A brief overview of the progression from the Aplha Version to the Version 2.0 of this workshop is here 

Pharaway "JazzyPhar/Phar" Lacdao

• Instructional Design Intern at the UP College of Music (MuEd 105- Voice Pedagogy)- October 2022- present

• Bachelor of Education Studies (Instructional Design & Tech), UP Open University- Resident senior student

• English Coach/Sales  Communication Skills Trainer/Instructional Designer- DForce Operations Center Inc.- October 2022- present

• Vocal Jazz Artist/ International Jazz Day Organizer/UNESCO Partner- 2016- present

RATIONALE OF WORKSHOP DESIGN (INSPIRATIONS, FOUNDATIONS, A BRIEF BACKGROUND OF MuEd 105)

My name is Pharaway "JazzyPhar" Lacdao. I have majored in instructional design and technology as a Bachelor of Education Studies student at the University of the Philippines Open University.  I am also a vocal jazz artist who has been organizing International Jazz Day celebrations under the auspices of UNESCO and the Herbie Hancock Institute of Jazz- hence my nickname, JazzyPhar.  I am a UNESCO and International Jazz Day partner in the promotion of jazz music in sociocultural and educational terms (Lacdao, 2016; UP College of Music, n.d.; UP Kolehiyo ng Musika Facebook, 2023).

Prior to my internship at the UP College of Music, most of my instructional design-oriented course work here at UP Open had revolved around vocal jazz education for the  most part. In EDS 155- Game-based Learning, I designed and developed a digital game  called The Jazz Mic Quest (Lacdao, 2018) for Jazz Voice students at Berklee Online. This was pilot-tested using e-atellier technology with my classmates in the course for which I earned an overall course grade of 1.0 (Excellent). While taking up EDS 157-Online Education, I created a pedagogical critique of, and an authentic assessment proposal for, Berklee Online's Jazz Voice course. In EDS 153- Design of Educational Materials, I crafted vocal jazz scat singing material. On  the other hand, for EDS 134- Community Education, I came up with a proposed jazz-based community education activity for UP Diliman music and art students, given that I have performed at the UP Diliman University Hotel on several occasions as a jazz artist.

Very recently in EDS  156- Mobile Learning, I designed a vocal jazz instructional app meant for m- and e- learning purposes. Titled A Globetrotting Jazz Singer App: My m-Learning Proposal for International Jazz Day (Lacdao, 2021), I presented my design to music educators and musicologists from different parts of the globe, at the very first Saliksik-Musika (Music Research) conference of the UP College of Music ( UP College of Music, n.d.). My design banked on social-constructivist, e-threading affordances of technology-aided mobile, situative learning. It was at this musicological presentation that I first got to establish significant social connections at the UP College of Music; and I was then inspired to intern with the college given a chance. 

Foundations in learning psychology and philosophy have formed the pedagogical bedrock and architectural blueprint of my aforementioned instructional design-oriented works here at UP Open, with my overall summative grades in such courses averaging approximately at 1.5 (UPOU AIMS, 2023). 

For my current BES program's capstone requirements, I have interned with the University of the Philippines College of Music specifically for Music Education 105 (MuEd 105) students who are primarily trained to sing and teach vocal music in the bel canto, Classical European tradition.  I must say my prior vocal jazz-oriented coursework alongside my foundations in learning psychology and philosophy and educational research have underpinned my College of Music internship.   

My internship in the College of Music was approved to commence since the latter part of October of 2022 (see Appendix 1.1 Internship Approval).  It is the very first time for this nationally and internationally renowned College to have had an instructional design intern in its music education department.  My entry as instructional design apprentice was mainly backed with a portfolio of my vocal jazz-oriented coursework at UP Open which I had presented at the onset to the College of Music Dean, who subsequently referred me to  the Music Education Department at that time chaired by Asst. Prof. Maria Sherla Najera--- whom I will be addressing as Ma'am Sherla in this e-portfolio. Ma'am Sherla would be my gatekeeper, subject matter expert (SME), and external adviser rolled into one.  Ms. Najera's profile as a Classically trained singer, vocal music educator and educational leader is available at https://music.upd.edu.ph/NAJERA_MARIA_SHERLA.html She graduated cum laude as a Voice major from the UP College of Music, and at this writing is pursuing doctorate studies in community music education at Australia's Griffith University (news at https://music.upd.edu.ph/Announcements.html). 

An  Overview of MuED 105

A major course for senior students of the Bachelor of Music in Voice program, Music Education 105 (MuEd 105) delves into the study of vocal music production and the teaching of voice. In the case of voice majors at the U.P. College of Music, students who take up MuEd 105 are Classically trained singers in the bel canto (European) tradition. MuEd 105 is offered in the Music Education Department, and mainly revolves around

• Voice pedagogy and introductory concepts

• The singer, vocal health, vocal anatomy

• The singing mechanism especially voice phonation, resonance, articulation and expressivity

• Voice instruction, voice lesson and planning (Najera, 2022)

MuEd 105 has been taught online since the onset of the Covid-19 pandemic,  the first-ever virtual, distance learning-based delivery of the course. Synchronous sessions happened for more than an hour every Thursday on Zoom and were mostly recorded by the teacher.  Most written curricula (course/activity guides, links, content resources, and quizzes) were embedded into a Google classroom (Najera, 2022). 

My background in online education was partly a reason the MuEd 105 professor liked the idea of me being part of the class as a learning designer, aside from the fact that I myself am a vocal musician (a jazz artist with foundations in bel canto/Classical music). Jazz itself is in essence a combination of European Classical and African musical elements (Brenan, 2005; Monkelien, 2001; Williams, 2023), 

When I interviewed for internship with the gatekeeper Asst. Prof Maria Sherla Najera, I was deemed fit to be part of MuEd 105 given my background in online distance learning (especially my prior coursework with Berklee College of Music material),  and  my familiarity with the subject matter as a jazz singer. 

I then had the opportunity to immerse myself synchronously with MuEd 105's online, real-time classes under Assistant Professor Maria Sherla Najera, who has served as my capstone gatekeeper, subject matter expert, and external adviser.  Over the course of  my synchronous class immersions, I conducted observations in terms of class interactivity and course syllabi, specifically keeping an eye on areas for curricular improvement, innovations, and modifications. In summary, my MuEd 105 internship from October 2022 till present time as an instructional designer gave birth to the creation of a gamified 3-day introduction to vocal jazz workshop especially designed for Classically trained Voice students. 

When I started my online immersion in MuEd 105 of 2022,  the class was already halfway through the semester. UP Diliman follows a semestral schedule. During my immersions, I chanced upon course content dealing with vocal phonation, articulation, and resonance in the bel canto, Classical tradition. There was not any discussion of vocal production in the jazz manner; nor was there any mention of vocal jazz-related content in the officially outlined course syllabi in Google classroom (Najera, 2022).  It was at this point that I started to imagine an avenue where I could help the College of Music make its MuEd 105 content more responsive to contemporary music business demands.  Also, I began thinking about a prior conversation with Professor Najera when she was interviewing me as an internship applicant early on in October 2022: I remembered how she suggested her openness to any curricular revision or addition involving jazz music. 

I also began thinking about conservatories and music colleges in the United States, Europe and Australia that offer vocal jazz majors or courses. I began contemplating over what could be missing from the MuEd 105 curriculum at the UP College of Music. In contemporary higher vocal music education abroad, two major styles are already offered by colleges and universities: Classical (bel canto) and Jazz (Brenan, 2005; Monkelien, 2001; Williams, 2023). 

Below I present a summative chronology of milestones in my MuEd 105 Instructional Design internship from October 2022 up to May 2023. 

MuEd 105 Instructional Design Internship Milestones

October 21, 2022 (Interview for internship application)

Meeting with Asst. Prof. Maria Sherla Najera- my would be gatekeepr/subject matter expert. Prior to this meeting, I had already communicated with the Dean of the College of Music, Dr. Laverne de la Peña . I had presented to him my intent to work as an instructional design intern at the UP College of Music, showing him links to my portfolio of instructional design-oriented coursework at UP Open, as well as my profile as a jazz singer/artist.  The Dean referred me to the Music Education Chair, Asst Prof Maria Sherla Najera. Hence, the October 21, 2022 interview which was conducted on Zoom. 

In the interview, Ma'am Sherla (as I would eventually casually call her) was interested in my profile as a jazz artist/singer. She also noted how rich and varied my instructional design portfolio was. She then helped me take a quick survey of as many possible courses under her music education department as applicable to my internship. She agreed to me joining MuED 105 (Pedagogy of Voice) which she herself taught.

As a jazz vocalist with basic vocal training in Classical music/Opera, I would be able to relate to the course content/subject matter. It was however noted that MuEd 105 students are highly busy senior students, dealing with other important major courses while preparing for an upcoming music education practicum (MuEd 110) in the following term. The gatekeeper at the onset set expectations towards difficulty getting MuEd 105 students to participate in internship-related activities I might organize for them. The gatekeeper/SME herself Prof. Najera was also highly preoccupied handling MuEd 105, while chairing the Music Education Department, and overseeing the UP-CWTS Open School of Music. As early as this October 2021 meeting with the gatekeeper, I had to think of ways on how I could positively motivate the MuEd 105 students as well as my gatekeeper to participate in internship-oriented activities I might have to plan. 

October 25, 2022 Zoom-recorded class observation

Observation of a recorded synchronous class from October 25th.  The class did a vocal relaxation activity as modeled by teacher for the first 10-15 mins of class. This was followed by another getting-to-know-each-other session (two truths and a lie game) especially among the newcomers to the class. The teacher went through the course guide. The teacher highlighted important concepts to be learned in the MuEd 105 course especially in relation to vocal phonation, resonance, power of words (articulation, and expressivity) as well as the historical development and philosophies of voice pedagogy. In this session, the teacher also emphasized an important Classical (European) pedagogical principle in voice production- which is doing away with the "breathy" sound of the singer. This breathiness issue may run counter to vocal jazz pedagogical principles which encourages the voice to be free and be as natural as possible in terms of quality and texture. 

An important concept discussed in class by the teacher was about a voice teacher's duty to adjust to the student's profile and singing abilities: 

• copy the tone of the student; do not insist on the pitch that you want the student to hit;

• relate to the student, then help the student reach the the pitch that you want; and

• as teachers we adjust to where the students are. 

In this observation, I took down personal notes of the session as an  ID intern: the importance of the zone of proximal development principle, schematic, scaffolded voice teaching, Robert Gagne's 9 levels of instruction, as well as consideration of a student's unique learning style. 

November 26, 2022 (Meeting with Professor Lenard "Sir Ley" Gripal, my Capstone internal adviser, via Google Meet)

Sir Ley advised me to spend the first term (October 2022-Jan 2023) on learner observation/analysis and create a future project from this term's analysis of the learning environment/learners. 

November 10, 2022 (First Actual Class Immersion- Synchronous Observation)

I observed the class in reference to Moore's Interaction Theory (teacher-learner, learner-learner, and learner-content interactions). The class interaction was rated satisfactory with an area for improvement in terms of teacher-learner interaction. 

I provided feedback using graphs with rubrics-based scoring via email to the teacher, who was very grateful towards my analytical observations and suggestions. Ma'am Sherla said the feedback was very graphic and helpful. (More on this on the Analysis page).

Nov 24, 2022 (Second Synchronous Class Observation)

I observed the class in reference to the Salmon's e-tivities model especially in reference to information exchange and knowledge construction vis-a-vis interactions in class. The class interaction was rated perfect in terms of knowledge construction where the teacher asked the class to participate in arranging polar vowels from backmost to topmost ones on a music sheet. The teacher also played piano while demonstrating vocalises. There was teacher-learner rapport as well. 

I provided feedback with graphs with rubrics-based scoring via email to the teacher, who was very grateful towards my analytical observations and suggestions. Ma'am Sherla said the feedback was very helpful and encouraging.  (More on this on the Analysis page).

I was very, very impressed with the class. As far as Salmon's e-tivities were concerned, I could say that knowledge construction with the learners was perfect and highly commendable. Everyone was participating, while the teacher was great in her discussions of essential key concepts. 

Dec 16, 2022 (Third Synchronous Class Observation)

On this day, MuED 105 students were made to role-play with each other as singing teacher and student. I observed and evaluated the teaching demos/role-plays using Kolb's Experiential Learning Model, with reference to Erikson's psychosocial stages of development as the student was supposed to be in middle school (between 6- 11 years old). 

While all of the teaching demonstrators scored between satisfactory to commendable in Concrete Experience, four out of five did not exhibit Active Experimentation in their instructional activity. All of them excelled at Abstract Conceptualization. An area for improvement veered towards Active Experimentation which is highly important in teaching singing due to the subject's psychophysiological and physical nature. 

I provided feedback using graphs with rubrics-based scoring via email to the teacher, who was very grateful towards my analytical observations and suggestions. Ma'am Sherla appreciated the report. (More on this on the Analysis page). 

Impressions from my November - December 2022 Class observations of MuEd 105

There was not much learner-learner interaction in real-time synchronous classes observed. Content-wise, MuEd 105 students were provided with more than sufficient resources, and with an excellent teacher very qualified to teach the subject. Resources were a combination of YouTube videos, teacher-curated and -created student course guides with important links to essential e-books and other types of material. 

There was no mention of jazz involving voice pedagogy specifically in such basic concepts as vocal phonation, resonation and expressivity. (More on this on the Analysis page.)

February 15, 2023 (Meeting with SME/gatekeeper on an e-workshop prototype)

I met with Ma'am Sherla to discuss a digital e-learning workshop prototype (Intro to Vocal jazz) I created via iSpring Suite--- feedback was provided by Ma'am Sherla regarding objectives and content prior to piloting the said digital e-learning material. The gatekeeper/SME / MuEd 105 professor approved of the content and objectives of the e-workshop. This e-workshop which was self-paced but highly interactive in nature would be the springboard for an objective analysis as to whether MuEd 105 students are receptive to vocal jazz content, and how their learning styles would be factored in, should an actual online or in-person vocal jazz workshop be designed for them. The idea of a self-paced but highly interactive iSpring Suite-based e-workshop, accessible on any type of gadget even while the learner is on the go, was deemed appropriate for the busy schedules of MuEd 105 students. 

February 16, 2023 (Piloting of e-workshop for students' readiness for jazz content and learning styles)

Phar joined Ma'am Sherla's class (now MuEd 110)- with same students from the past semester's MuEd 105. Phar wanted to pilot his digital prototype of a digital workshop/e-learning in introduction to vocal jazz during class. The workshop was accessed through the iSpring Suite LMS. Students were made to go through the digital workshop on their own but could not finish it in class due to time constraints. This e-workshop was gamified--- meaning students who completed the workshop's tasks could potentially perform at a TV show organized by the instructional designer who happens to have connections in show business. The e-workshop's main tasks were to complete an online post-workshop survey as well as organize recordings of the participants' vocal jazz singing. 

February 17, 2023 (Students' jazz recording outputs from e-workshop)

Two students- Ben and Lis - were able to submit their workshop outputs (recordings of their jazz singing), and also completed the online surveys via Google Forms. All student participants to the workshop answered the post-Day 1 survey. 

March 07, 2023 (Discussion of students' vocal jazz recordings and survey inputs from e-workshop)

A Zoom Meeting on Ben's and Lis's taking of the iSpring suite-based digital vocal jazz workshop. Their song recordings of singing jazz and their post-e-workshop survey answers answers, alongside immersions in MuEd 105 synchronous sessions over time, would be the bases for the creation of an upcoming actual instructional design proposal. The gatekeeper and I came to a conclusion that while it was important to gamify the workshop,  a major point of reflection would be enticing the students to complete the tasks with a prize in mind--- it appeared that only two out of six students could actively partake in the survey and song recording tasks. It would then still be advisable to gamify any upcoming workshop similar to the one just conducted as participation would really mean that the participant is really interested in the workshop' s subject matter and activities. At this point, I came to conceive a 3-day workshop in which the ability for the student to participate in Days 2 and 3 would require getting a badge from Day 1. This badge-based gamification would encourage taking the workshop assessment-oriented tasks seriously. 

In this March 07 meeting, it was agreed upon by the gatekeeper and instructional design intern that MuEd 105 students were ready for a vocal jazz workshop and an interactive type of workshop would be applicable to them. They were interested in jazz-oriented content as relates to their current voice pedagogy course. 

March 09, 2023 (Proposal of a 3-day vocal jazz workshop)

Presentation of instructional design proposal- 3- day intro to vocal jazz workshop- and discussion/ iteration of PPT material to the said workshop (between Ma'am Sherla and Phar). Feedback was provided by gatekeeper in terms of content, visual materials and objectives. 

Actual Proposal: https://drive.google.com/file/d/18NidDGlGxVMK8WNupQ2xXCqUcHjdm6mI/view

(Also see Appendix 3.1) 

At this point in time, Day 1 through 3 were imagined to be fully online. The focus in this March 09 presentation was Day 1 because as per my prior conversations with Sir Ley, it was highly suggested that for the sake of fulfilling my internship requirements for graduation, I could pilot at least the first day of the proposed 3-day workshop--- which means how Day 1 turns out as implemented with the MuEd 105 students would impact the redesign or modification of proposed Days 2 and 3 of the workshop.  Also, with the gatekeeper's prior feedback, it would be very difficult to involve the MuEd 105 students in a workshop for 3 days given their highly busy schedules as graduating students at that point in time.

April 10, 2023

Finalizing of my workshop design for its beta phase iteration (More on this on the Analysis-Development pages)

April 21 , 2023

Meeting with Ma'am Sherla: Presentation of revised PPT Deck for Day 1 (More on this on the Analysis-Development pages)

April 29, 2023

I held a vocal jazz concert whose performances would be potentially utilized as learning/instructional material in the development of the 3-day vocal  jazz workshop. This vocal jazz concert was held for three primary coincidental reasons: 1) As my annual participation in International Jazz Day celebrations; 2) As a benefit concert for the UP Open School of Music of which my capstone gatekeeper Ma'am Sherla was Coordinator; 3) As a potential resource for my upcoming vocal jazz workshop for the MuEd 105 students (UP Kolehiyo ng Musika Facebook Page, 2023)

(More on this on the Analysis-Development pages).

May 7, 2023

• Special Meeting with Sir Ley (Capstone Adviser)

• Feedback from Sir Ley on improving e-portfolio content and design

• Discussion of Beta version of workshop

(More on this on the Analysis-Development pages)

May 8, 2023

• Zoom session with Ma’am Sherla (External Adviser/SME)

• Polishing of beta version

• Modification of slides, content etc.

• Day 1 of Beta version of workshop (Modified as of May 8 with Ma’am Sherla, in preparation for May 9th iteration)

• Day 1 of Workshop version prior to May 8

• Important modifications to Day 1 (Prior to Beta version creation)

(More on May 8 events on the Development-Implementation pages)

May 9, 2023 

Iteration of beta version. Please note that at this point in time the MuEd 105 students whom I have interned with are now in MuEd 110 (practicum). At this point, the  MuEd 105 students for whom the vocal jazz workshop had been designed were now in MuEd 110 still under my gatekeeper Prof Najera. This time, the said students would be busier than in the previous semester. The expectation was that approximately two out of the six student participants would be able to actively accomplish the workshop's learning tasks (namely the recording of their jazz singing at the end of the workshop- as was the case in the e-workshop in February 2022).  (More on this on the Development-Implementation pages)

May 9, 2023

Student assessment (recorded songs) on Day 1 emailed by the students to instructional designer/external adviser

Post-workshop Day 1 survey:

https://docs.google.com/forms/d/1zKiG1ZYa0nTjTb6KJ_mS16GPuZk6PEkhqWyy5S4oJUQ/edit  (Also see Appendix 3.2) 

(More on this on the Implementation-Evaluation pages)

Version 2.0 of the workshop

• The version 2.0 of the gamified vocal jazz workshop for MuED 105 students will be hybrid in nature of workshop- online, self-paced, then in-person.

• The workshop is also gamified with  badge-based transition/qualifications of workshop participant students from 1st through 3rd days of the workshop. 

(More on this on the Vocal Jazz Version 2.0 page)

Why a vocal jazz workshop? Why jazz? 

The designer of this gamified 3-day intro to vocal jazz workshop believes that Classically trained/ bel canto singers and voice teachers can broaden their artistic acumen and enhance future employability as singers and teachers by exploring jazz music which primarily combines Classical/European and African musical traditions. From a digital i-Spring Suite-based introduction to vocal jazz workshop prototype field-tested among MuED 105 students by this proposal’s author, it can be noted that MuED 105 students trained in the bel canto technique are open to learning a non-Classical genre of music, showing interest in multiculturalism, ethnomusicology and anthropology. The said students also displayed considerable competence in applying Classical technique into a jazz standard as part of the digital workshop’s assessment. 

UNESCO itself has a very high regard for jazz music as a music of peace, intercultural dialogue, freedom and creativity, declaring April 30th of each year as International Jazz Day. Jazz originated in a multicultural America as a reaction to racial discrimination and social inequalities. Since the 1920s jazz music has evolved into more global, more multicultural formats melding with Brazilian, Latin American, European, Asian, Indian, and even Filipino musical traditions (Unesco.Org,  2021).

Classical singers can further enhance their creativity through jazz. A recent German study showed that Jazz musicians showed higher ideational creativity than Folk musicians (p = .01, and p = .01) and Classical musicians (p = .09, and p = .02), thereby revealing that Jazz musicians show higher divergent thinking ability, and a higher number of creative activities and achievements in the musical domain as compared to musicians from other genres such as Classical music or Folk music. These findings support the view that the music genre of Jazz is highly associated with creativity, both in terms of musical activities and psychometric aspects of musicians (Benedek et al., 2014).

Over the last four decades especially in the US and Canada, jazz education has been considerably established in high schools and colleges (Fisher, 1981; Kuzmich, 1989) (Carter, 1986; McDaniel, 1993; Murphy, 1994) (Thomas, 2022; English, 2004; Brenan, 2005).

In America, "By 1979 it was estimated that there were more than 500,000 students in jazz-related ensembles across the country, and over 70 percent of the 30,000 middle and high schools had at least one jazz ensemble (Berry, 1979). The steady increase of jazz bands has continued at the

middle level, in high schools, and at the college level all across the country. The growth of vocal jazz ensembles has not been as steady or as widespread" (Monkelien, 2001). As do Europe and Australia, Canada does have plenty of post-secondary institutions offering

undergraduate as well as graduate jazz programs (Kearns, 2011).

In the Philippines, only the University of Santo Tomas offers a jazz studies program. This 3-day vocal jazz workshop is envisioned not only to expand students’ training in voice pedagogy, but also to help inspire the UP College of Music to consider offering a vocal or instrumental jazz program.

(See Appendix for scholarly in-text citations). 

When I first applied via email for internship at the UP College of Music, I told the Dean that 

My fields of interest include but are not limited to the following:

1. Vocal/instrumental jazz instruction/appreciation

2. Jazz improvisation (instrumental or vocal)

3. Stage performance for singers

4. Ethnomusicology

5. Music therapy

6. World music/ Asian music

7. McClosky vocal technique for singers

My foundations in instructional design include but are not limited to the following:

1. Psychology, social science, philosophy of learning (behaviorism, constructivism, cognitivism, multiple intelligences)

2. Adult education

3. Mobile learning, e-learning, distance education, gamified instruction (digital gamification)

4. Environmental education, health education, Islamic education, community education

5. Gender-mainstreamed education, peace and citizenship education, indigenous peoples education

6. Assistive learning technologies

7. Design and development of digital/non-digital instructional materials

Consequently, I was referred to the Music Education Department, where I then had an interview with Ma'am Sherla, who allowed me to join her 

MuEd 105 class. 

After my internship with the UP College of Music, I wish to

1. Consult with the Music Education Chair to further my gamified 3-day vocal jazz workshop for MuEd 105 students. As it is, Day 1 is ready with learner and teacher manuals, and based on the teacher and student participant feedback from the beta version iteration of Day 1, this particular workshop can benefit the MuEd 105 students in terms of their professional artistic acumen, as well as their musical knowledge,  and flexibility of repertoire and style.  I am well-connected in the local and international jazz circuit.   I can therefore connect students to high-profile jazz artists and music business tycoons, as well as to jazz education communities both virtual and in-person.

The Day 3 of this workshop for MuEd 105 students which will be a masterclass with a vocal jazz practitioner and pedagogue is ready. The said practitioner and vocal jazz pedagogue Ms. Lorna Cifra, who is an Aliw award winnder for her vocal jazz works locally and abroad, has already agreed to potentially conducting the Day 3 masterclass  (L. Cifra, personal communication, May 2023). Ms Cifra is a CCP-recognized jazz artist and voice teacher (ABS-CBN, 2020;  Business World Online, 2020). If needed, I am amenable to shouldering a MuEd 105 student's tuition in the masterclass, albeit the jazz pedagogue has suggested providing a free masterclass.  I can also organize benefit concerts (which I have recently done for the UP CWTS Open School of Music) to financially support MuEd 105 students. 

2.   Possibly apply for any available instructional design/learning specialist post or apprenticeship at the UP College of Music

3. Apply either to the Berklee Online College of Music or the Manhattan School of Music as an instructional designer. The said schools require their instructional designer to have a background in vocal/instrumental Jazz and/or Classical music (Manhattan School of Music, n.d.) My internship with the UP College of Music would be in my resume. 

4. Pursue further post-graduate studies in vocal jazz education and/or performance abroad, while working as an instructional design specialist/consultant or trainer either in corporate or educational settings