MUED 376: Choral Music, Materials & Techniques (M2 & T)

A. 1a. WORKSHEET: Madsen- Research-A Personal Perspective

What are the influences of family or lack of family participation in our music programs? When do children begin to come to know
music, and when do they start to make meaningful connections between music and their separate experiences? What are the changing
social and familial contingencies that make a child want to participate or not participate in our music programs or to change their
participation? When is the best time to start various music activities? When and how do we get every child involved in music and,
much more important, how do we ensure keeping each child with us? How might we best use technology to capture and hold student
interest and to teach students? How do we get them through the difficult years? Is it appropriate for fast fingering and loud notes to
prevail, if but for a short time? What are the relationships between a child's needs at different times? Why do children accept or reject
"our" music as opposed to theirs? How do we equip them so that as adults they have their own personal relationship with music and a
firmly developed desire for lifelong involvement?

“Developing a research perspective starts from our own experience.” C. Madsen

1. Early Childhood Experiences: What were some of your pivotal early childhood
music experiences and what research questions stem from them?

I took piano lessons from a very young age and my oldest sister took violin lessons when
I was very little. When I listened to her lessons (the teacher would come to our house), it
seemed that the teacher was very strict with what was and wasn’t acceptable for this level
of music. It would be interesting to me to see if there is a difference in how generations
perceive what is “acceptable” in music.

2. Elementary School Experiences: What research questions do you have that stem from
early elementary school experiences in music?

What is the experience you had that led you to this question? How do you incorporate
bigger musical ideas into an elementary school choir rather than just doing concerts?

3. Middle School Experiences: What were some of your pivotal middle school
music experiences and what research questions stem from them?

In middle school, we had one final concert where groups of students sang pop songs.
How can we bring VA SOL standards into pop music? Does using current repertoire (as
in pop songs) more effectively communicate large concepts?

4. High School Experiences: What research questions do you have that stem from
high school experiences in music?

How can I set up my classroom to be effective even when students aren’t actively paying
attention to what I’m saying? What is the most beneficial class to add to a high school
curriculum? (uke, guitar, piano…etc.)

5. Undergraduate Experiences: What research questions do you have that stem from
your undergraduate music experiences?

What mechanical/chemical brain processes happen when we listen to music as a healing

tool? Is there a way to change brain chemistry through music? What types of music are
most effective at reducing the symptoms of common mental illnesses such as depression
and anxiety? What sections of a non-neurotypical brain are activated when someone
listens to music?
6. Music Job Experiences: What research questions do you have that stem jobs you
may have already had in music?

How do you effectively organize a choral library?

7. Pre-teaching Experiences: What research questions do you have that stem from pre-
teaching experiences (camps, practica, etc.) in music?

How do you teach successfully (success defined as reciprocal trust from

students/emotional/mental growth) when there is a limited amount of time?