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Middle school programs occupy a unique place in choral music education. This study builds upon and makes a unique contribution to the body of literature in choral music education by introducing critical participatory action research into the social ecology (Shotter, 1993) of the middle school choral classroom during the “regular” school day with a non-select choral ensemble. I employed critical participatory action research methodology—a collaborative approach to understanding specific problems in education—because it is a systematic research process conducted for the purpose of generating knowledge that is valid and vital for the well being of learners, communities of learners, and for promoting social change (Carr & Kemmis, 1986; Herr & Anderson, 2005; Kemmis and McTaggart, 1987; Mills, 2010). The purpose of this critical participatory action research study was to create a collaborative model of practice in order to make sixth grade choral music education more relevant and meaningful for learners. In order to accomplish this, I created a constructionist learning environment, applying domains of relevance set forth by Gergen (2001), and examined how this model of practice impacted the pedagogical practices of 19 sixth grade chorus students and their chorus teacher over the period of one semester. All participants collected evidence in the form of video recordings, interviews, journals and portfolios. All evidence was considered in light of the changes that occurred—individually and collectively—in pedagogical and organizational practices and in regard to the original research questions. This report illuminates ways that constructionist principles might be used to create a collaborative model of middle school choral music education and the pedagogical and social practices that emerge when beginning sixth grade students and their chorus teacher share responsibility for teaching and learning.

This thesis explores the professional knowledge of three choral music educators from St. John’s, Newfoundland and Labrador. My primary research purpose was to explain what constitutes the professional knowledge of each of the research participants as revealed through their life stories; to illustrate how such professional knowledge has been shaped by experiences throughout each of the participants’ lives; and to understand how the participants’ experiences of developing as educators within the specific social, cultural, and political contexts of Newfoundland and Labrador have shaped their professional knowledge. Through this inquiry, three choral music educators engaged in a process of teacher development, as they discovered for themselves, through a narrative process of self-exploration, the meaning that could be made of the relationships between their life experiences and their knowledge of music teaching and learning. Data-gathering included a series of four in-depth interviews, which consisted of open-ended questions that engaged the participants in reconstructing their life experiences and articulating their professional knowledge within the context of developing as choral music educators. Choral rehearsal observations provided another source of data. These observations enhanced my understanding of the participants’ teaching practice, and assisted in my understanding of the relationships between the personal and the professional that they expressed in initial interviews. Analysis of the data is represented through narratives of the participants’ life stories and a thematic discussion of their professional knowledge as revealed through those stories. Each participant’s narrative and professional knowledge are presented in individual chapters, followed by a chapter that explores the resonances (Conle, 1996) amongst the participants’ narratives and my own personal-professional narrative. I propose that we begin to reconceptualize professional development in order to acknowledge the complexity and personal nature of professional knowledge, and I assert that the exploration of life stories is a meaningful form of professional development for music educators.

This thesis explores the professional knowledge of three choral music educators from St. John’s, Newfoundland and Labrador. My primary research purpose was to explain what constitutes the professional knowledge of each of the research participants as revealed through their life stories; to illustrate how such professional knowledge has been shaped by experiences throughout each of the participants’ lives; and to understand how the participants’ experiences of developing as educators within the specific social, cultural, and political contexts of Newfoundland and Labrador have shaped their professional knowledge. Through this inquiry, three choral music educators engaged in a process of teacher development, as they discovered for themselves, through a narrative process of self-exploration, the meaning that could be made of the relationships between their life experiences and their knowledge of music teaching and learning. Data-gathering included a series of four in-depth interviews, which consisted of open-ended questions that engaged the participants in reconstructing their life experiences and articulating their professional knowledge within the context of developing as choral music educators. Choral rehearsal observations provided another source of data. These observations enhanced my understanding of the participants’ teaching practice, and assisted in my understanding of the relationships between the personal and the professional that they expressed in initial interviews. Analysis of the data is represented through narratives of the participants’ life stories and a thematic discussion of their professional knowledge as revealed through those stories. Each participant’s narrative and professional knowledge are presented in individual chapters, followed by a chapter that explores the resonances (Conle, 1996) amongst the participants’ narratives and my own personal-professional narrative. I propose that we begin to reconceptualize professional development in order to acknowledge the complexity and personal nature of professional knowledge, and I assert that the exploration of life stories is a meaningful form of professional development for music educators.

Group singing is associated with numerous benefits to human health and wellbeing, including increased social ties and improvements in mental health (Ascenso et al., 2017; Clift & Hancox, 2001, 2010; Clift et al., 2010; Dingle et al., 2012; Grocke et al., 2009; Liebowitz et al., 2015; Livesey et al., 2012). In school ensembles, choral educators can significantly influence students’ experiences of connection, encouraging wellbeing, enjoyment, and continued participation in choir (Arasi, 2006, 2008; Morgan, 1992; Pentikäinen et al., 2021). Extant literature indicates that during group singing, individuals experience connection in three forms, as drawing singers together, also called togetherness; as synchrony among singers; and as singers’ sense of oneness with the world. These three forms of connection served as the conceptual lens for this study. The purpose of this phenomenological case study was to examine choral educators’ experiences of creating connection during group singing in the forms of togetherness, synchrony, and oneness. Four research questions guided this study: (a) How do choral educators describe the experience they create during group singing? (b) During group singing, how do choral educators facilitate singers’ connection in the form of togetherness, synchrony, or oneness? (c) What benefits and challenges exist for choral educators as they create connection? (d) Why do choral educators choose to prioritize connection? I used a phenomenological case study approach to investigate each participant’s experience as its own unique case, then used cross-case analysis and phenomenological reduction to reveal commonalities and differences that further illuminated the essence of creating connection during group singing (Merriam, 2009; Merriam & Tisdell, 2016; Moustakas, 1994). Using purposive, reputational, and maximum variation sampling, I selected five secondary school choral music educator participants who prioritized facilitation of connection in their work with students and who represented a variety of teaching contexts, professional, and personal characteristics. Data collection included interviews, field observations of rehearsals and performances, and classroom artifacts. Data analysis occurred cyclically and emergently (Creswell & Poth, 2018), following phenomenological procedures (Moustakas, 1994) to first analyze each participant’s experiences as a bounded case then to engage in cross-case analysis to uncover commonalities and tensions across cases (Stake, 2005; Yin, 2018). For each case, data analysis revealed conditions that created connection, barriers to connection, and an essence; cross-case analysis revealed a collective essence representing experiences of creating connection for all participants. Conditions that created connection involved using opening procedures, dissipating stress, releasing inhibitions, thoughtfully choosing repertoire, exploring choral texts, and fostering student ownership. Barriers included students’ inhibitions, teachers’ preoccupations, formal music education, school context, socioeconomic challenges, and COVID-19. The essence of each participant’s experience involved fostering student ownership and collaboration; uncovering students’ organic experiences of togetherness; “I gotchu,” an expression of unwavering support; impacting students’ mindsets; and vibrational alignment that can heal. Cross-case analysis through imaginative variation (Moustakas, 1994) revealed that for all participants, the essence of creating connection involved participants communicating care for students’ experience of life. The study’s findings offer implications for how choral leaders might facilitate experiences of connection during group singing. Findings suggest that choral educators seeking to create connection might help singers dissipate stress and anxiety, engage students in the creative process, reexamine traditional choral curricula, and use their personal strengths to communicate care for singers’ life experiences. Findings suggest ways choral educators might help create experiences of connection that can have a positive impact on students’ wellbeing. / Music Education

The purpose of this study was to explore the perceived impact of critical reflection on my cultural competence and practice of culturally responsive caring as a high school choral director. Caring educators establish trusting relationships with students that support them as teachers in identifying their strengths and interests, then employ that knowledge to develop student-centric curricula that generate opportunities for student success (Gay, 2018; Hendricks, 2018; Noddings, 2012). This practice is what Geneva Gay (2018) termed culturally responsive teaching. Gay (2018) also asserted, however, that a teacher cannot not claim to nurture caring relationships without accompanying cultural awareness. Considering ongoing and increasing social and political tensions that lead to societal divides in the United States, educators could benefit from practicing awareness so they can facilitate learning environments in which students are challenged, courageous, and inspired to explore their identities in caring environments. The pursuit of such cultural awareness, competence, and humility demands ongoing, authentic critical reflection—a vulnerable and arduous practice (Howard, 2003). This autoethnographic study considers literature positing that caring relationships in education demand profound and intentional cultural competence. It explores critical reflection as a means for developing such competence. This is an in-depth investigation into my pursuit of a culturally responsive caring practice as a high school choral director and product of the community in which I teach. The implications of this study describe my “cultural experience as it is particularly—not generally—lived” (Adams, et al., 2015, p. 41). The resulting narrative may encourage further research and empower educators and teacher educators to commit to a similar critically reflective practice that can lead to an authentic practice of culturally responsive caring.

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Constructivism in music education can help teachers and students alike better their educational experience by working as a collaborative team. In the choral classroom, constructivist teaching establishes the teacher as the facilitator of learning rather than the “teacher as conductor.” Teachers help foster the musical-thinking of the ensemble. Students learn and retain information when teachers can support learners’ understanding of musical ideas and work within the student’s zone of proximal development. Through the use of teacher-guided questioning, cognitive apprenticeship, informal music-making, CMP, problem-solving, and Understanding by Design, students become active participants. Included are supplemental activities for the traditional choir classroom that give a sense of how to provide meaningful lessons to students through a constructivist lens. Each activity is objective-based, working from what the students will know or be able to do by the end of the activity, to how to foster the learning in a way that builds past experiences into new experiences.

Researchers agree that teachers are the single most influential school-related factor in a child's level of academic achievement. Teaching style may influence students' academic achievement as well as facilitate students' development of social skills and a sense-of-community within the classroom. The purpose of this study was to examine the relationship between high-school choir directors' (n = 42) teaching-style and their high-school choir students' (n =1,108) psychological sense-of-community. Student participants in grades 9-12 within a mid-Atlantic state were members of a 9th-Grade Chorus (n = 2), Men's Chorus (n = 1), Women's Chorus (n = 8), Select Ensemble (n = 7), or Concert Choir (n = 38). Results from students' scores on the Classroom Community Scale revealed that 9th-grade students reported lower levels of sense-of-community, connectedness, and learning than students in grades 10, 11, and 12. Students in Select Ensembles reported significantly higher levels of sense-of-community, connectedness, and learning than students in Concert Choirs, and students in choirs that performed five or more times per school year reported significantly higher levels of sense-of-community than students in choirs that performed four or less times per school year. Results revealed no main effect for gender, students' years-of-experience in high school choir, or choir-class length and frequency. Teachers' scores on the Music Teaching Style Inventory revealed that teachers preferred the Assertive Teaching (M = 3.80), Nonverbal Motivation (M = 3.75), Time Efficiency (M = 4.33), and Positive Learning Environment (M = 4.27) teaching-styles that focus on teacher-led activities. Music Concept Learning (M = 3.48), Artistic Music Performance (M = 3.46), Student Independence (M = 3.30), Group Dynamics (M = 2.84), teaching-styles with a focus on student-led activities were least preferred by the teachers in this study. Group Dynamics teaching style was a low or the lowest preferred teaching-style for 40 of the 42 participating teachers. Results revealed no main effect for teachers' gender or years-of-experience teaching. Teaching-style preference was not a significant predictor for students' levels of sense-of-community or connectedness. Time Efficiency and Student Independence teaching-styles positively correlated with students' perceived level of learning while the Artistic Music Performance teaching-style negatively correlated with students' perceived level learning. Within teachers' reports of observed student behaviors, teachers identified all four elements of sense-of-community: membership, influence, integration and fulfillment of needs, and shared emotional connection. Teachers also reported purposefully planning activities in order to facilitate their choir students' sense-of-community. Activities included teaching behaviors found within the Positive Learning Environment, Group Dynamics, Artistic Music Performance, and Student Independence teaching-styles. Teachers expressed that a sense-of-community has importance in that it effects students' musical expression; students' ability to achieve their potential for musical performance; students' retention within choir ensembles; teachers' advocacy for choir programs; and student's participation in musical ensembles beyond high school. / Music Education