Final Projects

The Master of Arts final project and the research leading up to it are the logical outcomes of a student’s graduate study and professional experience. Because of the diverse background and experience of the University of St. Thomas Graduate Programs in Music Education (GPME) faculty, students are able to undertake research using qualitative, quantitative, descriptive, historical, philosophical, or theoretical methodologies. Consequently, whereas all students demonstrate the ability to integrate ideas and communicate their findings, some will develop, test, and evaluate a music education problem, while others will gather and interpret historical, descriptive, or philosophical data. Completing the final project is an opportunity to make a significant contribution to the field of music education, with additional goals of providing information that will be a meaningful and relevant resource to colleagues in the program and to the author.

Anastasia M. Traicoff
Abstract unavailable.
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Alicia Brown
Requiring skills in pedagogy and ethnomusicology, Kodaly-inspired teaching requires music educators to select and utilize folksong repertoire representative of the students they teach.
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Christina Arenas
Children relate to their environment by using their whole body to contextualize learning.
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Victoria A. Tam-Anderson
Despite significant gains in many employment fields, a disparity still exists between the number of men and women teaching in the high school band classroom.
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Adrian Davis
This paper is an autobiography that shares the perspective of an African American male music educator.
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Logan Burnside
Student leadership is a topic vitally important to the success of an instrumental music ensemble but one that is rarely researched.
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Matthew Potter
This paper will discuss how music education was forced to respond to politically-charged events, and how the first standards in music education were developed in 1994.
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Allison Lyso
The purpose of this research was to identify the differences between teaching music in an international school and in a U.S. public school within the make-up of the student body, experiences of the teachers, and curriculum development.
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Daniel Gullick
Creativity is recognized as an important skill for the twenty-first century learner (American Orff-Schulwerk Association, 2017; Destination Imagination, 2016; McGarrah, 2014; Partnership for 21st Century Learning, 2015) and can be promoted and developed through music education.
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Elizabeth Schultz
The purpose of this project was to explore how the Orff-Schulwerk approach can be utilized in a Spanish immersion school.
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Megan L. Bey
The purpose of this project was to explore the benefits of music education in early childhood.
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Anthony Rangel
The Minnesota Standards for Arts Education require that students understand the health and safety issues related to performing and creating vocal music.
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Kristin Johnson
The problem of this paper is to analyze how and to what extent certain learning modalities are employed with musical concepts and elements during the practice phase of a Kodály-inspired instructional sequence.
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Jenny L. Partin-Olson
The purpose of this study is to examine the need for the inclusion of authentic representations of world musics in the instrumental music curriculum.
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Benjamin J. Henschel
The purpose of this project is to identify partsongs written by Charles Villiers Stanford and Edward Elgar that are appropriate for study and performance by high school singers of varying ability levels.
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