Perceptions of Meaningfulness Among High School Instrumental

Perceptions of Meaningfulness Among High School Instrumental Musicians by Janet Cape A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved January 2012 by the Graduate Supervisory Committee: Sandra Stauffer, Chair Jeffrey Bush Margaret Schmidt Jill Sullivan Evan Tobias ARIZONA STATE UNIVERSITY May 2012 ABSTRACT The purpose of this multiple case study was to investigate what students in three high school music groups perceived as most meaningful about their participation. I also examined the role that context played in shaping students’ perceptions, and sought potential principles underlying meaning and value in instrumental ensembles. Over the course of six months I conducted a series of in-depth, semi- structured interviews with six student wind ensemble members, five student guitar class members, and six jazz band members at three high schools in Winnipeg, Canada. I interviewed the participants’ music teachers and school principals, observed rehearsals and performances, and spoke informally with parents and peers. Drawing upon praxial and place philosophies, I examined students’ experiences within the context of each music group, and looked for themes across the three groups. What students perceived to be meaningful about their participation was multifaceted and related to fundamental human concerns. Students valued opportunities to achieve, to form and strengthen relationships, to construct identities as individuals and group members, to express themselves and communicate with others, and to engage with and through music. Although these dimensions were common to students in all three groups, students experienced and made sense of them differently, and thus experienced meaningful participation in multiple, variegated ways. Context played a substantial role in ii shaping not only the dimensions of meanings most salient to participants but also the ways that music experiences became meaningful for those involved. What students value and find meaningful about their participation in instrumental music education has been neither well documented nor thoroughly explored. This study raises questions about the ways that meaningful musical engagement might extend beyond the boundaries of school, and contributes student perspectives sorely needed in ongoing conversations concerning the relevance of music education in students’ lives. iii This work is dedicated to my grandparents, Beth and Don Peto iv ACKNOWLEDGEMENTS I am deeply indebted to the many people who have supported me over the course of this study. Heartfelt thanks to my advisor and committee chairperson, Dr. Sandra Stauffer, and to the members of my committee, Dr. Jeffrey Bush, Dr. Margaret Schmidt, Dr. Jill Sullivan, and Dr. Evan Tobias, for their invaluable support and guidance in shaping this document. I am grateful to the teachers, administrators, and especially the students who participated in this study and who shared their music experiences with me. Without their generosity this study would not have been possible. Thank you to my doctoral compadres—Wes Brewer, Lori Gray, Keith Kelly, Steve Martin, Michelle McConkey, and Sam Tsugawa—for contributing so substantially to one of the richest periods of my life. Thank you especially to Jeananne Nichols for your incredible support and friendship. Finally, thank you to my family. You are the foundation on which everything good in my life is built. Thanks Mom, Dad, Brent, and especially Sonia for your love and encouragement. v TABLE OF CONTENTS Page LIST OF FIGURES .............................................................................................. xii CHAPTER 1 INTRODUCTION ..................................................................................... 1 The Value and Meaning of Music Education: Professional Discourse ............................................................................................................ 4 Utilitarianism ............................................................................ 4 Aestheticism .............................................................................. 7 Praxialism ............................................................................... 10 Additional Perspectives .......................................................... 13 Need for the Study ........................................................................... 15 Research Questions .......................................................................... 19 2 REVIEW OF LITERATURE AND THEORETICAL FRAMEWORK 22 Review of Studies Related to Students and Meaning ...................... 22 Motivation Studies .................................................................. 22 Studies of “Peak” and Related Experiences ............................ 27 Quantitative Studies of Meaning and Ensembles ................... 44 Qualitative Studies of Meaning and Ensembles ..................... 53 Theoretical Frameworks .................................................................. 62 C. S. Peirce .............................................................................. 62 Symbolic Interactionism ......................................................... 65 Praxialism ............................................................................... 69 3 METHODOLOGY .................................................................................. 73 CHAPTER Page Research Design ............................................................................... 75 Site Selection ................................................................................... 80 Participant Selection ........................................................................ 83 Ethics, Confidentiality and Disclosure of Data ................................ 84 Researcher Role ............................................................................... 84 Data Collection ................................................................................ 86 Interviews ................................................................................ 86 Observations ........................................................................... 87 Field Notes .............................................................................. 88 Data Analysis ................................................................................... 88 Trustworthiness ................................................................................ 90 Remainder of the Document ............................................................ 93 4 WIND ENSEMBLE ................................................................................ 94 Part I - Context ................................................................................. 94 About the Program ........................................................................... 98 Joining Wind Ensemble ................................................................. 100 The Ensemble Atmosphere ............................................................ 103 A Sense of Legacy ......................................................................... 106 The Music ...................................................................................... 108 Performing ..................................................................................... 111 Part II – Meaning ........................................................................... 116 Belonging ....................................................................................... 117 vii CHAPTER Page A Place to Belong ................................................................. 117 Pride in Belonging to a High-Achieving Ensemble .............. 123 Belonging to a Team ............................................................. 126 Challenge and Achievement .......................................................... 128 Individual Challenge ............................................................. 128 Shared Success ...................................................................... 131 “Going for it” ........................................................................ 133 Emotional Intensity ........................................................................ 136 Connecting Through Music ........................................................... 138 Music For a Particular Context ...................................................... 141 5 GUITAR CLASS .................................................................................. 143 Part I - Context ............................................................................... 143 About the Program ......................................................................... 146 Class Atmosphere .......................................................................... 149 Guitar Students ............................................................................... 152 Music Played .................................................................................. 154 Guitar Class Music ................................................................ 158 Arranging and Creating .................................................................. 160 Learning ......................................................................................... 161 Accommodations .................................................................. 165 Performances .................................................................................. 166 The Spring Concert ..............................................................

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