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The Relationship Between Large Ensemble Participation and the Social Identity of High-Performing Secondary Band, Orchestra, and Choir Students

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The Relationship Between Large Ensemble Participation and the Social Identity of High-Performing Secondary Band, Orchestra, and Choir Students The Relationship Between Large Ensemble Participation and the Social Identity of High-Performing Secondary Band, Orchestra, and Choir Students by Christopher M. Marra A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Education) in the University of Michigan 2019 Doctoral Committee: Associate Professor Kate Fitzpatrick, Co-Chair Associate Professor Michael T. Hopkins, Co-Chair Associate Professor Erin Krupka Professor Marie McCarthy Christopher M. Marra [email protected] ORCID iD: 0000-0003-4647-305X © Christopher M. Marra 2019 DEDICATION I would like to dedicate this project to my late father, Marty Marra who passed away when I was seven years old. Though you have been gone for most of my life, I live every day with the thoughts and memories of your love and good nature. I have always strived to make decisions in my life that would make you proud and to live up to the positive experiences you gave me as a present and caring farther. While our time together was brief, your influence and presence in my life could not be more important to this day. ii ACKNOWLEDGEMENTS First and foremost, I would like to thank my best friend, my most valued colleague, and my wife Jessica Vaughan-Marra. Jess continually inspires me both personally and professionally. From the time we met as music education undergrads, she has been an unstoppable force of love and devotion to our relationship and family as well as to the music education profession. I feel so fortunate to have a partner who shares the same personal and professional interests and aspirations. I also want to acknowledge that this was all her fault. It was Jess’s idea to start our masters at Northwestern University during the summer of 2007 (right after her first year of teaching) when I just wanted to take a break. It was also her idea to apply for doctoral programs when I could have easily stayed the course. At every step, Jess had the courage and ambition to take these leaps of faith and while I may have had to come to these decisions on my own time, I am so grateful we had the bravery to pursue this path together. Leaving stable teaching jobs and moving across the country with our two-year-old and dog to become graduate students (without any guarantees on the other end) was one of the greatest risks we could have taken. However, it has also reaped the greatest rewards. Thank you Jess for all of your love, support, and inspiration and for taking us on this journey! I would like to acknowledge our two amazing boys Everett and Connor. Everett, you have been with us throughout every step of this adventure. Our time in Michigan is difficult to put into words. We experienced some very challenging moments for our family, yet these experiences brought us closer together and helped us stay focused on what was truly important in our life. You are a constant source of energy and laughter. You keep us grounded and remind us iii how important it is to lose yourself in imagination. Thank you for being so patient (most of time) and supportive throughout this entire process. Connor, while you have only recently joined the journey, your presence has been such a positive addition to our lives. From the beginning, you have always had a way of lighting up a room with your big smile, loud giggles, and constant intrigue for the world around you. Thank you for making every day of this process better and more meaningful. It is important to acknowledge the significant role my mother-in-law, Kathy Vaughan, has played in our success as professionals. In a very literal way, we could not have done this without her. She has selflessly given so much of her time and love to ensure our success. From driving to Ann Arbor several times while we attend conferences, to coming over after her long work days to help put Connor to sleep while we edit our dissertations, Kathy has been personally invested this process every step of the way. The culmination of this dissertation could not have been possible without her seemingly limitless support. Next, I would like give thanks to my mother, Susan Marra and my aunt Christine O’Donnell for the substantial role they had in supporting this life decision. Your love and encouragement have meant so much to us. I would also like to thank my late grandparents, Yolonda Marra and Eugene and Marge O’Donnell. My grandparents had a significant role in my upbringing, and I attribute much of my success to their unwavering love and support of my musical and professional aspirations. Thank you to my dissertation co-chair Dr. Michael Hopkins for the many conversations and revisions that helped establish this study with a high level of rigor and clarity. Thank you to my dissertation co-chair Dr. Kate Fitzpatrick for being a such a consistent source of encouragement and grounding throughout this degree process and during this project in particular. You continuously challenge my thinking while always leaving me with a feeling of iv optimism and purpose. I am so grateful for your professional encouragement and collegial friendship. Thank you to the members of my committee, Dr. Erin Krupka for introducing me to these theories of social influence and Dr. Marie McCarthy for encouraging me to be contemplative and deliberate in my scholarly pursuits. I am honored to have worked with such outstanding scholars and teachers on this project. I would like to thank my graduate student colleague, Molly Baugh, for assisting me in the data collection process and for the countless phone calls and messages that helped me analyze and interpret the data for this dissertation. I am also indebted to The Summer Performing Arts Camp and their administrative team who granted me full access to complete this study during their summer camp. I would also like to acknowledge my friend and professional mentor Dr. Steve Benham whose guidance and encouragement was pivotal in our decision to pursue this degree. Your teaching, counseling, and companionship have steered so many aspects of my life. Finally, I would like to thank my colleagues from Seton Hill University, in particular Dr. Curt Scheib, Dean of the School of Visual and Performing Arts, and Sr. Susan Yochum, Provost, for giving us the opportunity to teach at this outstanding institution and for supporting us through the completion of our doctoral degrees. v TABLE OF CONTENTS DEDICATION ................................................................................................................................ ii ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF TABLES .......................................................................................................................... ix LIST OF FIGURES ......................................................................................................................... x LIST OF APPENDICES ................................................................................................................ xi ABSTRACT ................................................................................................................................. xii CHAPTER I – Introduction ......................................................................................................... 1 Purpose Statement ........................................................................................................................... 4 Theories of Social Influence ............................................................................................................ 5 Historical Development ....................................................................................................... 5 Social Comparison Theory .................................................................................................. 6 Social Identity Theory ......................................................................................................... 8 Self-Categorization Theory ................................................................................................. 9 Personal Identity and Social Identity ..................................................................... 10 Summary of Social Theories ............................................................................................. 11 The Social Identity Approach ........................................................................................................ 12 Theoretical Framework for the Study ............................................................................................ 13 Adolescent Social Development .................................................................................................... 14 Extra-curricular Environments in School Settings ............................................................ 15 Social Experiences within Music Ensembles ................................................................................ 16 Conclusion ..................................................................................................................................... 18 Definitions ..................................................................................................................................... 19 CHAPTER II – Review of Literature ........................................................................................ 22 Common Assumptions of Social Theories .................................................................................... 23
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