Online Doctor of Musical Arts in Music Education You’Re Eager to Develop Your Scholarship, Keep Your Musicianship Sharp, and Continue Your Teaching Career

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Online Doctor of Musical Arts in Music Education You’re eager to develop your scholarship, keep your musicianship sharp, and continue your teaching career. This is where online learning comes in. We’ve designed this program for you to be an important member of a small, academically rigorous online doctoral program without uprooting your family or leaving the work that fulfills you. Leading.

A respected leader in music education for generations, Choose the Doctor of Musical Arts in Music Education BU pioneered the online Doctor of Musical Arts degree. at BU, and: The program is designed for 21st century music educators • Learn new techniques and strategies that can be who teach within and beyond the traditionally conceived applied in your classrooms. school day, with populations that include early childhood, • Collaborate with influential leaders in the music K–12, college, life-long learners, and in a variety of com- education profession. munity settings. We encourage students to think • Participate in a week-long residency on campus with creatively and critically, to be dedicated collaborators, faculty and other students. and to work in multilingual and multicultural classrooms with students from across the socioeconomic spectrum • Pursue your scholarly interests and connect them to and with a range of ability. We model and encourage music education theories and your teaching practice. self-reflection and an openness to continual growth. • Advance your career and discover new opportunities.

Here’s your opportunity to study with many of the We are a student-centered program committed to equity nation’s most innovative thought leaders, policy makers, and justice. Graduate students may concentrate their and researchers in music education. Immerse yourself degree with multiple electives in areas including diversity, in subjects that offer the potential to transform music equity, and inclusion; antiracist pedagogy; early child- education for you and your students. Engage with fellow hood; musicology/ethnomusicology; music technology; music educators from around the world who will become popular music; and wellbeing. Our students benefit from valued friends and colleagues. pursuing their teacher preparation in the rich context of a research university.

Why BU Music Education? • The rigors of a top-notch program designed to fit your busy schedule. • Work with a diverse faculty of accomplished musicians, scholars, researchers, and educators. • Immerse yourself in subjects that offer the potential to transform music education for you and your students. • Study the history, philosophy, psychology, sociology, and technology of music education. • Engage with fellow music educators from around the world who will become colleagues and life-long friends. • Access Boston University’s extensive, world-class resources. • Develop and hone research and communication skills and produce a dissertation that can become the basis for a scholarly article, series of articles, or book. • No GRE requirement.

Enter the ranks of scholars redefining music education for the 21st century.

Join us. Let’s get started. The degree consists of three components: coursework, qualifying examinations, and dissertation. You will prepare for advancement in the field of music education by developing and honing scholarly expertise, sharpening proficiency in theoretical and historical analysis, developing a research specialization, and producing a dissertation of publishable quality that adds new knowledge, moving the field of music education forward. Your dissertation can become the basis for a scholarly article, series of articles, or book. Many of our doctoral students and their faculty mentors have co-pre- sented at national and international conferences.

Below is a selection of completed dissertations from recent graduates of the online Doctor of Musical Arts in Music Education at Boston University that demonstrate the breadth and scope of topics and research methods used by our DMA candidates:

• Heather Katz Cote (CFA’16), Village of Nagog Woods, • Michael Sundblad (CFA’20), Norfolk, VA: Credibility, MA: A Matrix of Music Supervisors’ Stories in the Community College, and the Closet: How Students Midst of School Reform Perceive a Gay Music Instructor

• James Ray (CFA’17), Port Angeles, WA: Collective • Jorim Reid (CFA’20), Durham, NC: Marching Sound Efficacy Belief, Within-Group Agreement, and Machines: An Autoethnography of a Director of Bands Performance Quality Among String Chamber at an Historically Black College and University Ensembles: An Exploratory Study • Darryl Singleton (CFA ’20), Katy, TX: Black Band for • Kenneth Dale Disney (CFA’18), Knoxville, TN: Brown Students: A Culturally Relevant Pedagogy? Understructures, Gender Roles, and Performativity in a High School Percussion Section • Troy Davis (CFA’20), Santa Clara, CA: Self-Assessment in Jazz Improvisation: An Instrumental Case Study of • Amira Ehrlich (CFA’18), Israel: Pray Play Teach: Professional Jazz Musicians in a Jazz Combo Setting Conversations with Three Jewish Israeli Music Educators

Curriculum | Major Area Courses

Problems, Theories, and Literature: Making Quantitative Research Methods in Music Qualitative Research Methods in Music a Contribution to the Field Education Education This course introduces graduate students In this course students begin the process Quantitative research methods and their to key issues and concepts in qualitative of transitioning from their roles as graduate application to educational research con- research. Students develop skills in conduct- students to their lifelong roles as scholars. texts; quantitative research design, sampling ing interviews, and observations; they gain Topics and activities include scholarly reading techniques, reliability and validity, descriptive experience with ethnographic and narrative and writing; theories and conceptual frame- and inferential statistics, quantitative studies techniques including transcribing, coding, works; constructing a research problem, ra- in music education, and using software to interpreting data and presenting results of tionale, and research questions; and creating conduct statistical analysis. 4 cr analysis. 4 cr an outline for a scholarly literature review. 4 cr Introduction to Music Education Research and often influence policy. Students in this ment of policy. Topics include public policy, In this course, students become acquainted course should develop the knowledge and politics, advocacy, diversity, evaluation, and with a variety of research that informs music expertise in understanding needs for change curriculum. 4 cr education, learn both to critique and apply and developing plans for advocacy. 4 cr that research, and develop their scholarly Crossroads: Traditions in African-American writing skills. 4 cr American Music Vernacular Music Overview of early music in the colonies. The course addresses elements and aspects History & Philosophy in Music Education: Various attempts to create an individual of African-American music which extend Perspectives and Practice “American” musical style. Diversity of influ- beyond the confines of blues, including early The purpose of this course is to examine and ences: European, African-American, Indian, rock’n roll, hip-hop, 1940s big band jazz, and discuss historical and contemporary philo- Spanish-Mexican, religious, jazz, folk song, beyond. Additionally, the course incorporates sophical ideas and problems in music and minstrel, etc. Music of Billings, Lowell, Mason, a variety of intertextual elements, including music education. A goal is for students to Gottschalk, MacDowell, Ives, Gershwin, Cop- literary cross-currents in African-American develop a sharpened sensitivity to past and land, and others. 4 cr linguistic theory (as relevant to music), present thought (primarily, but not limited to including Henry Louis Gates’ seminal text historical and philosophical thought) in the Analytical Techniques I Signifying Monkey and more. 4 cr field of music education in order to better Investigations (systemic and empirical) into inform their own curricular and instructional formal and compositional procedures of se- Introduction to Early Childhood Music choices. 4 cr lected masterworks from the tonal repertoire. Education Lectures lead to individual analytical projects. This course will provide an overview of Psychology & Sociology in Music Education: 4 cr early childhood development and education. Perspectives and Applications Students will then investigate the musical The purpose of this course is to critically An Ethnographic Exploration of African development of very young children, and examine psychological and sociological Musical Cultures explore the components of research-based, concepts as they relate to music and educa- This course explores a selection of music from developmentally appropriate early childhood tion. Topics include key issues and concepts sub-Saharan Africa in ethnographic context, music education. Special attention will be in psychology and sociology; psychology as with a particular focus on their practical paid to the role of play in childhood and de- related to music education processes; prob- application in the Western classroom or en- signing and implementing play-based musical lems encountered in the sociology of music semble. The course aims to provide you with experiences. 4 cr education; and cultural influences that affect a sense of the intensity of African musical both the psychology of the individual and the creativity, its global ubiquitous influence, and Introduction to Music Education Technology sociological aspects of group dynamics. 4 cr an appreciation of how important music is to The course will include activities designed to individual lived experiences. Upon successful introduce students to significant technologies Theoretical and Cultural Applications in the completion of this course, students will have that can support music teaching and learn- Music Classroom gained the knowledge and skill required to ing. These technologies will include music The purpose of this course is to cultivate bring African music into their own classroom sequencing/production, recording, audio historical and cultural understandings of or ensemble. 4 cr and MIDI editing, computer-based notation, varied repertoire and musical engagements. graphic-based web authoring, social media Throughout the course, current understand- Arts Integration: Interdisciplinary Ap- for music distribution, and computer-assisted ings in music theory, music analysis, musical proaches that Support Holistic Learning instruction software. 4 cr transmission, and socio-historical contexts To model real-world arts-integration imple- will be both examined and interrogated. 4 cr mentation, students will engage in team- Jazz and Popular Arranging based learning and project development Analysis of combo, vocal and jazz ensemble Research and Directed Study between arts and non-arts subjects, and/or literature from a variety of grade levels. De- Students will refine a research problem and between the arts disciplines. Collaborative velopment of arranging and composing skills rationale, engage critically with theoretical projects will be informed by the histories, in the jazz idiom. Overview of score study, frameworks and relevant scholarly literature, theories, philosophies, approaches, and exem- rehearsal, and programming topics pertaining and align appropriate research methods. plars of arts integration programs in North to jazz ensemble development and leadership. Section DL (for online DMA students) is a America. 4 cr 4 cr week-long residency on campus. 1 cr Community Music Perspectives Music Technology Pedagogy Drawing upon the social, cultural, political, This course serves to expand the knowl- and economic milieu including movements edge that many teachers have about uses Selection of Approved in music education, music therapy and of technology for teaching music. Students Electives in Musicology, ethnomusicology, this course first examines explore the practice of teaching music in a reasons for the growth and development of technologically enhanced environment and Music Theory & Music community music. Students will be asked the special kinds of teaching skills required to Education to trace an aspect of community music that do so effectively. Students examine theoreti- may be considered as part of its heritage and cal foundations of the uses of technology for Advocacy & Policy in Arts Education also to evaluate and critique a contemporary music teaching, including theories of student This course is intended to address policy community music project through fieldwork. interaction with technology, multimedia issues and advocacy strategies for leaders in 4 cr principles, and technology-infused music the arts. Local, State and National Arts Edu- curricula. 4 cr cation policies and advocacy programs will be Contemporary Issues in Music Education addressed. Students will research agencies, Study of current issues influencing the state Music Ministry: Methods and Materials partners and other organizations beyond the of music education in schools. Focus on the Students will explore and critically engage schools that serve as sources for advocacy interpretation, implementation, and develop- with materials and approaches in the principal areas of present-day church musicians in- ual reflection, and student-designed projects wish to develop a Cloud avenue to their cluding theology of music ministry, resources, to increase awareness of their own biases and students through the Internet. It will survey choral and vocal techniques, conducting, assumptions and deepen reflective practice in cutting-edge current technology possibilities the organ and other instruments, alternative music making and teaching. 4 cr available and immediately provide an oppor- and contemporary worship, and professional tunity for teachers to develop class-specific concerns. They will deepen their understand- Special Topics: Music Education, operable lessons and artifacts that will be ing and integration of the multi-faceted skills Justice, & Equity individualized to their teaching process. The inherent in the practice of music ministry. This course intends to cover a body of equity pedagogy emphasized throughout the course This course is offered through BU’s School of and justice theories as a means of impelling a and lessons developed will be utilized to teach Theology. 4 cr reconsideration of music education curricula music and not technology mechanics. Stu- to deepen the students’ reflection, and to dents will be encouraged to note how these Orchestration foster a strong connection between justice activities can assist the education process as Contemporary orchestral techniques, focusing and music education. Students will participate they will take both the class interactive expe- on scoring for modern winds, brass, strings in group discussions and individual reflections riences and created lesson plans back to their and mixed ensembles, including full orchestra. to increase awareness of justice and equity music classrooms. 4 cr Concepts include chord spacing, melodic pro- particularly as they relate to themselves as jection, layering and delineation of material, music educators. As part of this process, Toward a 21st-Century Aesthetic and extended instrumental techniques. 4 cr students will engage in project development. of Musicking Upon completion of the course, students This course will work toward a 21st-century Power, Marginalization, and Privilege in should be better prepared to engage in acts of aesthetic of musicking. Expanding on Chris- Music Education social justice and to work for music education topher Small’s reevaluation of performing This course is designed to expand awareness as a force for social change. 4 cr and listening, students will investigate what of the intersections between music, educa- it means for individuals and collectives “to tion, and society as they relate to issues of Special Topics: Teaching Music in the Cloud musick” in the 21st century through notions of power, privilege, and marginalization within This course will provide a strong examina- sound, (dis)place(ment), disability, ecology, US, educational, and global contexts. Students tion of, and interaction with, current online media, ethnocentrism, morality, empathy, and will participate in group discussions, individ- technology available to music teachers who provocation. 4 cr

Students in the online program may also take summer electives on campus at Boston University, including such courses as Empowering Song, Rock Band Pedagogy, String Teaching in the 21st Century, and Social Entrepreneurship.

Admissions Requirements

Applications for the Doctor of Musical Arts in Music Education online program are accepted once per year for a Fall term start. The application opens in September and has an early January submission deadline each year. Applicants will be reviewed for admission based upon the following criteria and materials:

Professional portfolio including: Qualities of a Competitive Applicant: • Completed application for graduate admission • Bachelor’s and Master’s degrees in Music or Music to the College of Fine Arts Education from regionally accredited institutions • Transcripts from all colleges and universities • At least 3 years of music teaching experience at attended the primary, secondary or university level • Two Letters of Reference • Leadership through activities such as designing • Curriculum Vitae curriculum, mentoring new teachers, serving on executive boards of professional organizations, and • Personal Statement publishing articles • Statement of Research Interest • Cumulative GPA of 3.0 or higher • Writing Sample • English Proficiency test scores for non-native English speakers

Please refer to our website for instructions on how to submit application materials. For assistance, please contact our Director of Online Admissions at 1-855-884-5636 or email [email protected].