Dr. Charles R. Ciorba

22 Jan 201720 Feb 2017

The Performer and Teacher in You: A Matter of Identity (Froehlich, Chapter 1)

As we begin to study the topic of Sociological Perspectives in Music, it is important for us to gather our self-knowledge to understand how we (a) became musicians and teachers, (b) interact professionally, and (c) serve the educational needs of our students. By addressing these issues, we can hopefully understand why others (e.g., administrators, teachers of other subjects, and students) often value art and music differently than we do.

According to North, Hargreaves, and Tarrant (2002), a disconnect may exist between school music culture and everyday culture. Have you ever been at odds with your students and/or colleagues in regards to your curriculum? Consider the following questions:

Have your students ever asked, “Why can’t we sing/play “good music?”
Have you ever had a colleague imply that what you do as a music educator is of secondary importance within the education system?
Do you believe it is important to bridge the gap between school music culture and everyday culture in your music classroom?
Do you think it is important to maintain the traditional music curriculum in your classroom?

As music educators, I think is important for us to consider these questions as we continuously develop our social identities. According to Froehlich (2007), “When we articulate our socioeconomic and cultural background for the purpose of getting a sense of our own position in society, as compared to that of others around us, we describe our socialization” (p. 7). The process of socialization occurs in distinct phases:

Primary socialization begins in early childhood. Those who are responsible for your upbringing often guide this process.
Secondary socialization begins as you enter school and normally continues until you reach adulthood.
Occupational socialization begins when you start to make decisions about your professional role in society. For example, when did you first decide to become a musician and/or music educator?

Taking this process into consideration, Froehlich devotes the remainder of the chapter to the topic of occupational identity. For your first weekly assignment, please do the following:

Read the first chapter of the Froehlich text (The Performer and Teacher in You: A Matter of Identity).
Post a thread (500 words minimum) by 11:59 p.m. on Friday, January 27^th. Do not attempt to summarize the entire chapter. Instead, try to expand on a particular topic within the chapter that is of interest to you.
By 11:59 p.m. on Sunday, January 29th, please post a response (200 word minimum) to TWO threads created by your classmates.

As you reflect on the reading, please consider the following points outlined in the text:

Discuss your memories of classmates who participated in the same high school ensemble(s) you took part in but who made it very clear that going into music professionally was “not for them.” Try to recall their reasons and how you reacted to them at the time.
Do the research findings on the worlds of music teachers and professional performers resonate with your own experiences? If so, to what extent? If not, how do your own experiences differ?
Outline some questions you would ask your colleagues and classmates about their own (music) socialization processes.

Froehlich, H. C. (2007). Sociology for music teachers: Perspectives for practice. Upper Saddle River, NJ: Pearson Education, Inc.

North, A., Hargreaves, D., & Tarrant, M. (2002). Social psychology and music education. In R. Colwell and C. Richardson (Eds.), The new handbook for research on music teaching and learning (pp. 604-625). New York: Oxford University Press.

7 Jan 201713 Jan 2017

Simple Bivariate Regression

Multiple regression is a statistical procedure that allows you determine if a group of variables have an impact on another variable. For example, I have always been fascinated with jazz improvisation. Specifically, how does a musician learn to improvise? Over the past several years, I have isolated several variables that have been shown to be statistically significant predictors of jazz improvisation achievement, and I would like to use a pre-existing data set to provide a basic introduction to various regression analyses.

My first example involves a procedure known as simple bivariate regression, which utilizes only one independent variable. I want to know if self-assessment (independent variable) is a statistically significant predictor of jazz improvisation achievement (dependent variable). Participants (N = 102) were student musicians enrolled in their high school jazz ensemble. To measure the independent variable of self-assessment, participants recorded the melody and two improvised choruses for B-flat Blues and one improvised chorus for Satin Doll. Immediately following the recording process, participants listened to the recordings and assessed their performances using the Jazz Improvisation Self-Assessment (JISA) measure. To measure the dependent variable of jazz improvisation achievement, a panel of three judges evaluated the recordings for each participant using the Jazz Improvisation Performance Assessment (JIPA) measure.

Frequencies and Descriptive Statistics

Prior to conducting the regression analysis, I examined the frequencies and descriptive statistics for both variables. There were no missing data, and the range of values seemed to be in order.

Correlation Analysis

The correlation between self-assessment and jazz improvisation achievement (r = .487) is considered moderate, as it lies in the middle of the positive continuum.
In addition, the correlation is statistically significant (p < .001).

The Regression Analysis: Using SPSS, I regressed the dependent variable (jazz improvisation achievement) on the independent variable (self-assessment).

PART 1: Model Summary

What is R? In the case of a simple bivariate regression, R is known as the zero order correlation (i.e., the Pearson correlation coefficient between two variables). R (.487) is the same as the correlation coefficient (see above).
What is R²? R² (.238) is an index, which provides the variance explained in the dependent variable by the independent variable. Self-assessment accounts for 23.8% of the variance in jazz improvisation achievement.

PART 2: ANOVA

An ANOVA (i.e., F test) is used to test the overall significance of the regression.
Sum of squares regression (^SS_regression) measures the variation in the dependent variable that is explained by the independent variable.
Sum of squares residual (^SS_residual) measures the variance unexplained by the regression.
Degrees of freedom for the regression are equal to the number of the independent variables.
Degrees of freedom for the residual (i.e., error) are equal to the sample size minus the number of the independent variables in the equation minus 1.
According to the output, the F value (31.167) is statistically significant (p < .001).

PART 3: Regression Equation

b (1.187) is the unstandardized regression coefficient (SPSS uses an upper case B).
B (.487) is the standardized regression coefficient (Beta).
- The regression coefficient describes the change in the dependent variable for each unit change in the independent variable. So, which regression coefficient (standardized or unstandardized) do we interpret for our current example? It all depends on what is being measured.
- If the variables were measured using a metric that is easy to interpret, then it would be appropriate to use the unstandardized regression coefficient. For example, let’s say the independent variable was hours spent practicing per week. Since hours spent practicing per week is a meaningful metric that can easily be interpreted by the general public, you could interpret the unstandardized regression coefficient as follows: For each extra hour spent practicing per week, a student’s jazz improvisation achievement score will increase by X units.
- For the current analysis, both the independent variable and the dependent variable were measured using points derived from a rating scale. These scales do not utilize a meaningful metric that is easy to interpret by the general public. As such, it would be appropriate to interpret the standardized regression coefficient. Why? Because the standardized regression coefficient measures change using standard deviation (SD) units. As a result, the current example can be interpreted as follows: For each standard deviation (SD) increase in self-assessment, jazz improvisation achievement will increase by .487 of a standard deviation (about one half of a SD).
The constant (47.465), otherwise known as the intercept, is the predicted score on the dependent variable for someone who scored a zero on the independent variable.
According to the SPSS output, the t-statistic (5.583) is significant (p < .001). This tells us that self-assessment is a statistically significant predictor of jazz improvisation achievement.
Confidence Interval: As is the case with regression, b is an estimate. We really want to know the actual value of the regression coefficient in the population, so we will refer to the confidence interval. According to the SPSS output, the 95% confidence interval ranges from .765 to 1.609. Interpretation: (a) there is a 95% chance the true regression coefficient falls within this range or (b) if we were to conduct this study 100 times, the b would fall within this range 95 times. Since the range does not include zero, we know that b is statistically significant.

16 Nov 201617 Nov 2016

What is Music?

What is music? This is a difficult question to answer, indeed. One may as well ask, “What is the meaning of life?” In a world without music, life would have very little meaning. This is not to say that music is a necessity. It is a phenomenon, something perceived or experienced, especially as it is apprehended by the human senses.

abstract-free-vector-music-equalizer Music is a phenomenon that exists in every culture throughout the world, and each culture is responsible for defining music in accordance to their values. Music is emotion. It is power. It is expression. It can mean many different things to many different people.

From a listener’s perspective, music can be defined through Alison’s theory of taste, which travels through a three-step process. First, when music is perceived, an emotion is produced in the mind. Second, this emotion ignites the imagination, which in turn, produces a complex association of ideas. As individuals, these associations are extremely personal, and as a result, music can mean anything to anybody. Under these circumstances, the definition of music certainly lies within the eye, or should I say ear, of the beholder.

If these perceived emotions are strong enough, one can have an aesthetic experience. Such experiences are powerful tools for music educators. I ask you, “Who out there has never had an aesthetic experience to music? Have you never experienced the joy, the bliss, the uncontrollable chills one feels when listening to that special piece of music?” As an educator, I believe students who have an aesthetic experience are much more likely to continue listening, enjoying, performing, studying, and defining music for the rest of their lives. From this perspective, I believe that music is power.

Musicians and composers, on the other hand, have the ability to form a unique bond with their music. They are able to express their most personal feelings and emotions directly to the listener. People who are able to indulge in such a creative form of expression are truly fortunate. Music is, and always will be, one of our most sophisticated forms of expression.

Whether you are a listener, an educator, a composer, a musician, or any combination thereof, music should be an enjoyable experience. It brings joy and happiness to what otherwise could be a sad and miserable world. In conclusion, if you were to ask me, “What is music?” I would respond by saying, “Music is one of life’s great experiences, and that is a good thing: a very good thing, indeed.”

6 Nov 20166 Nov 2016

ISME 2016

I realize this post is a bit late, but a few months after the fact certainly does not cause the feelings towards my experiences at ISME 2016 to wane a single bit. The International Society of Music Education ch 13880133_10210144090059998_7387177970352393475_n ose an ideal location: Glasgow, Scotland! I have been told my mother’s father was born in Glasgow. This certainly must have been the case, as I felt an immediate connection to this wonderful city. The people, the history, everything about it made me feel at home. Of course, Lani Garner (OU Ph.D candidate) and I went to present our research (see abstract is below). Our research study was well received, and we hope to be submitting our manuscript for publication very soon. It is my plan to return to Scotland some day, but in the mean time Dr. Brian Russell and I will be presenting our latest research at the ISAME conference in Birmingham, UK next April.

Describing K-12 Music Programs Using the Whole School Effectiveness Guidelines for Music Programs: A Nationwide Investigation

Abstract

In the United States, music’s role in the K-12 curriculum has endured its share of economic and political struggles. In response to this dilemma, Ciorba and Rand (2006) developed the Whole School Effectiveness Guidelines Survey for Music Programs as a means to describe the operations of music programs. A well-developed understanding of these operations may provide a means to improve the role of music education in the K-12 educational system, and better prepare music educators to deal with the economic and political struggles set before them. The nine areas for assessment included (a) Music Educator as Leader; (b) Clearly Stated Vision and Mission; (c) Safe, Caring, and Orderly Environment; (d) High Expectations; (e) Assessment and Monitoring; (f) Parent and Community Involvement; (g) Instructional Delivery; (h) Professional Development; and (i) Music Program Culture. The measure consisted of 36 statements, which were aligned with the following Likert-type response scale: (a) not applicable (N/A), (b) never, (c) sometimes, (d) often, and (e) always. Using an online database from the National Center for Educational Statistics (NCES) website, a stratified random sample of 25 districts per state was chosen based on the characteristics of each state population. The researchers then visited each school website and collected the email addresses of 7,031 music educators. Invitations to participate were sent to each potential participant using SurveyMonkey, a web-based service used to administer online surveys. At the end of the data collection period, 1,585 participants completed the survey for a 22.5% response rate. Participants reported positive self-perceptions regarding their (a) teaching abilities; (b) leadership qualities; and (c) ability to provide a non-threatening, non-oppressive learning environment. Furthermore, participants were less certain when communicating goals, expectations, vision, mission, and current research with parents and the rest of the educational community. These results are similar to those reported by Ciorba and McClay (2009), indicating that consistent trends may exist regarding the classroom operations of K-12 music educators.

21 Feb 201621 Feb 2016

Test Your Jazz Theory Knowledge!

71oK1Jd978L-2 Dear Participants,

My name is Dr. Charles Ciorba, and I am an Associate Professor of Music Education at the University of Oklahoma. I am conducting a research study to examine the effectiveness of a new Jazz Theory Test. I plan to build on the results of this research to create an educational theory that can help jazz educators diagnose the musical imperfections exhibited by beginning improvisers with the intention of creating appropriate solutions. In addition, music educators can use these results to develop innovative curricula, which can be used to effectively teach the art of jazz improvisation to their students.
If you agree to participate in this research, you will be asked to complete a 60-item jazz theory test, which should take approximately 30 minutes to complete. There are no risks and no benefits from being in this research. Participation is completely voluntary, and all responses will remain anonymous.

If you would like to participate, please click on the link below.

https://ousurvey.qualtrics.com/SE/?SID=SV_9WERwTaism2OgGF

Sincerely,

Dr. Charles R. Ciorba
Associate Professor
Coordinator of Graduate Music Education
University of Oklahoma
Email: cciorba@ou.edu

9 Feb 20169 Feb 2016

Perceptions Towards Music Education

_MG_5355-flugel-1 As an educator, I have always had a deep passion for the inclusion of music in the public schools. As a professional researcher, it has been a long-term goal of mine to conduct a nationwide research study that examines professional perceptions towards music education. Given the introduction of the Every Student Succeeds Act (ESSA), now seems like a perfect time to gauge these perceptions. Over the past year and a half, a group of dedicated graduate students and I compiled a list of publically available email addresses from a random sample of approximately 470 school districts across the nation.

The primary purpose of this study is to examine perceptions toward the importance of music education as reflected by administrators, music teachers, teachers of other subject areas, and support staff (e.g., paraprofessionals, counselors, media specialists) using the Music Education Perception Measure. A secondary purpose is to ask members of the K–12 educational community how they would improve music in the schools.

Data collection has begun, and over the course of this semester, I will be contacting thousands of professionals by email to ask for their participation in this study. It is hoped the findings from this research may provide a better understanding of how the importance of music education is perceived in the United States, and that the implications derived from this study can further enhance the discussion regarding the importance of music education.

23 Jan 2016

Reflections on OMEA 2016

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I am now in my seventh year as a faculty member at the University of Oklahoma, and this past week, I was able to break away from the daily grind of academia to engage with the music community in a celebratory fashion at the yearly OMEA conference in Tulsa, OK. Working the OU booth is always a pleasure. I enjoy meeting music educators from across the state, catching up with alumni, and discussing OU’s graduate music education programs (MME and Ph.D.) with potential students. I’m always recruiting! 🙂

At the Thursday night awards ceremony, I had a chance to hear Dr. Glenn Nierman, who is the Glenn Korff Chair of Music Education at the University of Nebraska. He is also President of the National Association for Music Education (NAfME) and a member of the Board of Directors of the International Society of Music Education (ISME). Dr. Nierman told us how the Every Student Succeeds Act (ESSA) can positively impact the state of music education. I know many of us have strong opinions on this issue, and I look forward to hearing about them in future blogs. Generally speaking, I am quite optimistic.

For me, the highlight of the conference was watching Mr. Chris Barber, one of our Ph.D. candidates, being named the 2015-16 Exemplary Music Educator by the Oklahoma Music Educators Association. Chris invited me to sit at the front of hall with his friends and family during the ceremony. To say the least, I was honored by the invitation. Mr. Barber has been a member of the music faculty at Owasso High School since 1996. The Owasso band program has a long history of excellence, including numerous appearances at the Bands of America Grand Nationals in Indianapolis, in which the PRIDE of Owasso was a Semi-finalist in 2001, 2002, and 2009. The band reached the finals in 2005 (12th) and 2011 (7th). These are just a few of the many great accomplishments in which Chris has been professionally involved. For more details, I suggest you visit the following link http://owassobands.com/owassobands/about.html. I look forward to working with Mr. Barber as he completes his dissertation, which is titled, The Creation and Validation of a Multi-Dimensional Rating Scale for High School Instrumental Honor Band Auditions. I advise my colleagues across the nation to keep an eye on Chris Barber. He’s going places!

I give thanks to the OMEA leadership for their successful efforts in Tulsa. I am already looking forward to next year.

12 Jan 201614 Jan 2016

What Did I Learn?

Over the past two days, I’ve participated in a mobile blogging and scholarship workshop at the University of Oklahoma. It has been an amazing experience. A website has been created, I’ve stared blogging, and I am now marketing my knowledge with the rest of the world. There is so much left to learn, but I have been given the tools to carry on with these activities for years to come. Thank you, Keegan for sharing your knowledge!

12 Jan 201613 Jan 2016

How Am I Doing?

Educational testing has taken quite a hit over the past decade and a half. Regardless of the reasons for this negative phenomenon (i.e., political influence in the standardized testing process), people who are in a learning situation want to know how they are doing. As such, making judgments about a performance is not easy. Let’s face it, I’m sure most of us have received an inaccurate judgment based on a previous performance. In addition, we all have previous educational experiences and corresponding opinions based on these experiences. Such opinions are worthy of discussion, but first, let’s get our definitions straight. According to Payne (2003):

Measurement: The means to provide data for assessment. It involves the collection of information.
Testing: A specific type of measurement (the method for gathering data).
Evaluation: Judgments and decisions which are made based on the testing data.
Assessment: The systematic appraisal of one’s ability or performance.

Assessment subsumes measurement and evaluation. Here is an example:

Testing: A student scored 35 out of 100 on a music theory test.
Evaluation: The student failed the exam.
Assessment: The student must retake the theory course

So…

Testing provided the measurement (35/100)
Evaluation involved a judgment (The student failed)
Assessment involved an appraisal (The student must retake the course)

Payne, David A. (2003). Applied Educational Assessment (2nd ed.). Belmont, CA: Wadsworth. ISBN 0-534-60282-7.

11 Jan 201615 Jan 2016

Ziggy Played Guitar

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I woke up this morning to learn the music world lost a truly innovative artist. Sadly, David Bowie succumbed to an 18-month battle with cancer. The media reported he died peacefully, but this comes as no comfort to a life long fan such as myself. He thought outside the box in every essence. His musical styles changed constantly as he immersed himself in jazz, dance, rock, etc. The same was true for his image. A virtual chameleon, his fashion sense was revolutionary (and very brave) for the era in which he lived. My parents generation would never understand him, but I did, mainly through his music. Space Oddity was a personal favorite, as was Heroes, Aladdin Sane, and his work with Tin Machine.

David Bowie’s music moved me. His musical style was refreshing, and today, I feel a bit empty. Rest in peace, Mr. Bowie. You will be missed.

“There’s a starman waiting in the sky.”