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African American Students in Band and Orchestra Programs STUDENTS’ PERCEPTIONS AND EXPERIENCES: AFRICAN AMERICAN STUDENTS IN BAND AND ORCHESTRA PROGRAMS By Sharese Pearson-Bush BM (East Carolina University) 2005 MA (Webster University) 2010 MEd (Lesley University) 2015 A DISSERTATION Presented to the Affiliated Faculty of The College of Graduate and Professional Studies at the University of New England Submitted in Partial Fulfillment of Requirements For the degree of Doctor of Education Portland & Biddeford, Maine May 2020 Copyright by Sharese Pearson-Bush 2020 ii iii University of New England Doctor of Education Educational Leadership This dissertation was presented by Sharese Pearson-Bush It was presented on April 14, 2020 and approved by: Heather Wilmot, Ed.D, Lead Advisor University of New England Darren Akerman, Ed.D, Secondary Advisor, University of New England Ryan Westberry, Ed.D Affiliate Committee Member Berkeley County School District, South Carolina iv Sharese Pearson-Bush May 2020 Educational Leadership STUDENTS’ PERCEPTIONS AND EXPERIENCES: AFRICAN AMERICAN STUDENTS IN BAND AND ORCHESTRA PROGRAMS ABSTRACT The purpose of this mixed-methods study was to explore how African American students in a South Carolina metropolitan area perceived their experiences in band and orchestra at their middle school. Fifty-one sixth through eighth grade students responded to an inventory that measured students’ predisposition to music, pedagogical preferences, and cultural awareness. Furthermore, seven of the fifty-one students engaged in individual, semistructured interviews that measured students’ personal connection to musical experiences within their culture and communities. This study examined the minimal rate at which African American students participated in music programs through the conceptual lens of African-Centered Pedagogy and Culturally Responsive Pedagogy. It was proposed that race, culture, musical preference, physiological needs, socioeconomic level, and community or family structures were variables that created significant inequities and lack of inclusion that influenced the recruitment and retention of African American students in school-based band and/or orchestra programs. The quantitative data was used to investigate students’ predispositions to music, pedagogical preferences, and cultural awareness. The following six themes emerged: (a) student/teacher relationships, (b) student self-awareness, (c) teacher cultural acceptance of v students, (d) student desirability of instrumental music classes, (e) teacher community and cultural consciousness, and (f) student outside perception and influence. Furthermore, qualitative data collected through individual interviews was used to develop a profound understanding of African American students’ perspectives and experiences in school- based band and orchestra programs. The following five invariant constituents and themes emerged: (a) music preference implies listening and/or performing; (b) family, friends influence music listening, music performance, and instrument selection; (c) self-esteem, physiological needs and self-actualization in class; (d) class attentiveness, practice, and teacher feedback influence achievement; and (e) student preference to activities combining music and culture. This study also explored areas for action to expand research to identify what motivates academic success of African American students and broaden horizons of what motivates African American students to join and remain in band and orchestra programs. These areas of action are as follows: (a) individual awareness of the teacher, student, and school community; (b) district initiatives through professional development and band and orchestra framework; and (c) state curriculum to diversify music education and transform music studies. Keywords: Music education, instrumental music, Culturally Relevant pedagogy, Culturally Responsive pedagogy, African Centered pedagogy, metropolitan middle school vi ACKNOWLEDGMENTS To my older brothers, Craig and Dexter Pearson. God bestowed musical talents within you illuminating my artistic spirit. You were my footprints. ...My precious child, I love you and will never leave you. Never, ever, during your trials and testings. When you saw only one set of footprints, it was then that I carried you. (Excerpt from Footprints in the Sand, Mary Stevenson, 1936) To my parents, Dr. Sam Pearson and Mrs. Jennie Pearson. In honor of your faith, compassion, and persistence to encourage academic and artistic virtue; you will continue to illuminate my holistic spirit and my purpose in life... My mission in life is not merely to survive, but to thrive, and to do so with some passion, compassion, some humor and some style. (Maya Angelou: In her own words, 2014) To my husband, Jason Bush, our feline child, Dakota, and heartfelt friends. Your everlasting love, patience, and genuine compassion provided vivacity to complete this academic journey. You reminded me to have faith in unconditional love. Keep smiling, keep shining. Knowing you can always count on me, for sure. That’s what friends are for. For good times and bad times, I’ll be on your side forever more… (Excerpt from That’s What Friends are For, Dionne Warwick, 1985) To the numerous adjudicators, clinicians, conductors, music instructors, music teachers, and music professors from my personal life: All-State Orchestra, Band, Chorus, Church choir, District Band, General music, Marching Band, Orchestra, Private/Studio instruction, Region Orchestra, Senior Drum Corps, Summer music camps, Various symphonies, Youth orchestra, and other miscellaneous productions. You saw the best in me when other teachers minimized my capabilities. vii He saw the best in me. When everyone else around could only see the worst in me...When folks walk you off, said you would never make it. What did He see? He saw the best. (Excerpt from The Best in Me, Marvin Sapp, 2010) And finally, to my innumerable students and numerous professional colleagues. You have given me courage. My job is to somehow make them [African Americans] curious enough or persuade them...to get more aware of themselves and where they came from and what they are into and what is already there is to bring it out. This is what compels me to compel them... (Quote from Nina Simone, cited in Love me Nina/Semiautomatic, Wale, 2019) viii TABLE OF CONTENTS CHAPTER 1: INTRODUCTION ....................................................................................................1 Statement of the Problem .....................................................................................................2 Purpose of the Study ............................................................................................................3 Research Questions ..............................................................................................................4 Conceptual Framework ........................................................................................................4 Assumptions, Limitations, and Scope ..................................................................................5 Rationale and Significance ..................................................................................................7 Background ..............................................................................................................9 South Carolina Visual and Performing Arts Standards ...........................................9 Profile of School District Instrumental Music Programs .......................................24 Definition of Terms............................................................................................................34 Conclusion .........................................................................................................................36 Dissertation Overview .......................................................................................................37 CHAPTER 2: LITERATURE REVIEW .......................................................................................40 Methods for Establishing and Maintaining Instrumental Music Programs .......................41 Recruitment in Instrumental Music .......................................................................41 Retention in Instrumental Music ............................................................................43 The Significance of Instrumental Music for African American Students .........................45 The Importance of Cultural Influence ....................................................................46 Socioeconomic Status and Psychosocial Disadvantages .......................................48 Technological Developments.................................................................................49 Musical History of the Geographical Location ..................................................................51 ix Historical Events ....................................................................................................51 Music Genres .........................................................................................................68 Conceptual Framework ......................................................................................................88 Culturally Responsive Pedagogy ...........................................................................89 Culturally Responsive Teaching in Music Education ............................................91 African-Centered Pedagogy .................................................................................104
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