Pub Date : 2023-07-21DOI: 10.1177/00224294231186528
Quinton D. Parker
The purpose of this hermeneutic phenomenological study was to understand how Black undergraduate music education students make meaning of their lived experiences in predominantly White schools of music (PWSOM). The study was guided by the overall research questions: (1) What makes the lived experience of Black undergraduate music education students unique? and (2) What meaning(s) and understanding(s) do Black undergraduate music education students ascribe to their experiences in PWSOM? Data were collected primarily through open-ended interviews with nine Black undergraduate music education students in PWSOM in the United States. Data analysis revealed seven emergent themes, including (a) navigating the negative perceptions of White people; (b) making White people comfortable; (c) working harder to prove myself; (d) “Do I belong here?”; (e) a climate of racial and cultural insensitivity; (f) distrust of White faculty; and (g) sacrifice and survival. Findings were interpreted using Du Bois’s theory of double consciousness and van Manen’s four existentials of lived experience. Interpretation revealed the essence of the phenomenon to be living a dissonant existence.
{"title":"We Wear the Mask: The Lived Experiences of Black Undergraduate Music Education Students in Predominantly White Schools of Music","authors":"Quinton D. Parker","doi":"10.1177/00224294231186528","DOIUrl":"https://doi.org/10.1177/00224294231186528","url":null,"abstract":"The purpose of this hermeneutic phenomenological study was to understand how Black undergraduate music education students make meaning of their lived experiences in predominantly White schools of music (PWSOM). The study was guided by the overall research questions: (1) What makes the lived experience of Black undergraduate music education students unique? and (2) What meaning(s) and understanding(s) do Black undergraduate music education students ascribe to their experiences in PWSOM? Data were collected primarily through open-ended interviews with nine Black undergraduate music education students in PWSOM in the United States. Data analysis revealed seven emergent themes, including (a) navigating the negative perceptions of White people; (b) making White people comfortable; (c) working harder to prove myself; (d) “Do I belong here?”; (e) a climate of racial and cultural insensitivity; (f) distrust of White faculty; and (g) sacrifice and survival. Findings were interpreted using Du Bois’s theory of double consciousness and van Manen’s four existentials of lived experience. Interpretation revealed the essence of the phenomenon to be living a dissonant existence.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45281976","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 : 2023-07-21DOI: 10.1177/00224294231185321
Steven J. Morrison, Aaron D. Himes, M. Montemayor, D. G. Springer
Although music education researchers often utilize music major status as a single-item proxy variable for musician status—and with this designation presume musical competencies or abilities of research participants—there is a lack of research demonstrating links between status as a music major and those assumed competencies. In this study, we compared undergraduate music majors and non-music majors ( N = 237) at the group and individual levels using Goldsmiths Musical Sophistication Index (Gold-MSI), a well-established measure of multiple ways in which people report engaging with music. Comparing group means, we found that music majors scored higher than non-music majors on each Gold-MSI subscale. Moderate distribution overlap suggested that these results should be considered cautiously. A logistic regression analysis further suggested the complexity of using music major status as a single-item measure, given that music major status was only strongly predicted by the musical training subscale. Measures such as Gold-MSI may provide a viable and psychometrically sound way of determining musical sophistication that will allow more granular and refined analyses of studies relating to musical competencies.
{"title":"Is Major Minor? The Relationship Between Music Major Status and a Measure of Musical Sophistication","authors":"Steven J. Morrison, Aaron D. Himes, M. Montemayor, D. G. Springer","doi":"10.1177/00224294231185321","DOIUrl":"https://doi.org/10.1177/00224294231185321","url":null,"abstract":"Although music education researchers often utilize music major status as a single-item proxy variable for musician status—and with this designation presume musical competencies or abilities of research participants—there is a lack of research demonstrating links between status as a music major and those assumed competencies. In this study, we compared undergraduate music majors and non-music majors ( N = 237) at the group and individual levels using Goldsmiths Musical Sophistication Index (Gold-MSI), a well-established measure of multiple ways in which people report engaging with music. Comparing group means, we found that music majors scored higher than non-music majors on each Gold-MSI subscale. Moderate distribution overlap suggested that these results should be considered cautiously. A logistic regression analysis further suggested the complexity of using music major status as a single-item measure, given that music major status was only strongly predicted by the musical training subscale. Measures such as Gold-MSI may provide a viable and psychometrically sound way of determining musical sophistication that will allow more granular and refined analyses of studies relating to musical competencies.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47804624","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 : 2023-07-11DOI: 10.1177/00224294231183903
B. Silvey, M. Montemayor, D. G. Springer, Faith Hall, Robert Fears
The purpose of this study was to determine the effects of model recordings on undergraduate conductors’ tempo decisions for selected wind band excerpts. Participants ( N = 42) studied three music score excerpts for 5 minutes each either (a) with an increased-tempo recording, (b) with a decreased-tempo recording, or (c) with a metronome set to the faster, printed tempo in the score, followed by a tapping task to demonstrate their preferred tempo. Participants returned 48 hours after their score study session for retention testing in the form of a second tapping task. Results indicated that for two of the three pieces, participants tapped faster in response to the metronome compared to both the decreased- and increased-tempo model recordings. Participants’ tempo choices at the first testing session were most often not significantly different than the tempos they heard during study. However, we found that participants’ preferred tempos did not vary as a function of study conditions during the retention testing session that occurred 48 hours later, where tempos trended toward moderation across all three musical selections. We speculate that pedagogical recommendations to avoid using model recordings may have limited empirical support, at least among novice conductors and at least in terms of possible long-term effects from short-term use.
{"title":"Effects of Model Recordings on Undergraduate Conductors’ Tempo Selections","authors":"B. Silvey, M. Montemayor, D. G. Springer, Faith Hall, Robert Fears","doi":"10.1177/00224294231183903","DOIUrl":"https://doi.org/10.1177/00224294231183903","url":null,"abstract":"The purpose of this study was to determine the effects of model recordings on undergraduate conductors’ tempo decisions for selected wind band excerpts. Participants ( N = 42) studied three music score excerpts for 5 minutes each either (a) with an increased-tempo recording, (b) with a decreased-tempo recording, or (c) with a metronome set to the faster, printed tempo in the score, followed by a tapping task to demonstrate their preferred tempo. Participants returned 48 hours after their score study session for retention testing in the form of a second tapping task. Results indicated that for two of the three pieces, participants tapped faster in response to the metronome compared to both the decreased- and increased-tempo model recordings. Participants’ tempo choices at the first testing session were most often not significantly different than the tempos they heard during study. However, we found that participants’ preferred tempos did not vary as a function of study conditions during the retention testing session that occurred 48 hours later, where tempos trended toward moderation across all three musical selections. We speculate that pedagogical recommendations to avoid using model recordings may have limited empirical support, at least among novice conductors and at least in terms of possible long-term effects from short-term use.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49223842","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 : 2023-07-05DOI: 10.1177/00224294231181509
Donna J. Gallo, A. Kruse
To investigate how music educators engage their students with Hip-Hop, we adopted a “research remix” approach, combining elements of case study and constructivist grounded theory. This approach allowed us to privilege Hip-Hop culture and to construct new understandings about Hip-Hop teaching and learning. Six elementary and middle school music teachers implemented Hip-Hop-focused instruction in their classrooms while also attending professional development workshops. Data included videos of classroom instruction, participant interviews, and videos of the workshops with co-facilitation from Hip-Hop artists and the researchers. Educators encountered tensions and challenges related to a perceived Hip-Hop “realness” and a lack of musical and pedagogical skills. To address these challenges, participants remixed their approaches by blending elements of Hip-Hop music and culture with their established teaching strategies. Teachers’ dispositions and feedback from students and colleagues engendered critical reflections about their positionalities in relation to Hip-Hop. We constructed a visual model of a DJ as a metaphor to describe participants’ approaches to remixing their teaching with Hip-Hop within their contexts. Implications include a need for increased emphasis on Hip-Hop in U.S. music teacher education programs and institutional pathways for Hip-Hop musicians to become music educators.
{"title":"Music Educators as DJs: Remixing Teaching With Hip-Hop","authors":"Donna J. Gallo, A. Kruse","doi":"10.1177/00224294231181509","DOIUrl":"https://doi.org/10.1177/00224294231181509","url":null,"abstract":"To investigate how music educators engage their students with Hip-Hop, we adopted a “research remix” approach, combining elements of case study and constructivist grounded theory. This approach allowed us to privilege Hip-Hop culture and to construct new understandings about Hip-Hop teaching and learning. Six elementary and middle school music teachers implemented Hip-Hop-focused instruction in their classrooms while also attending professional development workshops. Data included videos of classroom instruction, participant interviews, and videos of the workshops with co-facilitation from Hip-Hop artists and the researchers. Educators encountered tensions and challenges related to a perceived Hip-Hop “realness” and a lack of musical and pedagogical skills. To address these challenges, participants remixed their approaches by blending elements of Hip-Hop music and culture with their established teaching strategies. Teachers’ dispositions and feedback from students and colleagues engendered critical reflections about their positionalities in relation to Hip-Hop. We constructed a visual model of a DJ as a metaphor to describe participants’ approaches to remixing their teaching with Hip-Hop within their contexts. Implications include a need for increased emphasis on Hip-Hop in U.S. music teacher education programs and institutional pathways for Hip-Hop musicians to become music educators.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46037189","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 : 2023-07-02DOI: 10.1177/00224294231180084
Justin J. West
The purpose of this study was to describe music teacher professional development (PD) in the United States and to chart potential differences between the experiences of music teachers, other arts teachers (visual art, theater, dance), and teachers in low-stakes (natural and social sciences) and high-stakes (math, English language arts) academic disciplines. Using data from the 2017–2018 National Teacher and Principal Survey, I evaluated PD practices, perceptions, and policies against six consensus criteria for effective PD: content specificity, social interaction, sustained duration, relevance, agency, and policy support. Findings showed music teacher participation in content-specific and socially interactive PD was robust and that the vast majority of music teachers described their PD as relevant. Cross-comparisons revealed discipline associations as to some criteria (social interaction, relevance, agency) but not others (content specificity, sustained duration, policy support). Although music teachers achieved parity or were advantaged in some areas (e.g., access to content-specific PD), they consistently reported less access to socially interactive PD, spent less overall time in PD, and were considerably less likely to exercise agency in support of their PD endeavors. Music teachers—along with their art, theater, and dance colleagues—generally, although not overwhelmingly, operated on less favorable PD terrain in 2017–2018.
{"title":"Professional Development Among U.S. Music and Non-Music Teachers: Comparative Evidence From the 2017–2018 National Teacher and Principal Survey","authors":"Justin J. West","doi":"10.1177/00224294231180084","DOIUrl":"https://doi.org/10.1177/00224294231180084","url":null,"abstract":"The purpose of this study was to describe music teacher professional development (PD) in the United States and to chart potential differences between the experiences of music teachers, other arts teachers (visual art, theater, dance), and teachers in low-stakes (natural and social sciences) and high-stakes (math, English language arts) academic disciplines. Using data from the 2017–2018 National Teacher and Principal Survey, I evaluated PD practices, perceptions, and policies against six consensus criteria for effective PD: content specificity, social interaction, sustained duration, relevance, agency, and policy support. Findings showed music teacher participation in content-specific and socially interactive PD was robust and that the vast majority of music teachers described their PD as relevant. Cross-comparisons revealed discipline associations as to some criteria (social interaction, relevance, agency) but not others (content specificity, sustained duration, policy support). Although music teachers achieved parity or were advantaged in some areas (e.g., access to content-specific PD), they consistently reported less access to socially interactive PD, spent less overall time in PD, and were considerably less likely to exercise agency in support of their PD endeavors. Music teachers—along with their art, theater, and dance colleagues—generally, although not overwhelmingly, operated on less favorable PD terrain in 2017–2018.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48018720","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 : 2023-06-09DOI: 10.1177/00224294231175859
Eirik Skjelstad, L. Ellefsen
The 2020 Norwegian national curriculum for primary, lower secondary, and upper secondary education includes a “competence aim” after Year 7 that expects pupils to be able to “investigate how gender, gender roles, and sexuality are presented in music and dance in the public sphere and create expressions that challenge stereotypes.” This article reviews four focus group interviews in which music teachers discussed the relevance and application of the new competence aim and their own experiences with gender roles and gender-expansive expressions among their pupils in their music practices. Using analytical tools from the field of discourse psychology, we trace and identify the discursive resources or “repertoires” that music teachers draw on when approaching questions of gender roles, gender identities, and sexuality. While the repertoires in question imply that the teachers hold progressive views about gender identities and expressions, the notion of “ideological dilemmas” enables us to ask whether the progressive attitudes may in fact also work to confirm perceptions of normative, binary gender conformity, hence also delimiting the diversity and freedom of gender expression that the repertoires seem to celebrate. We suggest that a queer pedagogical thinking can offer music teachers tools to address topics related to gender roles, sexuality, and queerness in their music educational practices.
{"title":"Challenging Stereotypes? Norwegian Music Teachers’ Repertoires on Gender Roles and Gender-Expansiveness","authors":"Eirik Skjelstad, L. Ellefsen","doi":"10.1177/00224294231175859","DOIUrl":"https://doi.org/10.1177/00224294231175859","url":null,"abstract":"The 2020 Norwegian national curriculum for primary, lower secondary, and upper secondary education includes a “competence aim” after Year 7 that expects pupils to be able to “investigate how gender, gender roles, and sexuality are presented in music and dance in the public sphere and create expressions that challenge stereotypes.” This article reviews four focus group interviews in which music teachers discussed the relevance and application of the new competence aim and their own experiences with gender roles and gender-expansive expressions among their pupils in their music practices. Using analytical tools from the field of discourse psychology, we trace and identify the discursive resources or “repertoires” that music teachers draw on when approaching questions of gender roles, gender identities, and sexuality. While the repertoires in question imply that the teachers hold progressive views about gender identities and expressions, the notion of “ideological dilemmas” enables us to ask whether the progressive attitudes may in fact also work to confirm perceptions of normative, binary gender conformity, hence also delimiting the diversity and freedom of gender expression that the repertoires seem to celebrate. We suggest that a queer pedagogical thinking can offer music teachers tools to address topics related to gender roles, sexuality, and queerness in their music educational practices.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48097740","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 : 2023-06-03DOI: 10.1177/00224294231174606
Mara E. Culp, Christina L. Svec, M. McConkey, Scott N. Edgar, Daniel S. Hellman, Kathleen Melago, Holly Smith
The purpose of this survey study was to describe how teacher preparation programs prepare undergraduate preservice music teachers to consider P–12 learners’ socioemotional development. Music teacher education programs ( N = 665) were identified from the 2019 Title II Report of National Teacher Preparation Data. Program representatives were invited via email to complete an online questionnaire; data from respondents ( n = 133) were analyzed quantitatively and qualitatively. Findings revealed that programs varied greatly in providing opportunities, conceptions, and practices. Relevant, embedded coursework existed in most music teacher education programs. Just under one quarter of respondents reported requiring socioemotional development coursework, and 4.51% indicated at least one music-specific course. Course topics were directed at specific populations and teaching methods; courses were often housed in education, psychology, or sociology departments. Required experiences included fieldwork in general music, practicum, student teaching, or “diverse,” rural, or urban settings. Methods of delivery for optional experiences were similar to required experiences, with the addition of conferences and partnerships with organizations.
{"title":"Meeting the Social and Emotional Needs of P–12 Learners: A Descriptive Study of Music Teacher Education Programs","authors":"Mara E. Culp, Christina L. Svec, M. McConkey, Scott N. Edgar, Daniel S. Hellman, Kathleen Melago, Holly Smith","doi":"10.1177/00224294231174606","DOIUrl":"https://doi.org/10.1177/00224294231174606","url":null,"abstract":"The purpose of this survey study was to describe how teacher preparation programs prepare undergraduate preservice music teachers to consider P–12 learners’ socioemotional development. Music teacher education programs ( N = 665) were identified from the 2019 Title II Report of National Teacher Preparation Data. Program representatives were invited via email to complete an online questionnaire; data from respondents ( n = 133) were analyzed quantitatively and qualitatively. Findings revealed that programs varied greatly in providing opportunities, conceptions, and practices. Relevant, embedded coursework existed in most music teacher education programs. Just under one quarter of respondents reported requiring socioemotional development coursework, and 4.51% indicated at least one music-specific course. Course topics were directed at specific populations and teaching methods; courses were often housed in education, psychology, or sociology departments. Required experiences included fieldwork in general music, practicum, student teaching, or “diverse,” rural, or urban settings. Methods of delivery for optional experiences were similar to required experiences, with the addition of conferences and partnerships with organizations.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46701284","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 : 2023-05-24DOI: 10.1177/00224294231172983
Ian Cicco
The purpose of this survey study was to investigate the self-reported practices of P–6 elementary general music teachers ( N = 275) regarding their experiences with American folk songs with racist origins. A secondary purpose was to examine P–6 elementary general music teachers’ familiarity with and incorporation of anti-racist pedagogical practices into their teaching. Data were collected through an online questionnaire. Out of 19 folk songs with racist origins, “Jingle Bells” was the song most participants (67.6%) continued to teach and was the only song that 50% or more participants continued to teach. I categorized participants’ responses regarding why they discontinued teaching the 19 songs as follows: (a) racism/minstrelsy and (b) origins/history. Additionally, participants’ American folk songs with racist origins were categorized under teaching and planning. Musical enjoyment/utility and teaching about racism/minstrelsy were subcategories for teaching, while removing/replacing and learning through researching were subcategories for planning. Regarding anti-racist pedagogical practices, 76.6% of participants agreed that teachers should teach songs that represent various races and ethnicities in respectful ways even if they disagreed that teachers should use folk songs to challenge race, privilege, equity, and racial/ethnic injustices. Implications and recommendations for future research are discussed.
{"title":"Elementary Music Educators’ Use of Folk Songs With Racist Origins and Anti-Racist Pedagogical Practices","authors":"Ian Cicco","doi":"10.1177/00224294231172983","DOIUrl":"https://doi.org/10.1177/00224294231172983","url":null,"abstract":"The purpose of this survey study was to investigate the self-reported practices of P–6 elementary general music teachers ( N = 275) regarding their experiences with American folk songs with racist origins. A secondary purpose was to examine P–6 elementary general music teachers’ familiarity with and incorporation of anti-racist pedagogical practices into their teaching. Data were collected through an online questionnaire. Out of 19 folk songs with racist origins, “Jingle Bells” was the song most participants (67.6%) continued to teach and was the only song that 50% or more participants continued to teach. I categorized participants’ responses regarding why they discontinued teaching the 19 songs as follows: (a) racism/minstrelsy and (b) origins/history. Additionally, participants’ American folk songs with racist origins were categorized under teaching and planning. Musical enjoyment/utility and teaching about racism/minstrelsy were subcategories for teaching, while removing/replacing and learning through researching were subcategories for planning. Regarding anti-racist pedagogical practices, 76.6% of participants agreed that teachers should teach songs that represent various races and ethnicities in respectful ways even if they disagreed that teachers should use folk songs to challenge race, privilege, equity, and racial/ethnic injustices. Implications and recommendations for future research are discussed.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44925955","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 : 2023-05-18DOI: 10.1177/00224294231174168
Donald M. Taylor, Rashaad Calaham
The purpose of this narrative inquiry study was to explore how intersecting discourses of race, attractional orientation, and gender expression have influenced Author 2’s experiences as a Black, openly gay, gender-fluid middle school choir director. Rather than hiding his attractional orientation and gender expression, he leans into these characteristics, describing himself as “sassy and effeminate,” thereby challenging notions of compulsory heteroattraction, gender binaries, and whiteness in music education. He posits that being open with students is a vital component for establishing trust within his classroom, which he asserts is the foundation of good teaching. Black joy, Black Queer joy, and Queer Crit perspectives serve as theoretical lenses through which his story is discussed.
{"title":"Sassy and Strong: Intersections of Race, Attractional Orientation, and Gender Expression Within Music Education","authors":"Donald M. Taylor, Rashaad Calaham","doi":"10.1177/00224294231174168","DOIUrl":"https://doi.org/10.1177/00224294231174168","url":null,"abstract":"The purpose of this narrative inquiry study was to explore how intersecting discourses of race, attractional orientation, and gender expression have influenced Author 2’s experiences as a Black, openly gay, gender-fluid middle school choir director. Rather than hiding his attractional orientation and gender expression, he leans into these characteristics, describing himself as “sassy and effeminate,” thereby challenging notions of compulsory heteroattraction, gender binaries, and whiteness in music education. He posits that being open with students is a vital component for establishing trust within his classroom, which he asserts is the foundation of good teaching. Black joy, Black Queer joy, and Queer Crit perspectives serve as theoretical lenses through which his story is discussed.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42357268","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 : 2023-05-15DOI: 10.1177/00224294231173318
D. G. Springer, B. Silvey, Nickolas Doshier, Faith Hall
The purpose of this study was to examine the effects of conductor score use (conducting with a musical score vs. conducting without a score) on observers’ perceptions of conductors. We also examined how those effects may differ when viewed from the ensemble perspective compared to the audience perspective. Participants ( N = 126) were collegiate musicians who viewed two video recordings of a conductor leading a collegiate symphonic band through an excerpt of Grainger’s Colonial Song. In one video, participants viewed the conductor using a musical score. In the other video, the conductor did not use a musical score. Half of the participants viewed the videos showing the front view of the conductor (ensemble perspective), and the other half viewed the back view of the conductor (audience perspective). Participants rated the conductor’s competence and knowledge of the score in each video. Results indicated a significant effect due to score condition. However, that effect was not independent of viewing perspective or presentation order. Responses to open-ended questions indicated that conductor gesture was the most common aspect observed by participants, but participants also reported that conductor score use was one of the common aspects noticed when evaluating knowledge of the score.
{"title":"Effects of Conducting With or Without a Musical Score on Observers’ Perceptions of Conductors","authors":"D. G. Springer, B. Silvey, Nickolas Doshier, Faith Hall","doi":"10.1177/00224294231173318","DOIUrl":"https://doi.org/10.1177/00224294231173318","url":null,"abstract":"The purpose of this study was to examine the effects of conductor score use (conducting with a musical score vs. conducting without a score) on observers’ perceptions of conductors. We also examined how those effects may differ when viewed from the ensemble perspective compared to the audience perspective. Participants ( N = 126) were collegiate musicians who viewed two video recordings of a conductor leading a collegiate symphonic band through an excerpt of Grainger’s Colonial Song. In one video, participants viewed the conductor using a musical score. In the other video, the conductor did not use a musical score. Half of the participants viewed the videos showing the front view of the conductor (ensemble perspective), and the other half viewed the back view of the conductor (audience perspective). Participants rated the conductor’s competence and knowledge of the score in each video. Results indicated a significant effect due to score condition. However, that effect was not independent of viewing perspective or presentation order. Responses to open-ended questions indicated that conductor gesture was the most common aspect observed by participants, but participants also reported that conductor score use was one of the common aspects noticed when evaluating knowledge of the score.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41590949","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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