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Using the Compassionate Music Teaching (CMT) framework as a lens, in this study I explored the ways that teachers of adults learning recreationally in music lessons may align their teaching approaches to learners’ adult-specific needs. Adult education scholars have accentuated the need for facilitators of adult learning to consider adult learners’ life experiences, circumstances, and identities (Merriam & Baumgartner, 2020). Researchers studying adults learning music have similarly identified the ways in which adults appreciate opportunities to ask questions, share in discussions, and be a part of the decision-making processes related to their music learning (Creech et al., 2020; Creech et al., 2014; Rohwer, 2012). In alignment with adult education and music education scholarship, the CMT framework offers an approach through which teachers may connect with learners as people to support their musical and personal growth (Hendricks, 2018). However, as Roulston et al. (2015) identified, an approach has not yet been proposed specifically for the teaching and learning of adult music learners. Whereas one might assume that a lack of adult-specific teaching techniques may not pose an issue in a one-on-one setting, there is evidence that even when teachers make efforts to meet adult learners’ needs in lessons, they are not always successful (Leahy & Smith, 2021). Therefore, the purpose of this study was to explore the ways, if any, that teachers of adults engaged and empowered adults learning in recreational music lesson settings. Through the process of narrative inquiry, I engaged with participants in guided conversations to explore their processes of becoming musicians and educators and the ways they engaged compassionately with their adult students. I share the findings of the narrative inquiry through a series of re-storied vignettes. The findings of this study highlighted adult-specific needs that arose from the participants’ narratives and the ways that the teachers enacted qualities of CMT (trust, empathy, patience, inclusion, community, authentic connection) as they worked to meet those needs. I explore these needs under four categories: (a) following learner goals and objectives, (b) acting as a guide, (c) respecting learners’ full humanity, and (d) supporting musical belonging. The results of this study contribute to extant research by offering further insight into adults’ music learning needs, offering teachers of adults approaches through which may better meet learner needs, and expanding the CMT framework to include the experiences of adults learning recreationally.

The purpose of this multiple case study was to explore stakeholders’ perspectives of two predominantly African American community youth choral organizations. My research questions included: (1) How do participants describe their experiences with the organization?, (2) What benefits and challenges do participants illuminate inside the organization and within the surrounding communities?, and (3) What future do participants envision for the organization within the surrounding communities? Systems thinking (Meadows, 2008; Stroh, 2015) and social systems perspective (Carter, 2011) shaped a conceptual lens that illuminated stakeholders’ perspectives. Each organization was selected because it was intrinsically interesting (Stake, 2005). Unlike many United States community youth choral organizations, these organizations provided academic support, meals, and door-to-door transportation for singers. Participant groups included staff, non-staff, and child singers. Data were collected over 18 weeks through observations of organizational events, including researcher written notes and transcribed voice memos, anonymous online questionnaires for adult participants, individual interviews with adult participants, and focus groups with child singers. Across both organizations, I collected 37 notes from observations, 17 anonymous questionnaires, 18 adult interviews, and nine focus groups with 21 child singers. I analyzed data through the constant comparative method (Glaser & Strauss, 1999), and verified the data analysis through triangulation between data forms and stakeholder groups (Stake, 2005), prolonged engagement and persistent observation (Lincoln & Guba, 1985), and peer coding. Findings from each case included a rich description of the organization, a narrative describing a child singer’s typical day, an analysis of how each domain of community music programs emerged, benefits and challenges identified within and across participant groups, and participants’ future visions for the organization. The final chapter comprises a cross-case analysis, focused on a comparison of the cases including overlapping themes and discussion. In the cross-case analysis, participants’ experiences were largely positive, accentuating how unique these organizations were to their communities. Participants shared how the organizations achieved dynamic equilibrium through evolving to meet stakeholders’ interests and needs. Participants described these organizations as socially engaging through building relationships, feeling like family, traveling with the organization, and meaningful summer camps. Challenges included connecting stakeholders across racial identities and funding. Because staff leaders engaged stakeholders from an assets-based approach, these organizations serve as models for choral organizations engaging with marginalized communities. By involving child singers, their families, and broader stakeholders in decision-making. choral leaders across the United States may improve organizational responsiveness. Additionally, engaging with stakeholders through assets-based philosophies honors the diverse and sometimes contradictory experiences of stakeholders, especially those from marginalized backgrounds and identities. Suggestions for future research included using Schippers and Bartleet’s (2013) framework to analyze additional music organizations, Bartleet’s (2023) framework to evaluate organizational progress toward desired social outcomes, and systems thinking to promote asset-based solutions for music programs and organizations. / Music Education

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The initiation and establishment of community music projects have been increasing in number in South Africa in the last decade due to the growing interest in these projects’ beneficial outcomes. Music education, music activities and a myriad of opportunities through music are provided to under-privileged communities who would otherwise be deprived thereof. The Redefine Music Education Project is a community music project situated in Kuils River and which draws learners from local impoverished communities and townships. The efficient management of project, staff and learner commitment, and community involvement has resulted in various project and learner achievements. However, it has also undergone several setbacks and faces frequent challenges. Due to the Redefine Music Education Project’s success rate and sustained years of operation, it is considered as one of the Western Cape’s reputable community music projects. This research study sets out by evaluating the need and role of a community music project in disadvantaged communities as well as describing the qualities that make a community music project successful. The research uncovered the impact that such a project has on the individual and on local communities in the Western Cape. A noteworthy result of the study is the fact that it serves as guidance and motivation to other operating and upcoming community music projects. It also provides and opens further opportunities of study and research regarding music in the community. / Die inisiëring en vestiging van gemeenskaps-musiekprojekte het in die laaste dekade in Suid-Afrika toegeneem vanweë die groeiende belangstelling in die voordelige uitkomste van hierdie projekte. Hierdie projekte bied musiekopvoeding, musiekaktiwiteite en ontsluit geleenthede deur musiek aan minder bevoorregde gemeenskappe wat andersins nie daarmee in aanraking sou kom nie. Die Redefine Music Education Project is 'n gemeenskaps-musiekprojek geleë in Kuilsrivier. Die projek staan grootliks in diens van leerders uit plaaslike verarmde gemeenskappe en townships. Die doeltreffende bestuur van die projek, personeel en leerder-toewyding, en gemeenskapsbetrokkenheid het verskeie projek- en leerderprestasies tot gevolg gehad. Die projek het egter ook verskeie terugslae ervaar en staar voortdurende uitdagings in die gesig. As gevolg van die Redefine Music Education Project se suksesse en die hoeveelheid jare wat dit reeds bestaan, word dit gereken as een van die Wes-Kaap se maatgewende gemeenskaps-musiekprojekte. Hierdie navorsing evalueer die behoefte aan en rol van 'n gemeenskaps-musiekprojek in minder bevoorregde gemeenskape. Dit ondersoek ook die kwaliteite wat so 'n projek help om suksesvol te wees. Die navorsing toon uiteindelik ook die impak wat so 'n projek op individue en op plaaslike gemeenskappe in die Wes-Kaap het. 'n Betekenisvolle resultaat van die studie is dat dit as gids en motivering dien vir ander huidige en toekomstige gemeenskaps-musiekprojekte. Dit beskryf ook verdere geleenthede vir studie en navorsing ten opsigte van musiek in die gemeenskap.

Föreliggande studies syfte är att få insikt i vad som påverkar elevers val av tvärflöjt och fortsatta spelande i musik- och kulturskolan.I bakgrundskapitlet presenteras forskning om musik- och kulturskolor samt tidigare forskning kring barn- och ungdomars instrumentval. Som teoretisk utgångspunkt användspositivism. Sammanlagt 97 respondenter i åldrarna 7–22 år genomförde en tvärsnittsdesignad webbenkät. Resultatet har analyserats med en univariat analys där en variabel studerats i taget. I resultatet framkommer det att de största påverkansfaktorerna till att elever valt att spela tvärflöjt är instrumentprovdagar och att känna någon som spelar tvärflöjt. Vidare visar resultatet att det eleverna önskar ha mer av i musik- och kulturskolan är att få möjlighet att spela med andra i band eller orkester. I diskussionen lyfts fem teman upp: genus och instrumentvalet, betydelse av sociala sammanhang, instrumentets egenskaper, förebilders påverkan och lärarens betydelse. / The purpose of the present study is to gain insight into what influencesstudents´ choice of flute and continued participation in Swedish community music schools. Research on community music schools as well as the factors influencinginstrument choice among children and youths are presented in the background section. Positivism was applied as a theoretical lens for the present study. A total of 97 participants ranging from 7 to 22 years of age, filled out a cross sectional websurvey. The result has been analyzed with a univariate analysis where one variable is studied at a time.The results revealed that instrument trial days and knowing someone who plays flute were the most important factors determining the student´ perference for flute playing. Furthermore, the results revealed that students requested more frequent oportunities to play with others in bands or orchestras. In the discussion, five themes are raised: gender and instrument selection, importance of social contexts, the characteristics of the instrument, the impact of role models and the importance of the teacher.

This document chronicles the history, development, process, and impact of three of the United States' first and most successful professional choirs. Representing the impact of these three choirs demonstrates a need for current professional or community choirs today. Four conductors of current professional and community choirs were interviewed and discussed elements for establishing, maintaining and succeeding in creating of a professional or community choir in the United States today. This document impresses the importance and considerations for a successful endeavor when establishing a professional or community choir.

Hackman and Oldham's Job Characteristic Model was applied to study of perceptions community music school faculty hold towards their job. The research questions addressed core job characteristics of skill variety, task identity, task significance, autonomy, and feedback, critical psychological states (experienced meaningfulness, experienced responsibility, and knowledge of results); personal and work outcomes of satisfaction and motivation; need for professional growth. The results were compared to the national norms for nine different job families provided by Oldham, Hackman, and Stepina. Thirty-three schools, all members of the National Guild of Community Schools of the Arts, located in every geographical region of the United States, yielded 437 faculty responses (64% return rate). Of the core job characteristics, dealing with others and autonomy received the highest ratings; feedback and task significance received the lowest ratings. Of the psychological states, experienced responsibility yielded the highest rating and experienced meaningfulness yielded the lowest ratings. Of the personal/work outcomes, personal development and colleague relations received the highest ratings; pay satisfaction and overall general satisfaction received the lowest ratings. A comparison to the professional job family norms, using a one-sample ttest, found significant differences in 16 out of the 18 variables measured by the Job Characteristic Model. Strong positive feelings for growth combined with less than strong feelings for the core job dimensions yielded a low motivating potential score of 96.18.

This study explored community music therapy as a psychosocial resource for persons living with HIV/AIDS at a clinic in Tshwane, South Africa. The role of community music therapy and its implications in South Africa were addressed as a second aim. A review of the literature on HIV/AIDS suggested that Sub-Saharan Africa has the most reported cases of HIV/AIDS and that persons living with HIV/AIDS may experience a lack of psychosocial resources. These psychosocial resources included inter- and intrapersonal attributes, positive mood and feelings of well-being. The data emerged from transcription of audio and video excerpts of community music therapy sessions, which included live music making and informal interviews during sessions at an HIV/AIDS clinic. These excerpts were transcribed as thick descriptions, coded and categorized to answer the research questions. The four categories were discussed as themes and supported community music therapy as a psychosocial resource for persons living with HIV/AIDS. In the broader South African context, community music therapy is a viable, inexpensive and valuable approach to re-establish community and facilitate psychosocial resources for persons living with HIV/AIDS. / Mini Dissertation (MMus)--University of Pretoria, 2009. / gm2014 / Music / Unrestricted