<p> This collaborative inquiry case study investigated a pre-existing peer learning group composed of five Korean college voice students and a non-musician facilitator. The group was chosen for this research to understand the implications of a diversified learning context in addition to the typical master-apprenticeship context of higher music education. The main activity for this peer learning group was researching literature related to classical vocal music along with presenting a performance project. This performance was in connection to their learning, and the chosen theme was a musical autobiography. Data were collected during the performance project process that included participant observations, interviews, and artifacts. The peer group's learning experiences and how this process influenced their behaviors, attitudes, and performance, and the role of the facilitator were content analyzed and reported. Results revealed that the students' intense meaning making process included mutual communication, cooperative interaction, enhanced motivation with group cohesion, and a sense of autonomy in their music learning. The autobiographic aspects of each member's life as a musician proved to be transformative in their learning and positively influenced their identity development as musicians. Careful intervention regarding individual differences was found to be an important consideration. The role of the non-musician facilitator aided group development with a contrasting perspective, allowing for positive support to the individuals, and suggestions for long-term goals regarding pedagogical aspects despite his lack of a music background. Challenges of the peer learning group included a lack of available learning resources, time intensiveness of the process, and a lack of continuity with few consistent acknowledged goals. </p><p> This study illuminated the need to reflect on diverse learning contexts in addition to the traditional master-apprentice dyad in order to enhance students' initiatives in their learning process; allow for opportunities for the formation of their musical identities; and to encourage a facilitator role for the master teachers. Future research is recommended to replicate peer learning among diverse musicians and to focus further on autobiographic learning in addition to online learning opportunities. Continuous innovation in the learning process in higher music education will empower future musicians to be creative meaning makers and lifelong learners.</p>

<p> This study examines the music programs in liberal arts colleges through the historical lens of three Catholic Universities in the state of Florida. Although there are numerous historical dissertations and theses written about individual music schools and departments, and a few that compare music programs in similar types of institutions, none have compared music programs in Catholic universities within the same state. After teaching at Saint Leo University and experiencing the process of rebuilding a music program after it was almost completely lost in the mid-1990s, I wanted to study the histories of Saint Leo and other Florida Catholic institutions that have struggled through similar circumstances, but with very different outcomes.</p><p> I examined each music program through interviews with past and current faculty, administrators, and students; archival documents; published histories; school newspapers and yearbooks; and local newspapers and magazines. I visited each campus, photographed the physical facilities, and observed faculty and students. Gradually the stories of three music programs emerged. By comparing the data from each institution I was able to address the following research questions: 1. When and how did each music program begin? 2. How did each one develop (i.e., organization, curriculum, faculty, facilities, performing groups)? 3. What are the relationships between the Catholic affiliation of each of these institutions and the development of their respective music programs/departments? 4. What are the similarities and the differences between the music programs of these schools (i.e., structure, faculty, facilities, curriculum and degrees offered, performance groups, and students)? 5. What role does music play in the overall vision of the universities and their development? 6. What are the implications of this study for music education in these and other liberal arts colleges?</p>

<p> The applied music lesson remains a revered symbol of Western European tradition in American music education. Very little research exists assessing its continued viability as a method in its current form. This paper examines eight author observed assumptions about applied music lessons which flaw the learning process. Through available research, the assumptions demonstrate that the traditional applied lesson is teacher centered and difficult to assess. Exposing the resultant delusions of the eight assumptions reveals how a holistic approach in a studio can engage students in critical thinking and enhance student self-awareness. These primary goals place the educational emphasis on the process rather than the technically perfect performance as the terminal experience. Sample lesson techniques for undergraduate viola students will incorporate critical thinking methods to transform the weekly encounter into a student-centered experience which develops skills for continued self-directed study.</p>

<p> This qualitative study was designed to evaluate the impact internationalization initiatives in U.S. institutions of higher education have had on a school of music. The critical approach of intercultural communication served as the conceptual framework to guide understanding of internationalization initiatives or efforts within higher education institutions toward preparing students, in particular music graduates, for the global society (Issa, 2015). Data collected from questionnaires and interviews with various stakeholders, organizational documents and the institution&rsquo;s website provided a more thorough understanding of the approach to, and challenges and benefits of internationalization initiatives in a school of music. This data was coded for consistencies and emerging themes in terms of approaches to, challenges, and benefits.</p><p> The results of this study could create social change for society and communities in better understanding the impact of internationalization initiatives implemented within higher education music departments toward enhancing the artistic and intellectual abilities and contributions of individuals, institutions, and the field of music as a whole. Findings from this study will also inform practices of administrators of music departments within higher education toward attracting and preparing international students as well as preparing current domestic students for a globalized society.</p><p>

<p> This work explores the occurrence of school sponsored rock music ensembles and pedagogy in secondary education within the state of New Jersey. The purpose of this research was three&ndash;fold: 1) to document the occurrence of rock music performance ensembles in New Jersey secondary schools, 2) to highlight the details of a select group representing a sample of these programs, and 3) to contribute to the body of knowledge relating to rock music in the school curriculum. A two part, mixed&ndash;methods research process involved the use of both a quantitative survey instrument and a qualitative interview process. The part one survey was distributed to 720 public secondary schools across the state of New Jersey. Questions were written to seek data regarding school population, budget, types of music programs available to students, regional classifications, and enrollment. Based on survey data, five programs, in which students learn and perform rock music using authentic rock music instrumentation, were selected for part two faculty interviews. These interviews uncovered reasons for the existence of these programs (i.e. teacher and student interest), information about student participation, instrumentation, relationships to the other music programs within the school, intended outcomes, measures of success, and the existence of authentic learning, informal learning practices, and the concept of bi&ndash;musicality.</p>

<p> This is a study of the development and validation of a rubric to enhance performer feedback for undergraduate vocal solo performance. In the literature, assessment of vocal performance is under-represented, and the value of feedback from the assessment of musical performances, from the point of view of the performer, is nonexistent. The research questions guiding this study were 1) What are the appropriate performance criteria, learning outcomes, and meaningful descriptors for various levels of proficiency for undergraduate solo vocal performance? and 2) How do students perceive their use of the feedback from the solo vocal performance rubric to improve future performances? The three groups of stakeholders of the project were voice professors from the research institution who assisted in the development of the rubric; students from the research institution who provided performance excerpts and shared their perceptions about the quality of the feedback; and voice professors from outside the research institution who used the rubric to assess the student performances. Mixed-methods participatory action research was the method used to conduct the study. </p><p> Interviews with five experts aided the development of a criteria-specific rubric, which defined performance criteria, learning outcomes, and meaningful descriptors for various levels of proficiency for undergraduate students of singing. The rubric was distributed, along with 20 recordings comprised of 14 students, two professionals, and four repeated student performances, to voice professors who used the rubric to score the performances and provided feedback about the instrument as well as the process. Results of scoring were shared with student performers and interviews conducted about usefulness of the feedback. Seven themes emerged from the research analysis: a) levels of proficiency, b) performance criteria, c) descriptors, d) numerical scoring, e) comments, f) recording method, and g) song selection relative to the skill level of the singers. Results of the study determined that the rubric was statistically reliable, and the students received valuable feedback that validated their own self-perceptions and assisted them in long- and short-term goal setting. Practitioners may benefit from further research that explores the validity of the rubric when assigning a grade, assessing live performances, and including additional repertoire.</p>