Robert C. Jordan | Faculty Profiles

Diplomas/Degrees

EdDCT, Teachers College, Columbia University (2022)

MM, Western Michigan University (2008)

BME, Indiana University Jacobs School of Music (1998)

Licenses and Certifications

State of Michigan Professional Teaching Certificate

State of New York Initial Teaching Certificate

Estill Voice Figure Proficiency Certification

Professional Experience

Assistant Professor of Music Education

Adelphi University (September 2022–present)

Course Instructor

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)

Personal Statement

PERSONAL STATEMENT ON SOCIAL JUSTICE, JUSTICE-BASED EDUCATION

Social justice is a form of active engagement and thoughtful inquiry about inequities in the world. In essence, social justice serves to uncover injustices, imbalances, and untruths in order to support and promote a more equitable social order.[1]

I encourage students to think deeply about how we have been and are being taught…how we have learned and are learning…how we have taught and are teaching. How might the ways we teach music conceal injustice and imbalance, perpetuate unfairness and disinformation, and make excuses for “the way it’s always been?” It’s important to me to intentionally infuse these sorts of questions throughout the entirety of our learning together rather than to confine our conversations of justice-based education to one week or module. By continuing to ask these sorts of questions as we teach and learn, we try to work toward a more learner-centered approach that places students’ identities and musical interests at the center of our educational praxis.

In my own efforts to be a more reflexive educator, I invite my students to let me know when they feel that I or we could be doing a better job in class. I facilitate this process by using Stephen Brookfield's Critical Incident Questionnaire[2], an annonymous feedback tool. I check for student feedback each week; share potential remedies; and encourage students to keep sharing feedback annonymously in the following weeks. I feel that these conversations are important, and I welcome them even when they are difficult—often a sign that we are growing as co-teachers and co-learners.

[1] DeLorenzo, Lisa C., and Marissa Silverman. Music Lesson Plans for Social Justice: A Contemporary Approach for Secondary School Teachers. New York: Oxford University Press, 2022, p. 3.

[2] Brookfield, Stephen D. Becoming a Critically Reflective Teacher, 2nd ed. Jossey-Bass, 2017.

Recent Courses

Conducting And Orchestration

Group Instruction: Brass Lab

Methods Ensemble

Reflective Practice Seminar In Music Education

Student Teaching In Music Education

Technology For Music Educators

Specialization/Interests

My scholarship is currently focused on music teacher education and pedagogical approaches to teaching undergraduate courses in vocal and instrumental methods. A foundational aspect of my music teacher educator identity includes examining the ways in which university music faculty, aware that the marketplace seeks broadly prepared music teachers, design programs of study in order to prepare preservice teachers in more than one musical content area.

Teaching Philosophy

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.

Research Interests

My research agenda is currently focused on music teacher education and pedagogical approaches to teaching undergraduate courses in vocal and instrumental methods. A foundational aspect of my researcher identity includes examining the ways in which university music faculty, aware that the marketplace seeks broadly prepared music teachers, design programs of study in order to prepare preservice teachers in more than one musical content area. My publications illustrate my interests in music teacher agency as well as 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 music teacher education, 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.

International Experience

Choral Collaborator

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

Choral Consultant

Patch Theatre, Adelaide, Australia; Bathurst, Australia (2015); Choral consultant for The Moon’s a Balloon Choral Intersect

Choral Clinician

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)

Articles

Tucker, O. G., Jordan, R. C., & Hathaway, C. (2023). Two music educators’ resistance of competition. Bulletin of the Council for Research in Music Education 235, 30–45. https://doi.org/10.5406/21627223.235.02

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

Conference Presentations

Jordan, R. C. (2023, August 2–4). Exploring the use of Estill Voice Training® in the teaching of secondary brass instruments to undergraduate music education students: A mixed methods study [Research presentation]. Estill World Voice Symposium, Vienna, Austria.

Jordan, R. C. (2023, August 2–4). Estill Voice Training® (EVT) and the teaching of vocal techniques for music educators: A teacher action research study [Research presentation]. Estill World Voice Symposium, Vienna, Austria.

Tucker, O. G., Jordan, R. C., & Nicholson, G. (2023, June 29). Navigating competing demands within music teacher education: Biesta’s three domains of educational purpose [Paper session]. International Society for the Sociology of Music Education International Symposium. Xalapa, Mexico.

Jordan, R. C., & Austin, K. (2023, June 3). Music teacher education and music technology: An intrinsic case study of the collaboration between a university professor and an undergraduate music education student in the co-teaching of an introductory music technology course for non-music majors [Research presentation]. Association for Popular Music Education National Conference, New Orleans, LA.

Jordan, R. C., Mattio, C., & Powell, B. (2023, June 1). Teaching music technology courses to pre-service music teachers [Conference panel]. Association for Popular Music Education National Conference, New Orleans, LA.

Jordan, R. C. (2023, April 13). Exploring the use of Estill Voice Training (EVT) in the teaching of brass instruments to undergraduate music education students: A mixed methods study [Research poster session]. National Association for Music Education Eastern Division Conference, Rochester, NY.

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.

Jordan, R. C. (2022, November 8). Democratic approaches for the choral ensemble [Peer-reviewed conference session]. Balanced Mind Curriculum Conference XXV, Brookville, 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.

Invited Presentations

Jordan, R. C. (2022, November 1). Introduction to qualitative research in music [Invited lecture]. Montclair State University, Montclair, NJ.

Jordan, R. C. (2022, October 10). Techniques for beginning band and building an existing band program [Invited workshop]. Success Academy Charter School Network, New York, NY.

Jordan, R. C. (2022, October 10). Rehearsal techniques applicable to both band and choir [Invited workshop]. Success Academy Charter School Network, New York, NY.

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.

Other Work

Dissertation

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.

Grants

Dean’s Innovation Grant for Evidence-Based Teaching, College of Arts and Sciences, Adelphi University (2023)

Honors and Accomplishments

Doctoral Fellow

Teachers College, Columbia University

Teacher of the Year Award (2014)

Portage Education Association Partners in Education

Professional Activities

Peer Reviewer, Music Education Special Interest Group

American Educational Research Association Annual Meeting (August 2022–present)

University Service

Committee on Academic Affairs, College of Arts and Sciences

(September 2022–present)

Fieldwork Committee, College of Education and Health Sciences

(September 2022–present)

Advisory Board for the Office of Undergraduate Research and Creative Works

(September 2022–present)

National Association for Music Education Collegiate Student Chapter Co-Advisor

(September 2022–present)