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Graduate

Master of Music in Music Education (Summer)

Department of Music Education

The Master of Music Education Summer program is a unique, three summer program geared towards the needs of the professional music educator.
Designed for the professional music educator who wishes to return to the university for immersion in university coursework during summer semesters only. This program interweaves research and practice, leading students to reflect on and apply knowledge and experiences from coursework to their teaching. Applicants must possess a bachelor’s degree in music education or its equivalent and have two years of full-time teaching experience in elementary or secondary education.
 

Curriculum

The Master of Music in Music Education requires a minimum of 30 credits. The department offers an academic year or summers only option that can be completed in three summer terms of five weeks. Coursework to include:

  • Studies in Music Education
  • Music Theory, Musicology, Ethnomusicology, Jazz, and/or Composition
  • Non-Music Education SMTD elective

Workshops may be taken as part of the Master of Music in Music Education degree program, for Summer graduate credit (NCFD) or for professional development without college credit.  See individual workshop websites for details.

Final Presentation or Thesis

The Final Presentation affords the student an opportunity to examine three different areas of scholarship and create an oral presentation based on his/her work. The presentation will include a handout with references but no extended paper is required.

The Thesis provides the opportunity for the student to conduct original research on a topic of his/her choosing under the guidance of a faculty mentor. It includes a proposal meeting at the beginning of the project and a final defense of the research report at the end of the study.

For requirement details, please see the Degree Requirements and Term-by-Term Layout.

 

Workshops may be taken as part of the Master of Music in Music Education degree program, for Summer graduate credit (NCFD) or for professional development without college credit.  See individual workshop websites for details.

The dates for the Summer Masters Program are June 25 – July 27.

Music Theory Review (MUSED 407)
John Kneeler, University of Michigan
M/T/W/TH 8 a.m. to 8:50 a.m.
Moore 2058
This course is designed to help students review and renew their knowledge in the area of music theory.

Research Design in Music Education (MUSED 500)
Colleen Conway, University of Michigan
T/TH 9 a.m. to 1 p.m.
Moore 2058
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

Psychology of Music Teaching and Learning (MUSED 501)
Michael Hopkins, University of Michigan
M/W 9 a.m. to 1 p.m.
Moore 2044
Study of the psychological foundations of music teaching and learning, including perception, motivation, creative and critical thinking, and musical development.

History and Philosophy of Music Education (MUSED 502)
Carlos Xavier Rodriguez, University of Michigan
T/Th 9 a.m. to 1 p.m.
Moore 2044
Study of music’s role in society and education from historical and philosophical perspectives.

Teaching and Learning in the Arts (MUSED 503)
Kate Fitzpatrick, University of Michigan
M/W 9 a.m. to 1 p.m.
Moore 2058
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.

Introduction to World Music for Music Educators (MUSICOL 505)
Christi-Anne Castro, University of Michigan
T/TH 9 a.m. to 1 p.m.
Moore 2038
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.

Reflections of Gender and Sexual Identity in Popular Music (THEORY 560)
Karen Fournier, University of Michigan
M/W 9 a.m. to 1 p.m.
Moore 2038
While most music 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, for example, 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 contributed to changing attitudes about gender and, relatedly, about sexual identity over the past five decades. In the case of gender, we will examine how the second- and third-wave feminist movements of the 1960s and 1990s opened new roles to female musicians in the construction of popular culture, and how some of these musicians, in turn, used their fame to push the boundaries faced by women even further. Notably, this portion of our discussion will look at the impact of such female icons as Siouxsie Sioux, Madonna, Alanis Morissette, and Lady Gaga on existing limitations placed upon women by the music industry and by society more broadly. In tandem with our discussion of music and gender, we will also examine how the notion of sexual identity was challenged and problematized by popular musicians in the wake of the 1969 Stonewall riots, the rise of gay activism in the 1970s, and the AIDS crisis of the 1980s. Here, we will look at the trend in popular culture towards alternative forms of gender performance, embodied by such artists as Boy George, Annie Lennox, k.d. lang, and Genesis P-Orridge. 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.

Please note: Workshops designated with an * asterisk are run by the department of Youth and Adult Community Programs. Registration information on the individual workshop pages.

PRE-SUMMER SESSION WORKSHOPS

Band Conducting and Pedagogy Workshop* (CONDUCT 507.035)
June 17 – June 22
Michael Haithcock, Jerry Schweibert, Courtney Snyder,& John Pasquale, University of Michigan
Note: The “conducting” track for this workshop requires early registration and submission of a video application before April 1st. After this deadline, students may enroll as “observers” only, participating in sessions and the Wind Band, but not conducting for feedback.

String Educators Workshop (MUSED 504.201)
June 21 – June 23
Michael Hopkins, University of Michigan and Bob Phillips

SUMMER SESSION WORKSHOPS

Turning Basic Conducting into Expressive Conducting (MUSED 505.201)
WEEK 1  June 25 – June 29
Julie Skadsem, University of Michigan

African Drumming and Dance (MUSED 505.202)
WEEK 2  July 2 – July 6
Sowah Mensah, Macalester College, University of St. Thomas, University of Minnesota

Choral Conducting Symposium* (CONDUCT 507.412)
WEEK 3  July 9 – July 13
Eugene Rogers and Julie Skadsem, University of Michigan

Teaching Students with Special Needs (MUSED 505.203)
WEEK 3 July 9 – July 13
Ryan Hourigan, Ball State University

Teaching Woodwinds and Brass in the Ensemble Setting (MUSED 505.204)
WEEK 4  July 16 – July 20
Colleen Conway, University of Michigan

How To Apply

Applicants must:

  • apply to U-M via the SMTD Graduate Application by February 5
  • Submit an SMTD Artistic Profile by February 5
  • Have all supplemental materials sent to SMTD

Click “Apply Now” below to read more detailed information about the application, pre-screening, and interview requirements and procedures.

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