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- All Subjects: Music
- All Subjects: college music students
Description
A music therapy informed music group program was created and implemented at the Maricopa Reentry Center in Phoenix. This program \u2014 entitled Building Hope Through Music \u2014 utilized music therapy techniques including lyric analysis, songwriting, singing, musical games, and guided visualization in order to improve self-awareness, provide a medium for self-expression, increase teamwork and collaboration, promote relaxation, facilitate emotional processing and awareness, and improve tolerance of non-preferred activities in participants. This group was conducted for seven months and had participation from over 400 male ex-offenders.
ContributorsQuirbach, Rachel Marie (Author) / Wright, Kevin (Thesis director) / Thompson, Jason (Committee member) / Belgrave, Melita (Committee member) / School of Criminology and Criminal Justice (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The meanings and values that people assign to music and the material culture that music creation offers make excellent data sources for uncovering new and transformative aspects of culture. Gospel music is a subculture that emphasizes a unique performance style, and is based upon culturally specific religious, social, musical, and historical contexts. Students in the ensemble who musically developed through a Western classical-based connective strand may experience some adjustment from what they know and develop new skills to navigate across cultural difference. The purpose of this study was to document how participants in a specific university gospel choir setting navigated across cultural differences for gospel choir study and performance. Participants were recruited and interviewed a total of three times about their experience in the ensemble. Questions that guided the study focused on three areas: religious difference, social difference, and musical difference. An in-case analysis of each participant showed that overall, experiences in the choir were positive. Participants from a variety of diverse backgrounds approached new cultural learning differences such as physical movement, aural music learning, religious text, and performance context with an open mind and an individualized way of navigating through difference. In order for participants to reach a point where they felt that they had cultural competency in a new musical area, in this case, the establishment of a strong community was especially essential because of the assumptions attached to this ensemble and because of many of the participants' initial limited understanding of cultural markers for learning music that draw on improvisatory and aural means. This study implies that there are connections between each cultural difference that are related. For the educator intending to introduce new cultural competencies in their classrooms, considering the dynamics in which cultural differences might interact with each other is essential.
ContributorsCrane, Janelle Elizabeth (Author) / Thompson, Jason (Thesis director) / Schmidt, Margaret (Committee member) / School of Music (Contributor) / School of Sustainability (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
For decades, music educators have discussed the need to expand the standard choral canon to address disparities across student demographics in collegiate choral programs. These conversations have proved insufficient, because they do not address the systemic and structural issues that are the main cause for the racial and gender disparities within various areas of choral music. To address how structural oppression has found its way into collegiate choral music, I have studied how the discourse, or language, found on several collegiate choral music program public websites upholds two main power structures within collegiate choral music: the white racial frame and settler colonialist thought. Through a fictionalized narrative based on my personal music education experiences called “Decolonizing Kiki: A Socratic Dialogue,” I provide a Critical Discourse Analysis (CDA) of language found on current American collegiate choral program websites. The narrative analysis intentionally centered my body and marginalized identities in order to illustrate the need to reflect upon the impact of language in choral music education. In addition to addressing the white racial frame and colonialist knowledge systems and practices in the discourse of collegiate choral music, this document departs from a typical Western approach to educational research. The narrative analysis also serves as a personal educational currere, which has helped me affirm my cultural and ethnic identities, ground my teaching philosophy, and further reconceptualize the future of choral music education
ContributorsSteiner, Kiernan Marlene (Author) / Schildkret, David (Thesis advisor) / Norton, Kay (Committee member) / Tobias, Evan (Committee member) / Thompson, Jason (Committee member) / Arizona State University (Publisher)
Created2021
Description
Institutions, including collegiate schools of music, tell stories about the ways in which they have transformed to include and support diverse students, but what do students say about their institution? Collegiate music students possess powerful and intimate knowledge, and their stories can reveal the lived reality of their experiences of equity and justice within the institution. The purpose of this study was to gain understanding of the ways in which music students experience equity and inequity within their school of music and to learn from them how their institution as a system impacts their experiences. The research puzzle comprised, in part, the following questions: In what ways do music students experience equity and inequity?; What institutionalized systems facilitate or hinder their sense of inclusion?; How do their stories bump up against the stories the institution tells itself about equity?To explore these questions, I engaged in a qualitative study grounded in narrative inquiry that placed the counterstories of music students in dialogue with the story of diversity and inclusion as told by their collegiate institution. Eight university music students who each self-identify as being from a marginalized group participated in conversations and ongoing dialogue with me. As this study was premised on promoting equity, participants collaborated in the writing and selection of their narratives.
Placing the students’ stories and the institution’s story of equity side by side highlighted the misalignment between the institution’s espoused values and the students’ experiences. The stories raised further questions, such as: How and when do students feel silenced or empowered to speak? What makes it possible for them to challenge an institution (or not)? How do students want faculty and administrators to engage with them? In what ways does their engagement in issues of equity and justice make them susceptible to risk, and what is the risk? Through narrative inquiry, I contribute a complex and nuanced understanding of how one institution, including its school of music, perpetuates oppressive practices, opening space for students who live these experiences to lead the interrogation of—and resistance within—this and similar places.
ContributorsAlekna, Mallory A (Author) / Schmidt, Margaret (Thesis advisor) / Stauffer, Sandra (Thesis advisor) / Lerman, Elizabeth (Committee member) / Thompson, Jason (Committee member) / Arizona State University (Publisher)
Created2021