Pub Date : 2025-10-16DOI: 10.1177/00224294251374529
Hamidreza Niknampour
The purpose of this study was to investigate collegiate music students’ perceptions of recent federal policy changes impacting diversity, equity, and inclusion (DEI) initiatives in higher education music programs. Drawing on survey data from 384 collegiate student participants across 35 U.S. states, I explored student awareness of DEI rollbacks, anticipated educational and professional impacts, perceptions of institutional response, and willingness to engage in DEI-related efforts. Quantitative findings revealed broad opposition to federal restrictions on DEI, with over 70% of participants expressing disagreement and more than 60% anticipating negative consequences for their education and careers. Statistically significant differences emerged by gender identity and academic program, with nonbinary and female participants reporting greater concern than male peers. Qualitative analysis of 243 open-ended responses highlighted themes of fear, moral commitment to DEI, frustration with institutional inaction, and conflicting views on meritocracy. Despite limited institutional communication, many participants expressed a belief in their role as advocates for equity. I underscore the contested and personal nature of DEI in music education, revealing both the fragility of institutional support and the resilience of student advocacy in politically volatile environments.
{"title":"Music Students’ Perceptions of Federal DEI Policy Changes in Higher Education: “I Am Scared. That’s the Best Way to Put It.”","authors":"Hamidreza Niknampour","doi":"10.1177/00224294251374529","DOIUrl":"https://doi.org/10.1177/00224294251374529","url":null,"abstract":"The purpose of this study was to investigate collegiate music students’ perceptions of recent federal policy changes impacting diversity, equity, and inclusion (DEI) initiatives in higher education music programs. Drawing on survey data from 384 collegiate student participants across 35 U.S. states, I explored student awareness of DEI rollbacks, anticipated educational and professional impacts, perceptions of institutional response, and willingness to engage in DEI-related efforts. Quantitative findings revealed broad opposition to federal restrictions on DEI, with over 70% of participants expressing disagreement and more than 60% anticipating negative consequences for their education and careers. Statistically significant differences emerged by gender identity and academic program, with nonbinary and female participants reporting greater concern than male peers. Qualitative analysis of 243 open-ended responses highlighted themes of fear, moral commitment to DEI, frustration with institutional inaction, and conflicting views on meritocracy. Despite limited institutional communication, many participants expressed a belief in their role as advocates for equity. I underscore the contested and personal nature of DEI in music education, revealing both the fragility of institutional support and the resilience of student advocacy in politically volatile environments.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"25 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145295548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-10-14DOI: 10.1177/00224294251378477
Amanda R. Draper, Sarah J. Bartolome, Kenneth Elpus
Researchers have attempted to determine the proportion of students with disabilities that participate in secondary music within small populations; however, the results of these studies offered limited insights. The purpose of this study was to examine the proportional representation of students with disabilities in U.S. high school music courses using data from the National Center for Education Statistics High School Longitudinal Study of 2009. Results indicated that 32.75% of music students in the cohort had a disability, which is a statistically significant underrepresentation compared to the high school population (35%). This underrepresentation was driven by the results among band students (31%). Notably, results from this study contribute to a clearer understanding of the presence of disabled students in music. Given that almost 33% of music students in this cohort had a disability, we suggest there is a critical need for further research into inclusive practices and underscore the urgency of expanding inclusive opportunities and supporting music educators in fostering accessible learning environments for students with disabilities.
{"title":"Representation of Students With Disabilities in High School Music Courses in the United States","authors":"Amanda R. Draper, Sarah J. Bartolome, Kenneth Elpus","doi":"10.1177/00224294251378477","DOIUrl":"https://doi.org/10.1177/00224294251378477","url":null,"abstract":"Researchers have attempted to determine the proportion of students with disabilities that participate in secondary music within small populations; however, the results of these studies offered limited insights. The purpose of this study was to examine the proportional representation of students with disabilities in U.S. high school music courses using data from the National Center for Education Statistics High School Longitudinal Study of 2009. Results indicated that 32.75% of music students in the cohort had a disability, which is a statistically significant underrepresentation compared to the high school population (35%). This underrepresentation was driven by the results among band students (31%). Notably, results from this study contribute to a clearer understanding of the presence of disabled students in music. Given that almost 33% of music students in this cohort had a disability, we suggest there is a critical need for further research into inclusive practices and underscore the urgency of expanding inclusive opportunities and supporting music educators in fostering accessible learning environments for students with disabilities.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"27 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145289492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-09-28DOI: 10.1177/00224294251363327
Stefanie A. Wind, Brian C. Wesolowski, Eli Jones
A persistent concern in music performance assessments is the quality of ratings assigned by judges. Differences in rater judgment are most concerning in cases when student performances are scored by different raters (i.e., disconnected rating designs)—bringing into question the comparability of scores between raters and students. We used data from a formal solo music performance assessment to demonstrate and explore the impact of different data collection designs and a statistical adjustment procedure on the estimates and rank-ordering of student performances. Our results indicated notable discrepancies in conclusions about individual student performances between conditions where all raters scored all students, designs with no common performances between raters, designs that included overlapping performances between raters, and the results from a post hoc adjustment procedure for disconnected designs. We discuss the implications of our results for the design and interpretation of music performance assessments.
{"title":"Rater Connectedness Affects Student Achievement Estimates and Ordered Rankings in Formal Music Performance Assessments","authors":"Stefanie A. Wind, Brian C. Wesolowski, Eli Jones","doi":"10.1177/00224294251363327","DOIUrl":"https://doi.org/10.1177/00224294251363327","url":null,"abstract":"A persistent concern in music performance assessments is the quality of ratings assigned by judges. Differences in rater judgment are most concerning in cases when student performances are scored by different raters (i.e., disconnected rating designs)—bringing into question the comparability of scores between raters and students. We used data from a formal solo music performance assessment to demonstrate and explore the impact of different data collection designs and a statistical adjustment procedure on the estimates and rank-ordering of student performances. Our results indicated notable discrepancies in conclusions about individual student performances between conditions where all raters scored all students, designs with no common performances between raters, designs that included overlapping performances between raters, and the results from a post hoc adjustment procedure for disconnected designs. We discuss the implications of our results for the design and interpretation of music performance assessments.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"93 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145182995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-09-07DOI: 10.1177/00224294251362756
Elizabeth Cassidy Parker, Bridget Sweet
The purpose of this multiple case study was to examine meanings of safe place for facilitators, singers, and parents/caregivers in two community choral programs developed for persons with disabilities. Research foci included (a) how singer participants described safe place, (b) what strategies facilitators used to engage in building safe places, and (c) what barriers facilitators articulated in sustaining safe places. Over a 4-month period, primary data collection included 34 interviews with 51 singer and family participants and multiple interviews with choir staff; secondary data included rehearsal and performance observations and researcher journals. Using a conceptual lens of safe place, we engaged in open coding followed by focused coding, which resulted in individual case themes, and then interrogated those themes in cross-case analysis. Data analysis revealed that safe place thrived in programs uniquely reflecting their communities, where founders placed high value on full participation and invested deeply in community knowledge. Although programs adopted different foci, both embodied safe place in how facilitators supported each singer and the choir community. We conclude the article by extrapolating recommendations from community programs for music educators in pre-K–university settings.
{"title":"A Multiple Case Study of Safe Place Within Two Choirs for Children and Adults With Disabilities","authors":"Elizabeth Cassidy Parker, Bridget Sweet","doi":"10.1177/00224294251362756","DOIUrl":"https://doi.org/10.1177/00224294251362756","url":null,"abstract":"The purpose of this multiple case study was to examine meanings of safe place for facilitators, singers, and parents/caregivers in two community choral programs developed for persons with disabilities. Research foci included (a) how singer participants described safe place, (b) what strategies facilitators used to engage in building safe places, and (c) what barriers facilitators articulated in sustaining safe places. Over a 4-month period, primary data collection included 34 interviews with 51 singer and family participants and multiple interviews with choir staff; secondary data included rehearsal and performance observations and researcher journals. Using a conceptual lens of safe place, we engaged in open coding followed by focused coding, which resulted in individual case themes, and then interrogated those themes in cross-case analysis. Data analysis revealed that safe place thrived in programs uniquely reflecting their communities, where founders placed high value on full participation and invested deeply in community knowledge. Although programs adopted different foci, both embodied safe place in how facilitators supported each singer and the choir community. We conclude the article by extrapolating recommendations from community programs for music educators in pre-K–university settings.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"123 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145009013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-09-02DOI: 10.1177/00224294251358393
Hugh A. D. Gundlach, Katrina M. Rivera, Rhiannon Simpson
Previous studies have examined the influence of on-screen teacher depictions on future educator demographics, normative pedagogies, and public perceptions of the profession. However, research specifically on music teachers in film remains limited, focusing narrowly on a few films. In this article, we introduce a database analyzing 46 films portraying 53 music educators in 49 different schools released from 1940 to 2025. Within the database, we analyze data related to the age, race, and gender of depicted teachers; the types of schools depicted; and the musical styles and classroom practices of music teachers. In identifying, coding, and analyzing the contents of these films, we hope to encourage other scholars to explore how common themes and practices depicted in film may consciously and unconsciously influence the field of music education in future research.
{"title":"Cinematic Portrayals of Music Teachers 1940–2025: An Analytical Study and Database","authors":"Hugh A. D. Gundlach, Katrina M. Rivera, Rhiannon Simpson","doi":"10.1177/00224294251358393","DOIUrl":"https://doi.org/10.1177/00224294251358393","url":null,"abstract":"Previous studies have examined the influence of on-screen teacher depictions on future educator demographics, normative pedagogies, and public perceptions of the profession. However, research specifically on music teachers in film remains limited, focusing narrowly on a few films. In this article, we introduce a database analyzing 46 films portraying 53 music educators in 49 different schools released from 1940 to 2025. Within the database, we analyze data related to the age, race, and gender of depicted teachers; the types of schools depicted; and the musical styles and classroom practices of music teachers. In identifying, coding, and analyzing the contents of these films, we hope to encourage other scholars to explore how common themes and practices depicted in film may consciously and unconsciously influence the field of music education in future research.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"19 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144927821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-07-30DOI: 10.1177/00224294251351209
Brian P. Shaw
The purpose of this study was to investigate beginning music teachers’ (BMTs) self-reported preparation for their first year of teaching using more than 20 years of nationally representative data from the U.S. Department of Education. BMTs reported the strongest first-year preparation for teaching their subject matter, teaching to state content standards, and using a variety of instructional methods. BMTs in the sample reported being less prepared for classroom management, using computers and technology, teaching students with special needs, and teaching English language learners. Self-reported first-year preparation was largely similar between the music teachers ( N ≈ 1,080) and the nonmusic teachers ( N ≈ 34,850) in the sample. Relative to teachers in other content areas, the music teachers reported much better preparation for teaching their subject matter but lower relative preparation for classroom management, using computers and technology, teaching students with special needs, and teaching English language learners. Although first-year preparation was largely similar across degrees earned, school locale, school grade level, and gender, BMTs who pursued traditional certification reported stronger first-year preparation overall and especially during the pandemic.
{"title":"Beginning Music Teachers’ Self-Reported First-Year Preparation","authors":"Brian P. Shaw","doi":"10.1177/00224294251351209","DOIUrl":"https://doi.org/10.1177/00224294251351209","url":null,"abstract":"The purpose of this study was to investigate beginning music teachers’ (BMTs) self-reported preparation for their first year of teaching using more than 20 years of nationally representative data from the U.S. Department of Education. BMTs reported the strongest first-year preparation for teaching their subject matter, teaching to state content standards, and using a variety of instructional methods. BMTs in the sample reported being less prepared for classroom management, using computers and technology, teaching students with special needs, and teaching English language learners. Self-reported first-year preparation was largely similar between the music teachers ( <jats:italic>N</jats:italic> ≈ 1,080) and the nonmusic teachers ( <jats:italic>N</jats:italic> ≈ 34,850) in the sample. Relative to teachers in other content areas, the music teachers reported much better preparation for teaching their subject matter but lower relative preparation for classroom management, using computers and technology, teaching students with special needs, and teaching English language learners. Although first-year preparation was largely similar across degrees earned, school locale, school grade level, and gender, BMTs who pursued traditional certification reported stronger first-year preparation overall and especially during the pandemic.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"26 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144748157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-07-11DOI: 10.1177/00224294251350286
Quinton D. Parker
Through this narrative inquiry, I examined the experiences of two Black music faculty members teaching in predominantly White institutions (PWIs). Using in-depth interviews and a composite narrative approach to protect participant anonymity, I explored how these faculty members navigated the unique challenges of music academia. My analysis yielded three interconnected themes: (a) the paradox of hypervisibility and invisibility, (b) identity negotiation in music academia, and (c) cultural taxation in music-specific contexts. The participants described challenges specific to music academia, where physical presence played a central role in performance and pedagogy—complexities that extended beyond what researchers had documented in broader studies of Black faculty experiences. Through Clandinin’s three commonplaces of narrative inquiry (temporality, sociality, and place), I analyzed how participants negotiated their visibility, maintained cultural authenticity, and managed additional unrecognized labor while teaching and performing in predominantly White spaces. This study contributed to existing scholarship on faculty of Color by documenting discipline-specific challenges at the intersection of racial identity, musical tradition, and performance. Based on these findings, I recommended reforms to evaluation criteria, support structures, and curriculum requirements to better serve Black music faculty in PWIs.
{"title":"I Am Invisible, Nevertheless: A Narrative of Two Black College Music Faculty","authors":"Quinton D. Parker","doi":"10.1177/00224294251350286","DOIUrl":"https://doi.org/10.1177/00224294251350286","url":null,"abstract":"Through this narrative inquiry, I examined the experiences of two Black music faculty members teaching in predominantly White institutions (PWIs). Using in-depth interviews and a composite narrative approach to protect participant anonymity, I explored how these faculty members navigated the unique challenges of music academia. My analysis yielded three interconnected themes: (a) the paradox of hypervisibility and invisibility, (b) identity negotiation in music academia, and (c) cultural taxation in music-specific contexts. The participants described challenges specific to music academia, where physical presence played a central role in performance and pedagogy—complexities that extended beyond what researchers had documented in broader studies of Black faculty experiences. Through Clandinin’s three commonplaces of narrative inquiry (temporality, sociality, and place), I analyzed how participants negotiated their visibility, maintained cultural authenticity, and managed additional unrecognized labor while teaching and performing in predominantly White spaces. This study contributed to existing scholarship on faculty of Color by documenting discipline-specific challenges at the intersection of racial identity, musical tradition, and performance. Based on these findings, I recommended reforms to evaluation criteria, support structures, and curriculum requirements to better serve Black music faculty in PWIs.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"7 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144603420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-06-21DOI: 10.1177/00224294251339801
Phillip M. Hash
The purpose of this historical study was to examine the planning, implementation, participants, and activities associated with the Youth Music Institute (YMI) held at the University of Wisconsin from July 7 to August 1, 1969. Organizers hoped this event would bridge the communication gap between society, educational institutions, and youth through a collaborative learning environment involving students, music educators, guidance counselors, and professional recording artists. Participants used the term “youth music” to encompass multiple genres that captured the interest of young people, including various forms of rock, blues, soul, country western, jazz, and ethnic styles. The program consisted of lectures from leading scholars in multiple disciplines; working groups to discuss topics related to youth music, culture, and school curricula; and open rehearsal clinics with professional artists coaching student ensembles. The YMI also sponsored weekly public concerts where professionals and students appeared together, thereby creating authentic performance opportunities for the aspiring young musicians. Research into details surrounding the YMI may provide valuable insights for advocacy and professional development that will enable teachers to advance popular music education today.
{"title":"The Youth Music Institute at the University of Wisconsin, Summer 1969","authors":"Phillip M. Hash","doi":"10.1177/00224294251339801","DOIUrl":"https://doi.org/10.1177/00224294251339801","url":null,"abstract":"The purpose of this historical study was to examine the planning, implementation, participants, and activities associated with the Youth Music Institute (YMI) held at the University of Wisconsin from July 7 to August 1, 1969. Organizers hoped this event would bridge the communication gap between society, educational institutions, and youth through a collaborative learning environment involving students, music educators, guidance counselors, and professional recording artists. Participants used the term “youth music” to encompass multiple genres that captured the interest of young people, including various forms of rock, blues, soul, country western, jazz, and ethnic styles. The program consisted of lectures from leading scholars in multiple disciplines; working groups to discuss topics related to youth music, culture, and school curricula; and open rehearsal clinics with professional artists coaching student ensembles. The YMI also sponsored weekly public concerts where professionals and students appeared together, thereby creating authentic performance opportunities for the aspiring young musicians. Research into details surrounding the YMI may provide valuable insights for advocacy and professional development that will enable teachers to advance popular music education today.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"21 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144337506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-05-22DOI: 10.1177/00224294251338843
Andrea VanDeusen, Cynthia L. Wagoner
In this phenomenological study, we explored women music teacher educators’ experiences navigating gender bias in academia. Our research questions were: (1) How do participants describe their experiences in academia? and (2) How do age, rank, experience, geographic region, or school type/size impact their descriptions of their experiences with gender bias and marginalization in academia? We explored the experiences of eight participants in varied stages of their careers (assistant, associate, full professor ranks), concentration areas (chorus, general, instrumental), and schools and locations throughout the United States. Analysis of the data revealed two overarching themes. The first theme, socialization, included four subthemes: (a) socialized gender expectations in the workplace and in their personal lives; (b) gendered service expectations; (c) faculty life, including students’ expectations of their professors; and (d) family life, including unsupportive institutional policies related to maternity leave and childcare. The second theme, coping strategies, included how tenure protections empowered participants to advocate for themselves and others. Developing coalitions with other women colleagues also was impactful. Recommendations for further research and suggestions for practice are discussed.
{"title":"Navigating Gender Bias in Academia: Experiences of Women Music Teacher Educators","authors":"Andrea VanDeusen, Cynthia L. Wagoner","doi":"10.1177/00224294251338843","DOIUrl":"https://doi.org/10.1177/00224294251338843","url":null,"abstract":"In this phenomenological study, we explored women music teacher educators’ experiences navigating gender bias in academia. Our research questions were: (1) How do participants describe their experiences in academia? and (2) How do age, rank, experience, geographic region, or school type/size impact their descriptions of their experiences with gender bias and marginalization in academia? We explored the experiences of eight participants in varied stages of their careers (assistant, associate, full professor ranks), concentration areas (chorus, general, instrumental), and schools and locations throughout the United States. Analysis of the data revealed two overarching themes. The first theme, socialization, included four subthemes: (a) socialized gender expectations in the workplace and in their personal lives; (b) gendered service expectations; (c) faculty life, including students’ expectations of their professors; and (d) family life, including unsupportive institutional policies related to maternity leave and childcare. The second theme, coping strategies, included how tenure protections empowered participants to advocate for themselves and others. Developing coalitions with other women colleagues also was impactful. Recommendations for further research and suggestions for practice are discussed.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"65 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144133754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-05-01DOI: 10.1177/00224294251333170
Giulia Ripani
Research shows that the process of acculturation (adjustment to a new environment) determines psychological outcomes, such as acculturative stress. This relationship is affected by mediator variables, including social support and self-perceptions. Using structural equation modeling, this study explored how support in and through music and music self-perceptions affected the relationship between acculturation and acculturative stress in music classes. Data were collected among Latino immigrant students ( N = 501) ages 6 to 11 from two Title I elementary schools in a large city in the southeastern United States. Findings showed that higher levels of acculturative stress in music classes were linked to lower levels of American acculturation and higher levels of Latino acculturation. In addition, the indirect effect of American acculturation through U.S. music support and music self-perceptions was linked to higher levels of acculturative stress, whereas the indirect effect of Latino acculturation through Latino music support was linked to lower levels of stress. It could be hypothesized that U.S. music support may increase academic expectations, contributing to higher levels of acculturative stress. Conversely, Latino music support could help immigrant children connect with their ethnic musical heritage with lower academic pressure.
{"title":"Latino Immigrant Children’s Acculturative Stress in Music Classes: A Structural Equation Model","authors":"Giulia Ripani","doi":"10.1177/00224294251333170","DOIUrl":"https://doi.org/10.1177/00224294251333170","url":null,"abstract":"Research shows that the process of acculturation (adjustment to a new environment) determines psychological outcomes, such as acculturative stress. This relationship is affected by mediator variables, including social support and self-perceptions. Using structural equation modeling, this study explored how support in and through music and music self-perceptions affected the relationship between acculturation and acculturative stress in music classes. Data were collected among Latino immigrant students ( <jats:italic>N</jats:italic> = 501) ages 6 to 11 from two Title I elementary schools in a large city in the southeastern United States. Findings showed that higher levels of acculturative stress in music classes were linked to lower levels of American acculturation and higher levels of Latino acculturation. In addition, the indirect effect of American acculturation through U.S. music support and music self-perceptions was linked to higher levels of acculturative stress, whereas the indirect effect of Latino acculturation through Latino music support was linked to lower levels of stress. It could be hypothesized that U.S. music support may increase academic expectations, contributing to higher levels of acculturative stress. Conversely, Latino music support could help immigrant children connect with their ethnic musical heritage with lower academic pressure.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"111 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143898207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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