This project opens space for looking at the world in a musical way where “jamming” with music through playing and listening to it helps one resist a more standardized and dualistic way of seeing the world. Instead of having a traditional dissertation, this project is organized like a record album where each chapter is a Track that contains an original song that parallels and plays off the subject matter being discussed to make a more encompassing, multidimensional, holistic, improvisational, and critical statement as the songs and riffs move along together to tell why an arts-based musical way of being can be a choice and alternative in our lives. A riff, though a musical phrase played by a musician, is considered an idea from whoever is being cited to add to the flow of the conversation unfolding in each Track. Track 1 sets the stage for jamming as a curriculum of resistance through my personal experiences being part of “isness” and “shared intuitive headspaces” as each concept is explained. This sentiment is furthered in Track 2, which sheds light on the current state of education not making room for an arts-based musical way of seeing the world. Track 3 includes my own narrative of learning how to play guitar to show my experiences on how I came to understand isness and shared intuitive headspaces through jamming with music. Track 4 lets the professional musicians talk about their creative processes and how they are part of isness and shared intuitive headspaces when jamming through creating and playing music. Track 5 includes curriculum theorists and philosophers talking about how they see the world in musical ways. Track 6 includes researchers’ thoughts on improvisation as part of seeing the world in a musical way. Track 7 includes how amateur musicians are able to incorporate a musical way into their own lives as they bring isness and shared intuitive headspaces back home. The album ends with a Coda, which includes my thoughts on how to maintain a musical way of being in a world where dualistic thinking, certainty, and standardization are the norm.
","abstract_html":"<p>This project opens space for looking at the world in a musical way where “jamming” with music through playing and listening to it helps one resist a more standardized and dualistic way of seeing the world. Instead of having a traditional dissertation, this project is organized like a record album where each chapter is a Track that contains an original song that parallels and plays off the subject matter being discussed to make a more encompassing, multidimensional, holistic, improvisational, and critical statement as the songs and riffs move along together to tell why an arts-based musical way of being can be a choice and alternative in our lives. A riff, though a musical phrase played by a musician, is considered an idea from whoever is being cited to add to the flow of the conversation unfolding in each Track. Track 1 sets the stage for jamming as a curriculum of resistance through my personal experiences being part of “isness” and “shared intuitive headspaces” as each concept is explained. This sentiment is furthered in Track 2, which sheds light on the current state of education not making room for an arts-based musical way of seeing the world. Track 3 includes my own narrative of learning how to play guitar to show my experiences on how I came to understand isness and shared intuitive headspaces through jamming with music. Track 4 lets the professional musicians talk about their creative processes and how they are part of isness and shared intuitive headspaces when jamming through creating and playing music. Track 5 includes curriculum theorists and philosophers talking about how they see the world in musical ways. Track 6 includes researchers’ thoughts on improvisation as part of seeing the world in a musical way. Track 7 includes how amateur musicians are able to incorporate a musical way into their own lives as they bring isness and shared intuitive headspaces back home. The album ends with a Coda, which includes my thoughts on how to maintain a musical way of being in a world where dualistic thinking, certainty, and standardization are the norm.</p>","abstract_has_math":false,"creators":["Czech, Mike"],"institution":null,"degree_name":"Doctor of Education in Curriculum Studies (Ed.D.)","degree_level":"Dissertation (open access)","degree_discipline":"Department of Curriculum, Foundations, and Reading","degree_department":null,"school":null,"contributors":["Ming Fang He","Daniel Chapman","William Schubert"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-01-01T08:00:00Z","date_published":"2015-01-01T08:00:00Z","updated_at":"2026-07-24T02:28:15Z","subjects":["Popular Music","Critical Pedagogy","Jamming","Arts-based Research","Improvisation","and Musical Ways of Being","Art Education","Curriculum and Instruction"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://digitalcommons.georgiasouthern.edu/etd/1270","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Ming Fang He","Daniel Chapman","William Schubert"]},{"key":"dc:creator","label":"Author","values":["Czech, Mike"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2015-04-07T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Department of Curriculum, Foundations, and Reading"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation (open access)"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Education in Curriculum Studies (Ed.D.)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Popular Music","Critical Pedagogy","Jamming","Arts-based Research","Improvisation","and Musical Ways of Being","Art Education","Curriculum and Instruction"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://digitalcommons.georgiasouthern.edu/etd/1270"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This project opens space for looking at the world in a musical way where “jamming” with music through playing and listening to it helps one resist a more standardized and dualistic way of seeing the world. Instead of having a traditional dissertation, this project is organized like a record album where each chapter is a Track that contains an original song that parallels and plays off the subject matter being discussed to make a more encompassing, multidimensional, holistic, improvisational, and critical statement as the songs and riffs move along together to tell why an arts-based musical way of being can be a choice and alternative in our lives. A riff, though a musical phrase played by a musician, is considered an idea from whoever is being cited to add to the flow of the conversation unfolding in each Track. Track 1 sets the stage for jamming as a curriculum of resistance through my personal experiences being part of “isness” and “shared intuitive headspaces” as each concept is explained. This sentiment is furthered in Track 2, which sheds light on the current state of education not making room for an arts-based musical way of seeing the world. Track 3 includes my own narrative of learning how to play guitar to show my experiences on how I came to understand isness and shared intuitive headspaces through jamming with music. Track 4 lets the professional musicians talk about their creative processes and how they are part of isness and shared intuitive headspaces when jamming through creating and playing music. Track 5 includes curriculum theorists and philosophers talking about how they see the world in musical ways. Track 6 includes researchers’ thoughts on improvisation as part of seeing the world in a musical way. Track 7 includes how amateur musicians are able to incorporate a musical way into their own lives as they bring isness and shared intuitive headspaces back home. The album ends with a Coda, which includes my thoughts on how to maintain a musical way of being in a world where dualistic thinking, certainty, and standardization are the norm.
"]},{"key":"dc:title","label":"Title","values":["Jamming as a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the \"Free\" World"]}]}],"canonical_facts":{"dc:contributor":["Ming Fang He","Daniel Chapman","William Schubert"],"dc:creator":["Czech, Mike"],"dc:date.available":["2015-04-07T07:00:00Z"],"dc:description.abstract":["This project opens space for looking at the world in a musical way where “jamming” with music through playing and listening to it helps one resist a more standardized and dualistic way of seeing the world. Instead of having a traditional dissertation, this project is organized like a record album where each chapter is a Track that contains an original song that parallels and plays off the subject matter being discussed to make a more encompassing, multidimensional, holistic, improvisational, and critical statement as the songs and riffs move along together to tell why an arts-based musical way of being can be a choice and alternative in our lives. A riff, though a musical phrase played by a musician, is considered an idea from whoever is being cited to add to the flow of the conversation unfolding in each Track. Track 1 sets the stage for jamming as a curriculum of resistance through my personal experiences being part of “isness” and “shared intuitive headspaces” as each concept is explained. This sentiment is furthered in Track 2, which sheds light on the current state of education not making room for an arts-based musical way of seeing the world. Track 3 includes my own narrative of learning how to play guitar to show my experiences on how I came to understand isness and shared intuitive headspaces through jamming with music. Track 4 lets the professional musicians talk about their creative processes and how they are part of isness and shared intuitive headspaces when jamming through creating and playing music. Track 5 includes curriculum theorists and philosophers talking about how they see the world in musical ways. Track 6 includes researchers’ thoughts on improvisation as part of seeing the world in a musical way. Track 7 includes how amateur musicians are able to incorporate a musical way into their own lives as they bring isness and shared intuitive headspaces back home. The album ends with a Coda, which includes my thoughts on how to maintain a musical way of being in a world where dualistic thinking, certainty, and standardization are the norm.
"],"dc:identifier":["https://digitalcommons.georgiasouthern.edu/etd/1270"],"dc:subject":["Popular Music","Critical Pedagogy","Jamming","Arts-based Research","Improvisation","and Musical Ways of Being","Art Education","Curriculum and Instruction"],"dc:title":["Jamming as a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the \"Free\" World"],"thesis:degree_discipline":["Department of Curriculum, Foundations, and Reading"],"thesis:degree_level":["Dissertation (open access)"],"thesis:degree_name":["Doctor of Education in Curriculum Studies (Ed.D.)"]},"updated_at":"2026-07-24T02:28:15Z"}