1

PROPOSAL
FOR A CAPSTONE PROJECT IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE MASTER OF MUSIC EDUCATION
DEGREE

A DIGITAL HANDBOOK FOR A BEGINNER AND INTERMEDIATE MIDDLE

SCHOOL
HANDBELL/HANDCHIME ENSEMBLE WITH AN INTEGRATION OF
CULTURALLY RESPONSIVE AND RELEVANT PEDAGOGY
Jordan S. Allen

Music Education Department

Westminster Choir College of Rider University
May 2023

Approval of the Music Education Department:

Signed: ______________________________________________________________
Tom Shelton, Chairperson Date

Signed: ______________________________________________________________
Sarah Perry, Advisor and Department Member Date

Signed: ______________________________________________________________
Preston Wilson, Department Member Date
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HANDBELLS 101: A VIRTUAL HANDBOOK FOR THE

BEGINNING MIDDLE SCHOOL ENSEMBLE

A capstone Project

Submitted to

The Music Education Department

Westminster Choir College of Rider University

in Partial Fulfillment

of the Requirements for the Degree

Master of Music Education

By

Jordan S. Allen

May 2023

Preston G. Wilson, Capstone Advisor

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Dedication

This project is dedicated to my parents Darren and Tira Allen, my sister Tarren Allen, my

brothers Darren Allen Jr. and Juwan Lee, my grandmother Wanda Williams, Kathy Ebling-

Shaw, and the Westminster Concert Bell Choir, all of whom have pushed me and been the

inspiration for this final project.

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Acknowledgments

I would like to thank the Westminster Music Education faculty for providing me with this

opportunity and pushing me to go further in my educational journey. I would also like to thank

the brothers of Phi Mu Alpha Sinfonia and Sigma Phi Epsilon for expecting nothing but

excellence and everything I do and ensuring I uphold these values in my work.

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Table of Contents (full project)

Dedication

Acknowledgments

Abstract

Introduction
Problem Statement
Purpose
Theoretical Framework
Methodology

Literature Review
Introduction
Defining Culturally Relevant and Responsive Pedagogy
What are the Implications for Music Education
Curriculum Specific to Middle School General Music
Integration of CRP and a Handbell Ensemble
Conclusion

Project

Discussion

References
 6

Abstract

This project outlines culturally relevant and responsive pedagogy and its effect on the music

classroom. Then the development of how that pedagogy can be integrated into a beginner

handbell ensemble. This was done by creating a website that acts as a handbook for a beginner

handbell ensemble with a focus on the middle school level. This website provides resources and

materials for the instructor to use with the mindset of culturally relevant and responsive

pedagogy. And this capstone provides and analysis of why the website is structured and contains

the materials on the website.

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Introduction

Throughout my undergraduate degree work, I struggled with the notion of an art form

that I cherish so dearly being too outdated or irrelevant for my future students to want to

participate in. And I knew this to be true because before attending the university I did not even

know that handbells existed and were played in an ensemble setting. As a Handbell ringer, and as

an educator, I wanted to develop a process and structure for educators to create these handbell

ensembles in schools and have them remain something that is culturally relevant and responsive

to their students while remaining an educational tool to further the student's musicianship. And

so often the art of handbell ringing gets lost in translation to the educational world because

historically this art form derives from a liturgical setting, in order for this instrument to continue

to sustain itself in musical history there needs to be a continuous development for it to be

brought to the modern world. This is done through the updating of rehearsal strategies, musical

exercises for students to practice with the instruments, and the use of repertoire. And working as

an educator thinking about wanting to start one of these ensembles can be daunting and
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challenging when trying to establish a starting point for an ensemble while making sure that what

the students are learning is relevant and relatable. So, the goal is to establish a starting point for

the educators to begin with their ensemble for the first year to get the ensemble established.

Statement of the Problem

As educators, it is our job to instruct our students and meet them at whatever level they

are on, and guide them on their musical journeys. Within the world of handbell music, there is

only so much repertoire that one can pull from to help educate the students and to appeal to their

needs culturally and socially. The issue at hand is that there are no handbell ensemble resources

for educators that act as a guide to illustrate what should be taught to their students at different

points in their beginning stages as ringers and how to find resources that are not sacred. There

are no resources currently out that showcase different instructional materials or examples of

instructional materials for conductors and educators that stem from pop culture or secular music.

It is our job as educators to teach our students how to create music and refrain from repeating the

old standards that sometimes have no relevance to current students (Benedict, 2012). So many of

the current resources are hymns taken from the Christian hymnal and the way they make them

secular so that they are able to be used in school is by changing the name of the piece, but that

does not solve the issue only hides it in plain sight.

Purpose of the Capstone

The focal point of this capstone project is to integrate the pedagogical framework of

culturally relevant and responsive pedagogy and the art of handbell ringing in order to develop

resources and a digital handbook in the form of a website for a beginner middle school handbell

or handchime ensemble. Culturally responsive pedagogy is a framework that aims to take the

culture and lived experiences of the students and use it in the classroom as a guide to learning.
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And culturally relevant pedagogy is the idea of taking the culture and history of your students

and elevating and uplifting it having students take on the roles of educators leading and guiding

their peers and you through new experiences. Thus, the goal is to take this framework and the art

of handbell ringing and create beginner ringing exercises, and find resources for educators and

conductors to use that are not sacred in nature and are relatable to the current educational

climate.

Theoretical Framework

Culturally Responsive pedagogy is the framework that stems from the heart of social

justice education, and the sole purpose is to use the frame of reference of our students and the

community in order to influence learning thus making it more effective and relevant to the

students (Taylor and Sobel, 2011). This phrase is one that is interchangeably used with culturally

relevant pedagogy and has similar outcomes when used in an educational setting. At the basis of

this framework is the idea of studying our students and the communities they come from, while

also assessing ourselves as an educator. Once assessed there can be a synthesis of cultural

exchange working with one another to share perspectives and identity as means of staying

relevant to the students while remaining an impactful educational experience. And with this

pedagogy attached to it are three tiers: the ability to develop and maintain cultural competence,

academic success, and the ability to think critically and challenge the status quo (Brown-Jeffy &

Cooper, 2011).

Methodology

Utilizing the theoretical framework of Culturally Responsive and Relevant pedagogy this

capstone will work to create a digital handbook in the form of a website for a beginning-level

handbell ensemble with particular attention to the middle school student. This handbook will
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utilize the levels of music provided by the Handbell Musicians of America Society (HMA). The

levels are one through six but for the purpose of this capstone and the ensemble will be limited to

levels one through three. The website will be comprised of four different sections: ringing

techniques 101, assessing and choosing repertoire, instructional materials, and handbell

manufacturers. Within the section of ringing techniques 101, it will showcase videos of how to

perform the different ringing techniques. It will also showcase the notation used within the music

and which octaves of bells it can be performed on. This information learned here can then be

transferred over to the instructional materials tab. Within this tab, there are three subsections that

are based upon the number of octaves of handbells that the choir has. Under these tabs, there are

examples of ringing exercises for each of the ringing techniques showcased in ringing techniques

101. Instructional materials will be created as a guide to help teachers create their own materials

that fit the needs of their students, and the techniques used are ones that are required for the level

of the ensemble. These exercises were created using songs found in popular culture and took

small excerpts from each song just to showcase the specific technique and to get the ringers to

perform them in a given context. Under the tab of choosing and assessing repertoire, there will

be links to websites and databases where instructors can find a variety of repertoire for their

ensemble. There will also be a section on assessing repertoire, the first criteria will be the context

and background of the piece. And following that will be an assessment of the difficulty levels of

the piece using the levels provided by the Handbell Musicians of America.

Literature Review

Within the realm of education and the handbell rehearsal room, the students that come

walk through the halls of these institutions are constantly changing. But very few teachers adapt

with the students and use their current circumstances to help guide their learning. What happens
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when educators begin to infuse the cultural identity of their students with handbells to create a

rehearsal curriculum that focuses on the strengths and needs of those students to help them

progress in their learning? Traditionally educators work with the curriculum that is given to them

by their district and does not develop a curriculum for their handbell ensemble programs to

match the level of their students. And because of this, these students do not get the chance to

develop their technique and artistry in the ensemble and find the content relatable. There is a

need for educators to pull on the everyday life experience of the students and take the cultural

practices of the environment to structure the learning. This review of literature examines articles

and studies that what culturally responsive and relevant pedagogy is, the relationship this

framework has with music, and lastly how the curriculum can be adjusted to work within the

bounds of the pedagogy.

Defining Culturally Relevant and Responsive Pedagogy

To define what it means to be culturally relevant and responsive there first is a need to

determine what culture is on its own. Culture has two different definitions: one from the school

of anthropology and the other from the school of social science. The one used for the educational

framework's purposes is derived from the school of social science. This definition of culture

deals with factors that are influenced by something else whether that be historical, economic,

political, etc. (Taylor & Sobel, 2011). The social science view (Taylor & Sobel, 2011), places

focus on power and privilege, it allows for the understanding that someone, because of their

circumstance, will have more power or will have ease of access to certain things because of their

culture. One thing to note about culture because of this definition is that every human being has a

culture, whether that be a dominant culture that goes unnoticed or a subdominant culture, culture

is a social construct that does not exist in a vacuum (Taylor & Sobel, 2011).
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With this information, the definition of culturally responsive pedagogy can be derived as,

“using cultural knowledge, prior knowledge, frames of reference, and performance styles of

ethnically diverse students to make learning more effective” (Taylor & Sobel, 2011, p. 16).

Although this definition is one that centers around ethnically diverse students it is not exclusive

to them, and this framework can be applied and used with all students. And the same goes for

culturally relevant pedagogy, which is similar to responsive pedagogy, but it includes a three-

pronged approach: students need to experience academic success, the ability to develop and

maintain cultural competence, and develop critical consciousness where they are challenging the

status quo (Brown-Jeffy & Cooper, 2011). The difference between the pedagogies is that

culturally responsive pedagogy is about being aware and having an awareness of the things going

on in society and around the students, versus culturally relevant pedagogy is about using their

cultural background knowledge to guide and engage the students. One thing to be aware of is

that there are misappropriations of the use of culturally responsive and relevant pedagogy that

educators must be conscious of. The first is what Evans, Turner, and Allen (2020) equate to

bridging the gaps between two different groups whether it be achievement gaps or disciplinary

gaps, using the framework as a way to hook students, taking the student’s culture and using it as

a way for the students to interact with the curriculum as opposed to using their culture as a

pathway to learning, and using it as a tool for assimilation, acting as though the student’s home

life is a deficit or something to overcome and feeling a need to assimilate them into the dominant

culture of the environment.

What are the Implications for Music Education

The implications of culturally relevant and responsive pedagogy in music education

affect the ways in which the classroom is managed, how the curriculum is set, and the student
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and teacher dichotomy is addressed. Within the realm of culturally responsive pedagogy, the way

in which a class is structured and maintained is different than in a typical general education

classroom. One of the ways that the classroom should be maintained is by establishing mutual

respect among the students and between the educator and students (Robinson, 2020). Weins

(2015), also defines this as a horizontal relationship where students develop a working

relationship with the educator where they work as a team. This is accomplished by developing

ways to get to know students by uplifting the student’s voices and validating their lived

experiences. Finding opportunities to create conversations that go beyond the content at hand and

allow students to share their viewpoints and discuss their differences with one another creates

this community of respect. Within the music classroom, educators have the opportunity to

encourage others to share and express their feelings. Special to music educators they can use

music as a tool to help and teach students how to process and express their feeling and emotions

(McEvoy & Salvador, 2020). Activities such as describing the theme of a song and then having

the student write a reflection on how the music made them feel. Another example activity could

be allowing the students to express their mood or feelings for the day by choosing songs that

match their emotions. This thinking and processing are applied to the way that the classroom is

structured not only educationally but also physically. Weins (2020), employs educators to

remember that everyone has a place of importance that each person is connected to, as a result,

the physical design of the classroom also needs to be considered and reflect the identities of the

students coming into the classroom.

Using culturally responsive and relevant pedagogy educators not only have the

opportunity to teach students about new musical experiences from different cultures but are also

tasked with the chance to help students sustain their cultures while helping them evolve them as
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well (Paris, 2012). An example of this would be taking the genre of hip-hop and having students

create their own song given the parameters of elements of music, but extending the parameters

allow students to pull from their cultural background. Although this is something that originated

in the United State of America and was exclusive to the African American community, it has

now spread through to other countries and other cultural groups and has evolved to benefit those

groups. Another example would be examining the musical stylings of a specific cultural group

and analyzing how their music has evolved and what caused it to change. By doing this with

students one is giving the students cultural validation while also providing thoughtful valuation

to students who have never encountered this music before (Shaw, 2012). This allows for the

teacher to move on a spectrum and move between exposing students to new musical experiences

and allowing for them to show off their own musical identity and background.

Curriculum Specific to Middle School General Music

Building a curriculum for the middle school general music classroom one must start with

deciphering how they want to structure their class. Julia T. Shaw developed a continuum to help

develop a curriculum for your class each year. Her curriculum discusses the difference between

cultural validation and thoughtful valuation. Cultural validation is the idea where one takes the

cultures of the students and allows them to be the cultural bearer and educate their peers and the

educator on the culture (Shaw, 2012). Thoughtful valuation is the education of the students on a

new topic or culture that they have never experienced before (Shaw, 2012). And because as

educators one can feel tasked and overwhelmed with trying to teach everything. It is suggested

that there is a movement back and forth on the continuum giving students musical experiences of

thoughtful valuation and then later a musical experience of cultural validation. She suggests

starting off the year with developing activities so students can share their musical background
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and who they are outside of music. Starting with this allows for you as an educator allows for

you to gauge what to do next. Focusing on these beginning exercises first and moving away from

the need to just teach literacy and notation allows for the students to move beyond literacy and

create their own knowledge and then in the future take this knowledge and make it

transformative (Benedict, 2012). Next would be taking the knowledge that was gained from the

beginning exercises and applying it to the next unit. For middle school starting with the musical

elements would be the next unit of study. To start this unit off one would start with the western

classical elements of music teaching the students all the terminology used within the realm of

classical music. To take this a step further the students take some of the music that the student

gave at the beginning of the school year and have the students analyze the music of their culture

and synthesize the learnings of the two things together and see if they can analyze their own

music. The last part of this would be to allow then the students to perform music and talk about

the music they performed.

Integration of CRP and a Handbell Ensemble

Within the handbell community, there is no generalization of the curriculum for a

handbell or handchime ensemble. There are only levels created to match the difficulty levels of

the music (Stephenson, 1996). So, it is the job of the educator to create opportunities to go

outside of the realm of musical levels so that they can correspond with the needs of the students.

So often the training exercises that are used with the students stem from liturgical practices and

this is because the instrument originated as a church instrument (Rowher, 2015). Therefore, it is

the job of the instructor to find ways to remove the instrument from liturgical practices to entice

students to want to play and participate in the ensemble. One way of doing this would be by

choosing a mixture of pieces from different genres that the students are able to connect with
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within the parameters of their musical abilities. If unable to find music that appeals to the

student's needs and wants culturally as an ensemble, they could work together to create a piece

that would meet their needs or break into smaller groups and allow students to create warmup

exercises that have functions relating to technique work but musically being a piece that they

enjoy playing and listening to. And following the creation of these pieces discuss with the

students the context of the music and have them explain the reasons why they chose to do the

things they did. It is the task of educators to not only just teach the music and the techniques but

to also teach the context surrounding the music (Fitzpatrick, 2012). These simple processes are

easy adjustments in order to make a handbell ensemble culturally relevant and responsive to all

students present and ready to learn.

Conclusion

To sum up everything stated above there is a need for curriculums to change and to

integrate the framework of culturally relevant and responsive pedagogy into handbell ensembles.

There is a need for educators to go beyond the idea of just teaching notation and making sure that

students are musically literate, but make sure that students are going deeper beyond literacy and

connecting with the music, their culture, and one another. There is a need for educators to teach

their students how to be agents of change and have conversations with one another about why

and how certain cultures do things. By doing all of this, students will start finding it a necessity

to be a part of the music program and to value the opinions and cultures of other groups besides

their own. Adopting this framework will start fostering a communicative environment where

students of different backgrounds and ideologies can come together, build, and teach one another

about music and other new experiences.

Project
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Below is the link to the online website which is the virtual handbook:

https://handbells101.weebly.com/

Discussion

During the creation of this project, the reason that a website was the chosen format as

opposed to a booklet was to make it accessible to more educators and allows for it to have a

greater reach outside the realm of an online booklet. The website format also allows for there to

be constant development of the website and for the addition of more resources to be added as this

project and the world around it continue to change and progress. Within the website, there are

four main categories of tabs to choose from: Ringing Techniques 101, Assessing and Choosing

Repertoire, Instructional Materials, and Handbell Manufactures.

Beginning with Handbell Manufacturers, this was inputted into the website as a place to

go to when looking for the needed supplies for a handbell ensemble. There was an incorporation

of the three biggest manufacturers: Whitechapel Bells, Schulmerich, and Malmark

Bellcraftsmen. The incorporation of these three manufacturers allows the instructor to be able to

look at the different websites and compare the materials and prices on the different websites.

These three places are just to serve as starting points for the instructor to see what is needed for

their ensemble. In some cases, to begin, the instructor can start their ensemble by renting a

handbell set from one of the manufacturers while fundraising and building a report with the

community to fund a set to purchase for the ensemble. And while doing this the other materials

like pads and tables can be outsourced from other businesses. And the instructor is able to know

exactly what to get based on the supplies provided by the manufacturers.

Under the section of Ringing Techniques 101, there are eight different techniques that are

provided and along with them are the proper notation examples as well as video instruction on
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how to properly perform the technique. The techniques used were specifically chosen based on

the level of the ensemble and the music level used for the ensemble. For a beginner handbell

ensemble, the music level used would range from 1-2. These levels come from the Handbell &

Handchime Notation Difficulty Level System Solo and Ensemble Notation, created by the

American Guild of English Handbell Ringers. Videos were created outlining how to properly do

the technique as a way for instructors to show their students how to properly showcase the

technique and to standardize the ringing techniques across ensembles. These videos also

showcase how to properly perform the technique on the handbell in the safest manner to sustain

the integrity of the handbell and the ringer. Techniques like “shakes” or “thumb-damping,”

cannot be performed on every octave of the handbell so there is either an alternative provided for

the specific octave that it pertains to, or it is instructed that the technique is not suitable for that

sized bell.

The following tab that is under the resources section is the Assessing and Choosing

Repertoire tab. This tab is meant to be both a resource and a guide for beginning ensemble

conductors. At the top of the page, there are six vendors listed with direct links to their websites.

Paraboloid Press and 8-Bit Handbell are two smaller publishing companies that specialize in the

publishing of music that is current in relation to movies or video games. There are also some

original compositions on this website as well. 8-Bit Handbell has a large array of music as well

and here you may find more pop music as well as some classical, and arrangements from

different movies. And I used this website because not only do they arrange and create music they

also tend to be a vendor at the different conferences, which can be a helpful resource to look out

for at the handbell conferences. The rest of the websites that are provided are some of the “go to”

places for directors when looking for repertoire. And they all have a search engine within each of
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their websites acting as a database for any music you might want or need to add to the concert

setlist. Below the repertoire listings is a section on how to assess the repertoire for the ensemble

based on skill level. Within handbell music, there is a level system of one through six. These

levels contain specific guidelines in order to differentiate them from one another and were

created by the American Guild of English Handbell Ringers. The levels are assessed based on

eight specific criteria: time signature, tempo, dynamics, note/rest values, ringing techniques,

articulations, rhythmic elements, and handbell changes. The exact criteria that belong to each

level is linked in the website taking the conductor straight to the levels. Following that is one of

the pieces used in the instructional materials. This document is annotated, and the specific eight

elements used within the handbell level systems are highlighted with an explanation of what

level category the piece would fall within. Most handbell repertoire is already labeled with a

level number as standard practice; this was included on the website as a way to assist the

conductor when they are creating instructional materials for their choir and creating ringing

exercises on their own to fit the needs of their ringers.

The next tab is the instructional materials tab. This tab is meant to be a guide and

resource for these conductors to gain inspiration from to create their own materials for their

choir. This tab is split into two sections which are for a two-octave or a three-octave handbell

choir. The difference in these choirs is that two-octave handbell music ranges from G4-G6 and

the three-octave choir extend the range from C4-C7. The music in these two sections are the

same song but varying arrangements to fit the range of the choir. The songs were chosen based

on a class playlist made by a class of seventh graders in a general music classroom. After

choosing songs relevant to the students, they were then assigned a specific ringing technique to

focus on. These exercises for the ringing techniques focus on the ringer's ability to be able to
 20

switch back and forth from regular ringing and damping to the specific ringing technique. And

they remain within the first two levels of the level system found on the Handbell Musicians of

America Website. The first ring-damp exercise is meant to just get the ensemble ringing together

on the beat which is why it is homophonic in nature having all the students ringing the chords

together. And they would be ringing the accompaniment so as a fun exercise the students can

sing the vocal line that goes with the music. The rest of the ringing exercises include both the

vocal lines and the accompaniment that goes with it. While creating the exercises piano sheet

music was used and simplified in order for the music to still be identifiable to the students but

simple enough so that it is within reach of the student's skill level. Exercises like this can easily

be replicated by conductors and educators by finding the lead sheets or chord progression of any

song and putting it into handbell notation within a music software program. Or by labeling the

bells using stickers or hair ties on the handles organizing them by chord and having the students

ring based on their specific organization.

Conclusion

In conclusion, the integration of handbells and culturally relevant and responsive

pedagogy is something that is easily be done. And this project is a resource guide to showcase

the first steps on how to do that, by handcrafting the instructional materials and with the

repertoire that is selected for the ensemble. This website illustrates how handbell and handchime

ensembles have a place within the school systems and can be taken out of the liturgical world

and mindset of its original religious context. Handbells have a place in society and it’s up to the

job of the conductor to make sure that they maintain their relevancy within the school system.
21
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