- Temple University, PhD, Music Education, 2013
- Temple University, PhD, Music Education, 2013
- Pennsylvania State University, MA, Humanities, 2005
- Millersville University, BS, Music Education, 1984
Areas of Expertise
- Music Education PK-12
- Education Administration and Leadership
My research interests include: Community music, general music pedagogy, choral pedagogy, ukulele instruction in the music classroom and within the community setting, and the semiotics of music.
Teaching is an art and a science which combine to form my role as a facilitator to assist and guide students as they travel along individual paths towards their goals. To be an effective facilitator I strive to be an expert in my content area and pedagogy, a role model as an educational leader and teacher, a life-long learner, and one truly vested in the success of my students.
Fall 2019ELED 419 TEACH MUSIC & READ ELEM SCH (Fall 2019)Techniques for teaching music and reading content in preschool through grade 6. Emphasis on vocal, instrumental and general music. Comprehensive overview of creative activities utilizing music/reading materials and their application to the elementary school curriculum. Offered for undergraduate credit. Prerequisite: Admission to Professional Teacher Education Program. Three hours lecture and three hours field experience per week.EMAT 517 TEACHING MUSIC AND READING (Fall 2019)Techniques for teaching music and reading content in preschool through grade 6. Emphasis on vocal, instrumental and general music. Comprehensive overview of creative activities utilizing music/reading materials and their application to the elementary school curriculum. Development of a sound rationale for teaching music in the elementary schools, and will include a half day per week of classroom observations. Prerequisite: Admission to the Master of Arts in Teaching Program. Three hours per week.MUSC 114 MUSIC APPRECIATION (Fall 2019)A general historical survey of musical styles and genres from around the world. Topics may include Western classical music, non-Western cultures, folk music and jazz. May not be repeated for credit under different topics. Three hours per week with enhancement. Meets General Education IIIA or IIIC (Prior to Fall 2008: IB).MUSC 230 MUSIC FOR CHILDREN (Fall 2019)Introduction to the role of music in the lives of children. Emphasizes the acquisition of musical skills, experiences, and information needed to help students become a nurturing, self-directed and competent facilitator of musical experiences in the lives of children. Three hours per week with enhancement. Meets General Education requirement IIIA or IIIB (Prior to Fall 2008: IB).Spring 2020ELED 430 DIR TEACH IN MUS IN ELEM SCH (Spring 2020)Student teaching experience in all aspects of the elementary school music curriculum at several grade levels under the direction of public school music teacher, with supervision from the University staff. Includes observation and participation in the classroom as well as actual teaching and other activities and duties normally performed. Prerequisites: Completion of courses in the music concentration through the third year, ELED 419, SCED 429, written approval of the Music Department, admission to Professional Teacher Education Program. (P/F)EMAT 519 TEACHING MUSIC IN GRADES 7-12 (Spring 2020)Techniques for teaching music in grades 7 through 12. Emphasis on vocal, instrumental and general classroom music. Comprehensive overview of creative activities utilizing music content, materials and their application to the secondary school curriculum. Includes development of strategies and skills for teaching music with technology. Development of a sound rationale for teaching music in the secondary schools. Prerequisites: Admission to M.A.T. program. Three hours lecture, three hours field experience per week. (fall semester only)MUED 319 TECHNOLOGY IN MUSIC EDUC (Spring 2020)Overview of the essential role of music technology in education. Techniques for using music technology in teaching music are explored. Prerequisites: admission to Professional Teacher Education Program or permission of instructor. Two hours per week.MUSC 309 CHORAL TECHN /METHODS (Spring 2020)Study of rehearsal techniques for developing appropriate diction, tone, production, intonation, phrasing and interpretation in a choral ensemble. Explores the examination of materials, methods and procedures in organizing school choral ensembles. Prerequisite: Permission of instructor. Two hours per week.SCED 429 TEACHING MUSIC IN GRADES 7-12 (Spring 2020)Techniques for teaching music in grades 7 through 12. Emphasis on vocal, instrumental and general classroom music. Comprehensive overview of creative activities utilizing music content, materials and their application to the secondary school curriculum. Includes development of strategies and skills for teaching music with technology. Development of a sound rationale for teaching music in the secondary schools. Prerequisite: Admission to Professional Education Program. Three hours lecture, three hours field experience per week. (spring semester only)SCED 431 DIRECT TEACH IN MUSC IN SEC (Spring 2020)Student teaching experience in all aspects of the secondary school music curriculum including the areas of choral, instrumental and general music. Observation, participation, teaching and other activities and duties normally performed by professional teachers done under the direction of public school music teacher(s), with supervision from the University staff. Prerequisites: Completion of courses in the music concentration through the third year, EDUC 419 and 429, written approval of the Music Department. (P/F)
- Awards/HonorsExcellence in Service to the Fulton SchoolPresented by Fulton School
- Professional MembershipsCollege Music SocietyCMS promotes music teaching and learning, musical creativity and expression, research and dialogue, and diversity and interdisciplinary interaction. A consortium of college, conservatory, university, and independent musicians and scholars interested in all disciplines of music, the Society provides leadership and serves as an agent of change by addressing concerns facing music in higher education.
Maryland Music Educators AssociationMMEA is the state level organization supporting music education through professional development for educators, performance opportunities for public school music students, advocacy, and funding. I am a member of the executive board. My current position is a 4-year commitment focused on music teacher education programs within higher education in Maryland. (2018-2022)
Technology Instruction in Music EducationNational organization focused on developing strategies for using technology in music education, teaching educators about new computer programs, and research on best practices and the latest developments in music technology.
- Licensures and CertificationsInstructional II Professional Teaching Certification- Music K-12, Pennsylvania State Department of EducationPermanent teaching certification within PA which has reciprocity with many other states including Maryland.
Teaching Certification- English 7-12, Pennsylvania State Department of EducationReceived a "Citation of Excellence" for achieving a score of 196/200 on the Praxis exam.
Supervisory Certificate in Curriculum and Instruction, Pennsylvania State Department of EducationCertification allows for the holder to act in a supervisory capacity within K-12 schools. Able to conduct teacher evaluations and qualified to to develop curriculum.
- Grants and Sponsored ResearchFulton Faculty Grant, Fulton School
- PresentationsFacilitating Community Ukulele Groups: A Collaborative AutophenomenographyMay, 25 2018International Conference on Community Music, New York City, NYDr. Louise Anderson, Assistant Professor of Music and the Coordinator for Music Education at Salisbury University Dr. Jill Reese, Associate Professor of Music Education at The State University of New York at Fredonia. Community music is characterized as “music making that occurs outside formalized institutions” (Lagrimas, 2009, p. 6). These community music practices have the potential to “inform, inspire, and transform lives and communities” (Lagrimas, 2009, p. 7). In addition, these experiences seem to increase participants’ quality of life: emotional, cognitive, physical, social well-being (e.g, Coffman, 2002; Sacks, 2007; Schellenberg, 2006). While much is known about the value of community music practices for participants, less is known about the ways in which community music practices affect the people who facilitate them. Therefore, the purpose of this autophenmenography was to explore our lived-experiences as music teacher educators facilitating community ukulele groups. The theoretical framework for this study was informed by Higgins’s (2007, 2012) concept of hospitality in community music practice and Veblen’s (2004) five dimensions of community music. The methodology was informed by autophenomenography (Grupetta, 2004), often used to explore embodied lived-experiences in sports research (Allen-Collinson, 2013). Autophenomenography is “capable of producing the rich, finely textured, ‘thick descriptions’ of first-person experience, and bringing to life the felt, lived, corporeal experience” (Allen-Collinson, 2013, p. 24). Data included written reflections (post jam session) collected over 12 months, a reflective prompt completed at the end of the 12 months, and a follow-up collaborative interview. Data was analyzed collaboratively using an inductive process during which our goal was to describe “the meaning, structure, and essence” (Patton, 2002, p. 104) of our lived-experiences as music teacher educators facilitating community ukulele groups. Therefore, we embraced a phenomenological approach to analysis. We followed the multi-step process described by Moustakas (1994). To address trustworthiness we employed multiple forms of triangulation (data and analysis). The essence of the experience was the formation of a new part of our identities: community music facilitators and the transformation of our music teacher and music teacher educator identities. Suggestions and implications for practice include considering community music facilitation as service for music teacher educators, examining the role of higher education in community music practices, and exploring community music experiences as opportunities to reconcile tensions between musician, music teacher, and music teacher educator identities. Future researchers should consider exploring a variety of autobiographical forms of research, as well as exploring music teacher educators’ experiences facilitating and participating in a variety of community music practices. Our research presentation will include a participatory “ukulele jam session” so the participants may experience the phenomena that is the focus of our project. Keywords: ukulele, autophenomenography, identities, music teacher education, Higgins, community music facilitator Biographies: Dr. Reese is Associate Professor of Music Education at The State University of New York at Fredonia. She teaches courses including early childhood music pedagogy and elementary and secondary general music methods. She presents and publishes research on topics including technology, improvisation, early childhood music development, professional development communities, and ukulele. She is the founder of Fredonia Ukulele and a YouTube channel that provides play-along videos for ukulele (https://www.youtube.com/user/DrJillReese). She was awarded the 2017 Fredonia College Council Award for Community Engagement for facilitating community ukulele and early childhood music experiences through community-university partnerships. She completed professional development levels in Orff-Schulwerk and Music Learning Theory and earned degrees in Music Education from Temple University (Ph.D.), University of Michigan (M.M), and Michigan State University (B.M.) and taught vocal/general music in the public schools of Michigan, and early childhood music in Michigan and Pennsylvania. Dr. Anderson is Assistant Professor of Music and the Coordinator for Music Education at Salisbury University. She teaches music education methods courses, technology for music education students, class piano, and several general education music courses. She is the founder of “Ukulele in Salisbury, MD” and hosts a YouTube channel that provides play-along videos for ukulele (https://www.youtube.com/DrAPlayUkuleleToday) She facilitates ukulele jam sessions in the Salisbury, MD area, provides professional development for teachers on adding ukulele to their curriculum, and has conducted ukulele workshops for businesses and agencies in her surrounding area. She is a National Board Certified Teacher with 30 years of teaching experience K-12 encompassing all areas of instruction. She has presented at international, national, state, and local conferences and provides professional development workshops for K-12 educators. She has earned degrees in Music Education from Temple University (Ph.D), Humanities from Penn State University (M.A.) and Music Education from Millersville University (B.S.).
The Delmarva Songster: Dale WimbrowSeptember 2018Salisbury University Research Day, Salisbury, MDPeter Dale Wimbrow was born in Whaleyville in 1895 and established himself as a prolific songwriter and lyricist of the 1920s. In addition to writing songs recorded by Louie Armstrong, Johnny Marvin, and Judy Garland, Wimbrow has a substantial catalog of tunes that capture the unique character of the Eastern Shore. A ukulele virtuose, he invented a 6-string ukulele called a Wimbrola, which was produced by the Favilla Brothers Guitar Company in New York City. A World War I veteran, his musical ambitions were cut short when the effects of a wartime gas attack degraded his vocal chords. In this lecture/performance the audience will see and hear a little known aspect of Delmarva History and be introduced to Dale Wimbrow’s collection of tunes that captures the early 20th century Eastern Shore.
- Artistic Highlights
- Service Activities and Community Relations
-Provide professional development programs for educators
-Provide access to music experiences for marginalized individuals
-Maryland Music Educators Association Executive Board--(President-Elect of the Maryland State Music Teacher Education component)
- External Collaboration Highlights
-Dr. Jill Reese, SUNY at Fredonia (2016-2018) Research project focused on being a facilitator for community ukulele groups.
-Wicomico County Health Department (2018) Provided music instruction for middle school girls as part of their GEMS program.
- Press Releases
SU Hosts Sixth Annual Research Day September 21
Monday, September 17, 2018