New Directions 2025 posters

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An Exploration of the Use of and the Attitudes Toward Artificial Intelligence in Music Education Settings

Danni Gilbert, Catherine Grimm, Tsai-Rung Li, Zishan Xiong, Xiaowei Guo, Louba Hammad, Zaiyang Xu, Shukai Huang, Matthew Silpot, Ziyue Tan, Nicole Thietje, Akosua Addo, Keitha Hamann, and Adrian Davis

University of Minnesota–Twin Cities

The purpose of this exploratory, quantitative, descriptive study was to determine what artificial intelligence technologies are used in music education settings and to examine factors that influence the attitudes of teachers and students toward the use of AI. Many technological tools and applications using AI have been developed for education and society. However, it is unclear what types of AI are actually being used in music education settings and what attitudes prevail for educators and students involved in their use. 

A sample size of n = 251 participants—including music teachers at the primary (grades PK–5), secondary (grades 6–12), and tertiary (collegiate) levels, as well as university music students—responded to the Use of AI in Music Education Settings Questionnaire. Currently, data collection is completed, data analysis is underway, and completed results and a discussion is expected by the time of the conference. We will use MPlus software to conduct a confirmatory factor analysis (CFA) to test whether questionnaire items accurately measure the underlying latent construct of attitude toward AI use (second order factor), comprised of performance expectancies, effort expectancies, social influence, facilitating conditions (first order factors). A between-groups, one-way analysis of variance (ANOVA) in which the dependent variable is the attitude score and the independent variable is the group to which the participant belonged will determine any statistically significant differences among groups of participants. Finally, a bivariate correlation between participants’ attitude scores and use responses will determine any significant relationship between attitude towards AI and actual use. 

 

Creating Equitable Experiences for Women and Gender Minorities in University Music Settings: A Mixed Methods Study

Danni Gilbert, Catherine Grimm, and Nicole Thietje

University of Minnesota–Twin Cities

The purpose of this explanatory, sequential mixed methods research study was to describe the experiences and perceptions of stress, depression, and anxiety among those who identify as women and gender minorities (i.e., non-binary, third gender, transgender woman, transgender man) in university music settings. In the current follow-up study, we aimed to explain why students and faculty in university music settings who identify as women and gender minorities report feelings of adverse mental health and advancement obstacles and to identify possible opportunities for universities to strengthen support of these populations. 

We employed a two-phase sequential explanatory mixed methods design (Creswell & Clark, 2018), collecting quantitative data first from a large sample and then interviewing a smaller group of individuals to provide a more in-depth explanation of the quantitative results. A sample size of n = 512 participants–including collegiate and university professors and staff, as well as collegiate and university undergraduate and graduate students–responded to the Depression Anxiety Stress Scale-21 (DASS-21). Currently, quantitative data collection and analysis is completed, qualitative data collection and analysis is underway, and completed results are expected by the time of the conference. For the quantitative portion, we calculated descriptive statistics and reported frequency distributions. Next, we are using maximum variation sampling to conduct semi-structured follow-up interviews to compare experiences and share disconfirming accounts. Stakeholders can use the results from this study to take appropriate action to help make university music environments more equitable while promoting health and wellness for all.

 

Pump Up Your Pedagogy: Applying Fitness Frameworks to the Music Classroom

Anne Martin

University of New Mexico

Saleel Adarkar Menon

Rutgers University

Some teachers might view traditional lesson planning as following a structured, linear approach that prioritizes learning objectives and assessment (see Hunter, 1982; Tyler, 1950) Schmidt (2005) found a disconnect in teacher’s intent and their execution, troubling how these linear progressions might affect student learning. At the same time, some teachers may feel overwhelmed when considering multiple possibilities for instruction (Lane, 2010). Similarly, Shaw (2017) found that teachers do not value rigid planning processes, instead preferring more flexible models that allow for in-the-moment adaptability. We agree that when lesson planning becomes a repetitive exercise, both teachers and students risk falling into patterns of stagnation and disengagement.

To address these concerns, we propose an innovative framework inspired by muscle confusion and cross-training, concepts borrowed from fitness research. In physical training, muscle confusion prevents stagnation by introducing exercise variety, while cross-training strengthens complementary skills to enhance overall performance (Colón, 2021). Applied to music education, we believe this model encourages teachers to rethink lesson planning as a dynamic iterative process, fostering adaptability and creativity for both teacher and student. By incorporating diverse pedagogical approaches, teachers can reinvigorate their instruction and increase student engagement.

In this paper we will explore cross-training as a pedagogical framework for lesson planning, offering practical strategies for integrating flexibility, variety, and curricular connections into the music classroom. Specifically, we suggest a process for considering how learning goals, score study, and innovation can work together to create musical “workouts” which engage students while fostering creativity in teachers. 

 

Student Voice and Creative Music-Making in the Instrumental Music Classroom

Kelsey DeWar

University of Michigan

The creative organization of an instrumental music classroom, including the concerts we program, the ways we perform, the music we play, and the ways we teach and learn, all contribute to a diverse musical experience. When teachers think critically and creatively about their teaching practice and work to diversify their students’ classroom experience, students are able to both broaden and deepen their musical understanding. Based on research conducted with middle school orchestra students in a teacher research study, students identified that performing music from different styles, genres, and cultures, learning about a wide range of string performers, and learning more about their own musical traditions provided them with a deeper connection to the orchestra program. Students also noted that these experiences increased their desire to improve on their instrument and opened their minds to additional creative music-making skills outside of the perceived norm. From this research, suggestions for teachers include taking a critical look at course offerings and curriculum to provide all students with the opportunity to participate in music, broaden their musical knowledge, and deepen their current musical ways of knowing. 

 

Reimagining Preservice Music Education: From Interpreter to Creator

Zachary S. Nenaber

University of Michigan

Instrumental music teacher education programs have prioritized the interpreter paradigm that emphasizes accurately reproducing established knowledge or works with technical proficiency. These skills remain essential to the educational system, but the real-world musical landscape demands a broader skill set that blends in the creator paradigm. Preparing the next generation of music educators with programs incorporating the creator paradigm may enhance creative agency development, connect music education to the digital and real world context, and foster meaningful student-centered approaches to learning.

This project was guided by three key questions: (a) How can preservice programs balance between interpretive tradition and creative innovation?; (b) What ensemble and classroom learning models can better support creative-performer development while not abandoning the traditional interpretive-performer paradigm?; and (c) How can music teacher educators prepare preservice teachers for hybrid creative music-making? These questions informed some actionable strategies that include: (a) expanding ensemble and classroom pedagogy by redefining the student’s role, (b) embracing digital learning models into coursework, and (c) preparing preservice music teachers for democratic, reflective, and creative teaching.

Real-world examples of implementation will include: (a) fostering collaborative composition labs, (b) digital tool integration projects, (c) improvisation-based assessments, and (d) democratic ensemble projects. A comprehensive shift in preservice music teacher education that prepares future music teachers to balance traditional and innovative paradigms is advocated. Educators who thrive in various teaching environments with real-world contexts in mind will have the tools to cultivate creativity in their classrooms with their future students from diverse backgrounds.

 

Culture, Identity, and Pedagogical Practices in the Music Classroom

Kimberly Gardner

University of Iowa–Rock Island

The purpose of this mixed-method study was to determine how music educators define identity and culture and the relationship between those definitions and their pedagogical practices in the classroom.

Identity and culture are aspects of the human experience that are negotiated and developed throughout our lives (Appiah, 2005). Many use the word culture interchangeably with ethnicity and race and the nuance causes confusion. Typically, culture is often defined as a people group’s language, traditions, values, beliefs, and rituals. Society determines large parts of a person’s identity and transmits conceptions of how a person with that identity is to behave (Althusser, 1971; Hall, 1996, 1997). Culture is a dynamic and ever evolving aspect of collective identities. For this reason, Paris and Alim (2014) call on educators to utilize a culturally sustaining pedagogy (CSP) that fosters and sustains cultural and linguistic pluralism. These authors challenge educators to utilize home and youth cultures in teaching practices. While some teachers claim to engage in culturally sustaining practices, their actions depict otherwise calling into question whether they have really thought about what culture and identity is and how that relates to their practices (Sierzega, 2024).

Music educators in a Midwest metropolitan area completed a survey with items that relate to identity, culture, teaching practices, and personal demographics. Upon completing the survey, participants had the opportunity to opt in for a semi-structured interview or focus group to get more in-depth descriptions. I present my findings in this poster session.

 

Restorative Practices in Your Performing Ensemble 

Amanda Goldberg

Michigan State University

This poster will introduce the idea of Restorative Practices and their uses within the rehearsal of a performing ensemble. Ms. Goldberg has implemented these practices at the middle school level, but the strategies discussed in this session are beneficial in any level of ensemble. Restorative Practices are based on empowering youth to have an equal voice in their classroom and community. The use of restorative practices is shown to facilitate development of social emotional skill sets that benefit students throughout their lives. Exploring the idea of relationship creation and reparation within the ensemble, attendees will learn strategies such as community circle, journaling, check-ins, and guided classroom discussions to facilitate a holistic approach that celebrates the student as an individual and as part of the greater musical community. These practices are effective in unifying students with a diversity of experience and background, strengthening the sense of community in the ensemble.

 

Bringing Music Opportunities to Rural Yi Communities in China

Rong Nie

Michigan State University

This study explores music education in rural Yi communities in Sichuan, China, where children face limited opportunities due to poverty, parental migration, scarce music courses, and a shortage of qualified teachers. To address these challenges, faculty and students from the College of Music Education at the Sichuan Conservatory of Music partnered with the Sichuan Youth Development Foundation to implement programs in five schools, establishing choirs, offering supplemental lessons, and training local teachers.

Observations showed that students often struggled with rhythm and pitch in Mandarin songs and were generally unfamiliar with notation. However, when singing in Yi, they displayed greater confidence and energy, naturally incorporating movements rooted in Yi dance traditions. This case highlights the value of local language and culture in enhancing learning and expression, while prompting broader reflection on equity and diversity in music education.

 

Radical Belonging in Large Ensemble Spaces

Carrie Backman

University of Wisconsin-Madison

The conceptual framework of radical belonging can transform large ensemble music education spaces. This framework emphasizes that the ensemble or group should be flexible and adaptable, changing according to the individuals involved and the unique skills and interests they bring to the experience. Radical, combined with belonging, leads to a systemic upheaval of traditional senses of belonging. We know working for radical belonging to be a way of being that is never finished, but entails ongoing, collective efforts toward transformational change, aimed at interrupting endemic racism to secure social, academic, and democratic belonging for every member of the learning community, especially students of color whose belonging has too long been denied. Building on more commonplace understandings of belonging, we begin with the social aspect of radical belonging. We also include academic belonging because belonging in antiracist learning communities must simultaneously affirm learners’ multiple identities and support them to engage in rigorous, robust learning. Finally, we are committed to participatory and anti-hierarchical processes for realizing antiracist learning communities, as we express with democratic belonging. (Louie, 2022, p. 6) Radical belonging is not static or fixed, it is relational and reciprocal in the moment over time. This humanness makes many of the concepts of radical belonging extremely complicated and “grey”. Large ensemble music spaces exist in a structure and system rooted in a depth of tradition that also has space for radical belonging to enter and continue to expand who finds belonging in the music classroom.

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