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Ii ACKNOWLEDGEMENTS This Journey Would Not Have Been Possible Without the Support of My Family, Professors and Mentors, and Frie

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Ii ACKNOWLEDGEMENTS This Journey Would Not Have Been Possible Without the Support of My Family, Professors and Mentors, and Frie ACKNOWLEDGEMENTS This journey would not have been possible without the support of my family, professors and mentors, and friends. To my family, thank you for encouraging me in all of my pursuits and inspiring me to follow my dreams. I am especially grateful to my parents, who supported me emotionally and financially. I always knew that you believed in me and wanted the best for me. Thank you for teaching me that my job in life was to learn, to be happy, and to know and understand myself; only then could I know and understand others. Thank you to my mother, Carol Pellegrino, for guiding me as a person, violinist, and teacher and for offering her editing expertise throughout this process. I must thank all of the music education and School of Education professors whom I have worked with over the last four years for showing me what it means to be a dedicated, each in their own unique way. Each of you have given of your time, energy, and expertise and I am richer for it: Dr. Colleen Conway, Professor Robert Culver, Dr. Kate Fitzpatrick, Dr. Marie McCarthy, Dr. Herbert Marshall, Dr. Carol Richardson, Dr. Julie Skadsem, Dr. Betty Anne Younker; Dr. Donald Freeman, Dr. Addison Stone, Professor Stu Rankin, and Dr. Deborah Carter. Also, to my violin teacher, Professor Andrew Jennings, thank you for supporting my music-making and for helping me explore ideas about researching music-making in string teachers’ lives. I would like to give special thanks to my dissertation committee. I owe a debt of gratitude to Dr. Marie McCarthy for her time and careful attention to detail. To Dr. Colleen Conway, I thank her for her untiring support and guidance throughout my journey. To Professor Robert Culver, who encouraged me to pursue this degree and who has mentored me for almost twenty years, his insight into what makes a great string ii teacher and a great string program has helped me realize the connection between my own music-making and teaching, which has also inspired this dissertation. To Dr. Robert Freeman, thank you for modeling great teaching and for furthering my thinking about identity and learning. I must also thank Dr. Betty Anne Younker for challenging my thinking by helping me question assumptions and view issues from multiple perspectives. To my friends and roommates, thank you for listening, offering me advice, and supporting me through this entire process. Special thanks to my Michigan friends: Chad West, Erin Hansen, Dan Gilbert, Lisa Raschiatore, John and Rebecca Eros, Ann Marie Stanley, Ben and Brooke Allen, Lisa Furman, Scott Edgar, Michael Palmer, Christine Kapusky Moore, Mary Pipan McIntyre, Chris Wild, and Marie Gazillo. The debates, dinners, and game nights as well as editing advice, rides to the airport, and general help and friendship were all greatly appreciated. To my friends scattered around the country, thank you for your thoughts, well-wishes/prayers, phone calls, e-mails, texts, visits, editing advice, and being there whenever I needed a friend. To my music-making friends, who have shared part of themselves and their music with me, the connections we have made through music-making have enriched my life and I look forward to continuing our relationships. To my four participants, thank you for sharing your life stories with me and for your friendship. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS....................................................................................... ii LIST OF APPENDICES............................................................................................ x ABSTRACT............................................................................................................... xi CHAPTER I INTRODUCTION............................................................................... 1 Turning Toward the Phenomenon………….……………………………… 2 Personal Orientation………………………….…………………….. 2 Artist Teacher and Art-making……..……………………………………… 5 Identity Connections………….…….…………..………………….. 5 Making Multiple Connections………………………………..…….. 6 Connections Between Music-Making and Music Teacher Identity……...… 7 Connections Between Music-Making and String Teaching……..… 8 Connections Between Music-Making and String Teacher Identity..…………………………………………..... 8 Combining music-making and teaching………………….... 10 Integrated Identities………………………………………………... 13 “Communities of Practice” and Identity…………………………………… 15 Toward a Holistic Life of a Teacher...……………………………………... 17 Spirituality in a Teacher’s Life…………………………………….. 17 Spirituality in a Music Teacher’s Life………………………........... 19 A Sense of Wellbeing in a Teacher’s Life……………….………… 20 “Flow”……………………………………………………… 20 Positive Psychology……………….……………………….. 21 Wellbeing and Music-Making………………………………….….. 22 Rationale for Study……………………………………………………...…. 23 Purpose Statement and Research Questions……………………………….. 23 Theoretical Framework and Research Design……………..……………..... 23 Theoretical Framework……………….……………………………. 25 Research Design……………………………………………………. 27 Definitions…………………………………………………………………..28 Chapter Summary………………………………………………………….. 29 CHAPTER II REVIEW OF LITERATURE............................................................. 30 Artist Teachers…………………………..……………..………………..…. 30 Philosophical Literature…….……….……………..………………. 31 Research Studies…………………………………………………… 37 Synthesis of Artist Teacher Identity Literature…………..………… 44 Connections Between Performer and Teacher Identities in Music Teachers.45 Preservice Music Teacher Identity………………………….……… 46 Inservice Music Teacher Identity……………………………….….. 53 Critical Analysis of Selected Music Teacher Identity Literature…... 57 iv The Role of Emotion and Personal Music-making in the Study of Teacher Identity…………………… 57 Identity Conflict……………………………………………. 59 Situated Identities and Adopting Roles……………………. 59 Defining Music Teacher Identity…………………………... 60 Synthesis of Music Teacher Identity Literature……………………. 61 Holistic Approach to Researching Teachers……………………………….. 62 “Lives of Teachers” Research……………………………………… 62 Study of Band Teachers’ Lifeworlds………………………. 67 Sociocultural Theories of Identity Construction..………………….. 68 Vygotsky’s Approach to Research…………………………. 69 Linking Learning, Identity, and Community………………. 69 Linking Activity, Identity, and Socialization………………. 70 Chapter Summary………………………………………………………….. 72 CHAPTER III METHODOLOGY............................................................................ 73 Purpose Statement and Research Questions.…...…………………..……… 73 Theoretical Framework………………………..……………………...……. 73 Research Design……………………………..………………………...…… 76 Methods and Procedures……………………..…………………………..… 78 Participants…………………………………………………………. 78 Selection of Participants…………………………………… 78 Descriptions of Participants……..…………………………. 80 Ethical Considerations……………………………………………... 84 Types of Data………………………………………………………. 84 Background Survey... ……………………………………… 85 Video of Participants’ Music-making in their Classrooms… 85 Multiple Individual Interviews…………………….………. 85 Focus Group Interview…………………………………….. 86 Researcher Journals………..………………………………. 87 Researcher Interview……..………………...…………..….. 88 Trustworthiness……………..……..………………………………. 88 Data Analysis and Interpretation…………………………....……………... 90 Within-case Analysis………………………………………………. 90 Cross-case Analysis and Assertions……………………………….. 91 CHAPTER IV MEANINGS AND VALUES OF MUSIC-MAKING IN MY LIFE.93 My Musical Journey on the Way to Becoming a String Teacher.................. 93 Earliest Memories of Music………….............................................. 93 Choosing the Violin…...................................................................... 94 Playing Violin in Elementary School................................................ 96 Music-making as a Middle School and High School Student........... 97 Teaching as a Middle School and High School Student................... 99 Undergraduate School Experience.................................................... 99 Student Teaching Experience……........................................ 101 Graduate School Experience.............................................................. 101 v Meanings of Music-making............................................................... 103 Turning Towards Full-Time Public School Teaching....................... 104 Meanings and Values of Music-making in My Life as a String Teacher...... 105 Public School Teaching Career......................................................... 105 Music-Making in My Life as a String Teacher................................. 105 Obstacles to Music-making…............................................... 109 Meanings of Music-making: For Self and Others............................. 109 Music-making Intersecting with Teaching.................................................... 112 Modeling Love of Music-making...................................................... 113 Music-making to Solve Pedagogical Problems…............................. 113 Music-making to Proactively Address Classroom Management Issues...................................................................................... 114 Summary........................................................................................................ 114 CHAPTER V PARTICPANTS’ MUSICAL JOURNEYS ON THE WAY TO BECOMING MUSIC TEACHERS.................................................. 115 Jake……........................................................................................................ 115 Choosing the Bass……..................................................................... 116 Music-making as a Pre-college Student………...............................
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