MME Reflection Paper

Victoria A. Davenport

Department of Music Education, Northern State University

Master of Music Education

July 11, 2022

This course broadened my understanding of what jazz music encompasses. I had not

realized that my experience with jazz music was really just a small part of jazz. I was

exposed to the many different styles within jazz music, as well at its history and famous

jazz composers and performers. One way that I see this course improving my teaching

was with the articulation. Practicing reading and inserting appropriate dynamics can help

me when teaching jazz pieces to my students. Articulation is especially important in jazz

music, as it can change the feel and intent of the written music. I was also challenged to

listen more closely and pick apart the many elements of music. The level with which I

was challenged to analyze the music reflected the high level of thinking used throughout

this program. In a similar way, I hope to challenge my students’ level of listening when

sharing music and providing listening activities.

MUS 772 Research in Music Education

Through this course, I was able to experience my own personal growth and understanding

of research. Among my colleagues there were many different levels of teaching positions.

I appreciated the various perspectives and experiences shared through the discussions. I

learned that research studies need to be focused on a specific area, and not too broad.

Going into my research project, I realized how true that was, in order to bring about more

trusted and accurate research.

I enjoyed learning from the articles I read for my research. While I might not pursue

reading research articles on my own, I learned about some current studies and topics in

relation to music and education. The most influential reading was the article, “Situational

Interest of Fourth-Grade Children in Music at School” by Roberts (2015). I took away so

own lessons. Novelty, one of the areas of student interest, is one that I now think about

often. When I assign instruments to students, I often give them a choice. I have found that

the majority of students pick instruments that are new to them, instead of ones they had

played before. This example brought further proof to me that novelty is so important to

students, and can influence how students feel about music class.

MUS 735 American Music Survey

This course helped me to gain a deeper understanding of American music. Throughout

the United States history, music has greatly been affected by social and political events. I

was able to see ways in which music has changed and adjusted to fit the culture and

society of its time. The discussion of teaching cultivated music versus vernacular music

was an intriguing one. Cultivated music was described as music that Americans had to

cultivate consciously, such as classical music. Vernacular music, however, is native

music that is understood and appreciated for its utilitarian and entertainment value. I

believe that both types have value on their own, and a place within the music education

classroom. Stephen Foster, a patriotic composer, was explored, and discussed. Many of

his songs were used in minstrel shows, and have ties to racism and oppression. While his

songs were written or performed in minstrel shows, the intent and lyrics of his pieces

often are not in and of themselves oppressive or racist. Having discernment with using

songs of any time is essential. I continue to be mindful, sensitive, and open to removing

music from my classes that may contain racism or oppression.

In this course, I gained a deeper understanding of learning theories and how they connect

with learning music. This course caused me to pause, and reflect on my teaching because

of the knowledge I gained. I am looking forward to the opportunities to incorporate

changes in my classes, and continue to focus on how students learn music. I was first

introduced to music learning theory in this course, and the theory has greatly impacted

how I teach.

Another aspect I really appreciated about this course was gaining an overview of the

history of music education in the United States. I had never considered the development

of music education in the U.S. before. It has changed over the years, but I am happy to

see where it is today compared to where it started. I also appreciated seeing the power

that music has with the brain, as we watched videos of individuals who have been

affected by brain trauma or disease. Music can have a powerful influence over the brain.

MUS 751 Advanced Conducting, Performance Practice and Literature

This semester of conducting extended beyond much of my undergrad experience with

conducting. When I learned how to conduct at the undergrad level, my experience and

exposure was rudimentary. It gave me the foundation of conducting patterns, preparing

cues and cut-offs, and showing dynamics, but was limited in musical expression.

Advanced Conducting introduced me to the idea that conducting does not have to remain

in the narrow box that I thought it had to fit in. I learned that the left hand can show so

much more than just entrances and cut-offs. This course grew my understanding of

conducting, and expanded how I show musical elements through my conducting.

This was an exciting course that challenged me to explore types of technology I was

unfamiliar with. I explored new technology sites and tools within them, such as

MuseScore, Audacity, and SmartMusic. Not only did I complete assignments learning

how to use these programs, but I also learned ways to extract sounds, record my own

parts, and edit recorded tracks. I was impressed with the exposure this course provided

me to try new technology. I was familiar with some aspects of using technology in my

classes, but this opened my eyes to see other programs available. I had a large learning

curve when it came to working with Audacity, but I saw how helpful it could be as a

music educator. I look forward to using it in the future to record accompaniment parts,

and singing or speaking parts for performances.

MUS 715 Music Theory Analysis for the Educator

This course built off the fundamentals of music theory that I learned in undergrad. I was

challenged to search for music theory elements in music that I use with my elementary

students. Some of the elements I found included major scales, minor scales, changing key

signatures, modes, chordal analysis, cadences, and form analysis. For my final project, I

wrote a 2-part lesson for my 5th graders. I challenged students to learn about theme and

variation, and create their own variations of the song, “Twinkle Twinkle.” When I gave

this lesson to students later in the year, students were able to explicitly share musical

elements of how music can change. They put those thoughts into practice when they

created their variations of the song, and shared them with the class. The semester ended

with a final assessment that tested my knowledge and understanding of music theory

learned throughout the semester.

This course was impactful in refining my own personal philosophy, and identifying what

factors are most important to me. I believe an educator’s philosophy is the foundation

from which they will create meaningful lessons and connections. What is the purpose of

music education? Who it is for? What should music education should look like? These

were three essential questions I strived to answer in forming my own philosophy of music

education. I share the summarizing of my personal findings.

I believe that music education is a means to develop learners into respectful and mature

social and emotional individuals. It is important to create cultural musical connections

both within our culture and outside of it. Music education requires learners to be active

participants in their own learning. Music education is for all people, with no limitations

of who is capable or deserving of learning. Dewey (1932) believed that education should

function to improve individuals’ abilities to contribute to society. I similarly believe

that the purpose of music education is to teach musical skills and concepts to develop

the whole child.

MUS 766 School Music Administration

This course helped me to understand aspects of administration that connect with teaching

elementary music. I created a budget, mission statement, and detailed schedule outline of

the school year. While these documents are complete now, they are working documents

and will continue to change and grow each year. The text for the course included “The

Evolution of a Successful Band Director,” and “Habits of a Successful band Director” by

Scott Rush. While both books were written for band directors, there were many relevant

aspects that could be applied to teaching music of any level. I was part of a group
 research project that explored the dynamics of writing a music curriculum. My group

outlined essentials for music educators working on this endeavor. I currently work in a

large district, and found it fascinating to see the many roles and work that are necessary

to establish before starting the music curriculum writing process. It can involve

administration, educators from multiple areas (grade levels, special education), and

community members. When approaching a new curriculum in a large district, planning

methodically is essential for its successful implementation.

MUS 785 General Music Pedagogy

This course has proved to be eye opening and practical when approaching my own

planning and application of teaching methods. This semester looked at Orff, Kodaly,

Dalcroze, and Suzuki through the lenses of Music Learning Theory. Looking side-by-

side at the methods through the perspective and understanding of MLT allowed me to

see the strengths within each method. Although I was familiar with some music

education methods, I gained a broader understanding and historical background for the

methods. Knowing where the methods began was helpful in understanding its purpose

more. For example, the Dalcroze method with movement and “feel” started because

students were lacking the ability to feel music in their body, greatly decreasing their

understanding of music. Orff first started with teaching adults dance. While the

purpose and mission of the methods may have changed from when they first started,

their foundation has value in application.

I appreciated looking at the methods and applying them in lesson plans. It challenged

me to teach concepts and objectives in ways I had not done before. I have some really

exciting lessons that came from the course project, and have already seen a lot of
 success when teaching them. While I might not apply all the methods in the future, I

feel more comfortable and confident with them. I also looked at my previous lessons

and curriculum as a whole and saw some missing aspects, like movement and dancing

for all ages. I realized I have some really great lessons and units with certain grades,

but others miss out on learning opportunities to move their bodies to music. I look

forward to planning lessons next year with a broader understanding of how students

learn.

MUS 752 Advanced Rehearsal Techniques and Pedagogy

This course helped me to feel more successful as a music conductor. While it was my

second semester working on conducting in the graduate program, this semester in

particular helped to solidify skills and techniques to successfully lead a choir. I do not

currently have a choir, but I anticipate using more aspects of conducting with my

elementary students. I learned that vocal warm-ups are essential for all ages. That is

something I look forward to including with each grade level. Preparing young students

for successful singing in choir down the road starts in the elementary general music

room. I found that there are many fun, and engaging warm-ups to use even with the

youngest students. Prior to this course, I had not looked too closely at children’s vocal

warm-ups, aside from vocal exploration and call and response songs. Now, I know that

there are many fun warm-ups that teach vocal techniques, such as breathing, posture,

head voice, dynamics, and more. I believe that teaching children to sing is a primary

objective in elementary general music. By including vocal warm-ups in each lesson, I

prepare and guide students to successfully achieve that goal.

Having this course in my last semester was a perfect summation of what I have learned

the last two years. I was able to reflect on the courses, and how my teaching has changed.

The curriculum project incorporated my psychology, and philosophy into my teaching.

MLT was brand new to me when starting the program, and intentionally weaving the

theory throughout my curriculum reminded me of how much I have grown in my

understanding of how students learn music. While I had hoped to create an in-depth

pacing guide for all the grades I teach, by starting with just 1st grade, I am able to

thoughtfully and intentionally add on each year. I look forward to continuing my learning

of MLT with further trainings.

Dewey, John. (1932). Democracy and education: An introduction to the philosophy of education.

New York: Macmillan.