EdDCT, Teachers College, Columbia University (2022)
MM, Western Michigan University (2008)
BME, Indiana University Jacobs School of Music (1998)
Licenses and Certifications
Licenses and Certifications
State of Michigan Professional Teaching Certificate
State of New York Initial Teaching Certificate
Estill Voice Figure Proficiency Certification
Assistant Professor of Music Education
Adelphi University (September 2022–present)
Teachers College, Columbia University (September 2021–May 2022)
Student Teacher Supervisor
Teachers College, Columbia University (September 2019–May 2022)
Assistant Initial Certification Coordinator
Teachers College, Columbia University (September 2019–May 2022)
Applied Music Instructor
Teachers College, Columbia University (January 2020–May 2022)
Secondary Instrumental and Choral Music Educator
Portage Public Schools, Portage, MI (Full-time, June 2002–June 2019)
High School Musical Theatre Music Director
Portage Public Schools, Portage, MI (Extra-duty, September 2015–June 2019)
Middle School Musical Theatre Director
Portage Public Schools, Portage, MI (Extra-duty, January 2008–June 2019)
Secondary Instrumental Music Educator
Coldwater Community Schools, Coldwater, MI (Full-time, August 1998–June 2002)
Group Instruction: Brass Lab
Technology For Music Educators
My goal as a music teacher educator is to prepare preservice teachers for success in P–12 schools through inquiry-based, learner-centered experiences built on strong foundations of content area knowledge. I invite students to integrate new information with prior knowledge to construct their own, unique understandings as they problem solve in a variety of musical contexts.
I prioritize the ongoing examination of my practice through anti-racist lenses and the use of inclusive, culturally responsive approaches. In an effort to keep my practice fresh and responsive, I ask students enrolled in my courses to complete an anonymous five-question formative feedback tool each week called the Critical Incident Questionnaire (CIQ). Also, for those students who are reluctant to ask questions in front of me and their peers during class, I provide an opportunity to post anonymous questions and comments via a web-based text channel during each class session. By responding honestly and openly to formative student feedback via the CIQ and anonymous text channel, I work toward being more critically reflective, responsive, and accountable to students while demonstrating how they can do the same in their own classrooms.
While building positive relationships with students, I learn about their needs and expectations. I then design learning experiences that explore their questions. I try to honor students’ backgrounds and cultures through the thoughtful selection of materials, guest speakers, teaching partners, and authentic project-based learning opportunities. Selected class meetings are reserved to explore topics, materials, and resources suggested by students. Not all students have the same familiarity and comfort with democratic classroom methodologies like these, so I take care to meet all students where they are in terms of their preferred learning and engagement styles.
During my own secondary teaching career, I developed a democratic and culturally responsive approach to ensemble-based pedagogy that provided middle and high school students with increased ownership when choosing repertoire and making interpretive choices. By sharing this innovative approach with preservice teachers, I ask initial certification students to consider alternative teaching methods that emancipate the learner, increase student engagement, and make space for willing students to share their life experiences and cultural backgrounds. I invite preservice teachers to collaborate and share resources while developing their own understandings of social justice, inquiry, and critical reflection toward a vision for the future of music education.
My research agenda is currently focused on music teacher education and teacher agency. In my dissertation research, I examined the ways in which university music faculty, aware that the marketplace seeks broadly prepared music teachers, designed programs of study in order to prepare preservice teachers in more than one musical content area. Currently, I am co-investigating a retrospective case study considering teacher agency in the pursuit of alternatives to music competition (Tucker et al., 2022) and a survey study of the perceptions of cooperating music teachers’ and student teachers’ experiences during COVID-19 (Gunther et al., 2022). My publications report my observations of Dr. DeLorenzo’s approaches to teaching general music methodologies through social justice lenses (Jordan, 2021), my student-led, small-group approach to popular music arranging (Jordan, 2022a), and my democratic approaches for student choice of ensemble repertoire and student-led rehearsals toward student-directed interpretative goals (Jordan, 2022b). These publications illustrate my interests in democratic, student-centered, and culturally responsive approaches to music education that are both academically rigorous and practical with the potential to undergird a life-long engagement with music. Over the next five years I see myself pursuing inquiry in the areas of democratic approaches to music teaching in ensemble-based and other contexts, teacher agency, and the experiences of LGBTQ music educators that may highlight issues of access, diversity, equity, and inclusion. I am particularly interested in collaborating with researchers within and outside my institution, and I remain active in music conferences and symposia.
Gunther, J., Duncan, R., & Jordan, R. C. (2022). Cooperating music teachers’ perceptions of student teachers’ fieldwork during COVID-19 [Manuscript in preparation]. Music and Music Education Program, Teachers College, Columbia University.
Jordan, R. C. (2022a). A student-led, small-group approach to a cappella music arranging. Music Educators Journal, 108(3), 47–55.
Jordan, R. C. (2022b). Democratic approaches for the choral ensemble: Repertoire choice and rehearsal design. ChorTeach, 14(2), 11–18.
Jordan, R. C. (2021). A teacher educator and social justice advocate: Observing a master teacher. Tempo, 75(3), 32–35.
Tucker, O. G., Jordan, R. C., & Hathaway, C. (2022). An alternative to music competition: A retrospective case study [Manuscript in preparation]. Department of Music, University of New Mexico.
Patch Theatre, Adelaide, Australia; Education for the Arts, Kalamazoo, MI (2016); My students’ performance of The Moon’s a Balloon Choral Intersect with Patch Theatre as part of the Kalamazoo Regional Educational Service Agency’s Aesthetic Education Program’s Repertory Season
Patch Theatre, Adelaide, Australia; Bathurst, Australia (2015); Choral consultant for The Moon’s a Balloon Choral Intersect
Jordan, R. C., & Ridenour B. (2010, May 8). Los grandes alleluyas [Invited organ and trumpet concert tour, choral clinician]. Francisco Marroquin Organization for the Arts, Universidad Francisco Marroquin, Guatemala City, Guatemala.
Organ Soloist, Collaborative Organist
Los Grandes Alleluyas (Invited organ and trumpet concert tour), Francisco Marroquín Organization for the Arts, Universidad Francisco Marroquín, Guatemala City, Guatemala (2010, May 8)
Jordan, R. C., & Walker, C. A. (in press). Vocal pedagogy in the overlapping rehearsal contexts of musical theatre and choral music. Choral Journal.
Jordan, R. C., & Walker, C. A. (in press). Strategies for rehearsal planning and facilitation in the related contexts of musical theatre and choral music education. Teaching Music.
Jordan, R. C. (2022). A student-led, small-group approach to a cappella music arranging. Music Educators Journal, 108(3), 47–55. https://doi.org/10.1177%2F00274321221087722
Jordan, R. C. (2022). Democratic approaches for the choral ensemble: Repertoire choice and rehearsal design. ChorTeach, 14(2), 11–18. https://acda-publications.s3.us-east-2.amazonaws.com/ChorTeach/2022/Winter/JordanCT14-2.pdf
Jordan, R. C. (2021). A teacher educator and social justice advocate: Observing a master teacher. Tempo, 75(3), 32–35. https://content.yudu.com/libraryHtml/A4454n/2021MarchTEMPO/reader.html?page=34&origin=reader
Jordan, R. C. (2022, December 1–4). Student-Led Popular Music Arranging for Small a Cappella Ensembles [Conference session]. New York State School Music Association Winter Conference, Rochester, NY.
Duncan, R., Gunther, J., & Jordan, R. C. (2022, November 2). Cooperating music teachers’ perceptions of student teachers’ fieldwork during COVID-19 [Research presentation]. National Association for Music Education National Conference, National Harbor, MD.
Jordan, R. C. (2022, June 1–4). A student-led, small group approach to a cappella popular music arranging [Conference session]. Association for Popular Music Education Conference: Reaching and Inspiring Students Through Popular Music Education, Detroit, MI.
Tucker, O. G., Jordan, R. C., & Hathaway, C. (2022, April 21–26). Two music educators' resistance of competition [Paper session]. American Educational Research Association Annual Meeting, San Diego, CA.
Jordan, R. C. (2021, December 2–5). Democratic choirs: A practical approach [Conference session]. New York State School Music Association Winter Conference, Rochester, NY.
Jordan, R. C. (2021, September 23–25). Exploring music teacher education using Gert Biesta’s three educational domains: Qualification, socialization, and subjectification [Graduate research poster forum]. Society for Music Teacher Education, Greensboro, NC.
Jordan, R. C. (2021, July 28–29). Democratic approaches for the choral ensemble: Choosing repertoire and co-designing rehearsals with your students [Conference session]. Michigan State Vocal Music Association Summer Conference, Big Rapids, MI.
Falls, K., & Jordan, R. C. (2018, August 1–3). Middle school musicals [Conference session]. Michigan State Vocal Music Association Summer Conference, Ann Arbor, MI.
Jordan, R. C. (2022, April 15). Broad preparation for pre-service music teachers [Invited lecture]. Department of Music, University of New Mexico, Albuquerque, NM.
Jordan, R. C. (2020, July). Musical theatre music direction [Panel speaker]. Musical Theatre for Music Educators: The Art of Conducting the Pit Orchestra and Facilitating Vocal Health and Style Strategies, Summer Masters in Music Education, School of Music, Theatre, and Dance, University of Michigan, Ann Arbor, MI.
Jordan, R. C. (2019, April). Middle school musicals [Invited lecture]. Western Michigan University, Kalamazoo, MI.
Jordan, R. C. (2016, July). Middle school musicals: Production management and musical direction [Invited lecture series]. Musical Theatre Summer Intensive for Music Educators, Summer Masters in Music Education, School of Music, Theatre, and Dance, University of Michigan, Ann Arbor, MI.
Jordan, R. C. (2022). Music teacher education and Gert Biesta’s three educational domains: Qualification, socialization, and subjectification (Publication No. 29165567) [Doctoral dissertation, Teachers College, Columbia University]. ProQuest Dissertations & Theses Global.
This dissertation is about an approach to music teacher education that attempts to prepare pre-service music teachers to find employment while also preparing them to improve the realities of school teaching and learning for themselves and their students. East Coast University’s (pseudonym) music teacher education program was identified through purposeful selection for examination via intrinsic case study. Through snowball sampling, five faculty members were selected for teaching observations and interviews. In addition, focus groups of student and alumni (self-selected through volunteer sampling) helped develop my understanding and description of the case, and identification of a resultant, overarching theme. The research was focused through Biesta’s three domains of educational purpose: qualification, socialization, and subjectification. The overarching theme presented in this dissertation involves a dualistic approach to music teacher education: East Coast University prepares music teachers with the skills to win and keep the job and to be change agents capable of improving their educational landscapes. Throughout this intrinsic case study, the researcher’s pre-service and in-service teaching stories are interwoven with the participants’ stories in ways that are intended to address positionality, contextualize the theoretical framework, and examine more deeply emergent research understandings.
Honors and Accomplishments
Honors and Accomplishments
Teachers College, Columbia University
Teacher of the Year Award (2014)
Portage Education Association Partners in Education
Peer Reviewer, Music Education Special Interest Group
American Educational Research Association Annual Meeting (August 2022–present)
College of Arts and Sciences Academic Affairs Committee Member (September 2022–present)
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