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}
Pub Date : 2025-04-04DOI: 10.1177/00224294251330668
Peter Miksza
{"title":"Forum","authors":"Peter Miksza","doi":"10.1177/00224294251330668","DOIUrl":"https://doi.org/10.1177/00224294251330668","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"74 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143782661","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 : 2025-03-12DOI: 10.1177/00224294251321173
Victoria Warnet
The purpose of this study was to examine the effects of post-performance conductor behaviors on college music students’ perceptions of ensemble performance quality and conductor competence. Participants ( N = 202) were collegiate musicians who watched two videos of a male or female conductor, one with excellent and one with poor post-performance conductor behaviors. Although the visual aspects of each video were different, all videos had the same audio. After watching both videos, participants rated different aspects of the ensemble’s performance quality and the conductor’s competence. The post-performance conductor behaviors displayed in the videos had a significant effect on participants’ ratings of music performance quality ( p < .001), and there was also a significant interaction between post-performance conductor behavior and order ( p < .001). Additionally, post-performance conductor behaviors also affected participants’ ratings of conductor competence ( p < .001). Conductors with excellent post-performance stage behaviors were rated as being significantly more competent than directors who exhibited poor post-performance behaviors. No significant differences in participants’ ratings of ensemble performance quality or conductor competence were found as a function of conductor gender.
{"title":"The Effects of Post-Performance Conductor Behaviors on Perceptions of Ensemble Performance Quality and Conductor Competence","authors":"Victoria Warnet","doi":"10.1177/00224294251321173","DOIUrl":"https://doi.org/10.1177/00224294251321173","url":null,"abstract":"The purpose of this study was to examine the effects of post-performance conductor behaviors on college music students’ perceptions of ensemble performance quality and conductor competence. Participants ( <jats:italic>N</jats:italic> = 202) were collegiate musicians who watched two videos of a male or female conductor, one with excellent and one with poor post-performance conductor behaviors. Although the visual aspects of each video were different, all videos had the same audio. After watching both videos, participants rated different aspects of the ensemble’s performance quality and the conductor’s competence. The post-performance conductor behaviors displayed in the videos had a significant effect on participants’ ratings of music performance quality ( <jats:italic>p</jats:italic> < .001), and there was also a significant interaction between post-performance conductor behavior and order ( <jats:italic>p</jats:italic> < .001). Additionally, post-performance conductor behaviors also affected participants’ ratings of conductor competence ( <jats:italic>p</jats:italic> < .001). Conductors with excellent post-performance stage behaviors were rated as being significantly more competent than directors who exhibited poor post-performance behaviors. No significant differences in participants’ ratings of ensemble performance quality or conductor competence were found as a function of conductor gender.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"73 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143608046","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 : 2025-02-26DOI: 10.1177/00224294251317194
David S. Miller
The purpose of this study was to examine the demographic profile of doctoral music recipients by discipline from 1984 to 2022. Using sociological institutionalist and feminist institutionalist frameworks, I analyzed institution-level panel data from the Integrated Postsecondary Education Data System ( N = 3,461) to examine the demographic characteristics of doctoral recipients in music education, music history/musicology, music theory/composition, and music performance. The number of doctoral completers in education, history/musicology, and theory/composition remained relatively stable over 4 decades. The number of doctoral completers in performance increased nearly fourfold, from 342 in 1984 to 1,253 in 2022. Compared to doctoral recipients across all academic disciplines, more music doctoral completers tended to be White. Music education and history/musicology recipients mirrored broader trends toward higher proportions of female doctoral recipients, but performance and theory/composition remained disproportionately male. Additionally, no music doctorates were ever awarded at Historically Black Colleges and Universities (HBCUs) despite the proportion of doctoral recipients at HBCUs in other disciplines increasing over the observed period. Results are discussed in the context of the formal and informal institutions that contribute to the homogenization of various music student and teacher populations across race/ethnicity and gender.
{"title":"Doctor Who? A Demographic Profile of Doctoral Recipients in Music From 1984 to 2022","authors":"David S. Miller","doi":"10.1177/00224294251317194","DOIUrl":"https://doi.org/10.1177/00224294251317194","url":null,"abstract":"The purpose of this study was to examine the demographic profile of doctoral music recipients by discipline from 1984 to 2022. Using sociological institutionalist and feminist institutionalist frameworks, I analyzed institution-level panel data from the Integrated Postsecondary Education Data System ( N = 3,461) to examine the demographic characteristics of doctoral recipients in music education, music history/musicology, music theory/composition, and music performance. The number of doctoral completers in education, history/musicology, and theory/composition remained relatively stable over 4 decades. The number of doctoral completers in performance increased nearly fourfold, from 342 in 1984 to 1,253 in 2022. Compared to doctoral recipients across all academic disciplines, more music doctoral completers tended to be White. Music education and history/musicology recipients mirrored broader trends toward higher proportions of female doctoral recipients, but performance and theory/composition remained disproportionately male. Additionally, no music doctorates were ever awarded at Historically Black Colleges and Universities (HBCUs) despite the proportion of doctoral recipients at HBCUs in other disciplines increasing over the observed period. Results are discussed in the context of the formal and informal institutions that contribute to the homogenization of various music student and teacher populations across race/ethnicity and gender.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"29 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143528389","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 : 2025-02-24DOI: 10.1177/00224294251317170
Sangmi Kang
The purpose of this phenomenological inquiry was to examine musicians’—who already have extensive training in a familiar musical style—intensive, hands-on, performance-based learning experience of different musical traditions based on the theoretical frameworks of bi-musicality and interactive constructivism. Through chain sampling, I conducted interviews with eight musicians from multiple countries. Participants had a shared experience of the phenomenon shaped by their roles, including an undergraduate music student, a music education doctoral student, a private music teacher, a retired music teacher, a higher education professor, a music therapist, a children’s community choir director, and a music producer. Following epoché, bracketing, horizontalization, and phenomenological reduction, three themes emerged: (a) adapting skills and knowledge from previous learning, (b) setting aside techniques that express cultural differences, and (c) exploring novelty intuitively through experimentation with cultural integrity. The three themes encapsulated the essence of musicians’ experiences across musical traditions as adaptations, code-switching, and novelty with cultural integrity. The findings of this study may suggest implications for how music teachers and students broaden their music experiences beyond their familiar style to encompass diverse musical traditions in their formal and informal music learning settings.
{"title":"Adaptations, Code-Switching, and Novelty With Cultural Integrity: Musicians Performing and Learning Musical Instruments in Different Musical Traditions","authors":"Sangmi Kang","doi":"10.1177/00224294251317170","DOIUrl":"https://doi.org/10.1177/00224294251317170","url":null,"abstract":"The purpose of this phenomenological inquiry was to examine musicians’—who already have extensive training in a familiar musical style—intensive, hands-on, performance-based learning experience of different musical traditions based on the theoretical frameworks of bi-musicality and interactive constructivism. Through chain sampling, I conducted interviews with eight musicians from multiple countries. Participants had a shared experience of the phenomenon shaped by their roles, including an undergraduate music student, a music education doctoral student, a private music teacher, a retired music teacher, a higher education professor, a music therapist, a children’s community choir director, and a music producer. Following epoché, bracketing, horizontalization, and phenomenological reduction, three themes emerged: (a) adapting skills and knowledge from previous learning, (b) setting aside techniques that express cultural differences, and (c) exploring novelty intuitively through experimentation with cultural integrity. The three themes encapsulated the essence of musicians’ experiences across musical traditions as adaptations, code-switching, and novelty with cultural integrity. The findings of this study may suggest implications for how music teachers and students broaden their music experiences beyond their familiar style to encompass diverse musical traditions in their formal and informal music learning settings.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"65 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143485727","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 : 2025-02-22DOI: 10.1177/00224294251319502
Bradley J. Regier, Melissa Baughman, Alec D. Scherer, Brian A. Silvey
The purpose of this study was to investigate whether undergraduate music students’ conducting anxiety associated with their self-reported levels of depression, self-compassion, self-efficacy for conducting, concern with others’ perceptions, and conducting beliefs and behaviors. Participants who were enrolled in an introductory conducting course ( N = 128) completed a questionnaire that included adopted and modified items from preexisting measures, researcher-designed items, and open-ended questions to provide insights related to their conducting anxiety. Participants’ level of concern with others’ perceptions significantly predicted their conducting anxiety scores, and open-response results supported this finding. The perceived difficulty level of the pieces/excerpts assigned by their conducting instructor also predicted participants’ conducting anxiety. Results of a Pearson correlation analysis indicated that participants’ conducting anxiety scores correlated with their depression scores positively but inversely with their self-compassion and self-efficacy for conducting scores. Conducting instructors should find ways to make their course environment welcoming, transparent, and growth-based so that students can focus on improving their conducting skills.
{"title":"Undergraduate Music Students’ Self-Reports of Conducting Anxiety in Introductory Conducting Courses","authors":"Bradley J. Regier, Melissa Baughman, Alec D. Scherer, Brian A. Silvey","doi":"10.1177/00224294251319502","DOIUrl":"https://doi.org/10.1177/00224294251319502","url":null,"abstract":"The purpose of this study was to investigate whether undergraduate music students’ conducting anxiety associated with their self-reported levels of depression, self-compassion, self-efficacy for conducting, concern with others’ perceptions, and conducting beliefs and behaviors. Participants who were enrolled in an introductory conducting course ( N = 128) completed a questionnaire that included adopted and modified items from preexisting measures, researcher-designed items, and open-ended questions to provide insights related to their conducting anxiety. Participants’ level of concern with others’ perceptions significantly predicted their conducting anxiety scores, and open-response results supported this finding. The perceived difficulty level of the pieces/excerpts assigned by their conducting instructor also predicted participants’ conducting anxiety. Results of a Pearson correlation analysis indicated that participants’ conducting anxiety scores correlated with their depression scores positively but inversely with their self-compassion and self-efficacy for conducting scores. Conducting instructors should find ways to make their course environment welcoming, transparent, and growth-based so that students can focus on improving their conducting skills.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"82 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143470602","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 : 2025-02-22DOI: 10.1177/00224294251318048
Marjoris Regus
This collective instrumental case study explores the experiences of Spanish-English bilingual AfroLatina/o/é collegiate students in U.S. undergraduate music education degree programs. The theoretical frameworks of Black critical theory (BlackCrit) and Latino critical theory (LatCrit) frame this study to interpret the experiences of AfroLatina/o/é students. Data collection included nine semistructured individual interviews, two focus group interviews, in-person observations, participant self-written narratives, and one collaborative music playlist. Analysis of data led to identification of two cross-case themes: navigating and performing identity and codeswitching domains in academic and social spaces. This study suggests that marginalization due to AfroLatinidad systematically derives from the constant negotiation of race, ethnicity, and language experienced by these participants in the music academy and in their lives. Recommendations to better support AfroLatiné music education students include support and promotion of student affinity groups, mentorship with community members who share similar musical and teaching interests, increased representation of racial and ethnic diversity in ensemble repertoire selection, and allocation of academic scholarships to students pursuing non-Western classical musical pathways, such as merengue and reggaetón.
{"title":"“The Bridge Between Cuba and Me”: The Experiences of Bilingual AfroLatiné Music Education Students","authors":"Marjoris Regus","doi":"10.1177/00224294251318048","DOIUrl":"https://doi.org/10.1177/00224294251318048","url":null,"abstract":"This collective instrumental case study explores the experiences of Spanish-English bilingual AfroLatina/o/é collegiate students in U.S. undergraduate music education degree programs. The theoretical frameworks of Black critical theory (BlackCrit) and Latino critical theory (LatCrit) frame this study to interpret the experiences of AfroLatina/o/é students. Data collection included nine semistructured individual interviews, two focus group interviews, in-person observations, participant self-written narratives, and one collaborative music playlist. Analysis of data led to identification of two cross-case themes: navigating and performing identity and codeswitching domains in academic and social spaces. This study suggests that marginalization due to AfroLatinidad systematically derives from the constant negotiation of race, ethnicity, and language experienced by these participants in the music academy and in their lives. Recommendations to better support AfroLatiné music education students include support and promotion of student affinity groups, mentorship with community members who share similar musical and teaching interests, increased representation of racial and ethnic diversity in ensemble repertoire selection, and allocation of academic scholarships to students pursuing non-Western classical musical pathways, such as merengue and reggaetón.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"6 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2025-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143470622","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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