Matching Items (6)
Filtering by

Clear all filters

152584-Thumbnail Image.png
Description
The stories that we tell matter. Public storytelling influences how we think about ourselves and how we treat others. This project explores how Arizona's Support our Law Enforcement and Safe Neighborhoods Act (SB 1070) affected the development of social identities such as citizen, immigrant (documented and undocumented), and public administrator

The stories that we tell matter. Public storytelling influences how we think about ourselves and how we treat others. This project explores how Arizona's Support our Law Enforcement and Safe Neighborhoods Act (SB 1070) affected the development of social identities such as citizen, immigrant (documented and undocumented), and public administrator through public storytelling. The question of how a public policy shapes identity development is relatively under-explored in the literature. Critical aspects of feminist and political theory demonstrate that identity is affected by discourses, such as performatives and accounts of oneself. A public policy authorizes public administrators to issue or demand discourses, such as performatives and accounts of oneself, from the individuals they encounter. Moreover, the text of a public policy resembles an account of oneself, delivered on behalf of a fabricated subject. In this project, the structural elements and storytelling techniques of SB 1070 are drawn out through tools derived from the field of narratology. When applied to the text of SB 1070, narratological tools reveal four major organizing principles or plots, all of which center on the identification and punishment of four types of individuals or organizations: (a) employers of undocumented immigrants; (b) transporters/shielders of undocumented immigrants; (c) undocumented immigrants; (d) state and local government agencies or officials that do not fully implement federal immigration law. An analysis of 321 news stories published after SB 1070's passage reveals that some plots resonated more than others with storytellers. The storytelling about SB 1070 also makes visible the policy's power as a discourse to unsettle the identities of citizens, immigrants (documented and undocumented), and public administrators. It also raises concerns about who bears the responsibility for the impact of policies like SB 1070, which have been passed but not implemented, and yet have a tangible impact on the lives of citizens and other residents. These findings suggest that not only can public policy unsettle social identities, but proposes complicated questions about who is responsible for the harm inflicted on others when a public policy is passed.
ContributorsWarnicke, Margaretha (Author) / Catlaw, Thomas J (Thesis advisor) / Kitch, Sally L (Committee member) / Lucio, Joanna D. (Committee member) / Arizona State University (Publisher)
Created2014
152377-Thumbnail Image.png
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

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
156847-Thumbnail Image.png
Description
LGBTQ research in music education has become more available and accepted in the past ten years. LGBTQ studies in music education have focused on how gay and lesbian music educators negotiate their identities, the role of music education in the lives of transgender students, and the inclusion of LGBTQ issues

LGBTQ research in music education has become more available and accepted in the past ten years. LGBTQ studies in music education have focused on how gay and lesbian music educators negotiate their identities, the role of music education in the lives of transgender students, and the inclusion of LGBTQ issues in music teacher education programs. Studies have been limited to a singular content experience, such as gay vocal music educators or lesbian band directors. Additionally, studies have not explored multiple generations of LGBTQ music educators. The purpose of this study was to explore the lives as lived of six K-12 music teachers. Six individuals, from various career points, various generations, and various career paths shared their stories with me. To guide my analysis, I considered the following questions:

• How do lesbian and gay music educators describe their sexual identity and professional identity?

• How do gay and lesbian music educators negotiate the tensions between these identities?

• What internal and external factors influence these negotiations?

• What are the similarities and differences among the participants of different generations?

Two large emerged from the analysis that provided a better understanding of the participants’ lives: finding sexual identity and finding professional identity. Within those themes, smaller sub-themes helped to better understand how the participants came to understand their sexuality and professional identity. External factors such as social and family support, religion, and cultural and generational movements influenced the ways in which the participants came to understand their sexual identity. Participants desired to be seen first as a competent music teacher, but also understood that they could have an impact on a student as a gay or lesbian role model or mentor. Sexual identity and professional identity did not function as separate constructs; rather they were interwoven throughout these lesbian and gay music educator’s self-identities.

In order to connect the reader with the participants, I engaged in a creative non-fiction writing process to (re)tell participant’s stories. Each story is unique and crafted in a way that the participant’s voice is privileged over my own. The stories come from the conversations and journal entries that the participants shared with me. The purpose of the stories is to provide the reader with a contextual understanding of each participant’s life, and to offer some considerations for ways in which we can engage with and support our lesbian and gay music educator colleagues.

This paper does not end with a tidy conclusion, but rather more questions and provocations that will continue the conversations. I hope this document will encourage thoughtful and critical conversations in the music education profession to help us move us forward to a place that is more empathetic, socially-just, and equitable.
ContributorsMinette, Sarah Marie (Author) / Schmidt, Margaret (Thesis advisor) / Stauffer, Sandra (Committee member) / Sullivan, Jill (Committee member) / Paparo, Stephen (Committee member) / Arizona State University (Publisher)
Created2018
155527-Thumbnail Image.png
Description
ABSTRACT

This study examines the experiences of five women doctoral students in music education. The goal was to gain insight into the important experiences and concerns they encountered during their studies. While the literature on women in other fields indicates that socialization of women to the academy differs from that of

ABSTRACT

This study examines the experiences of five women doctoral students in music education. The goal was to gain insight into the important experiences and concerns they encountered during their studies. While the literature on women in other fields indicates that socialization of women to the academy differs from that of their male counterparts, this concern has yet to be addressed in the field of music education.

Participants, selected to show maximum variation in personal and professional characteristics, were women who had previously taught in K-12 settings and who were enrolled in or recently graduated from a doctoral program in music education in the United States. Data were collected primarily through in-depth interviews and photo elicitation, and were analyzed through both individual case and cross-case analyses.

All of the women initially stated gender was not an issue that influenced their doctoral studies, but analysis showed that they had clearly internalized the socially constructed roles and expectations reflected in society, and that those roles and expectation did, indeed, impact their choices and behaviors prior to and during their doctoral studies. Three facets of gender were important, specifically socially constructed roles and expectations for women in both their families and in their doctoral studies, gender performativity related to the male-centered expectations in academia, and the importance of intersectionality. The participants’ doctoral experiences were contextualized not just by their gender, but also by their race/ethnicity, class, sexuality, religion, and age. Analysis supports other researchers’ findings that women doctoral students may have different experiences in their doctoral studies than their male counterparts.

Recommendations for doctoral programs in music education and music teacher educators are provided. This study’s findings suggest further research is needed to investigate the impact of gender balance in doctoral cohort and faculty, amount of teaching experience prior to studies, and educational background or prior research experience on women’s doctoral experiences, as well as the roles of intersectionality and performativity for women in an academic context.
ContributorsMeyers, Liza (Author) / Schmidt, Marg (Thesis advisor) / Holbrook, Amy (Committee member) / Stauffer, Sandra (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2017
149641-Thumbnail Image.png
Description
This study utilized symbolic interaction as a framework to examine the impact of mobility on four veteran elementary general music teachers' identities, roles, and perceptions of role support. Previous research has focused on teacher identity formation among preservice and novice teachers; veteran teachers are less frequently represented in the

This study utilized symbolic interaction as a framework to examine the impact of mobility on four veteran elementary general music teachers' identities, roles, and perceptions of role support. Previous research has focused on teacher identity formation among preservice and novice teachers; veteran teachers are less frequently represented in the literature. Teacher mobility research has focused on student achievement, teachers' reasons for moving, and teacher attrition. The impact of mobility on veteran teachers' identities, roles, and perceptions of role support has yet to be considered. A multiple case design was employed for this study. The criteria for purposeful selection of the participants were elementary general music teachers who had taught for at least ten years, who had changed teaching contracts and taught in at least two different schools, and who were viewed as effective music educators by fine arts coordinators. Data were collected over a period of eight months through semi-structured interviews, email correspondence, observations, review of videotapes of the participants' teaching in previous schools, and collection of artifacts. Data were analyzed within and across cases. The cross-case analysis revealed themes within the categories of identity, role, and role support for the participants. The findings suggest that the participants perceived their music teacher roles as multi-dimensional. They claimed their core identities remained stable over time; however, shifts in teacher identity occurred throughout their years as teachers. The participants asserted that mobility at the start of their careers had a positive impact because they each were challenged to solidify their own teacher identities and music teacher roles in varied school contexts. Mobility negatively impacted role and teacher practices during times when the participants adjusted to new school climates and role expectations. Role support varied depending upon school context, and the participants discovered active involvement in the school community was an effective means of seeking and acquiring role support. Reflection experiences in music teacher preparation programs, as well as mentoring and professional development geared toward teacher identity formation and role maturation, may assist teachers in matching their desired school context with their teacher identities and perceptions of the music teacher role.
ContributorsGray, Lori F (Author) / Stauffer, Sandra (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Bush, Jeffrey (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2011
147901-Thumbnail Image.png
Description

When discussing gay literature in the French, contemporary sphere, one of the most up
and coming and prominent authors is Édouard Louis. His works’ focus on the realism and
violence of the working class offers a critical and necessary perspective of the gay experience in
modern-day France. While recent in their creation, Louis’

When discussing gay literature in the French, contemporary sphere, one of the most up
and coming and prominent authors is Édouard Louis. His works’ focus on the realism and
violence of the working class offers a critical and necessary perspective of the gay experience in
modern-day France. While recent in their creation, Louis’ works follow a connecting thread that
is inseparable from other autofiction novels that have a narrator with same sex attractions such as
Annie Ernaux’s Ce qu’ils disent or rien and Didier Eribon’s Retour à Reims. Often commonly
discussed as French LGBT literature, these autofictional works that extend from Gide to Eribon
to now Louis demonstrate how the proposed societal dualities, limitations, and hierarchies
described by philosophers like Michel Foucault and Judith Butler affect homosexual
performativity. Louis’ first novel En finir avec Eddy Bellegueule, published on January 2, 2014,
offers another illustration of this analysis. It specifically describes the metaphysical
(metaphysical being the relationship between the outer stimuli and internal perspective) effects
and constraints of current poverty on homosexual performativity. By analyzing En finir avec
Eddy Bellegueule through this theoretical framework of power and poverty, this thesis adds a
theoretical and intersectional nuance to the narrative voice that current literature focusing on the
novel’s landscape mentions but does not reflect on. I argue that it is important to attach an
autofictional timeline that is necessary to promote and apply future ontological doctrines to this
genre.

ContributorsYanez, Mariano (Author) / Canovas, Frédéric (Thesis director) / Agruss, David (Committee member) / School of International Letters and Cultures (Contributor, Contributor, Contributor, Contributor) / Dean, The College of Liberal Arts and Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05