Understanding Student Motivation: Implementing Strategies to Evaluate How Students Can Stay Motivated Throughout a Concert Cycle by Alex Hibbard-Brown
Abstract
The purpose of this case study was to examine the factors influencing student
motivation within a middle school orchestra classroom. The transition from
elementary to middle school often coincides with a decline in student motivation and
engagement. Therefore, educators experience increasing challenges to sustain
students’ long-term investment in their education. This challenge is amplified in
instrumental music classrooms, where ensembles frequently include a wide range in
ages, varied levels of prior experience, and limited access to private instruction. This
single-site case study was conducted at a suburban middle school and involved 36
volunteer students who had participated in their district-wide instrumental music
program since elementary school. Over the course of an eight-week concert cycle,
data collection centered on documenting students’ perceptions of engagement during
each activity and identifying which activities they considered most supportive for their
individual progress. Multiple forms of data were gathered, including semi-structured
activities, reflective student surveys, classroom observations, and a teacher journal.
Findings indicated that students’ enjoyment and engagement during learning activities
had a direct effect on their level of motivation when learning new techniques and
preparing for a concert performance. These results informed practical
recommendations for music educators, offering strategies to cultivate a more
motivating and engaging show more environment when teaching heterogeneous instrumental
ensembles. show less
The purpose of this case study was to examine the factors influencing student
motivation within a middle school orchestra classroom. The transition from
elementary to middle school often coincides with a decline in student motivation and
engagement. Therefore, educators experience increasing challenges to sustain
students’ long-term investment in their education. This challenge is amplified in
instrumental music classrooms, where ensembles frequently include a wide range in
ages, varied levels of prior experience, and limited access to private instruction. This
single-site case study was conducted at a suburban middle school and involved 36
volunteer students who had participated in their district-wide instrumental music
program since elementary school. Over the course of an eight-week concert cycle,
data collection centered on documenting students’ perceptions of engagement during
each activity and identifying which activities they considered most supportive for their
individual progress. Multiple forms of data were gathered, including semi-structured
activities, reflective student surveys, classroom observations, and a teacher journal.
Findings indicated that students’ enjoyment and engagement during learning activities
had a direct effect on their level of motivation when learning new techniques and
preparing for a concert performance. These results informed practical
recommendations for music educators, offering strategies to cultivate a more
motivating and engaging show more environment when teaching heterogeneous instrumental
ensembles. show less
Abstract
Despite the increasing diversity of student populations in the United States, band repertoire
continues to lack representation from Asian composers. Ensemble teachers have the unique
opportunity to integrate both musical instruction and cultural exploration through the repertoire they choose. Results showed that finding suitable works—especially for younger bands—was challenging, as many compositions are either hard to locate or not well-publicized. To address this, a Resource Guide was developed by researching Asian composers, analyzing their published works, and evaluating each piece for its authenticity, accessibility, and educational value. This Guide included composer biographies, composition grade levels, cultural context, publishers, program notes, piece analysis, and specific ensemble needs of each piece. This project is important because it fills a critical gap in available resources, supporting music educators who want to diversify their programming with intention. It offers a practical tool aligned with culturally responsive music teaching, allowing educators to better reflect their students’ identities in the classroom. The Review of Literature explored an overview of the historical lack of diversity in band literature and offered tools for evaluating diverse repertoire.
Despite the increasing diversity of student populations in the United States, band repertoire
continues to lack representation from Asian composers. Ensemble teachers have the unique
opportunity to integrate both musical instruction and cultural exploration through the repertoire they choose. Results showed that finding suitable works—especially for younger bands—was challenging, as many compositions are either hard to locate or not well-publicized. To address this, a Resource Guide was developed by researching Asian composers, analyzing their published works, and evaluating each piece for its authenticity, accessibility, and educational value. This Guide included composer biographies, composition grade levels, cultural context, publishers, program notes, piece analysis, and specific ensemble needs of each piece. This project is important because it fills a critical gap in available resources, supporting music educators who want to diversify their programming with intention. It offers a practical tool aligned with culturally responsive music teaching, allowing educators to better reflect their students’ identities in the classroom. The Review of Literature explored an overview of the historical lack of diversity in band literature and offered tools for evaluating diverse repertoire.
Abstract
Every few years, music curricula in public schools are reassessed and revised to make sure the curricula are meeting students’ diverse needs and providing opportunities for authentic experiences. Bucket drumming provides an interactive, inclusive, and relevant addition to middle school general music programs that will benefit students of all social-economic backgrounds and ability levels. This project created a list of resources for general music classes relevant to bucket drumming, ran two summer workshop pilot programs for the purpose of developing a series of best practices for bucket drumming in general music classes, developed a series of best practices, and created a sample implementation guide for teachers looking to add bucket drumming to their middle school general music curriculum.
.
Every few years, music curricula in public schools are reassessed and revised to make sure the curricula are meeting students’ diverse needs and providing opportunities for authentic experiences. Bucket drumming provides an interactive, inclusive, and relevant addition to middle school general music programs that will benefit students of all social-economic backgrounds and ability levels. This project created a list of resources for general music classes relevant to bucket drumming, ran two summer workshop pilot programs for the purpose of developing a series of best practices for bucket drumming in general music classes, developed a series of best practices, and created a sample implementation guide for teachers looking to add bucket drumming to their middle school general music curriculum.
.
Abstract
This project investigated effective strategies for teaching self-assessment
with middle school orchestra students. Motivated by ongoing concerns regarding
grading practices, the study examined how self-assessment could foster more
meaningful student engagement and ownership of learning. A review of literature
identified several instructional methods including co-constructing standards and
rubrics as a class, engaging in guided performance evaluations, incorporating
teacher feedback, and using reflection to set new learning goals. A yearlong case
study was conducted with 7th and 8th grade orchestra students, who participated in
structured activities and completed regular self-reflections aligned with concert
performances. Pre- and post-surveys measured changes in students’ perspectives on
self-assessment and the perceived effectiveness on various strategies. The findings
suggest that deliberate instruction in self-assessment practices can enhance student
awareness of performance quality and contribute to more authentic learning experiences in the orchestra classroom.
This project investigated effective strategies for teaching self-assessment
with middle school orchestra students. Motivated by ongoing concerns regarding
grading practices, the study examined how self-assessment could foster more
meaningful student engagement and ownership of learning. A review of literature
identified several instructional methods including co-constructing standards and
rubrics as a class, engaging in guided performance evaluations, incorporating
teacher feedback, and using reflection to set new learning goals. A yearlong case
study was conducted with 7th and 8th grade orchestra students, who participated in
structured activities and completed regular self-reflections aligned with concert
performances. Pre- and post-surveys measured changes in students’ perspectives on
self-assessment and the perceived effectiveness on various strategies. The findings
suggest that deliberate instruction in self-assessment practices can enhance student
awareness of performance quality and contribute to more authentic learning experiences in the orchestra classroom.
Symphony Orchestra in the Public School Setting: A Case Study of Implementation Into a High School Strings Program by Mary Beth Carpenter
Abstract
The purpose of this case study was to examine the impact of integrating a full symphony
orchestra into a public school instrumental music program that previously offered separate string orchestra and concert band ensembles. Over the course of a semester, a full orchestra experience was implemented in a high school string orchestra program. Students completed pre- and post-surveys to reflect on the process. Reported benefits included enhanced musicianship, appreciation for a fuller ensemble sound, and the opportunities to collaborate with peers from other ensembles. Challenges identified included scheduling rehearsals, navigating complex key signatures for woodwind and brass players, and achieving cohesive ensemble blend . The findings highlight the value of the cross-collaboration among aim music educators to enrich student experiences and promote comprehensive ensemble playing.
The purpose of this case study was to examine the impact of integrating a full symphony
orchestra into a public school instrumental music program that previously offered separate string orchestra and concert band ensembles. Over the course of a semester, a full orchestra experience was implemented in a high school string orchestra program. Students completed pre- and post-surveys to reflect on the process. Reported benefits included enhanced musicianship, appreciation for a fuller ensemble sound, and the opportunities to collaborate with peers from other ensembles. Challenges identified included scheduling rehearsals, navigating complex key signatures for woodwind and brass players, and achieving cohesive ensemble blend . The findings highlight the value of the cross-collaboration among aim music educators to enrich student experiences and promote comprehensive ensemble playing.
Physical Practice Aids to Develop the Violin Bow Hold: How Much Help is Too Much Help? by Lauryn Deets
Abstract
This project explored the effectiveness of a physical practice aid in supporting the
development and retention of correct bow holds among beginning string students. A review of
relevant literature informed the study, including current pedagogical standards for bow holds, the role of the physical aids in motor skill acquisition, and the significance of finger placement in string playing. A case study was conducted with young string students, comparing bow hold
formation with and without the aid during the first semester, followed by a focus on retention in the second semester. Data collection methods included observational records, photographs,
teacher journaling, and peer feedback. Results indicated that students using the aid generally
acquired a proficient bow hold more quickly. However, retention varied once the aid was
removed, highlighting the importance of timely withdrawal. Implications for music educators
include the need for ongoing assessment of student readiness, strategic use of scaffolding, and a thoughtful balance between support and challenge to promote long-term skill development.
This project explored the effectiveness of a physical practice aid in supporting the
development and retention of correct bow holds among beginning string students. A review of
relevant literature informed the study, including current pedagogical standards for bow holds, the role of the physical aids in motor skill acquisition, and the significance of finger placement in string playing. A case study was conducted with young string students, comparing bow hold
formation with and without the aid during the first semester, followed by a focus on retention in the second semester. Data collection methods included observational records, photographs,
teacher journaling, and peer feedback. Results indicated that students using the aid generally
acquired a proficient bow hold more quickly. However, retention varied once the aid was
removed, highlighting the importance of timely withdrawal. Implications for music educators
include the need for ongoing assessment of student readiness, strategic use of scaffolding, and a thoughtful balance between support and challenge to promote long-term skill development.
Student Advocacy in the Orchestra Classroom: The Impact of a Composer and Student Collaboration by Anthony Krempa
Abstract
In the winter of 2025, a new work for string orchestra was commissioned and developed
through a collaborative process between a professional composer and a secondary-level orchestra class. Students contributed to the creation of the piece by providing thematic material, engaging in discussion on musical ideas, and offering feedback throughout the orchestration and revision stages. The impact of this collaboration was assessed through student completed pre- and post-project surveys using a Likert scale. Results showed a measurable increase in students’ feelings of inclusivity, agency, and belonging. These findings have influenced instructional practice and demonstrate the potential for student-composer partnerships to foster meaningful engagement in music education settings.
In the winter of 2025, a new work for string orchestra was commissioned and developed
through a collaborative process between a professional composer and a secondary-level orchestra class. Students contributed to the creation of the piece by providing thematic material, engaging in discussion on musical ideas, and offering feedback throughout the orchestration and revision stages. The impact of this collaboration was assessed through student completed pre- and post-project surveys using a Likert scale. Results showed a measurable increase in students’ feelings of inclusivity, agency, and belonging. These findings have influenced instructional practice and demonstrate the potential for student-composer partnerships to foster meaningful engagement in music education settings.
Abstract
Creating an inclusive instrumental ensemble that effectively supports students with
disabilities can be a challenge for music educators. This project examines educator perspectives, perceptions on pre-service preparation, and current practices relating to teaching students with disabilities in a band or orchestra classroom. This study surveyed instrumental music educators to explore the challenges and successes encountered when differentiating instruction for students with disabilities in ensemble settings. Results of the study indicate that educators feel underprepared and undersupported when teaching students with disabilities, highlighting the need for improved training, teacher education, and support. Despite these perceptions, instrumental educators have implemented strategies and accommodations to support students with disabilities and contribute to the success of inclusive ensembles.
Creating an inclusive instrumental ensemble that effectively supports students with
disabilities can be a challenge for music educators. This project examines educator perspectives, perceptions on pre-service preparation, and current practices relating to teaching students with disabilities in a band or orchestra classroom. This study surveyed instrumental music educators to explore the challenges and successes encountered when differentiating instruction for students with disabilities in ensemble settings. Results of the study indicate that educators feel underprepared and undersupported when teaching students with disabilities, highlighting the need for improved training, teacher education, and support. Despite these perceptions, instrumental educators have implemented strategies and accommodations to support students with disabilities and contribute to the success of inclusive ensembles.
Arranging Culturally Relevant Music for Recruitment and Retention of Hispanic Students In High School Orchestra Programs by Joshua Stewart
Abstract
As the Hispanic population continues to grow in the United States, public schools
are increasingly called to develop inclusive and culturally responsive curricula. This
project investigates the impact of culturally relevant music arrangements on the
recruitment and retention of Hispanic students in high school orchestra programs. Two
traditional pieces—Cuatro Milpas (a ranchera-style Mariachi song) and A Media Luz (a
tango from Argentina)—were arranged for string orchestra with attention to both stylistic
authenticity and educational accessibility. The arrangements were evaluated by an
ensemble of graduate students and orchestra directors at Vandercook College of Music.
Feedback was collected through open discussion and written comments, highlighting the
arrangements’ cultural significance, technical appropriateness, and engagement value for
high school ensembles. The study underscores how incorporating music that reflects
students’ cultural identities can foster a deeper sense of belonging and increase parental
involvement. It concludes that culturally relevant repertoire not only enhances student
connection and musical growth but also promotes inclusivity in traditionally Eurocentric
ensemble programs.
As the Hispanic population continues to grow in the United States, public schools
are increasingly called to develop inclusive and culturally responsive curricula. This
project investigates the impact of culturally relevant music arrangements on the
recruitment and retention of Hispanic students in high school orchestra programs. Two
traditional pieces—Cuatro Milpas (a ranchera-style Mariachi song) and A Media Luz (a
tango from Argentina)—were arranged for string orchestra with attention to both stylistic
authenticity and educational accessibility. The arrangements were evaluated by an
ensemble of graduate students and orchestra directors at Vandercook College of Music.
Feedback was collected through open discussion and written comments, highlighting the
arrangements’ cultural significance, technical appropriateness, and engagement value for
high school ensembles. The study underscores how incorporating music that reflects
students’ cultural identities can foster a deeper sense of belonging and increase parental
involvement. It concludes that culturally relevant repertoire not only enhances student
connection and musical growth but also promotes inclusivity in traditionally Eurocentric
ensemble programs.
Abstract: This project investigated the impact of thematic programming on middle school choir concerts, examining its effects on student curiosity, director development, and audience enjoyment. Over two concert cycles, a seventh-grade choir performed thematically programmed concerts, with the second cycle incorporating significant student input in the creative process. Data was gathered through post-concert surveys of both students and the audience. The findings indicate that thematic programming significantly enhances audience enjoyment and provides a valuable avenue for director growth. While student curiosity showed a modest increase, it did not translate into independent research. A notable outcome was the positive correlation between increased student involvement and engagement. The study concluded that thematic programming, particularly when coupled with student voice and choice, is a powerful tool for creating more dynamic and engaging concert experiences, though further strategies are needed to foster deeper student inquiry.
Utilizing Movement in the General Music Classroom Through the Orff Schulwerk Pedagogical Approach by Larissa Thomas
Abstract
The purpose of this project was to provide sound reasoning for the use of movement in the general music classroom, especially through the Orff Schulwerk pedagogical approach. It also investigated the connection between music and movement in Orff Schulwerk. The Review of Literature explored the origins and philosophies of the Orff Schulwerk approach, movement usage in other commonly used pedagogical approaches, and the benefits of incorporating movement on the brain. Three Orff expert teachers, Rachel Aupperle, Christine Ballenger, and Drue Bullington, were interviewed. They spoke on their experiences with Orff Schulwerk, described their approaches to movement in the classroom, shared some examples of movement activities they use, and provided advice for teachers who are just starting to integrate movement into their classrooms. These findings were collected in a teacher resource to provide teachers with a guide of movement fundamentals and example activities to begin incorporating movement in their own elementary general music classroom.
The purpose of this project was to provide sound reasoning for the use of movement in the general music classroom, especially through the Orff Schulwerk pedagogical approach. It also investigated the connection between music and movement in Orff Schulwerk. The Review of Literature explored the origins and philosophies of the Orff Schulwerk approach, movement usage in other commonly used pedagogical approaches, and the benefits of incorporating movement on the brain. Three Orff expert teachers, Rachel Aupperle, Christine Ballenger, and Drue Bullington, were interviewed. They spoke on their experiences with Orff Schulwerk, described their approaches to movement in the classroom, shared some examples of movement activities they use, and provided advice for teachers who are just starting to integrate movement into their classrooms. These findings were collected in a teacher resource to provide teachers with a guide of movement fundamentals and example activities to begin incorporating movement in their own elementary general music classroom.
Retention of Musical Knowledge and of Music Students while Transitioning into High School Band by Alonzo Cunningham
Abstract
Every year feeders junior high school students graduate and move to the next level in
their education and their musical development. Some students have a decision to make at this
crossroads: follow friends or choose a high school based on the strength of its programs. Parents
as well as students are sometimes focused on figuring out the best path for their child. Within the
Caribbean education system, on the day of high school registration, students are exposed to many
high school options such as cosmetology, family and consumer science, agriculture, technical
drawing, business and administration, arts and craft and performing arts. Students who want to
continue to study music have two options: go to a performing arts high school, or study music
within a mainstream high school. There is a saying by Patrick J’Ocallagan “Don’t start what you
can’t finish.” However, music students do not always have the support and information needed to
carefully weigh the decision about whether or not to continue studying music in a performing
arts high school or in a standard high school.
My project will focus on junior high school music students transitioning to mainstream
high school rather than a performing arts program. In this situation, there is often a loss of skills
and musical knowledge in the summer between junior high and high school. If the gap is not
bridged, high school music programs experience a skills deficit among their incoming students.
This situation is heightened in show more mainstream high school music programs as opposed to performing
arts programs, where students are more likely to have summer music instruction of some sort.
Recommendations to broaden the approach to musical training among junior high school
programs will be addressed. Junior High performing arts programs can find ways to better meet
expectations for musical readiness for a smoother transition to all high school music programs. show less
Every year feeders junior high school students graduate and move to the next level in
their education and their musical development. Some students have a decision to make at this
crossroads: follow friends or choose a high school based on the strength of its programs. Parents
as well as students are sometimes focused on figuring out the best path for their child. Within the
Caribbean education system, on the day of high school registration, students are exposed to many
high school options such as cosmetology, family and consumer science, agriculture, technical
drawing, business and administration, arts and craft and performing arts. Students who want to
continue to study music have two options: go to a performing arts high school, or study music
within a mainstream high school. There is a saying by Patrick J’Ocallagan “Don’t start what you
can’t finish.” However, music students do not always have the support and information needed to
carefully weigh the decision about whether or not to continue studying music in a performing
arts high school or in a standard high school.
My project will focus on junior high school music students transitioning to mainstream
high school rather than a performing arts program. In this situation, there is often a loss of skills
and musical knowledge in the summer between junior high and high school. If the gap is not
bridged, high school music programs experience a skills deficit among their incoming students.
This situation is heightened in show more mainstream high school music programs as opposed to performing
arts programs, where students are more likely to have summer music instruction of some sort.
Recommendations to broaden the approach to musical training among junior high school
programs will be addressed. Junior High performing arts programs can find ways to better meet
expectations for musical readiness for a smoother transition to all high school music programs. show less
Overcoming the Language Barrier: Teaching Kindergarten Spanish-Speaking Musicians - Theodore Hattan by Theodore Hattan
Abstract
The purpose of this project was to determine how the language barrier between an
English-speaking teacher and a class of Spanish-speaking kindergarten students can affect
engagement and learning in the music classroom as well as what instructional strategies can be
used to overcome the difficulties that arise due to this barrier. This was done by researching the
growing Latino population in public schools, the history of America’s approach to bilingual
education, types of bilingual education programs, and various instructional strategies for young
ELL students. A curriculum unit about classroom instruments was then created for use in a DL
kindergarten music class, with a focus on student engagement, comprehension and knowledge
retention when a significant language barrier exists.
The purpose of this project was to determine how the language barrier between an
English-speaking teacher and a class of Spanish-speaking kindergarten students can affect
engagement and learning in the music classroom as well as what instructional strategies can be
used to overcome the difficulties that arise due to this barrier. This was done by researching the
growing Latino population in public schools, the history of America’s approach to bilingual
education, types of bilingual education programs, and various instructional strategies for young
ELL students. A curriculum unit about classroom instruments was then created for use in a DL
kindergarten music class, with a focus on student engagement, comprehension and knowledge
retention when a significant language barrier exists.
Abstract
This project examines the historical, cultural, and educational aspects of May Day
celebrations through a comprehensive literature review and the development of an
interdisciplinary curriculum for intermediate elementary students. The research illustrates the
decline of May Day celebrations and resources over the centuries. A rigorous historical analysis
explores the origins of May Day as ancient agricultural and fertility festivals, such as Floralia
and Beltane, and its evolution into a communal celebration that includes maypole dances, folk
music, pageantry, and more.
The curriculum within this project is designed for the public school elementary music
educator. What makes this work unique among other resources created for music educators is the
inclusion of the interdisciplinary learning model. This is through the integration of historical and
cultural lessons with experiential learning in music, dance, art, and storytelling. A workshop
pilot successfully demonstrated strong student engagement and interdisciplinary cooperation.
The findings indicate that May Day celebrations can be successful and relevant in the
contemporary music classroom. Not only is the relevance retained, but a creative,
evidence-based facilitation can effectively link historical authenticity with modern educational
practices. This resource equips music educators with a multifaceted tool to revitalize forgotten
traditions, fostering inclusivity and cultural continuity in the process.
This project examines the historical, cultural, and educational aspects of May Day
celebrations through a comprehensive literature review and the development of an
interdisciplinary curriculum for intermediate elementary students. The research illustrates the
decline of May Day celebrations and resources over the centuries. A rigorous historical analysis
explores the origins of May Day as ancient agricultural and fertility festivals, such as Floralia
and Beltane, and its evolution into a communal celebration that includes maypole dances, folk
music, pageantry, and more.
The curriculum within this project is designed for the public school elementary music
educator. What makes this work unique among other resources created for music educators is the
inclusion of the interdisciplinary learning model. This is through the integration of historical and
cultural lessons with experiential learning in music, dance, art, and storytelling. A workshop
pilot successfully demonstrated strong student engagement and interdisciplinary cooperation.
The findings indicate that May Day celebrations can be successful and relevant in the
contemporary music classroom. Not only is the relevance retained, but a creative,
evidence-based facilitation can effectively link historical authenticity with modern educational
practices. This resource equips music educators with a multifaceted tool to revitalize forgotten
traditions, fostering inclusivity and cultural continuity in the process.
Student Voice in the Middle School Choir: Providing for Student Agency in Repertoire Selection - David Tournoux by David Tournoux
Abstract This project explored the effects of implementing a student-centered approach to the selection of repertoire in the middle school choral setting. The Review of Literature compared and contrasted both teacher-centered and student-centered approaches to teaching; the benefits and drawbacks associated with each approach; different strategies for bringing a student-centered approach to a large ensemble; and considerations to be made when selecting repertoire. A year-long curricular study was implemented during two separate concert cycles where sixth through eighth grade choral students discussed and agreed upon skills to be focused on; found and democratically selected repertoire to be performed; and reflected on the programs and performances in order to make improvements and inform the design of future concert cycles. Both the research and study showed that involving students in the selection of repertoire can increase student engagement, improve student achievement, and introduce students to a diversified array of musical styles. An empowered student is an engaged student!
Abstract
Autism Spectrum Disorder (ASD) is a prevalent diagnosis for children in special education in the
United States. Many music educators have experienced little to no training in how to teach music
to students with ASD. Current research supports the importance of music for students with ASD.
This project aimed to understand what ASD is and how characteristics of ASD can manifest in
the music classroom. Music educators need easily accessible information about ASD and how
they can create a better learning environment for their students with ASD. A website was created
and published using Wix.com to provide accessible and up-to-date information about ASD.
Pages on the website included diagnostic criteria for ASD, characteristics of ASD, instructional
strategies for music educators, information about advocating for students with ASD in music
education, and resources for further research.
Autism Spectrum Disorder (ASD) is a prevalent diagnosis for children in special education in the
United States. Many music educators have experienced little to no training in how to teach music
to students with ASD. Current research supports the importance of music for students with ASD.
This project aimed to understand what ASD is and how characteristics of ASD can manifest in
the music classroom. Music educators need easily accessible information about ASD and how
they can create a better learning environment for their students with ASD. A website was created
and published using Wix.com to provide accessible and up-to-date information about ASD.
Pages on the website included diagnostic criteria for ASD, characteristics of ASD, instructional
strategies for music educators, information about advocating for students with ASD in music
education, and resources for further research.
Student-Centered Learning in an Ensemble-Based Classroom: Strategies That Work and When to Use Them - Malina Newman by Malina Newman
Abstract
Lev Vygotsky, John Dewey, and Maria Montessori were three educational reformers who
believed in the importance of student driven education (Constructivism, 2024). This changed the
way teachers viewed traditional education. Student-centered learning offers numerous benefits
such as increased self determination, deeper internalization of knowledge, and stronger student
collaboration (Wis, 2007). There are also costs associated with student-centered learning such as
cognitive overload (Lasry et al., 2014) and classroom management issues that can lead to chaos
and confusion (S. Cunanan, personal communication, March 16, 2021). This project described
which student-centered strategies are most effective in ensemble-based classrooms, when to use
those strategies, and how often they should be implemented for optimal classroom management
and learning. The purpose of this project was to gather student-centered teaching strategies for
ensemble-based classrooms. Three interviews were conducted with an orchestra, band, and
choral director to learn about how they implement student-centered teaching in their ensembles.
Practical strategies and pedagogical ideas were collected from the Review of Literature,
interviews, and college courses for a Resource titled The Ultimate Student-Centered Resource for
Ensembles. This Resource has included four categories of student-centered teaching strategies:
Organizational Roles, Musical Administrative Roles, Musical Leadership Roles, and Pedagogy
in the show more Classroom. This is meant to be a living document; there are currently over 70 strategies. show less
Lev Vygotsky, John Dewey, and Maria Montessori were three educational reformers who
believed in the importance of student driven education (Constructivism, 2024). This changed the
way teachers viewed traditional education. Student-centered learning offers numerous benefits
such as increased self determination, deeper internalization of knowledge, and stronger student
collaboration (Wis, 2007). There are also costs associated with student-centered learning such as
cognitive overload (Lasry et al., 2014) and classroom management issues that can lead to chaos
and confusion (S. Cunanan, personal communication, March 16, 2021). This project described
which student-centered strategies are most effective in ensemble-based classrooms, when to use
those strategies, and how often they should be implemented for optimal classroom management
and learning. The purpose of this project was to gather student-centered teaching strategies for
ensemble-based classrooms. Three interviews were conducted with an orchestra, band, and
choral director to learn about how they implement student-centered teaching in their ensembles.
Practical strategies and pedagogical ideas were collected from the Review of Literature,
interviews, and college courses for a Resource titled The Ultimate Student-Centered Resource for
Ensembles. This Resource has included four categories of student-centered teaching strategies:
Organizational Roles, Musical Administrative Roles, Musical Leadership Roles, and Pedagogy
in the show more Classroom. This is meant to be a living document; there are currently over 70 strategies. show less
Abstract For this project, a beginning band Grade 0.5 piece titled “Rabbit Hop!” and supplemental teaching activities to accompany the piece were composed. The supplemental activities, focusing on rhythm, scales, intervals, and melody, are intended to serve as a guide for future compositions, whether the composer includes them or the educator writes them for their group. The Review of Literature section included the analysis of four different publisher and/or distributor guidelines, and the requirements for their lowest grade levels. The benefits of utilizing supplemental materials in a concert band setting, as well as strategies to implement those materials are also explored. Through an original composition, annotated score, and supplemental materials, this project sought to provide guidelines for educators to craft their own supplemental materials related to the music they will perform with their own ensembles. Students all progress at different rates, and through scaffolded supplemental materials, students can address skills that they specifically need to work on, while simultaneously providing enrichment opportunities, all while addressing key concepts present in the composition.
Abstract
The purpose of this project was to use sacred songs as the basis of a musical arrangement scored
for a collaborative Grades K–12 private Christian school performance that included a variety of
musical ensembles. Lessons covering relevant musical elements were then developed and taught
to help students prepare for the performance. Research provided guidelines for repertoire
selection and the creation of the arrangement, as well as teaching and assessment strategies. For
this project, an arrangement was created based on two hymns in the public domain, “Were You
There?” and “Christ the Lord Is Risen Today.” The arrangement in eight short movements, The
Light Returns at Last, was taught and then performed by students in Grades K–12 on band
instruments, handbells and handchimes, recorders, ukuleles, Orff mallet instruments, and
singing. Students and audience members completed surveys to provide feedback on their
experience with the arrangement, teaching and learning process, and performances. The majority
of both students (68%) and audience members (96%) indicated that they would like to perform
or attend a future performance that included similar school-wide collaboration.
The purpose of this project was to use sacred songs as the basis of a musical arrangement scored
for a collaborative Grades K–12 private Christian school performance that included a variety of
musical ensembles. Lessons covering relevant musical elements were then developed and taught
to help students prepare for the performance. Research provided guidelines for repertoire
selection and the creation of the arrangement, as well as teaching and assessment strategies. For
this project, an arrangement was created based on two hymns in the public domain, “Were You
There?” and “Christ the Lord Is Risen Today.” The arrangement in eight short movements, The
Light Returns at Last, was taught and then performed by students in Grades K–12 on band
instruments, handbells and handchimes, recorders, ukuleles, Orff mallet instruments, and
singing. Students and audience members completed surveys to provide feedback on their
experience with the arrangement, teaching and learning process, and performances. The majority
of both students (68%) and audience members (96%) indicated that they would like to perform
or attend a future performance that included similar school-wide collaboration.
Abstract
This project explored the various rhythm counting systems currently used in schools in order to
determine a possible best practice for the use of a unified system. An overview of the Orff, Harr,
Eastman, Kodály, Gordon, and Takadimi rhythm counting systems was explored, as well as the
benefits and shortcomings of each. Existing research comparing various rhythm counting
systems was also discussed and analyzed to seek trends. Nineteen elementary general music
teachers in a K–6 city school district completed a survey to collect data regarding rhythm
counting systems in use, as well as their thoughts on a district-wide unified rhythm counting
system. Responses showed a variety of rhythm counting systems used in the district, with the
Orff, Kodály, Gordon, and Harr systems being the most commonly utilized. Participants were
divided on thoughts of a district-wide unified rhythm counting system, with loss of teacher
choice and creativity being cited as the main reason against a unified system, and consistency for
transient students being cited as the main reason in support of a unified system. A common
conclusion from the existing research and survey results found that consistency during
instruction proved more effective than any single rhythm counting system.
This project explored the various rhythm counting systems currently used in schools in order to
determine a possible best practice for the use of a unified system. An overview of the Orff, Harr,
Eastman, Kodály, Gordon, and Takadimi rhythm counting systems was explored, as well as the
benefits and shortcomings of each. Existing research comparing various rhythm counting
systems was also discussed and analyzed to seek trends. Nineteen elementary general music
teachers in a K–6 city school district completed a survey to collect data regarding rhythm
counting systems in use, as well as their thoughts on a district-wide unified rhythm counting
system. Responses showed a variety of rhythm counting systems used in the district, with the
Orff, Kodály, Gordon, and Harr systems being the most commonly utilized. Participants were
divided on thoughts of a district-wide unified rhythm counting system, with loss of teacher
choice and creativity being cited as the main reason against a unified system, and consistency for
transient students being cited as the main reason in support of a unified system. A common
conclusion from the existing research and survey results found that consistency during
instruction proved more effective than any single rhythm counting system.
Abstract
This project examined the cultural, historical, and educational significance of ring play in The
Bahamas, focusing on its integration into the school curriculum. Ring play, a tradition rooted in
African heritage, combines communal singing, dancing, and improvisation, fostering social
interaction, creativity, and cultural pride. Historical practices, such as the Fire Dance, highlight
its connections to oral traditions and rhythm-based learning. The study explored the effectiveness
of a four-week unit centered on the song "Brown Girl in the Ring," incorporating pre- and
post-assessments to measure its impact on Grade 2 students’ engagement, cultural appreciation,
and musical development. Four interviews were conducted to gain vital cultural insight into the
impact of ring play games on Bahamian society and its impact on music education.
Results demonstrated that ring play enhances rhythm, melody, and collaboration, while
also deepening students’ understanding of Bahamian identity. Despite its value, the tradition
faces challenges from modernization and declining practice. Students' knowledge of ring play
games increased from 13% to 100%, and enjoyment of singing rose from 65% to 87%. The
findings underscore the importance of integrating culturally relevant teaching methods, showing
how ring play can preserve heritage and enrich music education in Bahamian schools
This project examined the cultural, historical, and educational significance of ring play in The
Bahamas, focusing on its integration into the school curriculum. Ring play, a tradition rooted in
African heritage, combines communal singing, dancing, and improvisation, fostering social
interaction, creativity, and cultural pride. Historical practices, such as the Fire Dance, highlight
its connections to oral traditions and rhythm-based learning. The study explored the effectiveness
of a four-week unit centered on the song "Brown Girl in the Ring," incorporating pre- and
post-assessments to measure its impact on Grade 2 students’ engagement, cultural appreciation,
and musical development. Four interviews were conducted to gain vital cultural insight into the
impact of ring play games on Bahamian society and its impact on music education.
Results demonstrated that ring play enhances rhythm, melody, and collaboration, while
also deepening students’ understanding of Bahamian identity. Despite its value, the tradition
faces challenges from modernization and declining practice. Students' knowledge of ring play
games increased from 13% to 100%, and enjoyment of singing rose from 65% to 87%. The
findings underscore the importance of integrating culturally relevant teaching methods, showing
how ring play can preserve heritage and enrich music education in Bahamian schools
Abstract
The purpose of this project was to create and test a handbook of warm-ups designed to prepare students for the physical demands of marching band. Marching band performance has evolved over time to include far more choreographic elements, which demand high physicality, introducing new risk for injuries due to overuse. This necessitates that directors familiarize themselves with effective dance instructional practices. However, many marching band directors lack formal training in dance, and available texts often overlook visual elements beyond basic marching mechanics. The handbook developed through the course of this project aimed to fill the gaps in directors’ knowledge of visual instruction. This handbook sought to create a common instructional language between the band and color guard in order to enhance uniformity and reduce injury risk. The handbook included exercises refined through testing and interviews with experts in the field of the marching arts. Implementation involved introducing basic movements and gradually increasing complexity throughout the 2024 marching season. Data were collected through feedback surveys from directors, staff, and students to assess the effectiveness of the exercises included in the warm up routine. After implementing the handbook, students reported increased confidence and understanding of choreography, leading to improved visual presentations in performances. These findings confirmed that incorporating dance fundamentals show more into marching band warm-ups can enhance visual skill acquisition, improve performance uniformity, and potentially reduce injury risk. show less
The purpose of this project was to create and test a handbook of warm-ups designed to prepare students for the physical demands of marching band. Marching band performance has evolved over time to include far more choreographic elements, which demand high physicality, introducing new risk for injuries due to overuse. This necessitates that directors familiarize themselves with effective dance instructional practices. However, many marching band directors lack formal training in dance, and available texts often overlook visual elements beyond basic marching mechanics. The handbook developed through the course of this project aimed to fill the gaps in directors’ knowledge of visual instruction. This handbook sought to create a common instructional language between the band and color guard in order to enhance uniformity and reduce injury risk. The handbook included exercises refined through testing and interviews with experts in the field of the marching arts. Implementation involved introducing basic movements and gradually increasing complexity throughout the 2024 marching season. Data were collected through feedback surveys from directors, staff, and students to assess the effectiveness of the exercises included in the warm up routine. After implementing the handbook, students reported increased confidence and understanding of choreography, leading to improved visual presentations in performances. These findings confirmed that incorporating dance fundamentals show more into marching band warm-ups can enhance visual skill acquisition, improve performance uniformity, and potentially reduce injury risk. show less
This Is Not Study Hall!: A Case Study Using “Assessment Systems” to Keep All Students Engaged During In-Person, Individual Playing Tests - Jim Pesek by Jim Pesek
Abstract
This project explored ways to keep all students engaged in learning during in-person, individual
playing assessments in a large ensemble class setting. These “Assessment Systems” are the
antithesis to the methods of just having a study hall or telling the students to find something quiet
to do. When students are not focused and engaged in music learning then behavior issues may
often start to arise, making running assessments more difficult for the teacher. Also,
administrators do not like to see students disengaged from learning during class time. The
Assessment Systems options are a win-win since it makes conducting live assessing quicker for
the teacher and makes testing time engaging for the student!
This study focused on the top three Assessment Systems as chosen by an eighth-grade
orchestra class. Throughout the 2024–2025 school year, the students explored various
music-related games to play during gamification, chose friends to practice with during
assessment groups, and worked collaboratively together during ensembles/sectionals. It was
discovered that, out of the nine Assessment Systems, students liked working in ensembles the
best, since they were able to choose who they worked with, and engagement was high due to the
final product being an ensemble concert near the end of the school year. Gamification was
successful when it involved Chromebooks and student input, but less successful when the games
were not as engaging. The Assessment System method has a lot of show more potential for teacher and
student success. With some creativity and student buy-in, the possibilities of using Assessment
Systems are endless! show less
This project explored ways to keep all students engaged in learning during in-person, individual
playing assessments in a large ensemble class setting. These “Assessment Systems” are the
antithesis to the methods of just having a study hall or telling the students to find something quiet
to do. When students are not focused and engaged in music learning then behavior issues may
often start to arise, making running assessments more difficult for the teacher. Also,
administrators do not like to see students disengaged from learning during class time. The
Assessment Systems options are a win-win since it makes conducting live assessing quicker for
the teacher and makes testing time engaging for the student!
This study focused on the top three Assessment Systems as chosen by an eighth-grade
orchestra class. Throughout the 2024–2025 school year, the students explored various
music-related games to play during gamification, chose friends to practice with during
assessment groups, and worked collaboratively together during ensembles/sectionals. It was
discovered that, out of the nine Assessment Systems, students liked working in ensembles the
best, since they were able to choose who they worked with, and engagement was high due to the
final product being an ensemble concert near the end of the school year. Gamification was
successful when it involved Chromebooks and student input, but less successful when the games
were not as engaging. The Assessment System method has a lot of show more potential for teacher and
student success. With some creativity and student buy-in, the possibilities of using Assessment
Systems are endless! show less
The Band Director’s Guide to Orchestra Repertoire: Understanding the Score - Caitlyn Frazee by Caitlyn Frazee
Abstract
Throughout the United States, orchestra classes are being taught by music educators with a variety of different backgrounds. The research in this project is geared towards non-string specialists teaching orchestra. The Review of Literature examined the history of orchestras in the United States, choosing appropriate music for young orchestras, and teaching technique. After obtaining the appropriate permissions and licensing, Medieval Kings (Newbold, 2010) and Gauntlet (Spata, 1999) were analyzed for string specific techniques and annotated. Two current orchestra teachers were interviewed about the importance of technique, strategies for teaching technique, helpful resources for non-string specialists, and potential challenges in the aforementioned scores. A resource guide, titled The Band Director’s Guide to Orchestra Repertoire: Understanding the Score, was created to encourage and assist non-string specialists with learning how to read orchestra score markings and identify potential technical challenges. The guide included five main sections: The Importance of Technique, Benefits of Score Study, Medieval Kings (Newbold, 2010), Gauntlet (Spata, 1999), and Resources.
Throughout the United States, orchestra classes are being taught by music educators with a variety of different backgrounds. The research in this project is geared towards non-string specialists teaching orchestra. The Review of Literature examined the history of orchestras in the United States, choosing appropriate music for young orchestras, and teaching technique. After obtaining the appropriate permissions and licensing, Medieval Kings (Newbold, 2010) and Gauntlet (Spata, 1999) were analyzed for string specific techniques and annotated. Two current orchestra teachers were interviewed about the importance of technique, strategies for teaching technique, helpful resources for non-string specialists, and potential challenges in the aforementioned scores. A resource guide, titled The Band Director’s Guide to Orchestra Repertoire: Understanding the Score, was created to encourage and assist non-string specialists with learning how to read orchestra score markings and identify potential technical challenges. The guide included five main sections: The Importance of Technique, Benefits of Score Study, Medieval Kings (Newbold, 2010), Gauntlet (Spata, 1999), and Resources.
Abstract
This project addressed the educational and logistical complexities of organizing large ensemble
music festivals by creating a comprehensive, peer-reviewed guide for music educators, booster
parents, and administrators. Drawing on historical and contemporary research, the Review of
Literature explored the contrasting educational benefits and drawbacks of competitive versus
non-competitive festival formats, logistics considerations, and historical context of school music festivals. A 96-page Guide for Large Instrumental Festivals was developed to equip users with tools such as planning timelines, budget templates, necessary forms, volunteer instructions, and clinician communication materials. Peer feedback from three experienced music festival organizers informed key revisions, improving clarity, accessibility, and professionalism.
Ultimately, the provided guide seeks to empower school communities to host festivals that
prioritize meaningful musical experiences for students, while also fostering collaboration and
professional development among educators.
This project addressed the educational and logistical complexities of organizing large ensemble
music festivals by creating a comprehensive, peer-reviewed guide for music educators, booster
parents, and administrators. Drawing on historical and contemporary research, the Review of
Literature explored the contrasting educational benefits and drawbacks of competitive versus
non-competitive festival formats, logistics considerations, and historical context of school music festivals. A 96-page Guide for Large Instrumental Festivals was developed to equip users with tools such as planning timelines, budget templates, necessary forms, volunteer instructions, and clinician communication materials. Peer feedback from three experienced music festival organizers informed key revisions, improving clarity, accessibility, and professionalism.
Ultimately, the provided guide seeks to empower school communities to host festivals that
prioritize meaningful musical experiences for students, while also fostering collaboration and
professional development among educators.
The Impact of Social and Emotional Learning Using the Narwhals and Waterfalls Curriculum in the Second Grade General Music Classroom by Olivia Bogacz
Abstract
Disruptive and aggressive behaviors in music classrooms and other academic settings pose
significant challenges worldwide (Al-Raqqad et al., 2017; Edgar, 2017). Teachers struggling with
student aggression and classroom safety are increasingly adopting social and emotional learning
(SEL) programs in their classrooms. Elementary music education, in particular, provides
valuable opportunities for students to gain SEL skills through structured lessons and spontaneous
interactions (Jacobi, 2012). The goal of this project was to study the types of SEL activities that
can be used in the music classroom, along with their correlation to the development of skills in
emotional identification and recognition, emotional management and regulation, and respectful
and empathetic communication. Twelve SEL lessons, divided into three mini-units, were
inspired, adapted, and modified from the Narwhals and Waterfalls SEL Core Curriculum (2023b)
for the second-grade general music classroom. Mini-Unit One focused on building skills in
identifying and recognizing emotions; Mini-Unit Two focused on building skills in managing
and regulating emotions; and Mini-Unit Three focused on building skills in communicating
respectfully and empathetically with peers. A total of 19 students from two 2nd-grade music
classes participated in the study. Student work samples, questionnaires, and a personal journal
were used to provide data for the research. Results from student work samples and questionnaire
data showed show more that students gained the SEL knowledge and skills that each mini-unit focused on.
Overall, students responded positively to the SEL lessons, activity sheets, and questionnaires,
although some students wished more time was spent on music songs and games rather than
worksheets. show less
Disruptive and aggressive behaviors in music classrooms and other academic settings pose
significant challenges worldwide (Al-Raqqad et al., 2017; Edgar, 2017). Teachers struggling with
student aggression and classroom safety are increasingly adopting social and emotional learning
(SEL) programs in their classrooms. Elementary music education, in particular, provides
valuable opportunities for students to gain SEL skills through structured lessons and spontaneous
interactions (Jacobi, 2012). The goal of this project was to study the types of SEL activities that
can be used in the music classroom, along with their correlation to the development of skills in
emotional identification and recognition, emotional management and regulation, and respectful
and empathetic communication. Twelve SEL lessons, divided into three mini-units, were
inspired, adapted, and modified from the Narwhals and Waterfalls SEL Core Curriculum (2023b)
for the second-grade general music classroom. Mini-Unit One focused on building skills in
identifying and recognizing emotions; Mini-Unit Two focused on building skills in managing
and regulating emotions; and Mini-Unit Three focused on building skills in communicating
respectfully and empathetically with peers. A total of 19 students from two 2nd-grade music
classes participated in the study. Student work samples, questionnaires, and a personal journal
were used to provide data for the research. Results from student work samples and questionnaire
data showed show more that students gained the SEL knowledge and skills that each mini-unit focused on.
Overall, students responded positively to the SEL lessons, activity sheets, and questionnaires,
although some students wished more time was spent on music songs and games rather than
worksheets. show less
Choral Tone Production Through Effective Warm-Ups in the Secondary Treble Choral Classroom by Michael Snyder
Abstract
This project sought to research vocal technique and warm-ups that led to building choral
tone. To accomplish this, a curriculum of seven warm-up exercises was created and were
examined using surveys, student reflections, student teacher reflections, and teacher reflections
on each exercise. The questions asked about the warm-ups included identifying the benefits of
the exercise; how the exercises impacted students as an individual and as a group, if the warm-up
created tension and to identify where it was located, something that was liked, disliked, or
misunderstood about the exercise. A framework was developed to assess choral warm-ups
which identified elements of choral tone as posture and body alignment, breathing and breath
control, diction, range extension, phonation, vowel modification or vowel placement. The
culmination of the project was the development of a curriculum, resources for choral warm-ups,
and a framework for teaching elements of choral tone.
This project sought to research vocal technique and warm-ups that led to building choral
tone. To accomplish this, a curriculum of seven warm-up exercises was created and were
examined using surveys, student reflections, student teacher reflections, and teacher reflections
on each exercise. The questions asked about the warm-ups included identifying the benefits of
the exercise; how the exercises impacted students as an individual and as a group, if the warm-up
created tension and to identify where it was located, something that was liked, disliked, or
misunderstood about the exercise. A framework was developed to assess choral warm-ups
which identified elements of choral tone as posture and body alignment, breathing and breath
control, diction, range extension, phonation, vowel modification or vowel placement. The
culmination of the project was the development of a curriculum, resources for choral warm-ups,
and a framework for teaching elements of choral tone.
Abstract
The purpose of this study was to examine instrumental music teachers’ perceptions of
factors impacting equitable access to their programs and what practices they use to influence
student access positively. Semi-structured interviews with open-ended questions were conducted
with three Chicago-area instrumental music teachers to inquire about their perceptions and
practices toward equitable access in four subcategories: (a) enrollment, (b) retention, (c)
community engagement, and (d) advocacy. Responses were analyzed and coded for prevalent
themes. Results from this analysis suggested that teachers perceived various factors that impact
access to their program, which were previously noted in the relevant literature, including
socioeconomic status and scheduling. Other factors, such as feeling connected to the program
and perceptions of success, emerged. Results also suggested the most prevalent practices among
the participants focused on the immediate level of influence. Their responses indicated they had
greater insight into enrollment and retention than community engagement and advocacy. These
findings may impact educators and develop methods to eliminate barriers to access to music
programs.
The purpose of this study was to examine instrumental music teachers’ perceptions of
factors impacting equitable access to their programs and what practices they use to influence
student access positively. Semi-structured interviews with open-ended questions were conducted
with three Chicago-area instrumental music teachers to inquire about their perceptions and
practices toward equitable access in four subcategories: (a) enrollment, (b) retention, (c)
community engagement, and (d) advocacy. Responses were analyzed and coded for prevalent
themes. Results from this analysis suggested that teachers perceived various factors that impact
access to their program, which were previously noted in the relevant literature, including
socioeconomic status and scheduling. Other factors, such as feeling connected to the program
and perceptions of success, emerged. Results also suggested the most prevalent practices among
the participants focused on the immediate level of influence. Their responses indicated they had
greater insight into enrollment and retention than community engagement and advocacy. These
findings may impact educators and develop methods to eliminate barriers to access to music
programs.
Abstract
This project aimed to research and discover resources that informed best practices for teaching
Black gospel choral music with authenticity and care. It involved a review of related literature
and analysis of various sources on Black gospel music. Key elements for authentic gospel music
included complex rhythms, improvisation, call-and-response patterns, and emotive expression.
Challenges in teaching gospel music, such as lack of familiarity and cultural sensitivity, were
addressed through strategies like culturally responsive teaching and engaging with community
stakeholders within the genre's culture. By incorporating the identified musical and performance
elements, addressing teaching challenges, and implementing the recommended practices,
educators could enhance their choral programs' authenticity and cultural responsiveness,
ultimately enriching students' musical experiences and fostering a deeper appreciation for Black
gospel music. This project provided practical guidelines for teaching gospel music with
authenticity and care, ensuring its heritage was honored and preserved.
This project aimed to research and discover resources that informed best practices for teaching
Black gospel choral music with authenticity and care. It involved a review of related literature
and analysis of various sources on Black gospel music. Key elements for authentic gospel music
included complex rhythms, improvisation, call-and-response patterns, and emotive expression.
Challenges in teaching gospel music, such as lack of familiarity and cultural sensitivity, were
addressed through strategies like culturally responsive teaching and engaging with community
stakeholders within the genre's culture. By incorporating the identified musical and performance
elements, addressing teaching challenges, and implementing the recommended practices,
educators could enhance their choral programs' authenticity and cultural responsiveness,
ultimately enriching students' musical experiences and fostering a deeper appreciation for Black
gospel music. This project provided practical guidelines for teaching gospel music with
authenticity and care, ensuring its heritage was honored and preserved.
Abstract The purpose of this project was to investigate the historical and lived experiences of female high school band directors. In order to achieve this, historical research was conducted on both the foundations of the wind band in America as well as women’s involvement in wind band throughout the course of American history. Simultaneously, interviews were conducted with six well-established female band directors from varying backgrounds and experiences. The following themes arose and were consistent between the historical research and interviews: (1) Mentors, (2) Hiring, (3) Struggles in the Workplace, (4) Parenting and Motherhood. Based on the results of the analyzed research and interviews, it could be concluded that the experiences of the woman band director is tenuous, but progress is being made in the right direction. This study is important to shed light on the inequities that have existed and continue to exist between the male and female band director