2021 Course and Workshop Offerings
Program dates: June 28-July 29, 2021
2021 courses will be posted later in the 2020-2021 school year.
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MUSED 407: Music Theory Review
John Knoedler, University of Michigan
M-Th 8:00-8:50 AM
This course is designed to help students review and renew their knowledge in the area of music theory.
MUSED 500: Educational Research in the Arts
Colleen Conway, University of Michigan
Study of the music education research literature with an emphasis on framing research problems and evaluating research studies from a wide range of research traditions.
MUSED 501: Psychology of Music Teaching and Learning
Colleen Conway, University of Michigan
Study of the psychological foundations of music teaching and learning, including perception, motivation, creative and critical thinking, and musical development.
MUSED 502: Music, Society, and Education
Carlos Rodriguez, University of Michigan
Study of music’s role in society and education from historical and philosophical perspectives.
MUSED 503: Teaching and Learning in the Arts
Kate Fitzpatrick, University of Michigan
Draws upon related foundational disciplines such as history, philosophy, psychology, sociology, and educational policy studies to examine what is taught and learned in music
classrooms. Topics relate to contemporary teaching and learning models, curricular innovations, and strategies for assessment in music education.
MUSICOL 505: Introduction to World Music for Music Educators
Christi-Anne Castro, University of Michigan
The basic premise of this course is to explore, discuss, and debate the merits of a multitude In a time when our students have high technical literacy with new media, their connections to the rest of the world are manifold. At the same time, U.S. school curricula place relatively little emphasis on global literacy. This introductory survey begins to address the issue by helping teachers to use music as a point of access to a variety of performance expressions situated within cultural and historical contexts. The course will sample from different world music textbooks in order to cover select genres and artists from Latin America, the Middle East, Africa, South Asia, Southeast Asia, and East Asia. For their final projects, students will create customized lesson plans for use in their own classrooms.
THEORY 560: Representations of Identity and Intersectionality in Popular Music
Karen Fournier, University of Michigan
While most scholars agree that music reflects the particular time and place from which it originates, some would go so far as to argue that, in some circumstances, music can also act as the driving force behind shifts in social mores and attitudes. Scholars of popular music point to the role played by music in such events as the civil rights and anti-war movements as examples of its power to enact social change. In this course, we will examine how popular music has challenged (and sometimes reinforced) existing attitudes about personal identity over the past five decades through its myriad representations of gender, sexuality, race, culture, aging, disability, and so on. Our discussions will be intersectional in nature and will examine, for example, how gendered identities (and gendered oppression) are experienced differently according to race or how racial identities (and racial oppression) is altered or amplified when sexuality identity is added to the mix. Readings chosen from the popular-music literature will help to construct each identity and to frame its intersections with other identities from a scholarly point of view. We will extrapolate our findings to music education and will discuss the impact of popular representations (or non-representations) of various identities on students as they begin to forge their own identities. Students will also be asked to select an artist, song, or genre for close study as this contributes to our understanding of intersectionality. At the heart of the class is the question of how music can effect social change – a topic that will be of interest to music educators who hope to connect music to the student’s broader cultural experience.
Pre-Summer Session Workshops
(Register also with Youth and Adult Workshops)
June 14-19, 2020
Michael Haithcock with Courtney Snyder, John Pasquale, and Jerald Schweibert, University of Michigan
Note: The “conducting” track for this workshop requires early registration – if you wish to apply for this track, please do so as early as possible.
This workshop is run by the Youth and Adult Programs Office, but also may be taken for credit within the Summer MM program. For more information, please see the link in the workshop title above, or contact the Engagement & Outreach Office at firstname.lastname@example.org or 734-936-2660. **The conducting workshop application includes a checkbox to indicate if you are a summer masters student. Please make sure you check this. You do NOT need to pay the application or tuition fee for this workshop if you are a summer masters student.**
Register for the String Educators Workshop
June 18-20, 2020
Michael Hopkins, University of Michigan; Stephen Benham, Duquesne University; Valerie M. Palmieri, Adrian College; Abby Alwin, and Molly Baugh
Summer Session Workshops
Artistic Leader vs. Pedagogue: Examining the Two Musical Roles of the Instrumental Music Teacher
John Pasquale, University of Michigan
June 22-June 26, 2020
The ultimate goal of ensemble performance, at any age, is to achieve maximum artistry. The most informed artistic performances require a delicate balance of musicianship and technical precision from both the conductor and performers. Often, this intersection of art and pedagogy is assumed as an innate skill, when in reality it is not. Likewise, it is assumed that age, ability level or genre make this intersection unachievable because of relaxed standards. Quite simply, all ensembles (beginning through collegiate wind ensembles, concert bands, marching bands, jazz bands, chamber winds, etc.) can achieve the highest level of artistry. This workshop will present a detailed curricular approach, applicable at all ages, ability levels, and genres, to achieve maximum artistry through technical instruction. We will use The Directed Listening Model™, an artistic framework that:
- Defines the subject matter of ensemble pedagogy using a codified vocabulary
- Provides a specific process in which to deconstruct and aurally analyze live ensemble sound
- Enables conductors to evaluate and address instrumental pedagogy in rehearsal settings
- Enables maximum artistry within rehearsal and performance
Musical Theatre for Music Educators: The Art of Conducting the Pit Orchestra and Facilitating Vocal Health
Catherine A. Walker, University of Michigan
June 29-July 3, 2020
This workshop is geared toward music educators who are presented the challenge of producing a full-scale musical. Preparing and conducting a musical presents particular challenges to both the music educator and the student. Explore the specifics of preparing a pit orchestra such as: reducing orchestrations, negotiating reed doublings, the use of professional ringers, handwritten scores, making cuts and changes, and dealing with the musical challenges. In addition, there will be an overview of appropriate vocal health strategies useful for both teacher and student.
Mindfulness in Music Teaching and Learning
Dr. Frank M. Diaz, Indiana University and Director of the Institute for Mindfulness-Based Wellness and Pedagogy
July 13-17, 2020
In this workshop, we will explore how mindfulness can benefit you in personal, interpersonal, artistic, and educational settings. We will learn about mindfulness through readings, discussions, and through engaging in selected group and individual practices. This workshop is geared toward educators in K-12, private studio, and collegiate settings. Participants will gain a practical understanding of the scientific and philosophical foundations of mindfulness and develop strategies for applying these strategies in classroom and studio settings.