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 mostly sang in choirs, especially church. I performed roles in children’s christmas musicals. I saw
classical performances like large ballet and opera productions. I wonder if musical experiences with
clear plotlines and physical performance helped ease me into music and if they do that for
everybody. I’m also curious how a church music experience creates passion for the meaning of the
music and where and how this kind of passion can be created.

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

I began piano in elementary school. I had very basic music theory knowledge by the end of fifth
grade. My research questions stem from the fact that I was very mathematical in my learning of
music and I wonder how to understand a young person’s approach. I think from that would give a
lot of clarity to what the best way to teach them is.

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

I began band in middle school on french horn. I picked to play either brass or percussion and I was
placed on french horn after a playing test. I’m really curious about this process and what factors
should be most important when helping someone choose an instrument.

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

In high school I continued to sing in choir, play in band and take piano lessons, but I added on
improvisational learning. I started playing in the praise band at church where I learned how to play
from chord charts and I played in the school jazz band to learn some jazz language. These
opportunities to improvise have shaped me maybe more than anything else up to this point as a
musician and my area of research may be how to incorporate improvisation at an even younger age.
5. Undergraduate Experiences: What research questions do you have that stem from
your undergraduate music experiences?

At JMU I have had many opportunities to accompany, sing and play at a higher level than in high
school, but some of my most pivotal moments have been outside of school. Through my personal
band and opportunities to play gigs with other musicians. I feel like these opportunities were great
learning experiences partly because they weren’t part of a class and they were at times reckless and
mistake filled. It seems mean to hope someone fails just to learn something, but in my case it
seemed necessary. I wonder what research would say about the psychology of this predicament.

6. Music Job Experiences: What research questions do you have that stem jobs you
may have already had in music?

My music related jobs have been accompanying and gigs. My research questions would be work
environment related. What role does minimum wage or other work-standards play in unconventional
work settings?

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

The main question that has come out of my practicum and teaching experience is how to balance
individual personality and a “teacher face”. The research that I can draw from this question is
students’ perception of authenticity and its importance to them.