Mitchell Robinson Page 1

Mitchell Robinson, Ph.D. / 1886 Osage Drive, Okemos, MI 48864
Home phone: 517.349.1293
School phone: 517.355.7555
Email:

CURRICULUM VITAE

EDUCATION

1999Eastman School of Music

University of Rochester, Rochester, NYPh.D.

Major: Music Education

Dissertation: A theory of collaborative music education between higher education and urban public schools. (Advisor: Donna Brink Fox, Ph.D.) Nominated for “Outstanding Dissertation Award,” Councilfor Research in Music Education

1990State University College at Oswego, Oswego, NYC.A.S.

Certificate of Advanced Study: Instructional Administration (Secondary Principal; Curriculum Specialist)

1983Hartt School of Music, West Hartford, CT M.M.Ed.

Major: Music Education

Supporting Areas: Conducting, Wind Literature

1980State University of New York at Buffalo, Buffalo, NYB.F.A.

Major: Music Education (Magna Cum Laude)

Major: Music Performance—Trumpet (Magna Cum Laude)

SPECIALIZATIONS

School/College Collaboration
Qualitative Research Procedures
Music Administration
Foundations of Music Education
Arts/Music Education Policy / Conducting & Wind Literature
Instrumental Music Education
Beginning Music Teacher Induction, Support and Evaluation / Music Learning Theory
Assessment Practices in Music Learning
Student Teacher Supervision

PROFESSIONAL EXPERIENCE

Michigan State University

2012-2015Chair, Music Education Area

2009, FallActing Chair, Music Education Area

2006-Associate Professor of Music Education, with tenure

2003-2006Assistant Professor of Music Education

Coordinator of Music Student Teaching Program

Courses taught:

Principles of Music Education

Teaching Instrumental Music

Student Teaching Seminar & Supervision

Seminar in Music Curriculum & Methodology

Seminar in Music Psychology

Research in Music Education & Therapy

Qualitative Research in Music Education

Seminar in College Music Teaching

Graduate Seminar in Instrumental Conducting

Seminar in Music Teacher Evaluation

Responsibilities:

  • Teach undergraduate and graduate music education courses
  • Advise masters and doctoral research
  • Coordinate student teaching program in music
  • Serve as liaison to College of Education and Teacher Education program
  • Supervise student teachers
  • Establish and maintain effective relationships with public schools

University of Connecticut

2001-2003Coordinator of Music Education

Director of Three Summer Music Masters Degree Program

Responsibilities:

  • Leadership of Summer Graduate Program, including hiring of faculty, program articulation, budget, marketing and advertising
  • Administration of Music Education program, including assignment of faculty course loads, student advising, administration and coordination of student teaching program, collaboration with School of Education, membership on Music Department Executive Committee

2000-2003Assistant Professor of Music Education

Courses taught:

Instrumental Music Methods

Introduction to Music Education

Seminar/Clinic in Music Education

Assessment Practices in Music Education

Introduction to Research in Music Education

Student Teaching Seminar & Supervision

Responsibilities:

  • Advise graduate research
  • Advise undergraduate music education majors
  • Supervise student teachers
  • Establish and maintain effective relationships with public schools

Connecticut State Education Department

2000-2002Scholar-In-Residence for Music for Connecticut’s BEST (Beginning Educator Support and Training) Program

Responsibilities:

  • Supervise evaluation of professional teaching portfolios
  • Participate in benchmarking and standard setting activities
  • Develop interactive web-based distance learning modules

Eastman School of Music, University of Rochester, Rochester, NY

1998-2000Assistant Professor of School and

Community Music Education

1997-1998Instructor of Music Education

Courses taught:

Secondary General Music Methods

Secondary Instrumental Music Methods

Elementary Instrumental Music Methods

Introduction to Music Education

History & Philosophy of Music Education

Responsibilities:

  • Advise graduate research
  • Coordinate Eastman-Rochester Partnership (collaborative project with Rochester City School District)
  • Supervise woodwind methods Teaching Assistants
  • Advise collegiate chapter of MENC: The National Association for Music Education
  • Produce department newsletters
  • Create and maintain department web site

University of Rochester, Rochester, NY

1998-2000Director of Wind Activities,

Assistant Professor of Music

1995-2000Director, Symphonic Wind Ensemble

Courses taught:

Campus Music Program Symphonic Wind Ensemble

Responsibilities:

  • Conduct and instruct wind ensemble
  • Coordinate chamber winds program
  • Coach small ensembles

Eastman School of Music, University of Rochester, Rochester, NY

1996-1997Ensemble Coordinator

1993-1996Graduate Teaching Assistant

Departments of Music Education and Conducting & Ensembles

Courses taught:

Secondary General Music Methods

Secondary Instrumental Music Methods

Basic Conducting

Responsibilities:

  • Supervise student teachers
  • Advise collegiate chapter of MENC: The National Association for Music Education
  • Guest Conduct Eastman Wind Orchestra
  • Organize and coordinate all aspects of the wind and string instrument performance ensembles

Fulton City School District, Fulton, NY

1983-1993Director of Bands and Music Department

Facilitator

1991-1992Assistant Principal

Courses Taught:

High School Concert Band, Wind Ensemble, and Jazz Band

Instrumental lessons, grades 7-12

High school music theory

Music In Our Lives (state-mandated music course)

Elementary general music classes

Responsibilities:

  • Administrative duties, including coordination and articulation of curricular music program, budgeting, scheduling, administrative liaison, supervision of staff, public and community relations

Hartt School of Music, University of Hartford, West Hartford, CT

1981-1983Graduate Teaching Assistant

Department of Music Education

Courses taught:

Brass Class, Laboratory Band

Responsibilities:

  • Assistant Conductor, Hartt Symphonic Wind Ensemble and Concert Band
  • Coordinate the Instrumental Lab School (grades 4-8)
  • Supervise student teachers

Fairport Central Schools, Fairport, NY

1980-1981Instrumental Music Teacher

Courses taught:

Junior High School Concert Band

Instrumental lessons, grades 5-12

Senior High School Jazz Band (Assistant Director)

PUBLICATIONS

Dissertation

Robinson, M. (1999). A theory of collaborative music education between higher education and urban public schools. Unpublished doctoral dissertation, University of Rochester, Eastman School of Music, Rochester, NY. (nominated for the Bulletin of the Council for Research in Music Education’s Outstanding Dissertation Award)

Chapters/Sections in Books

Robinson, M. (2015). A Tale of Two Institutions: Or . . .Myths and Musings on Work/Life Balance. In Theoharis, G. and Dotger, S. (Eds.), On The High Wire: Education Professors Walk Between Work And Parenting. NY: Information Age Press.

Robinson, M. (2014). Changing the Conversation: Considering Qualityin Music Education Qualitative Research. In Conway, C. (Ed.), Oxford Handbook of Qualitative Research in American Music Education. NY: Oxford University Press.

Robinson, M. (2014). The Politics of Publication: Voices, Venues and Ethics. In Conway, C. (Ed.), Oxford Handbook of Qualitative Research in American Music Education. NY: Oxford University Press.

Robinson, M. (2012). Music Teaching and Learning in a Time of Reform. In Theoharis, G. and Brooks, J. (Eds.), What Every Principal Needs to Know to Create Equitable and Excellent Schools. NY: Teachers College Press.

Robinson, M. (2006). Issues contributing to the creation and sustainability of educational collaborations. In Frierson-Campbell, C. (Ed.), Teaching Music in the Urban Classroom, Vol. 2: A Guide to Survival, Success, and Reform. Lanham, MD: Rowman & Littlefield Education.

Robinson, M. (2003). Part 2: Induction. Chapter 3: State sponsored induction programs: Connecticut’s BEST program. In Conway, C. (Ed.), Great Beginnings for Music Teachers: A Guide to Mentoring and Induction. Reston, VA: MENC: The National Association for Music Education.

Robinson, M. (2003). Part 4: Critical Issues. Chapter 1: Assistance versus assessment. In Conway, C. (Ed.), Great Beginnings for Music Teachers: A Guide to Mentoring and Induction. Reston, VA: MENC: The National Association for Music Education.

Robinson, M. (2003). Part 4: Critical Issues. Chapter 2: The mentor-mentee match: Preserving tradition or driving the profession? In Conway, C. (Ed.), Great Beginnings for Music Teachers: A Guide to Mentoring and Induction. Reston, VA: MENC: The National Association for Music Education.

Robinson, M. (2003). Part 4: Critical Issues. Chapter 3: The teacher shortage versus alternative routes to certification. In Conway, C. (Ed.), Great Beginnings for Music Teachers: A Guide to Mentoring and Induction. Reston, VA: MENC: The National Association for Music Education.

Articles Published in Research Journals—Refereed

Robinson,M. (2015). The Inchworm and the Nightingale: On the (Mis)use of Data in Music Teacher Evaluation. Arts Education Policy Review, 116, 1, 9-21, DOI: 10.1080/10632913.2014.944966.

______. (2010). From the Band Room to the General Music Classroom: Why Instrumentalists Choose to Teach General Music. Bulletin of the Council for Research in Music Education, 185, 33-48.

______. (2008). From Competition to Collaboration: Lessons from the “Second Chair.” Research Studies in Music Education, 30, (2), 202-208.

______. (2005). The impact of beginning music teacher assessment on the assessors: Notes from experienced teachers. Bulletin of the Council for Research in Music Education, 164, 49-60.

______. (2005). A tensegretic theory of school-college collaboration in music education. Arts Education Policy Review, 106, (3), 9-18.

Conway, C., Robinson, M., Smith, M. V., Krueger, P, & Haack, P. (2002). Beginning Music Teacher Mentor and Induction Policies: A Cross-State Perspective. Arts Education Policy Review, 104, (2), 9-17.

______. (2001). From “Occasional Visitors” to Professional Development Partnership: The Evolution of an Instrumental Music Methods Course. Journal of Music Teacher Education, 11, (1), 21-26.

______. (1998). A Collaboration Model for School and Community Music Education. Arts Education Policy Review, 100 (2), 32-39.

______. (1998). “Pen-Pals, E-Journals, and Web Sites, Oh My!”: Building a music education community through technology. Proceedings of the Fifth International Technological Directions in Music Learning Conference, 5, 128-129.

______. (1997). “Band”: A qualitative study of students’ perceptions of the high school band experience [Abstract]. Bulletin of the Council for Research in Music Education, 131, 38-39.

______. (1995). Student assessment of select ensemble festivals. Update: Applications of Research in Music Education, 14 (1), 16-19.

______. (1994). Whole music: Integrating music and whole language. Southeastern Journal of Music Education, 6, 37-45.

Articles Published in Professional Journals—Refereed

Robinson, M. (2002). Programming for the Standards: Singing. Connecticut Music Educators Association News, 53 (3), 20-23.

______. (2001). The Apprentice Adjudication Project: A Music Education Apprenticeship Model. Teaching Music, 9, (2), 44-49.

______. (1998). Making Beautiful Music Together. American School Board Journal, 185, (11), 30-33.

______. (1997). A progressive repertoire: The English folk song genre. Journal of The World Association for Symphonic Bands and Ensembles, 4, 31-52.

______. (1996). To sing or not to sing: Incorporating vocalization in the instrumental rehearsal. Music Educators Journal, 83 (1), 17-21, 47.

______. (1995). Alternative assessment techniques for teachers. Music Educators Journal, 81(5), 28-34.

______. (1995). Alternative assessment techniques for teachers. The Recorder: Ontario Music Educators Association Journal, 37/3&4, 105-111.

______. (1995). J. S. Bach as teacher: The Clavier-Büchlein; Wilhelm Friedemann Bach and Anna Magdalena Bach. American Music Teacher, April/May, 18-21, 95.

______. (1983). Toward a balanced junior high school band repertoire. Connecticut Music Educators Association News, 33-36.

Articles Published in Professional Journals—Invited

Conway, C., Robinson, M., Smith, M. V., Krueger, P, & Haack, P. (2003). Beginning Music Teacher Mentor and Induction Policies: The Policy Perspective. Michigan Music Educator, 40, (3), 27-29. Excerpt reprinted by permission of the Helen Dwight Reid Educational Foundation. Originally published in Arts Education Policy Review by Heldref Publications, 1319 18th St. NW, Washington, DC.

Robinson, M. (2003). Programming for the Standards: Singing. Marshall (MI) Music News, May 2003. Reprinted by permission of the Connecticut Music Educators Association News.

______. (2001). (Contributor) Competing for Ratings: Is It a Good Idea? Teaching Music, 8, (6), 20-25.

______. (1995). Towards a progressive band repertoire. Band Director’s Guide Magazine, 9(3), 10-12.

______. (1994). The old switcharound. Band Director’s Guide Magazine, 9(1), 48-49.

______. (1993). An open(house) rehearsal. BandWorld Magazine, 8(5), 20.

______. (1993). Scaling the “ivory tower”: How to work more effectively with your local college or university. Music Educators Journal, 80(1), 52-53.

______. (1993). Whole music. School Music News, 56(8), 36-38.

______. (1992). Business practices for the band room. The Instrumentalist, 47(2), 112.

Arrangements/Transcriptions

Anonymous. (1995). Four Renaissance Dances. (Arranged for Brass Quartet by M. Robinson). San Rafael, CA: Solid Brass Music Company.

Dvorak, A. (1995). Slavonic Dance, Opus 46, No. 6. (Arranged for Brass Quintet by M. Robinson). San Rafael, CA: Solid Brass Music Company.

Grainger, P. A. (1995). Early One Morning. (Arranged for Brass Quintet by M. Robinson). San Rafael, CA: Solid Brass Music Company.

Bach, J. S. (1994). O Head, All Bruised and Wounded. (Transcribed for Concert Band by M. Robinson). BandWorld Magazine, 10(1), 17-34.

PRESENTATIONS

Paper Presentations for National Organizations—Refereed

Robinson, M. (2015, February). On the (Mis)Use of Data in Music Teacher Evaluation. Presentation at the annual meeting of the American Educational Research Association, Chicago, IL.

______. (2014, June). Navigating Choppy Waters: Building Community Support for School Music Programs. Presentation at the Americans for the Arts Annual Convention, Nashville, TN.

______. (2013, February). Changing theConversation:ConsideringQuality in Music Education Qualitative Research. Presentation at the Desert Skies Research Symposium, University of Arizona, Tucson, AZ.

______. (2010, May). Reasons Instrumentalists Give for Choosing to Teach General Music. Presentation at the annual meeting of the American Educational Research Association, Denver, CO.

______. (2009, February). From the Band Room to the General Music Classroom: Why Instrumentalists Choose to Teach General Music. Presentation at the Desert Skies Research Symposium, University of Arizona, Tucson, AZ.

______. (2008, April). Mentoring That Works: New Models and Promising Practices. Presentation at the biennial meeting of the Music Educators National Conference In-Service Conference, Milwaukee, WI.

Braxton, S. & M. Robinson. (2008, February). Accessibility to School Music Instruction for African-American Music Education Majors: A Multiple Case Study. Presentation at the 2nd Narrative Inquiries in Music Education Conference, Phoenix, AZ.

Robinson, M. & S. Snow. (2007, September). Planning to Learn/Learning to Plan.Presentation at the 2nd biennial meeting of the Society for Music Teacher Education, Greensboro, NC.

Robinson, M. (2007, March). Assistance vs. Assessment in Beginning Music Teacher Induction and Support: Can They Coexist? Presentation at Integrating Curriculum, Theory, and Practice: A Symposium on Assessment in Music Education, Hilton University of Florida Conference Center, Gainesville, FL.

______. (2007, March). Everything You Never Learned in Methods Class—And Why. Presentation at the biennial meeting of the Music Educators National Conference Eastern Division In-Service Conference, Hartford, CT.

______. (2006, April). The Theory of Tensegrity and School-College Collaboration in Music Education. Presentation at the annual meeting of the American Educational Research Association, San Francisco, CA.

______. (2006, April). Tensegrity and School/College Collaboration in Music Education. Presentation at the Narrative Inquiries in Music Education Conference, Phoenix, AZ.

______. (2005, December). Making the Grade: Current Trends in Music Assessment. Presentation at the annual meeting of The Midwest Clinic: An International Band and Orchestra Conference, Chicago, IL.

______. (2005, November). The Impact of Beginning Music Teacher Assessment on the Assessors: Notes from Experienced Teachers. Presentation at the annual meeting of The College Music Society, Quebec City, Quebec, CA.

______. (2005, April). The Impact of Beginning Music Teacher Assessment on the Assessors: Notes from Experienced Teachers. Presentation at the annual meeting of the American Educational Research Association, Montreal, Quebec, CA.

______. (2005, March). The Janus Scenario: Issues in Beginning Music Teacher Induction and Support. Presentation at the biennial meeting of the Music Educators National Conference Eastern Division In-Service Conference, Baltimore, MD.

______. (2004, April). Great Beginnings for Music Teachers: Mentoring and Supporting New Music Teachers. Special focus session at the biennial meeting of the Music Educators National Conference In-Service Conference, Minneapolis, MN.

______. (2003, March). Issues in Beginning Music Teacher Induction and Support. In Rideout, R., Conkling, S., Walker, L., Robinson, M., & Stroker, R., Critical Issues in Music Teacher Preparation. Special focus session at the biennial meeting of the Music Educators National Conference Eastern Division In-Service Conference, Providence, RI.

______. (2002, April). Beginning Music Teacher Induction and Mentoring: A Snapshot of Current Practice. Presentation at the annual meeting of the American Educational Research Association, New Orleans, LA.

______. (2001, April). From “Occasional Visitors” to Professional Development Partnership: The Evolution of an Instrumental Music Methods Course. Presentation at the annual meeting of the American Educational Research Association, Seattle, WA.

______. (2001, February). From “Occasional Visitors” to Professional Development Partnership: The Evolution of an Instrumental Music Methods Course. Presentation at the Desert Skies Research Symposium, University of Arizona, Tucson, AZ.

______. (2000, November). A Theory of Collaborative Music Education Between Higher Education and Urban Public Schools. Presentation at the annual meeting of the College Music Society, Toronto, Ontario, Canada.

______. (2000, April). A New Theory of School/College Collaboration in Music Education. Presentation at the annual meeting of the American Educational Research Association, New Orleans, LA.

______. (1999, February). Concert Programming for the Standards. Presentation at the biennial meeting of the Music Educators National Conference, Eastern Region Conference, New York, NY.

______. (1998, November). Community Arts Education Partnerships. Presentation at the National Guild of Community Schools of the Arts Conference, Dallas, TX.

______. (1998, April). Developing a New Model of Urban Music Education Through a College-School Partnership. Presentation at the biennial meeting of the Music Educators National Conference, Phoenix, AZ.

______. (1998, January). Pen-Pals, E-Journals, and Web Sites, Oh, My!”: Building a Music Education Community Through Technology. Presentation at the Technological Directions in Music Learning Conference, San Antonio, TX.

______. (1996, May). “Band”: A Qualitative Study of Students’ Perceptions of the High School Band Experience. Paper presented at the Qualitative Methodologies in Music Education Research Conference II, University of Illinois at Urbana-Champaign, IL.

______. (1995, April). The Apprentice Adjudication Project: A music education apprenticeship model. Presentation at the biennial meeting of the Music Educators National Conference, Eastern Region Conference, Rochester, NY.

______. (1994, July). Portfolio assessment in music. Presentation at the American String Teachers Association Conference, University of Michigan, Ann Arbor, MI.

______. (1994, May). Whole music: Integrating music and whole language. Paper presented at the Southeastern Music Education Symposium, University of Georgia, Athens, GA.

Paper Presentations for Local and State Meetings

Robinson, M. (2015, January). TheInchworm and the Nightingale: On the(Mis)use of Data in Music Teacher Evaluation. Presentation at the Illinois Music Educators Conference, Peoria, IL.

______. (2015, January). Tensegrity and School/College Collaboration in Music Education. Presentation at the Illinois Music Educators Conference, Peoria, IL.

______. (2015, January). So, DoYou Have Any Questions?: Preparing Your Students for College Auditions. Presentation at the Michigan Music Conference, Grand Rapids, MI.

______. (2015, January). Developing of a Statement on Fieldwork and Service-Learningfor the Society for Music Teacher Education (SMTE). Presentation at the Michigan Music Conference, Grand Rapids, MI.