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An Investigation of the Perceived Impact of the Inclusion of Steel Pan Ensembles in Collegiate Curricula in the Midwest

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An Investigation of the Perceived Impact of the Inclusion of Steel Pan Ensembles in Collegiate Curricula in the Midwest AN INVESTIGATION OF THE PERCEIVED IMPACT OF THE INCLUSION OF STEEL PAN ENSEMBLES IN COLLEGIATE CURRICULA IN THE MIDWEST by BENJAMIN YANCEY B.M., University of Central Florida, 2009 A THESIS Submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC School of Music, Theatre and Dance College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2014 Approved by: Major Professor Dr. Kurt Gartner Abstract The current study is an in depth look of the impact of steel pan ensemble within the college curriculum of the Midwest. The goal of the study is to further understand what perceived impacts steel pan ensemble might have on student learning through the perceptions of both instructors and students. The ensemble's impact on the students’ senses of rhythm, ability to listen and balance in an ensemble, their understanding of voicing and harmony, and appreciation of world music were all investigated through both the perceptions of the students as well as the instructors. Other areas investigated were the role of the instructor to determine how their teaching methods and topics covered impacted the students' opinion of the ensemble. This includes, but is not limited to, time spent teaching improvisation, rote teaching versus Western notation, and adding historical context by teaching the students the history of the ensemble. The Midwest region was chosen both for its high density of collegiate steel pan ensembles as well as its encompassing of some of the oldest pan ensembles in the U.S. The study used an explanatory mixed methodology employing two surveys, a student version and an instructor version, distributed to the collegiate steel pan ensembles of the Midwest via the internet. The researcher intends for the current data to serve the music community in several ways: first, by determining exactly what the students and instructors value about the ensemble, we will better understand how an instrument created less than a century ago was able to infiltrate music programs all over the world. Second, giving instructors insight on the students' perspectives will also enable them to create a more effective and enjoyable curriculum. And lastly, with this information, instructors and program supervisors will be better suited to determine just how large of a role the ensemble should play in their students' education. Acknowledgements There are many people that need to be thanked for the completion of this project. First of all I would like to thank Dr. Kurt Gartner, professor of percussion at Kansas State University. I went through many changes in directions before arriving at the current topic and his guidance and support were instrumental to this research. Not to mention his patience and hours spent proofreading. Secondly I would like to thank Dr. Large, professor of flute at Kansas State University. I had the pleasure of studying world music with her and was here that I gained a true appreciation for the music of Trinidad. Her passion for all things music is infectious and it drove me to learn more. Lastly, but most certainly not least, I would like to thank Dr. Payne, professor of music education at Kansas State University. I would like to thank him for guiding me through the design of my research and the development of my survey, as well as for his patience with me while I asked him a seemingly endless list of questions. All these professors were patient, knowledgeable, and dedicated while working with me and were instrumental to this research. I would also like to thank Dr. Frank Tracz, Director of Bands at Kansas State University. Although not directly involved in this study, I have learned many great things from him during my time at Kansas State. His drive, passion, and determination are awe inspiring and are attributes that not only helped me to complete this research, but are attributes that will stay with me throughout my career. Lastly, I would like to think my wife Misty Yancey, not only for her love and support, but for her countless hours spent reading and proofing. She has always been nothing but supportive in all of my musical endeavors and has always been happy to help in whatever way possible. She is my inspiration, she drives me to do better, and she keeps me sane. Without her, this research, my musicianship, and myself as a person would not be what they are today. Table of Contents List of Tables ................................................................................................................................. vi CHAPTER 1 - Introduction ............................................................................................................ 1 Need for the Study ...................................................................................................................... 2 Research Questions ..................................................................................................................... 4 Operational Definitions ............................................................................................................... 5 Limitations and Delimitations .................................................................................................... 5 CHAPTER 2 - History of the Steel Pan .......................................................................................... 7 Trinidad Before the Steel Pan ..................................................................................................... 7 World War II ............................................................................................................................. 13 Towards Acceptance of Steel Pan ............................................................................................ 15 The United States Navy Steel Band .......................................................................................... 17 The Contributions of Pete Seeger ............................................................................................. 22 Ellie Mannette, Father of the Modern Steel Pan ....................................................................... 27 Steel Pan in the Midwest .......................................................................................................... 32 CHAPTER 3 - Review of Relevant Literature ............................................................................. 37 Qualitative research done on the impact of steel pan ensemble ............................................... 37 Literature on the History of the Steel Pan ................................................................................. 44 CHAPTER 4 - Methodology ........................................................................................................ 46 Pilot Study ................................................................................................................................. 46 Setting and Participants ............................................................................................................ 48 Instrumentation ......................................................................................................................... 48 Procedure .................................................................................................................................. 51 CHAPTER 5 - Results .................................................................................................................. 53 Program Demographic Information .......................................................................................... 53 Student and Teacher Enjoyment ............................................................................................... 55 Knowledge of the History of the Ensemble .............................................................................. 58 Impacts on Student Musical Learning ...................................................................................... 59 Improvisation ............................................................................................................................ 62 iv Importance of the Ensemble to Musical Development ............................................................. 63 Question One ........................................................................................................................ 63 Question Two ........................................................................................................................ 65 Question Three ...................................................................................................................... 68 CHAPTER 6 - Conclusions .......................................................................................................... 71 Research Question One ............................................................................................................. 71 Research Question Two ............................................................................................................ 74 Research Question Three .......................................................................................................... 77 Discussion ................................................................................................................................. 81 Final Thoughts .......................................................................................................................... 83 Bibliography ................................................................................................................................
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