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Participation in Winter Guard International As Experienced by Ten Stakeholders: a Phenomenological Study

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Participation in Winter Guard International As Experienced by Ten Stakeholders: a Phenomenological Study The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2018 Participation in Winter Guard International as Experienced by Ten Stakeholders: A Phenomenological Study Jeremy Morgan University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Education Commons Recommended Citation Morgan, Jeremy, "Participation in Winter Guard International as Experienced by Ten Stakeholders: A Phenomenological Study" (2018). Dissertations. 1587. https://aquila.usm.edu/dissertations/1587 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. Participation in Winter Guard International as Experienced by Ten Stakeholders: A Phenomenological Study by Jeremy Paul Morgan A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Approved by: Dr. Edward Hafer, Committee Chair Dr. Mark Waymire Dr. Amanda Schlegel Dr. Webb Parker ____________________ ____________________ ____________________ Dr. Edward Hafer Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Director of School of Dean of the Graduate School Music December 2018 COPYRIGHT BY Jeremy Paul Morgan 2018 Published by the Graduate School ABSTRACT The purpose of this phenomenological study was to describe the essence of Winter Guard International (WGI) as lived by ten stakeholders, invested individuals currently serving in leadership roles within the percussion and winds divisions of the WGI organization. Through the lens of a social constructivist theoretical framework, and the use of individual interviews to obtain data, this study considered what participants have experienced and the contexts in which these experiences have taken place. Grounded theory concepts were used initially to clarify the perspective and scope of the study. Analysis of the data involved the identification of significant statements from participant interviews. These statements were grouped into four main themes that appeared to be common to all participants. The four themes were: 1) the Development of Character and Identity: Non-Musical Outcomes, 2) Achievement and Excellence, 3) WGI as Educational Entity, and 4) Competition. Additional subthemes were identified for two of the four main themes. Findings indicate that though participants in this study approached WGI from varying backgrounds and distinct personal contexts, their reported experiences with WGI are remarkably similar. Findings further indicate that these experiences resulted in an enthusiastic view of the organization’s positive and life-changing influence on students as musicians, performers, and citizens. The implications for WGI’s contribution to instrumental music education, and school band programs specifically, are discussed. Topics for future research are suggested. Keywords: Winter guard, education reform, non-traditional music curriculum iii ACKNOWLEDGMENTS Few are those who will fully understand the significance of this document, to me. Mom, you understand. Thank you for not giving up on me. Thank you for sacrificing so much to give me the experiences that would shape the rest of my life. To my grandparents, Pop and Mimi, thank you for supporting and encouraging me by driving all over the country to watch me perform. Pop, I think Mimi would have really enjoyed seeing this happen. Jill and Garrett, thank you for telling your big brother that you’re proud of him. It has meant more than you know. Jimi, I have no words. Wes, thank you for listening when I needed to rant, and for pushing me when I wanted to quit. I couldn’t have asked for a better friend to make this journey with; we did it! Dr. Dan “Danny” Doyle, 32 years ago we met. I had no way of knowing the impact you would have on my life. Thank you for never letting me be average. Thank you for algebra books, locked practice rooms, and a semester’s worth of undone homework. We have told that story and laughed about it countless times, but we both know what it was really about and what it has meant. You filled a gap in my life at a time when things could have taken a bad turn, and I am so glad that we have now become friends and colleagues. Dr. Mark Waymire, thank you for your guidance and willingness to make time when I was starting to stress. I consider you not only an advisor and mentor, but a friend as well. You have made this process smoother and more enjoyable than I ever expected. Dr. Amanda Schlegel, Dr. Ed Hafer, and Dr. Webb Parker, thank you for challenging me. I will walk away from this knowing that I experienced great teaching iv from educators who genuinely wanted to see me succeed, and inspired me to be better at all things musical. v DEDICATION This dissertation is dedicated to my wife, Jamie, and our children, Reese and Briley. Jamie, this degree is as much yours as it is mine. Thank you for understanding why I needed to do this. Reese, thank you for thinking this is “cool”. Briley, thank you for being proud that your dad is going to be a doctor! I am so proud of both of you, and no one is “cooler”! vi TABLE OF CONTENTS ABSTRACT ....................................................................................................................... iii ACKNOWLEDGMENTS ................................................................................................. iv DEDICATION ................................................................................................................... vi LIST OF TABLES ............................................................................................................. xi CHAPTER I - INTRODUCTION ...................................................................................... 1 Background ..................................................................................................................... 2 Winter Guard International Overview ........................................................................ 2 Music Education Reform ............................................................................................ 5 Philosophical Positions ............................................................................................... 6 Current Band Curricula ............................................................................................... 9 Band Program Performance Venues Today .............................................................. 11 Meeting the Musical Needs of Students ................................................................... 12 Generation Z ............................................................................................................. 13 Research Problem Statement ........................................................................................ 14 Purpose Statement ......................................................................................................... 15 Research Questions ....................................................................................................... 16 Definitions..................................................................................................................... 16 Overview of Research Design ...................................................................................... 18 Theoretical Framework ................................................................................................. 18 vii CHAPTER II – REVIEW OF LITERATURE ................................................................. 19 Philosophy of Music Education ................................................................................ 19 The Traditional Large Ensemble .............................................................................. 24 Non-Musical Outcomes of Music Education ............................................................ 26 Competition............................................................................................................... 28 Reliability of Adjudication ....................................................................................... 33 Music Education Reform .......................................................................................... 35 Summary ................................................................................................................... 45 CHAPTER III - METHODOLOGY ................................................................................. 48 Phenomenological Inquiry ............................................................................................ 48 Identification of the Study Topic .................................................................................. 50 Selection of Participants ............................................................................................... 51 Introduction of Study Participants ................................................................................ 53 Data Collection ............................................................................................................. 58 Pilot Interview Description ........................................................................................... 59 Phenomenological Questioning ...................................................................................
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