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.

Theoretical perspectives of feminist pedagogy provide an alternative lens to examine the teaching and learning process within music education programs in higher education. Music programs have traditionally emphasized formal constructions and static content, which typically are associated with Western European, patriarchal ideologies. Feminist pedagogy, originating in social constructivism and critical theory, offers an instructional approach for a more democratic and diverse curriculum and pedagogy. Extending from feminist pedagogy is Black feminist pedagogy, which offers a more specialized instructional approach for underrepresented populations in education. Both feminist pedagogy and Black feminist pedagogy foster a unique intersection for institutions of higher education whose historic mission integrates race and gender as part of its targeted efforts. When examining the music education literature, particularly as it relates to diverse groups, a feminist instructional approach addresses the interconnections of race and gender as social and cultural constructions, which are almost absent from higher education research altogether. Using the intrinsic case study model and qualitative data, I examine ways feminist pedagogy and Black feminist pedagogy, are integrated into the undergraduate music program at Spelman College, a historically Black college for women. I also investigate how course curricula are inclusive of both traditional feminist and Black feminist pedagogical principles. I explore how discourses of gender, as well as race, play a role in the pedagogical practices of teachers within a single-sex institution committed to the education and empowerment of women of color. Furthermore, I describe ways in which students are influenced by both traditional feminist and Black feminist pedagogical approaches, and how music educators are fulfilling the need to teach music outside their own experiences, which are in some cases, a Western European patriarchal approach. Using Barbara Coeyman’s (1996) four principles of traditional feminist pedagogy for women’s studies in music and the general music major curriculum (i.e., diversity, opportunities for all voices, shared responsibility, and orientation to action), as a theoretical framework the following three components were examined in this study: context (structural influences of gender and race), content (curriculum and course design), and pedagogy (classroom instruction and goals). Data was ascertained through triangulated measures of interviews with faculty and students, observations of class time and performances, and document collection of relevant data sources (e.g., course syllabi, music department handbook, and performance programs). I used findings from the research to demonstrate how discourses of gender and race permeate the institutional environment at Spelman College, and have direct links to curricula structure, as well as the institutional mission of the teaching and learning process of its students. I also used findings to further enhance the knowledge base of music education literature and implications for African-American females in higher education. Finally, suggestions were given as to how music educators can design and teach within a music environment that is socially and culturally inclusive for all students.

The purpose of the study was to examine general music teachers’ practices of cooperative learning in two elementary music classrooms. Using the intrinsic case study method, I examined elementary general music teachers’ perspectives on cooperative learning, the utilization of cooperative learning in their general music classrooms, and the challenges the music educators faced in creating and implementing cooperative learning. I selected one general music classroom in two elementary schools in Boston, Massachusetts—totaling two general music teachers from different schools. I conducted eight class observations and three interviews for each participant during the fall 2016 semester. From separate and cross-case analyses, I found the following: (1) the two teachers’ instructions were linked to the characteristics of cooperative learning, (2) they believed that cooperative learning provided opportunities to improve students’ academic development in music and promote positive interpersonal relationships, and (3) both teachers used their own strategies for cooperative learning in order to maximize students’ learning. These findings provided evidence that cooperative learning engaged students in the process of learning music and, in addition, fostered positive interpersonal relationships. Moreover, this study suggested that music educators might undertake an effort to thoroughly understand students’ cognitive development when they wish utilize cooperative learning. Although this study was subject to a number of limitations due to its scope, the findings may contribute to the body of research on cooperative learning in elementary music education.

In this phenomenographical study I documented and analyzed the perspectives of six mothers whose sons attended a postsecondary music academy in the northeast to discern the essence of parental experience and the meanings they attributed to music education. Education for students with exceptionalities arose from parental advocacy and legal battles; however, a review of the literature indicated that research had not documented the essence of parental experience and the meanings parents made of music education. Public Law 94-142 (1975) mandated parental involvement in the education for children with exceptionalities in a system that required parents’ presences at Individualized Education Program (IEP) meetings and, as amended, is still in effect today. This law protects educational rights of individuals with exceptionalities and is designed to enhance their education, while insuring the rights and involvement of parents in educational planning. I explored the relationships between perceived experience and social capital, and documented the actions six mothers took based upon the meanings they made of music education. Parents whose offspring with exceptionalities have pursued music education beyond the American public school system offered insights about their experience and the meanings they ascribed to music education for their children. Bracketing, intuiting, analyzing, and describing were used to document data collected from interviews, blogs, and journals. A theoretical relationship was considered between perceived experience and social capital.

Researchers have investigated music education majors’ process of socialization to a teacher identity and found evidence of bias against the music education career path regarding perceptions of performance ability. Researchers have also identified that those on musical career paths share influential experiences and influences during adolescence in common, mostly related to performance. The purpose of this study was to examine, thorough the lens of social identity theory (SIT), whether these biases were formed during adolescence. The participants for this study were 821 high school musicians of varying experience and backgrounds. Participants reported significantly stronger levels of self- categorization (V = 0.256, F [5, 816] = 56.11, p = < .0001, η2 = .256) and differentiation (V = 0.459, F [5, 816] = 138.35, p = < .0001, η2 = .459) in favor of the music performance career path. In contrast, participants allocated resources significantly (V = 0.021, F [1, 821] = 17.39, p = < .0001, η2 = .021) in favor of the music education career path. Multiple regression of self-categorization, differentiation, and resource allocation scores found significant predictors among each of the demographic characteristics. Scores of 12th grade participants were significantly more in alignment with the music performance career path when compared to 9th grade participants, as was an increase in median family income percentile. Those who identified as soloists self-categorized and differentiated significantly in favor of the music performance career path compared with those who identified a choir as their main performance ensemble. The intention to major in music was also found to be a significant predictor of self-categorization and resource allocation in favor of the music performance career path when compared to those who were unsure or did not intend to major in music. Findings from this study demonstrate that the biases found among undergraduate musicians are present among adolescent musicians, along with other aspects of social identity development. Strategies to combat these biases are discussed, as well as the implications of these results as a possible outcome of the centrality of performance in music education.

In this dissertation I explore the collaborative practices of three participants: two paraprofessionals and one music teacher. Using social capital as the theoretical framework, I analyzed the ways in which the participants networked with others to gain resources for expressive action. In order to more fully understand the social structures that exist in their elementary school environment, I examined participants’ perceptions of the issues that influenced their ability to access resources embedded in their social networks. Additionally, I examined if and how the paraprofessionals and music teacher used their gained resources in servicing students with Individualized Education Plans in inclusive music settings. Data for this qualitative case study were gathered remotely over a period of one semester during the COVID-19 pandemic. I conducted three semi-structured interviews with each participant as well as had several informal conversations to gain insights about their experiences related to collaboration. Data collection also included analyzing school documents to triangulate the findings. As I reviewed the data, I looked at their levels of relational trust with others, organizational and personal characteristics, structural and choice constraints, and perceptions of fit and belonging. In addition, the role of the COVID-19 pandemic was considered. To facilitate organization of data analysis and to help organize the data into categories, I coded the data and created a master code list. From these codes themes were developed that included: (a) network structures, (b) technology, and (c) norms and expectations. The findings suggest that the paraprofessionals in this study faced many challenges in gaining resources, such as high power differentials between them and their teaching colleagues, withdrawal from social engagement at a broader level, limited opportunities for collaborative planning, and low input in instructional delivery. These challenges meant that they provided inconsistent to no support in the inclusive music classroom. The music teacher in this study also lacked proper administrative support in order to promote consistent collaboration with the paraprofessionals and to facilitate inclusive practices that meet the needs of all learners. Implications from this research point to the importance of understanding power structures in the workplace, developing policies geared towards bridging the social distance between employees, as well as designing staff schedules that allow for collaboration and co-teaching. Recommendations are also made for future research.

The college marching band provides students with opportunities that foster student development, defined as the personal growth and identity development of students due to environmental factors in higher education. However, previous research has not focused on the role of college marching band participation in student development. The goal of this study was to broaden the understanding of its student development role, enhance development experiences, and improve culture. A self-administered survey was electronically distributed to band directors through the College Band Directors National Association email list with a request to forward it to current college marching band students. The survey contained two sections: (1) Demographic information, (2) Rating college marching band’s influence on 29 student development goals, using a four-point Likert scale with the choices: strong influence, moderate influence, some influence, and no influence. Chickering and Reisser’s (1993) Seven Vectors of college student development served as a theoretical framework for the creation of goals related to college marching band situations that build and reinforce a student’s identity. Responses were analyzed by comparing groups based on demographic characteristics relevant to the research questions. Results were similar to those of previous research. Women rated college marching band participation’s importance higher than men, older students rated it higher than younger, and more-involved students rated it higher than less-involved students. Participants’ perceptions most resonated with Chickering and Reisser’s (1993) vectors Developing Competence and Developing Purpose, and resonated least with the vector Developing Integrity.

The intent of this thesis is to explore the relationship between spatial ability and the wide range of musical instruments musicians play. Existing literature has established a link between musicianship and improved spatial ability, but researchers have yet to look at how the spatial makeup of different musical instruments may, in turn, reveal unique levels of spatial proficiency from one instrumentalist to the next. This study was formatted as an online survey that included a music experience scale, a demographics scale, and two measures of spatial ability: the Card Rotations Test (CRT) and the Paper Folding Test (PFT). Participants who played larger instruments were hypothesized to score higher on the spatial ability tests. Results show that specific musical instruments score differently on spatial ability measures, and large instruments like the piano and marimba consistently outperform smaller instruments. This largely exploratory study attempts to show that the psychological discipline as a whole should reevaluate how it categorizes and studies musicians. Furthermore, these preliminary findings will encourage better practice for how music educators handle the musical instrument selection process, hopefully leading to a more long-term, student-centered approach.

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