Clint Randles

• PhD in Music Education
• Music Education at University of South Florida

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching out...

The purpose of this co-autoethnographic qualitative case study was to chronicle the experiences of the first author as he taught general music in a blended, face-to-face, and online synchronous, environment during the COVID-19 pandemic. The co-autoethnography conveys a voice of a practicing teacher with advice and wisdom gained from living and work...

The authors sought to test the fit of a new model of spirituality in music education by examining one jamming session through a hermeneutic phenomenological lens. In accordance with the work of Van der Merwe and Habron, the authors employ four lifeworld existentials as categories by which to organize the experience of the five musicians involved in...

The lesson described in this chapter is useful for all ages. Based on grooves the teacher prepares beforehand, students improvise on the initial groove by adding their own themes when cued by the instructor. Pathways to engaging musical improvisation are essential to music teachers who value encouraging the musical creativity of their students. A M...

Using music as a lens through which to view the power of creativity in living a good life. https://www.giamusic.com/store/resource/to-create-book-g10054

Suncoast began as a biennial forum (Suncoast Music Education Forum) in 1989 to spearhead discussions of important and timely topics in music education with the potential to contribute to improvements and changes in the field. It was initiated by the music education faculty at the University of South Florida, located in an area commonly known as the...

The purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the United States and Singapore. The Creative Identity in Music (CIM) measure was utilized with both US and Singapore pre-service music teacher populations ( n = 274). Items of the CIM relate to music-making activities oft...

This study is a descriptive evaluation of the work of Little Kids Rock, a US non-profit organization that provided at the time of data collection free music instruction and instruments to over 187,754 students, 1120 teachers, in 30 cities around the United States. Music teachers ( N =62 of 1120, 68% response rate) completed an end-of-the-year asses...

This article is the author’s autoethnographic exploration of change in music education (Randles, 2013, 2015a) as illustrative of a hero collective, a term used here to represent a sociocultural explanation of Campbell’s hero’s journey as outlined in The Hero with a Thousand Faces (2008). The hero collective is a term that is inclusive of all indivi...

Non-traditional ensemble programs like Modern Band aren’t always easy to sell to conservative-minded schools of music in north america. They love their traditional band, choir, and orchestra programs at the collegiate level, and work to nurture future music teachers who would like nothing more than to continue those traditions. For my colleagues an...

The purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the US and Australia. This work builds on prior work that has employed similar procedures with pre-service music teachers (PSMTs) in England and Finland. As in prior research, the creative identity in music (CIM) measure w...

The author unpacks three myths regarding the value of popular music in raising musical children from the perspective of a musical father. These myths are: (1) Popular music is not as valuable as classical music to the developing child musician. (2) Popular music is too repetitive to have musical merit to the young child. (3) The subject matter is i...

In this article the author explores what making guitars (luthiering), designing and assembling pedal boards, and performing as a guitarist has meant for his perspective on curricular expansion in music teacher education in the United States. He provides examples of the creative process of selecting materials, exploring novel components, and establi...

This article considers the personal reflections of an undergraduate music education major on both the significance of his experience as a participant in the Seventh International Symposium on the Sociology of Music Education, held at Michigan State University, in the United States, in June 2011, and on his place as a pre-service music teacher poise...

This article is the account of a music teacher educator, a doctoral student (teaching assistant) and a pre-service music teacher regarding the impact that an innovative course offering at a large research university in the south-eastern United States had on students’ perceptions of their musicianship and notions of what a music teacher is and does....

In this co-authored chapter Alex Ruthmann, Clint Randles, Matthew Thibeault, and I provide multiple perspectives on the notion of technological determinism in relation to music education. Simply put, technological determinism is a perspective in which one argues that technology determines or causes what occurs. The aspect of technological determini...

The purpose of this study was to explore the reliability of measures of both individual and group creative work using the consensual assessment technique (CAT). CAT was used to measure individual and group creativity among a population of pre-service music teachers enrolled in a secondary general music class (n = 23) and was evaluated from multiple...

Creativity research has a long history in music education, including the development of theories and strategies to foster the music creativity of students of all ages and levels. Underexplored is how teacher education programs can cultivate pre-and in-service teachers' abilities to develop their educational creativity when designing curricula and d...

The purpose of this study was to validate a measure of creative identity with a population of pre-service teachers in the USA, to further validate the measure with a Finnish population, and to compare both populations regarding their perceptions of themselves as creative musicians. The researcher developed a tool, the Creative Identity Measure (CIM...

The purpose of this conceptual work was to provide a theory of curricular change in music education. The author introduced a Model of Psychological Dimensions, and suggested how it might help the profession conceptualise the nexus between the individual and society. Identity as a manifestation of cultural psychology, and the role and characteristic...

This column offers the personal reflections of the author on being a member of the band Touch, an iPad performing ensemble composed of music education faculty members and doctoral students at the University of South Florida. The ensemble primarily performed its own arrangements of popular music selections from a number of genres including, but not...

Composition pedagogy is explored from the perspective of a composer and a music teacher educator in this article. The primary goal is to help practicing music teachers develop strategies that will encourage students to create original music. The authors provide reflection about the process of helping students compose on the basis of personal experi...

The purpose of this study was to compare the creative musical identities of pre-service music education students in the United States and England. A 20-item survey was created based on previous work in the area of music teacher identity (Isbell, 2008). Survey items related to music making activities typically associated with creativity in music edu...

In this article I attempt to redefine the role of a music teacher as being more than a director, the more traditional term ascribed to this position. I do this by using descriptions of the role of writer and producer of student lives barrowed from music education philosophy, screenwriting, and professional music producers. This vision is centered o...

This article is a review of relevant literature on the use of phenomenology as a research methodology in education research, with a focus on music education research. The review is organized as follows: (a) general education, (b) music research, (c) music education research, (d) dissertations, (e) important figures, (f) themes, and (g) the future....

In this article, the author explores philosophically the possibility of a connection between music teacher socialization and the work of Joseph Campbell in comparative mythology. Campbell’s “hero’s journey” provides a way of viewing the life of the apprentice music teacher. The process of ritual, following the general theme of separation–initiation...

The purpose of this study was to discover relationships in student perceptions of what it means to be a “good musician” across grade level, with regard to gender, and according to different school music affiliations among an intact school culture. The specific problems were to determine (1) what percentage of students choose to participate in schoo...

The purpose of this study was to examine the relationship of factors relating to high school instrumentalists' involvement with music including compositional experiences to music self-concept. Subjects (N = 77) were high school band students in a moderate-sized suburban school district in Midwestern United States. Over a period of 12 weeks, student...

The purpose of the present study was to identify (a) scholars, (b) journals, (c) authored monographs, (d) edited books or proceedings, and (e) dissertations that were the most eminent, as measured by the frequency of citation in the New Handbook of Research on Music Teaching and Learning (New Handbook). Data from 7,426 citations included in the 60...

This study follows a phenomenological qualitative research tradition. Two K-12 (5-6 years old through 17-18 years old) music teachers were asked to create an arrangement of a musical selection of their choice to be performed by their students. Guidelines were emergent to allow for the construction of meaningful projects that would encourage persona...

The purpose of this study was to describe characteristics within a cultural network of systems belonging to participants of a state honors composition concert. Sixteen of 21 participants completed an online researcher-devised questionnaire. Four were females and 12 were males (N = 16). Student composers ranged in age from 7 to 18 years. They collec...