Fostering Band Students' Social-Emotional Skills

FOSTERING SOCIO-EMOTIONAL INTELLIGENCE IN BAND 1
Fostering Socio-emotional Intelligence in Beginning and Middle School Band Rehearsal
Lori K. Sievert
Concordia University-Portland
An Action Research Report Presented to
The Graduate Program in Partial Fulfillment of the Requirements
For the Degree of Masters in Education
Concordia University-Portland
2015

Fostering Socio-Emotional Intelligence in Beginning and Middle School Band Rehearsal
Instrumental music education has the potential to promote and enhance socio-emotional
intelligence in young performers. Instrumental music (band and orchestra) members often have
the same teacher for several years and can build long lasting relationships with the members of
the group. It is often the case, however, that students may perceive what happens in the rehearsal
room does not allow for the typical collaborative learning that is the hallmark of socio-emotional
learning (www.casel.org), or promote growth in emotional intelligence (Goleman, 1995, 2006),
including empathy, social analysis, negotiation skills, and personal connection. It is often
noticed that performing group members lack empathy, do not take ownership of their mistakes
and correct them, and do not know the name of everyone in the performing group (34
individuals). Students cannot describe with clarity how they are affected emotionally and
mentally by playing music. These aspects are within the realm of emotional intelligence and
socioemotional learning. School administration and parents often imply that the music teacher’s
success or failure is judged by the ratings achieved at area or district music festivals, which stress
musical perfection (Roesler, 2014). In response to these issues, the question proposed is: How
can elementary and middle school band foster socio-emotional intelligence in a rehearsal
environment?
Instrumental Music Class (Rehearsal) and Socio-Emotional Learning
Instrumental music classes have been a standard elective offering in the middle and high
school experience in the United States for nearly a century in a top-down instructional model
(Heuser, 2011), mimicking what would be expected of a professional or semi-professional large
ensemble such as a concert band or orchestra. The teacher-as-maestro format can elicit amazing
performances in their young musicians, but what about the values Dewey described as “moral

education” (1909) that enrich and excite the inner values and emotions of young musicians in
training (Allsup, 2012)? Moral education in an instrumental music rehearsal setting would
empower students with interaction among peers, collaboration in choosing performance works,
and possibly allow student created music to be performed. Three qualities that are highlighted in
the literature under study are empathy, interpersonal intelligence, and collaborative work/peer
teaching (www.casel.org). These 17 sources are:
 The Moral Ends of Band (Allsup, 2012).
 Student-Centered Instruction: Involving Students in Their Own Education
(Brown, 2008)
 Their Own Best Teachers: How We Help and Hinder the Development of
Learners’ Independence (Duke, 2012).
 Introducing Social Emotional Learning to Music Education Professional
Development Edgar, 2013).
 Zero-based Arts Education: An Introduction to Arts PROPEL (Gardner, 1989).
 Multiple Intelligences: New Horizons (Gardner, 2006).
 Emotional Intelligence: The 10th Anniversary Edition (Goleman, 1995, 2006).
 Ensemble-Based Instrumental Music Instruction: Dead-End Tradition or
Opportunity for Socially Enlightened Teaching (Heuser, 2011)
 Opportunities for Socioemotional Learning in Music Classrooms (Jacobi, 2012)
 The Effect of Critical Thinking Instruction on Verbal Descriptions of Music
(Johnson, D.C., 2011).
 Developing Listening Skills Through Peer Interaction (Johnson, E., 2011)

 Educators’ Social and Emotional Skills Vital to Learning (Jones, Bouffard, &
Weissbourd, 2013).
 The Socio-emotional Model of Music Motivation (MacIntyre, Potter, & Burns,
2012)
 Music: The Sounds of Emotional Intelligence (Pellitteri, Stern, & Nakhutina,
1999)
 Musically Meaningful: The Interpersonal Goals of Performance (Roesler, 2014)
 Lindy's Story: One Student's Experience in Middle School Band (Scheib, 2006)
 Constructivist Practices to Increase Student Engagement in the Orchestra
Classroom (Scruggs, 2009).
Socioemotional Learning (SEL) and Music Educators
The pre-service training of music educators includes practice of many strategies to engage
students in the fine points of making music, but often lacks any instruction in SEL suitable for
general music classes or for rehearsal strategies (Edgar, 2013). Music education, particularly the
rehearsal style classroom of beginning and intermediate band, has the capability to incorporate
personal connections, impulse control strategies, social awareness, group organization skills, and
emotional awareness (Goleman, 1995, 2006), as well as help students discover the multiple
intelligences that may not have been fostered in core classes (Gardner, 2006), since teacher and
students spend several school years together building relationships (Edgar, 2013). Teachers,
even music educators, must come to terms with their own socioemotional skills when confronted
with teacher burnout, difficult relationships with students and staff (Jones, Bouffard, &
Weissbourd, 2013). School culture is a key component of SEL, and music educators need to be

informed and empowered to encourage student social and emotional growth (Jones, Bouffard, &
Weissbourd, 2013) alongside their school peers.
Empathy
One of the hallmarks of socio-emotional learning is increased demonstration of
compassion and empathy in the learners (www.casel.org). The common experience in
instrumental music is echoed in Lindy's Story: One Student's Experience in Middle School Band
(Scheib, 2006), as a typical middle school student reports in an interview that her experiences
are very isolating and competitive. She reports her “success” comes from when she wins a
chair challenge, plays a playing test well, and when her behavior does not need any assertive
discipline (Scheib, 2006). In comparison, Heuser (2011) reports the band of North Park Middle
School of Los Angeles, an award winning performing group, was able to expose students to
homeless students with peer teaching outreach at the Isaiah House, and include these
underprivileged students in musical programming. This outreach activity increased empathy
among NPMS band students.
It is also important that the teacher is a role model to the students in the area of inclusion
of special needs learners. Jacobi (2012) illustrates the power of a music teacher to break
barriers and include a “special” needs student when she took the time to notice an attribute that
caused the entire class to reach out to the young girl. Indeed, the awareness music making,
listening, and responding brings to the late intermediate/middle school student can help students
with developing empathy, impulse control, and collaboration in both average and special needs
students (Pellitteri, Stern, & Nakhurina, 1999). Empathy building opportunities in the band
rehearsal include students peer coaching each other and rehearsing/performing in small groups
and ensembles as part of the learning process (Scruggs, 2009). When sections of students are

encouraged to peer teach as part of the music learning process, empathy skills are nurtured and
students take responsibility to encourage each other (Brown, 2008; Duke, 2012).
Interpersonal and Intrapersonal Intelligence
One of the main goals of most instrumental music programs is the best possible rating at
an area wide or district music festival, which is assessed by a rubric administered by other music
teachers (Roesler, 2014). Directors spend much time and effort in perfecting the music for this
event (Sievert, personal observation, 2002-2015), and SEL activities are neglected in the effort to
achieve success by a superior or command performance rating. Duke (2012) reminds music
educators that if students do not learn to correct their own mistakes, they will repeat them.
Encouraging students to skillfully correct and encourage each other in the rehearsal, rather than
the director constantly barking out commands would help young musicians grow in their
interpersonal skills (Brown, 2008), while allowing for reflection in a journal while delving into
critical thinking questions (Johnson, D.C., 2011) will help students become aware of the
emotional impact of music making in a group. Using careful, critical thinking strategies,
students can become their own best teachers (Brown, 2008). Music education is very strong in
using activity based instruction (ABI), but when critical thinking instruction (CTI) is introduced
to music instruction, students are able to creatively hear and describe performances as well as
describe their own emotional discoveries (Johnson, D.C., 2011).
It is also important for students to learn and grow in their capabilities to communicate
and become attuned to the emotions present in performing music as an aesthetic form (Roesler,
2014), rather than the pursuit of a perfection rubric devoid of personal emotional involvement.
Students must be encouraged to discover the beauty and emotion expressed in a musical
performance. Brown (2008) advocates use of two learning models: Comprehensive Musicianship

through Performance (CMP) (O’Toole, 2003, as cited in Brown, 2008, p. 31) and Howard
Gardner/Harvard Project Zero’s (1989) Arts PROPEL. The teacher as practitioner must be active
in the questioning/learning process so they can guide students through questions such as:
 “What do I want the ensemble to learn?”
 “How will this piece benefit my students?”
 “What ability level is my ensemble?”
 “ Where are you going?”
 “How will you get there?”
 “Are we getting there?” (Brown, 2008).
Collaborative Work/Peer Teaching
Learning to play an instrument is physically, mentally, and emotionally difficult work.
The novice performer is asked to decode new symbols using a foreign object that must be
physically manipulated in just the right manner to accomplish this decoding (Sievert, personal
observation, 1989-2015). This difficult, individual work is usually done in a group of unlike
instruments where everyone else is doing the same process with another instrument. This leads
to a sense of independence, or individuality, where the goal of a performing group should be one
of interdependence and of collaboration (Scruggs, 2009). MacIntyre (2012) found that by the
time these musicians were in high school, the motivation to continue in the performing group
was based on their feelings of interconnectedness, the positive environment of the band, and the
positive attitude they had about playing their instruments. A 3 level peer listening analysis
technique empowers students to bring out the best performance possible based on Vygotsky’s
Zones of Proximal Development, where students are given responsibilities to listen individuals,
the section, and the performing group (Johnson, E. 2011). Allsup (2012) believes that band

could evolve into a place where collaboration on new music pieces or with new types of
ensembles that enhance moral learning rather than being led from the conductor to the group.
Scruggs (2009) constructivist approach to the rehearsal challenges music educators to work in
small collaborative groups and give immediate reflection to what has transpired. Working in
pairs or smaller unlike instrument groups also can lead to peer teaching/coaching gains that
improve the entire group (Duke, 2012).
Analysis
There is a dearth of material where authors advocate constructivist rehearsal practices,
but have no data, either quantitative or qualitative. Gardner and Vygotsky are hailed as
prominent educational theorists in much of the literature reviewed. Collaborative practices build
heavily on Vygotsky’s Zones of Proximal Development, and are quite effective in improving
musical achievement and in building quality relationships. Multiple intelligences (Gardner,
2006) and emotional intelligence (Goleman, 1995, 2006) are key components of socioemotional
learning. When musical intelligence, interpersonal and intrapersonal intelligences are
encouraged (Gardner, 2006), personal growth and group camaraderie blossoms. Emotional
intelligence characteristics (Goleman, 1995, 2006), such as empathy, impulse control, social
interaction, personal connection, and negotiation skills can all be taught as part of the culture of
the rehearsal. Gardner’s (1989) early work in Arts PROPEL, where students are producing
music, perceiving the various aspects of music and reflecting on those perceptions, and then
wrapping up the learning into a final synthesis encourages music educators to teach beyond the
auditorium performance.
Macintyre (2012), D. Johnson (2011), and Scheib (2006) gathered data or information in
quantitative research (McMillan, 2012). Most articles use a narrative to illustrate the advocated

concepts. E. Johnson (2011), Allsup (2012), Pellitteri, Stern, & Nakhurina (1999), Scruggs
(2009) and Heuser (2011) espouse the benefits of moral/socio-emotional education, but differ in
what can be done to afford SE opportunities. The outreach that North Park Middle School
undertook benefited all participants and gave them the socio-emotional experiences that build the
trait of empathy (Heuser, 2011). In comparison, Allsup (2012) seems to make an emotional
appeal to his colleagues to take action to empower students by employing Dewey’s concepts, but
he gives no research or examples as to what benefits may come of such practices. Brown
(2009) referenced two student-centered learning models that have not seen wide usage in the
opinion of this author. E. Johnson (2011) utilizes a three level listening rubric and shows
examples in his article as to their use. He states that improvement and empowerment rises when
these activities are part of the rehearsal. MacIntyre (2012) researched student attitudes related to
membership in a performance group, but there is no direct relationship between student
empowerment and socio-emotional learning provided by his findings. E. Johnson’s (2011)
listening levels are an example of socio-emotional learning involving collaboration, which could
be very useful in elementary and middle school groups. If this concept were paired with the
reminder of Duke (2012) to aid students by letting them discover and correct mistakes on their
own, and encouraging more input from students (Scruggs, 2009). It is very easy to fall into the
trap of fixing problems, but they often do not create recall of the correction by the student (Duke,
2012). Critical thinking skills in music listening and performance improve the skills of the
musicians and the listeners (Johnson, D., 2011) and should be part of instruction alongside the
activities of music making. Jacobi (2012) and Roesler (2014) make their poignant cases by
reflecting on their experiences and encourage me to be constantly vigilant to be inclusive,
welcoming, and consistently concerned with students’ abilities to perform with more than

perfection, but with heart and passion. Heuser (2011) stunned me with the amazing story of
building empathy and community with the outreach to Isaiah House. Sadly, “Lindy’s”
experience (Scheib, 2006) is far too common for many band students. Many middle school
students, show up to rehearsal, enjoy playing music, feel a sense of accomplishment, but are not
encouraged to collaborate with peers. Chair challenge systems can be detrimental to building an
atmosphere of collaboration and assertive discipline models fail to teach musicians the
importance of self-control in working with others. Young musicians need to be seen as
contributors to the group and teachers should mentor them to be equals as musicians who need
more music making experiences to grow their emerging skills.
The unfortunate lack of pre-service instruction in SEL techniques (Edgar, 2013) makes it
imperative that music teachers find opportunities to be informed and model empathy, impulse
control, quality relationship building, and best practices in social evaluation and group decision
making with their ensembles. It is very easy in our stressful, busy lives to overlook how
important our own SEL skill set is being maintained and nurtured (Jones, Bouffard, &
Weissbourd, 2013). It is very important that every teacher plan time for reflection and emotional
self-care.
Conclusions
Fostering socio-emotional learning in the elementary and middle school
instrumental rehearsal is possible, but is not taught to pre-service music educators. In my
experience, most music educators tend to avoid school in-service trainings because they do not
believe that the training will be of benefit to their specialized subject. In the area of SEL, Edgar
(2013) makes a very strong case that music educators must gain skill in applying these emotional
and social learning skills. Multiple intelligences (Gardner, 2006) and emotional intelligence

(Goleman, 1995, 2006) were not concepts taught in my methods classes in the 1970’s and
1980’s. Music educators are often so concerned about performance and ratings that it is easy to
ignore the wonderful possibilities we have in building the social and emotional capabilities and
needs of our students (Allsup, 2012; Edgar, 2013). It is also very important that a teacher is
aware of how their SEL skills and behaviors impact the classroom and their own psychological
and social health (Jones, Bouffard, & Weissbourd, 2013). Teachers must take time to reflect on
their daily class activities and interactions, as well as maintain emotional self-care to combat
stress and burnout. If school leadership does not demonstrate concern for the staff’s emotional
and social health, teachers must take the time for reflection and self-care, such as journal writing
and meditation.
Students like “Lindy” (Scheib, 2006) would find her band experience much more
powerful and memorable if there were peer teaching opportunities including peer listening
rubrics (Johnson, E., 2011), ways to be inclusive in her musical community and her greater
community (Jacobi, 2012; Heuser 2011, Scruggs, 2009) with other peers rather than competing
to see who performs “best” (Roesler, 2014). Pellitteri, Stern, & Nakhurina (1999) make a
credible case as to the power of interacting and creating music in aiding young adolescents in
developing greater emotional intelligence. When students choose to be in band, they find greater
enjoyment in making music with others in comparison to their prior experience with piano. They
may be experiencing the power inherent in community music making (Csikszentmihalyi, 2004).
Research (MacIntyre, 2012) shows that high school students involved in band find the
experience enjoyable, but there is more that can be done to foster intrapersonal and interpersonal
behaviors (Gardner, 1989), which Allsup (2006) challenges fellow conductors to develop in their

groups. Brown (2009), Scruggs (2009), E. Johnson (2011) and Duke (2012) remind me that
students are far more capable of teaching themselves than they are given credit.
Socio-emotional learning can be achieved in the rehearsal environment with careful,
methodical implementation and emphasis on student empowerment. Creating a truly
collaborative environment needed for SE learning and growth involves the teacher relinquishing
the power of the baton in order to enable students to stretch their own capabilities to learn and
teach music to their peers.
.
Demographic Data
The research site is a private, Christian TK-8 school in a suburban area of a major Northern
California city known for its technology innovations. This city is known for its ethnic diversity
and large Asian population, as well as a large number of foreign-born non-citizens. The research
target is the middle school band of this school.
Population of (ZIP Code) by Race and Gender
Number Percentage
African-American 1,450 4%
Asian or Pacific Islander 20,791 51%
Indian 220 1%
Mixed Races 1,859 5%
Others 2,471 6%
White 13,772 34%
Female 20,198 50%
Male 20,308 50%
(Source: movoto.com)

Population Citizenships by Birthplace of (ZIP Code)
Native Born Abroad 580 1%
Native Born in State 16,127 40%
Native Born in the Midwest 1,889 5%
Foreign Born Naturalized
Citizen
10,010 25%
Foreign Born Non-citizen 7,931 20%
Native Born in the
Northeast
1,101 3%
Native Born in the South 1,390 3%
Native Born in the West 1,478 4%
(Source: movoto.com)
Vietnamese
13%
Native American
0%
Mixed
9% Korean
3%
Japanese
0%
Hispanic or
Latino
7%
Filipino
7%
Declineto State
3%
Chinese
40%
Asian Mixed
7%
Asian Indian
5%
African American
2%
No Answer
4%
Graph of Ethnicity of Christian School
Vietnamese
Native American
Mixed
Korean
Japanese
Hispanic or Latino
Filipino
Decline to State
Chinese
Asian Mixed
Asian Indian
African American

Ethnicity of Students of Christian School
Ethnicity Number of Students Percentage
White, not of Hispanic origin 31 9%
Vietnamese 41 12%
Native American 1 0%
Mixed 30 9%
Korean 10 3%
Japanese 1 0%
Hispanic or Latino 22 6%
Filipino 21 6%
Decline to State 8 3%
Chinese 127 37%
Asian Mixed 21 6%
Asian Indian 16 4%
African American 6 2%
Gave No Answer 12 3%
(Source: Christian School Demographics Study)
The school has 347 students, of which 120 are in middle school (Grades 6-8) (School
Database). Annual tuition for the school is $11,160 (School Pamphlet). The population that will
be directly involved in this study is the middle school band of 34 students.
Asian Mixed
3%
Chinese
26%
Declineto State
6%
Filipino
10%
Hispanic
or Latino
16%
Korean
3%
Mixed
10%
Vietnamese
16%
White, not of
Hispanic origin
10%
Demographic of Middle School Band
Asian Mixed
Chinese
Decline to State
Filipino
Hispanic or Latino
Korean
Mixed
Vietnamese
White, not of Hispanic origin

Grade and Gender of Middle School Band Students
Grade Male Female Total
6 2 10 12
7 5 4 9
8 6 7 13
TOTAL 13 21 34
It is also important for a clear understanding of the problem to see the group statistics by grade
and instruments.
Grade Flute Clarinet Alto Saxophone Trumpet Low Winds Percussion
6 6 1 2 2 0 1
7 3 1 3 1 1 0
8 1 2 1 1 5 2
The school is a reflection of the demographics of the local area, although some students
commute more than 5 miles daily to attend the school. The school is ethnically mixed, with a
high population of Asian students.
Target Group
One of the most implied benefits of band membership is the team cohesiveness of the performing
group, character building, and teaching leadership skills. Working with the entire middle school
band group will benefit the target group in increased interpersonal growth, improved decision-
making in regard to behavior and verbal choices, build leadership skills, as well as focus on
building compassion and concern for each other.
Baseline Data
It is common within the multi-grade band that students do not know each other by name
and have never had opportunity to work in collaborative groups due to the nature of previous
band experiences having little to no time to work in groups. Students recently completed “Who

Do You Know?” to see just how well each member knew the rest of the group by name. This
chart demonstrates 12 of 30 students present did not know everyone in the group by name (40%).
(Data generated 3/13/2015)
Instrumentalists learn how to generate sounds independently within the larger group and
must focus on those independent skills in a larger group. Since most learning activities tend to
be teacher driven, students do not tend to take ownership of the learning process. For example,
some students need constant reminders and corrections over their performances. These are the
areas of concern addressed in the study. Music performance should also be an area that allows
creativity and personal expression, which can be easily thwarted when the director does not
relinquish control.
7
10
15
17 17
18
19
20 20
22
23
26
27
28
29 29 29
30 30
31 31
32 32 32 32 32
33 33 33 33
0
5
10
15
20
25
30
35
P H N E U B C D CC I DD L J Y V X BB G K W AA A F M S Z O Q R T
Who Do You Know?

Proposed Action
Fostering socioemotional growth in beginning and intermediate band rehearsals
will be multifaceted and will require at least three possible actions. Goleman (1995, 2005)
describes four separate abilities or components of emotional intelligence:
1. Organizing groups
2. Negotiating solutions
3. Personal connection
4. Social analysis (Hatch and Gardner, 1990).
Working in smaller collaborative groups in tasks that require discussion, performing together
without the entire band, and synthesizing small groups into intermediate size groups will involve
developing these skills in these emerging performers. These activities should build relationships
and improve aesthetic performances and awareness. It is very easy and expected that the
director/teacher is the source of knowledge in current practice in instrumental music, but this
practice hinders the students taking responsibility to be self-correcting their performances (Duke,
2012).
Student journaling as a routine practice in the rehearsal will improve student awareness
of the link between music performance and physical and emotional responses as described by
Mihaly Csikszentmihalyi (2004) in his TED discussion of “flow,” which he describes as “a state
of heightened focus and immersion in such activities such as art, play and work.” Instrumental
concert band music as an art form in America could be seen as a self-perpetuating endeavor of
professional music educators who strive for polished perfection at music adjudication events,
rather than being a means of aesthetic communication and creativity (Roesler, 2014).

Johnson (2011) developed a listening structure that involves peer listening and
collaboration. In this listening collaborative students share important findings and evaluate peer
performances. Two questions that may also encourage peer skills development in this realm
might be:
 What did you hear that went well or poorly?
 What else could be done to improve any aspect of the music?
Beginning musicians have a fear of performing “wrong” notes, which intimidates most young
students when asked to improvise. Small groups of performers attempting supportive
improvisation (Sievert, 2014, unpublished masters PowerPoint) would also develop skills in this
collaborative environment.
There are three areas of focus to foster socioemotional learning in the band rehearsal.
Firstly, the class will implement journaling about “flow,” so that students will reflect on the
impact performing music has for them as musicians. This awareness will hopefully lead these
musicians to continue this enjoyable and creative activity. Journaling will also involve active
listening to performances to aid in peer review. Collaborative groups will work on
understanding the lyrics underlying one of our performance selections as poetry in order to aid
aesthetic expression and to add to the spiritual focus of the hymn. They will also use their
journal to guide them in this process in their small groups. After the festival event, students will
engage small groups to learn to improvise with less trepidation and record responses in the
journal.

Data Collection and Analysis Methods
One critical part of fostering student socio-emotional growth is student reflective journal
writing. Csikszentmihalyi (2004) refers to the feeling quality of intense musicianship as “flow.”
These questions are listed in the appendix. “Flow” will also be observed and recorded by using
audio or video recording for teacher to be able to record notes and reflectively journal about the
performance in their own entry.
Another area of SEL is working in small collaborative groups to foster organizational
traits, negotiation skills, empathy, and personal connection. The first data source will be
utilizing Google Surveys after each session to check for the traits using Likert-type questions
(Efron & Ravid, 2013, p. 116). Audio and/or video will be taken of each group during each
rehearsal. Students and teacher will be able to review the recording to help them substantiate
their survey. The teacher will also use the survey and the recordings to make field notes about
what happened in each rehearsal. These field notes will then be used to help the teacher
complete the reflection journal entry.
The student reflection journals will be used for students to note and describe these ideas
as the students meet in mixed grade triads. These groups will then complete a group paraphrase
of the lyrics for teacher evaluation by submission to Google Classroom. The final source of data
will come from the festival evaluation. Please see the appendices for the various data gathering
materials.
Ideas for Sharing Findings
Efron and Ravid (2013) illustrate several choices to be made in sharing action research.
While writing and publishing a formalized action research study to either an online publication
or to a peer-reviewed journal is a standard method to share the findings (Efron & Ravid, 2013, p.

226), there are several options of presenting the findings of my research that will be of interest to
my staff peers, and music specialists in my circle of influence.
A poster presentation (Efron & Ravid, 2013, p. 231) displayed in our hallway will inform
staff, students, parents, and prospective school families of the findings of research topic and its
contribution to the school climate. An electronic portfolio (Efron & Ravid, 2013, p. 231-232)
made available online with privacy safeguards in place will highlight the rich and varied
activities of the research as well as the findings. There is a possible presentation possible should
an area gathering of music specialists is available. One more possible outlet to share this
important research would be to offer the formalized action research to either The Instrumentalist
or to the National Association for Music Education for review and publication.
The expectation of developing both musicianship and socio-emotional learning for these
students is exciting and challenging. When band students develop these socio-emotional skills in
the context of musical training, beginning and intermediate band rehearsals can truly be places
where team building and character building occur.

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Appendix A
Questions for Journal Responses-“Flow”
 List at least 3 descriptive phrases of how you physically feel after we played this
selection.
 What ideas come to your mind while we are performing this piece?
 What do you notice about what you think and feel when the performance does not work
well?
 Listen to this section perform their part of the piece. What would the effect be on the
music if that part were not played or could not be heard?

Appendix B
Questions for Student Collaborative Survey
Question:
How effectively did
your group organize?
1-not well 2-somewhat well 3-very well
Did you need to
negotiate
(compromise)?
1-no 2-yes
Did the group
members use
negotiation skills?
1-not very much 2-a bit 3-very well
How equally were you
treated with respect
and concern?
1-not really 2-a bit 3-well
Did you act
respectfully and with
empathy?
1-not really 2-somewhat 3-I did my best
Rate your group on
how effectively you
made connections.
1-not really 2-somewhat 3-very well

Appendix C
Questions for Journal Responses-Lyric Study
 What figurative language is used in the lyrics?
 What feeling tones could you find in the lyrics that help you understand why the music
helps enhance the words?

Appendix D
Triangulation Matrix
Fostering Socioemotional Learning in Beginning and Middle School Band
Triangulation Matrix
Research Question Data Source #1 Data Source #2 Data Source #3
To what extent does
student focus on
“flow” by journal
writing improve the
aesthetic and critical
performance of the
music?
Student reflection
journal with guided
reflections.
Video/audio
recording of group
performance prior to
each journal entry.
Third party rubric
assessment of
performance at
music festival.
How does small
group (no more than
6 performers) work
encourage SEL
traits of organizing
groups, negotiating
solutions, empathy,
and personal
connection?
Online survey of
group members
after every
rehearsal.
Video/audio
recording of group
working together
during the 6
sessions.
Teacher observation
and reflection
journal, including
observed traits log
based on the survey
questions.
What is the effect of
lyric study by mixed
grade groups in
building aesthetic
performance of the
music?
Student reflection
journal with guided
questions.
Small group report
of findings by
writing a paraphrase
of the lyric.
Third party rubric
assessment of
performance at
music festival.

Appendix E
Third Party Assessment Rubric
BAND & ORCHESTRA FESTIVAL (Santa Rosa): 20XX
Group:
Selections: 1.
2.
3.
QUALITY OF SOUND Comments:
(Including, but not limited to: tone quality,
intonation, blend, and balance)
30
TECHNIQUE Comments:
(Including, but not limited to: rhythm, precision,
articulation and/or bowing, and facility)
30
MUSICALITY Comments:
(Including, but not limited to: interpretation, style,
phrasing, expression, sensitivity, and dynamics)
30
OTHER FACTORS Comments:
(Including, but not limited to: choice of music
with contrasting styles and tempos, as well as
group’s attentiveness and appearance)
10
TOTAL SCORE USE BACK FOR GENERAL COMMENTS
AND SUGGESTIONS FOR IMPROVEMENT
(Points are awarded at the professional discretion of the judge)
100
(Adjudicator’s printed name)
(Adjudicator’s signature)
RATING
(Circle One)
SUPERIOR
EXCELLENT
GOOD
FAIR
NEEDS IMPROVEMENT
27-30 = Superior
24-26 = Excellent
21-23 = Good
18-20 = Fair
0-17 = Needs
Improvement
27-30 = Superior
24-26 = Excellent
21-23 = Good
18-20 = Fair
0-17 = Needs
Improvement
27-30 = Superior
24-26 = Excellent
21-23 = Good
18-20 = Fair
0-17 = Needs
Improvement
9-10 = Superior
8 = Excellent
7 = Good
6 = Fair
0-5 = Needs
Improvement
RATINGS:
90 – 100 = SUPERIOR
80 – 89 = EXCELLENT
70 – 79 = GOOD
60 – 69 = FAIR
0 – 59 = NEEDS IMPROVEMENT
The numbers are only a
guide to the rating, and
are used at the
adjudicator’s discretion.

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