Dr. David Dockan, Assistant Professor of Music Education, says “Louisiana State University is a magical place that is located in the heart of music in America — Louisiana — where there is always a place to learn and experience music of and by the people of Louisiana.”
Part of LSU’s magic is how Dockan turns curiosity into momentum. “I’m constantly asking questions about how people learn, belong and thrive through music,” Dockan explains. “Then, I translate those questions into action, such as innovative teaching, meaningful research and programs that expand what musicianship can be.”
Curiosity keeps Dockan listening while momentum keeps him building. “Whether I’m designing new approaches to popular music education, supporting teachers or creating spaces where students feel seen and capable, I work to turn insight into impact,” he says proudly.
Dockan uses a unique teaching methodology called the Learning in Tandem Framework, which imagines teacher power through the image of a tandem bicycle. “The two seats and pedals acknowledge that both students and teachers have power that they are exerting in the classroom,” he details. “In order for a classroom to run smoothly, there needs to be an agreement on how and when that power is used. The power is conceptualized into three spaces: rules and procedures, curriculum and repertoire and pedagogy.”
At LSU, Dockan has incorporated culturally responsive and popular music pedagogies into the undergraduate coursework through two classes:
- “Teaching Music in Diverse Settings” where undergraduates work on developing skills to understand the students they are serving and using their identities as pathways for music instruction.
- In “Elementary Music Methods,” students use an Orff-Schulwerk approach with popular music pedagogies by selecting music that students enjoy and using that music as a pathway toward musical creativity.
Orff-Schulwerk’s process of Imitation, Exploration and Creation is more than just for teaching music, Dockan says. It’s also a way of life and learning outside of the classroom. “I find that what works best with the Orff-Schulwerk approach is leaning into the create phase and having an open mind to what the students will create,” he says.
The create phase includes a discussion about how AI can create something that is very predictable, but Dockan asks his students to create something that AI would never imagine making! “This liberates students from the concern of what they ‘should’ do and allows them to try off-the-wall ideas,” Dockan says. “This requires the teacher to release the creating to the students and allow their creativity to soar!”
He admits that letting go of what the final result will sound like can be a hard shift for music educators, but the joy and learning that happen along the way are well worth it.
Dockan provides firsthand opportunities for his students to teach elementary and middle school students. At LSU’s laboratory school, he worked with the elementary music teacher there to create a model of modern bands for his undergraduates to observe and teach. “Each semester, there have been 10 to 20 students participating and learning to perform on contemporary instruments in band,” he explains. “The particular semester is really exciting because I am teaching an independent study of commercial music techniques, where undergraduate students will be working with beginner middle school rock band students.”
Dockan also works with the teachers and staff at Kid’s Orchestra, a nonprofit in Baton Rouge, that provides music education opportunities to students in the parish. “I provide professional development where I share ideas on popular music pedagogies, artificial intelligence and democratic music education practices,” he says.
