaluation has helped
improve your choir’s music reading skills?
15. Do you believe that the process of preparing for sight-singing evaluation has helped to
improve your choir’s intonation?
16. Do you feel that the sight-singing score is an adequate assessment of a choir’s music literacy
skills?
ORGANIZATION
Prep Time
First Read
Final Read
PITCH
Key Signature
Integrity/Tonality
Accuracy (Accidentals,
Intervals)
Intonation
RHYTHM SYSTEM
Accuracy
Meter Signature
Tempo Consistency (Beat
Pulsation, etc.)
JUDGES' COMMENTS
Level of D ifficulty
Discipline
Stage Presence/Appearance
II Proficient Represents a performance that is outstanding in most aspects. This is one of the
finer performances presented during the festival.
(Continued)
IV Novice Represents performance that has some good qualities. This performance has areas
that are poor in quality and are in obvious need of improvement.
First Reading
The tonic chord will be played in broken chord style, and the students may reproduce the
chord utilizing their preferred method of sight-reading (numbers, syllables, etc.). The starting
pitches may be played and each section may sing their pitch, again utilizing their preferred method.
The director may sing the starting pitch with each section. No further warm-up, instruction, or
communication of any kind is permitted by the director, except the use of verbal counting to
initiate the reading. The selection will then be sung without piano accompaniment and using the
groups’ preferred method of sight-reading. The director may choose to read the piece in the
printed key or any other key suitable for the group.
Instruction
Following the first reading, the director will have two minutes for instruction. The procedures
described above for the first instruction will apply.
Second Reading
The procedures for the first reading above will apply. The selection will be sung without
accompaniment, and ensembles may continue to use their preferred method of sight-reading or
may sing the words printed in the score. The director’s decision in this case will have no bearing
on the rating.
Audience
No audience, other than KMEA officials, will be permitted in the room during sight-reading.
an elementary-age children become en- terial upon students’ affective attitude toward
C gaged with opera? An examination of the
research about opera written for an audience
music as a genre. The opera program at a
midsized university started a touring program
of children reveals that the use of opera as an highlighting operas written for children, to
art form for the education of children is a re- enhance performance opportunities for under-
cent phenomenon. Prior to the 1950s, chil- graduate and graduate vocal students. The
dren were not expected to participate as ob- opera director, who had prior experience di-
servers of opera, and children were not used recting children’s operas, believed that “per-
as actors in opera (Reel, 1981). Recent studies formance of operas arranged specifically for
about opera attendance and choice of opera as children is an excellent way to prepare college
a genre reveal that those who attend the opera students for a career as opera professionals
are more likely to attend if they have been while reaching out to the community.”
exposed to opera experiences at an early age The music education department saw an
(Cherbo & Peters, 1995; Peterson & Sherkat, additional opportunity to provide valuable
1995). Familiarity is one issue related to atten- curriculum development experiences for their
dance preference of arts events, indicating a music teacher education students and to ex-
need to attend live opera in order to under- plore the teachers’ perceptions of elementary-
stand the genre of opera (Bergonzi & Smith, and middle-school-age children’s attitudes
1996). toward opera. This collaborative project in-
Other research highlights the need for volved university opera students, a community
children to participate in performing, hearing, children’s chorus, the university music educa-
and observing genres of music in order to tion department, and local public school dis-
improve their skills in analysis, evaluation, and tricts. Local elementary and middle school
perception (Hewitt, 1993; Persky, Sandene, & classroom teachers received preperformance
Askew, 1997; Sims, 1992). Research about instructional materials, including possible im-
participation in the arts as a child and prefer- plementation ideas for instruction in a variety
ence for opera have indicated that children of curriculum areas.
should be provided experiences viewing live
performances in order to become adult patrons Preparation
and audience members. A study by Clary (1979) Project discussions began approximately
reinforces the idea of using early performance six months before the scheduled perfor-
experiences to expose students to a variety of mances. Jack in the Beanstalk was selected as the
genres and encourage later participation. story that was put to music by an area com-
The purpose of this study was to explore poser, Denise Page Caraher. In the fall semes-
the influence of predesigned instructional ma- ter, undergraduate music majors from the Sec-
2. How many of your students have attended an opera outside of school before?
_____None
_____Less than 25%
_____25-50%
_____More than 50%
3. In your discussions about opera, indicate on the scale below the level of knowledge your students
have about the conventions of opera.
Know a lot Know a little bit
Operas have music 1 2 3 4 5
Operas tell a story 1 2 3 4 5
Operas are mostly sung 1 2 3 4 5
Operas have acting 1 2 3 4 5
Operas have dancing 1 2 3 4 5
Opera singers have big voices 1 2 3 4 5
Comments:
4. Rate the list of preperformance activities in terms of usefulness and level of interest shown by
students.
Low High
Video 1 2 3 4 5
Opera books 1 2 3 4 5
Opera worksheets 1 2 3 4 5
Art correlation 1 2 3 4 5
Drama correlation 1 2 3 4 5
Literature correlation 1 2 3 4 5
Music correlation—Fauré 1 2 3 4 5
Music correlation—Opera 1 2 3 4 5
Music correlation—Text 1 2 3 4 5
Comments:
5. Judge the level of interest shown by students when talking about the upcoming performance.
Low High
1 2 3 4 5
Comments:
Comments:
2. General level of student interest during the performance was (circle one):
Low Moderate High
1 2 3 4 5
3. General level of student interest after the performance was (circle one):
Low Moderate High
1 2 3 4 5
4. Assess the amount of impact the preperformance materials had in preparing the students for the
performance.
Low Moderate High
1 2 3 4 5
The Southern Division of MENC and the South Carolina Music Educators Association will
sponsor a joint research poster session at their conference in Charleston, South Carolina, on
Saturday, February 10, 2007. We are accepting submissions of completed and in-progress studies
being conducted by undergraduate students, graduate students, university faculty, and practicing
teachers in public or private schools. This poster session is open to papers involving any aspect of
scholarly research in music, including those that are philosophical, theoretical, or historical in nature,
as well as reports that are qualitative or quantitative in design.
Submission procedures: All submissions should not have been published prior to the conference
and must meet the Code of Ethics published in the Journal of Research in Music Education. Electronic
submissions are encouraged (in MS Word or .pdf). E-mail the abstract and complete research report
(if complete) to Dr. Jeremy S. Lane, SCMEA Research Chair, at jlane@mozart.sc.edu. Please indicate
contact information—including name, title, affiliation (if applicable), address, e-mail, phone, and fax
numbers—on a separate title page. For those unable to send electronic copies, four copies of the
abstract and report (if complete) may be mailed to:
Notification: Submitters will be notified on or before December 22, 2006. If accepted, the primary
or a listed co-researcher must register for and attend the conference to present the poster. If
accepted, presenters will be expected to bring 40 copies of their abstract and 5 copies of the
completed report to the session.
The Society for Research in Music Education (SRME), with the cosponsorship of MENC:
The National Association for Music Education, is pleased to announce its first Research Symposium
to be held July 5–7, 2007, at the University of Kansas, Lawrence. This symposium is designed as a
forum for the dissemination and discussion of new scholarship relating to music teaching and
learning. Individuals are invited to submit proposals for presentation in which they may share new,
unpublished research in music education. Submissions are invited for either paper presentation or
poster presentation. Interested individuals are invited to attend the Symposium whether or not they
present. Please direct inquiries about the Symposium to Martin Bergee, Music Education Research
Council (MERC) Executive Committee Chair and Symposium Presider, at
mencpapers@missouri.edu.
Those who wish to submit a report for consideration should comply with the following:
2. Only electronic submissions will be considered. Submit one file containing the full copy of your
report, including an abstract not to exceed 250 words, with no title page. The full report should
contain no clues as to author identity or institutional affiliation. In the body of the e-mail, please
include the following information: (a) the author’s or authors’ names; (b) current position(s) and
3. Correspondence will be sent only to the submitter, and only by e-mail. The submitter should
send the manuscript from the e-mail address he or she wishes to use for correspondence. You will be
notified of receipt of the manuscript and the reviewers’ decision exclusively by e-mail.
4. Send submissions to Martin Bergee at mencpapers@missouri.edu. Please use this e-mail address
for all correspondence. Hard-copy submissions will not be accepted.
5. Submissions must be received by 11:59 p.m. Central Daylight Savings Time, on January 2, 2007.
Extensions will not be granted. If you have not received confirmation of your manuscript by January
10, please notify Martin Bergee at the above e-mail address.
7. Submitters will be notified of the reviewers’ decision no later than February 15, 2007.
8. All presenters and attendees must be members of MENC and must register for the Symposium
online at http://people.ku.edu/~cmj/mencresearchsymposium.html. Information about Symposium
registration, lodging in the Lawrence area, and travel will appear on this site as the information is
finalized.
9. All participants are expected to attend all sessions on July 6 and 7, including dinner on July 7.
An informal reception will be held the evening of Thursday, July 5. In addition, all attendees
are encouraged to join the Organizing Committee for a breakfast on Sunday, July 8, at which
discussion regarding plans for future symposia will take place.
A copy of this call can be viewed on MENC’s Society for Research in Music Education page,
www.menc.org/research.html, under “Announcements.”
This symposium will commemorate the founding of MENC: The National Association for Music
Education in Keokuk, Iowa, in 1907. The symposium is being planned and administered by the
History Special Research Interest Group (SRIG) of the MENC Society for Research in Music
Education, with support from MENC and the City of Keokuk.
All topics should relate in some way to music education in the United States during MENC’s first
century (1907–2007).
Materials must be submitted electronically in any standard style format. Accepted scholarly papers
will be considered for publication in the Journal of Historical Research in Music Education, which follows
The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003). Include the
following information in the body of the electronic mail message: Name, address, telephone,
affiliation, e-mail address for further communication, and title of the paper or proposal. Send all
information to Jere.Humphreys@asu.edu.
Complete papers and detailed proposals for other presentations must be received no later than
11:59 p.m., February 15, 2007. Acknowledgment and notification (by March 15) will be sent via
return e-mail.
Keokuk is accessible from airports in Burlington and Cedar Rapids, Iowa; Quincy, Illinois; and St.
Louis, Missouri. The City of Keokuk hopes to provide ground transportation from Burlington and
Quincy. The main housing and symposium venue will be the Holiday Inn Express in Keokuk.
The History SRIG, MENC, and City of Keokuk are planning several activities that should be of interest to
symposium attendees, including tours, concerts, and an address on the geographical area and period.
1. Multiple submissions. An author must not submit the same manuscript for simultaneous
consideration by two or more journals. If a manuscript is rejected by one journal, an author may then
submit it to another journal.
4. Authorship. Authorship is reserved to those who make major contributions to the research.
Credit is assigned to those who have contributed to a publication in proportion to their professional
contributions. Major contributions of a professional character made by several individuals to a
common project are recognized by joint authorship, with the individual who made the principal
contribution listed first. Minor contributions of a professional character and extensive clerical or
similar assistance may be acknowledged in endnotes or in an introductory statement. Acknowledg-
ment through specific citations is made for unpublished as well as published material that has directly
influenced the research or writing. Individuals who compile and edit material of others for publica-
tion publish the material in the name of the originating group, if appropriate, with their own names
appearing as chairperson or editor. All contributors are to be acknowledged and named.
5. Copyright. Once an article is accepted, an author transfers literary rights on the published article
to the publishing organization (in this case, MENC) so that the author and the association are
protected from misuse of copyrighted material. An article will not be published until the author’s
signed copyright transfer has been received by the national office of the publishing organization.
Contributors are responsible for obtaining copyright clearance on illustrations, figures, or lengthy
quotes that have been published elsewhere.
6. Conference presentation. Papers submitted for presentation via any format (e.g., posters,
paper-reading sessions) should not have been presented at another major conference. If the data
have been presented in whole or substantive part in any forum, in print, or at previous research
7. Ethical conduct and institutional review compliance. Authors are expected to comply with
APA ethical standards (www.apa.org/ethics/code2002.html) and institutional and federal regulations
on the treatment of human subjects.
Note: Any violation of the Code of Ethics will result in immediate rejection of the manu-
script/paper, without further consideration.
_______
1. This version of the Code of Ethics was adopted in May 2006. This material is based on the
following sources: Publication Manual of the American Psychological Association, 5th ed. (Washington, DC:
APA, 2001); and “Ethical Principles of Psychologists and Code of Conduct” (APA, 2000), found at
www.apa.org/ethics.
Update: Applications of Research in Music Education brings research in music teaching and learning close to
everyday practice, enabling teachers to apply the results of research readily in music classrooms and rehearsal
halls. Authors submitting manuscripts should refer to the following guidelines:
3. Manuscripts must be comprehensible to music teachers untrained in research methodology and statistics.
Thus, writing should be as free of research jargon and statistical terminology as possible. A quantitative
manuscript that eliminates specialized jargon associated with statistics must be accompanied by a not-to-be-
published addendum that provides complete statistical information. Reviewers must have access to all relevant
data and analyses in order to assess appropriateness, accuracy, and interpretation.
4. Manuscripts must emphasize the interpretation of research and the application of research results in the
music classroom or rehearsal hall. Bringing the usefulness of research into the foreground for the reader must
be a high priority of the author. This applies also to reviews of literature, in which authors should make every
attempt to synthesize research results and avoid presenting simple study-by-study reports.
5. Manuscripts of research studies must report original data. In accordance with the Code of Ethics, submitting
a manuscript indicates that it has not been published previously and is not currently submitted for publication
elsewhere, either in its entirety or in part.
6. Authors should comply with APA ethical standards (www.apa.org.ethics/code2002.html) and institutional
and federal regulations in the treatment of human subjects.
7. Quantitative manuscripts must conform to the Publication Manual of the American Psychological Association (5th
ed., 2001). Nonquantitative and historical studies may conform to APA style or to The Chicago Manual of Style
(15th ed., 2003). Authors may not mix styles within a m anuscript.
8. Authors should submit four copies of typed, double-spaced manuscripts, which normally should not exceed
20 pages. Type size should be no smaller than 12 points (double-spacing should include 28 points total for a line
of text and the following line). Figures and drawings should be camera ready.
9. To preserve the author’s anonymity in the review process, the manuscript should include no clues as to his or her
identity or institutional affiliation. The author’s name, address (including e-mail, if available), and institutional affiliation
should appear only on a separate cover sheet. Manuscripts not conforming to this stipulation will be returned.
Now available is the second print volume-year publication of the online journal, Update:
Applications of Research in Music Education. This edition contains both the fall–winter 2005 and the
spring–summer 2006 issues, including the following articles:
“An Investigation of the Association between the Music Aptitude of Elementary Students
and Their Biological Parents,” by Susan C. Guerrini
“Training Teachers with Little or No Music Background: Too Little, Too Late?”
by Dennis Siebenaler
“The Use of the Case Method to Promote Reflective Thinking in Music Teacher Education,”
by Ryan Hourigan
“Clarifying the Terms ‘Multicultural,’ ‘Multiethnic,’ and ‘World Music Education’ through a Review
of Literature,” by Yiannis Miralis
To order through MENC’s copublisher, Rowman and Littlefield Education, visit www.rowman
education.com or call 800-462-6420.