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Description
This study investigates ways in which music teachers make personal sense of their professional selves and their perceptions of their places within the broader landscape of music education relative to other types of music teachers in school and community settings. A social phenomenological framework based on the writing of Alfred Schutz was used to examine how participants constructed a sense of self in their social worlds and how they both shaped and were shaped by their social worlds. Eight music teachers participated in this study and represented differing types of music teaching careers, including: public school general music teaching and ensemble directing; independent studio teaching and teaching artistry; studio lessons, classes, and ensembles at community music centers; church ensemble directing; and other combinations of music teaching jobs throughout school and community settings. Data were collected from in-depth interviews, observations of the music teachers in their various teaching roles, and artifacts related to their music teaching positions. Research questions included: Who do the participants conceive of themselves to be as music professionals and music teachers; How do they construct and enact their professional selves, including their teaching selves; How is their construction of professional self, including teaching self, supported and sustained by interactions in their social worlds; and, What implications does this have for the music profession as a whole? After developing a professional portrait of each participant, analysis revealed an overall sense of professional self and various degrees of three role-taking selves: performing, teaching, and musical. Analysis also considered sense of self in relation to social worlds, including consociates, contemporaries, predecessors, and successors, and the extent to which performing, teaching, and musical selves were balanced, harmonized, or reconciled for each participant. Social worlds proved influential in terms of participants' support for sense of self. Participants who enacted the most harmonized, reconciled senses of self appeared to have a professional self that was grounded in a strong sense of musical self, enabling them to think and act flexibly. Participants whose professional selves were dominated by a strong sense of teaching or performing self seemed confined by the structures of their social world particular to teaching or performing, lacked a sense of musical self, and were less able to think and act flexibly. Findings suggest that active construction of consociate relationships throughout varied social worlds can support a balanced, reconciled conception of self, which informs teaching practice and furthers the ability to act in entrepreneurial ways.
ContributorsBucura, Elizabeth (Author) / Stauffer, Sandra (Thesis advisor) / Landes, Heather (Committee member) / Tobias, Evan (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study investigates the lived experience of competition in high school band and the manner in which competition influences and frames band curricula. A hermeneutic phenomenological method based on the works of van Manen and Vagle was used to investigate what it was like for participants to be in competition. A theoretical framework organized around Schwab's commonplaces of education was used to interpret findings related to the curricular areas of the teacher, learner, subject matter, and milieu. I examined data through a lens incorporating principles of John Dewey's philosophy related to each of the commonplaces.
Twelve individuals participated in the study representing experiences had both as students and as music educators. Participants lived and taught in communities throughout the United States and brought differing levels of teaching and competitive experience. Data were generated through in-depth interviews and collaborative phenomenological texts. Research questions included: What is the lived experience of competing in a high school band like?; and, How does competition frame and influence high school band curricula?
Findings indicate that competition was a meaningful and influential part of participants' work as band directors and educational experiences as students. Competition was approached with tension as participants acknowledged negative concerns over the influence of competitions on their students, yet chose to engage in competitive activities. Marching band contests offered a creative outlet where directors could develop custom materials and they did so with a significant motivation to win. Competition was perceived as an influence on band directors' professional reputations, feelings of competence, and how band programs were viewed in the community. Students were motivated by competitions and reacted strongly to competitive results such as rankings, ratings, and other distinctions.
Findings also indicate that band curricula emphasizing competition share similar curricular facets: (a) teachers carefully control and manage classroom activities and curricular choices; (b) students are viewed as skilled performers who are dependent upon their teachers for learning; (c) subject matter is narrowly considered around measurable behavioral objectives and repertoire selection; and, (d) the educational environment is dominated by the teacher who may use competition to motivate students to work and practice more.
Twelve individuals participated in the study representing experiences had both as students and as music educators. Participants lived and taught in communities throughout the United States and brought differing levels of teaching and competitive experience. Data were generated through in-depth interviews and collaborative phenomenological texts. Research questions included: What is the lived experience of competing in a high school band like?; and, How does competition frame and influence high school band curricula?
Findings indicate that competition was a meaningful and influential part of participants' work as band directors and educational experiences as students. Competition was approached with tension as participants acknowledged negative concerns over the influence of competitions on their students, yet chose to engage in competitive activities. Marching band contests offered a creative outlet where directors could develop custom materials and they did so with a significant motivation to win. Competition was perceived as an influence on band directors' professional reputations, feelings of competence, and how band programs were viewed in the community. Students were motivated by competitions and reacted strongly to competitive results such as rankings, ratings, and other distinctions.
Findings also indicate that band curricula emphasizing competition share similar curricular facets: (a) teachers carefully control and manage classroom activities and curricular choices; (b) students are viewed as skilled performers who are dependent upon their teachers for learning; (c) subject matter is narrowly considered around measurable behavioral objectives and repertoire selection; and, (d) the educational environment is dominated by the teacher who may use competition to motivate students to work and practice more.
ContributorsO'Leary, Emmett James (Author) / Tobias, Evan S (Thesis advisor) / Stauffer, Sandra L (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill M (Committee member) / Landes, Heather (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsStover, Chris (Performer) / Berry, David (Performer) / Healey, Biddy (Performer) / Hedquist, Ben (Performer) / Kelly, Keith (Performer) / McClintock, Matt (Performer) / Neff, Megyn (Performer) / Price, Alex (Performer) / Helical Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2019-02-04
ContributorsBuck, Elizabeth (Performer) / Landes, Heather (Performer) / Michlich, Albie (Performer) / Novak, Gail (Pianist) (Performer) / Campbell, Andrew (Pianist) (Performer) / Kocour, Michael (Performer) / Thiefain, Vincent (Performer) / McClintock, Matt (Performer) / Libman, Jeff (Performer) / ASU Library. Music Library (Publisher)
Created2022-09-25
ContributorsDeMaris, Amanda (Performer) / Weiss, Stephanie (Performer) / Campbell, Andrew (Pianist) (Performer) / Landes, Heather (Performer) / ASU Library. Music Library (Publisher)
Created2023-09-17
ContributorsWu, Shengwen (Performer) / Novak, Gail (Pianist) (Performer) / Oliverio, Alex (Performer) / Izotov, Aleksey (Performer) / Hedquist, Ben (Performer) / ASU Library. Music Library (Publisher)
Created2013-11-26
ContributorsAcosta, Allan (Performer) / Riddiough, Reid (Performer) / Hedquist, Ben (Performer) / McClintock, Matt (Performer) / Ling, John (Performer) / Messing, Rachel (Performer) / Vazquez, Emilio (Performer) / Knight, Sarah (Performer) / Duke, Alex (Performer) / Pettit, Joey (Performer) / Mines, Kelsey (Performer) / Menefee, Thomas (Performer) / Mumford, Kimberly (Performer) / Lee, Juhyun (Performer) / Fan, Jingjing (Performer) / ASU Library. Music Library (Publisher)
Created2016-04-27
ContributorsFitzPatrick, Carole (Performer) / Landes, Heather (Performer) / Ryan, Russell (Performer) / Kocour, Mike (Performer) / ASU Library. Music Library (Publisher)
Created2016-02-14
ContributorsMancuso, Simone (Conductor) / Birch, Alexandra (Performer) / Englert, Patrick (Performer) / Bennet, Joshua (Performer) / Nguyen, Karen (Performer) / Lee, Eunhwa (Performer) / Bush, Zachary (Performer) / Costa, Peter (Performer) / Arizona Contemporary Music Ensemble (Performer) / Contemporary Percussion Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2016-11-19
ContributorsSwoboda, Deanna (Performer) / Caslor, Jason (Conductor) / Creviston, Hannah (Performer) / Hedquist, Ben (Performer) / Moreau, Danielle (Performer) / Spring, Robert (Performer) / Low Frequency Tuba Euphonium Quartet (Performer) / Capitol Quartet (Performer) / ASU Library. Music Library (Publisher)
Created2016-11-12