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Swagger, Gentlemanliness, and Brotherhood: Explorations of Lived Experiences in a High School Men’S Chorus

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Swagger, Gentlemanliness, and Brotherhood: Explorations of Lived Experiences in a High School Men’S Chorus SWAGGER, GENTLEMANLINESS, AND BROTHERHOOD: EXPLORATIONS OF LIVED EXPERIENCES IN A HIGH SCHOOL MEN’S CHORUS By Andrea L. Ramsey A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education – Doctor of Philosophy 2013 ABSTRACT SWAGGER, GENTLEMANLINESS, AND BROTHERHOOD: EXPLORATIONS OF LIVED EXPERIENCES IN A HIGH SCHOOL MEN’S CHORUS By Andrea L. Ramsey The purpose of this study was to explore, investigate, and describe the culture of a high school men’s chorus. The following research questions guided this investigation: (a) How do singers in a men’s chorus define their experience? (b) How are their experiences and behavior while participating in a high school men’s chorus different or similar from their experiences and behavior in a high school mixed chorus? (c) How are their experiences and behavior while participating in a high school men’s chorus different or similar from other nonmusical, all-male activities, such as sports? (d) What bearing, if any, does participation in a men’s chorus have on the identities of these young men? The participants in this case study were ten high school men’s chorus members, two alumni of the chorus, and their choral music teacher from a suburban school in a Midwestern state. Data sources included individual and focus group interviews, written responses, the researcher’s field notes and reflective journal, and other artifacts. The data were analyzed using the constant comparative method, and trustworthiness was ensured by prolonged interaction with participants, data triangulation across multiple sources, member checks, and peer review. The ten themes to emerge were organized into two models according to their specific relationships. The overarching theme of (a) “brotherhood” encompassed three subthemes of (b) support, (c) pride, and (d) camaraderie. A second model was created to illustrate the remaining emergent themes, six of which were grouped into related pairs: (e) strength and sensitivity, (f) teacher authority and student ownership, and (g) work and play. Two remaining themes (h) trust and (j) vulnerability, shared a specific codependent relationship, and theme “repertoire” (k) emerged as the final theme, functioning as central strand or “tightrope” intersecting the other themes. The teacher in this study served as a facilitator and navigator of themes within both models. Participants indicated that singing in the men’s choir had impacted their identity in one or more ways, and participants also identified similarities and differences between men’s choir and mixed choir environments and between men’s choir and all-male sports activities. Interpretations of the data and implications for music education include: (a) Social benefits and camaraderie in tandem with musical excellence can create a rich male chorus experience, (b) Participants view singing as an act of vulnerability and thus require a safe and trusting environment, (c) Teachers may foster an atmosphere of trust and vulnerability by being personally trusting and vulnerable, (d) Participants in male choruses enjoy making excellent music and impressing others, (e) Participants in male choruses may have a broader view of male gender roles—learning to think outside of heterosexual and homosexual male stereotypes, (f) Participants in male choruses may participate more freely in class, as the opposite sex is not present, (g) Men’s choir rehearsals may be active and noisy, (h) Quality choral repertoire can provide a context for empowerment, self-discovery, connections, and character development, (j) Teachers may have greater success in teaching male singers when they navigate between strength and sensitivity, teacher autonomy and student ownership, and work and play, (k) Participants respond to invested, supportive teachers and clear structure, and (l) Teachers can establish male choruses that actively and effectively support peer mentoring. Suggestions for future research include examining the benefits of single sex choral experiences for high school students, and how or if the teacher’s sex impacts the single sex choral experiences of high school students. Copyright by ANDREA L. RAMSEY 2013 ACKNOWLEDGEMENTS I will always be deeply grateful for Mr. Dover, who leapt into this project with wholehearted enthusiasm and from whom I learned so much during our time together. Without his insight, generosity, and collaborative spirit, this dissertation would not have been possible. I would also like to express my thanks to the Cedar High School Men’s Choir, and the “Big 10,” as well as the two alumni participants, Max and Dan. You allowed me into your rehearsals, hearts, and minds. I am honored to share your voices in this document. I cannot say enough about my professors at Michigan State University who have so passionately invested in my academic and personal growth. I am especially indebted to those who served as members of my dissertation committee. To Dr. Cindy Taggart, thank you for your kindness, your keen eye for detail, and your savvy editorial skills. To Dr. David Rayl, thank you for helping me think more technically about my conducting, for sharing your depth and breadth of wisdom regarding choral literature, and for your thoughtful and timely advice. To Dr. Mitchell Robinson, thank you for challenging me, for encouraging me, and for always having my best interest in mind. Finally, to Dr. Sandra Snow, my dissertation chair and mentor: the magnitude of your imprint on my life cannot be fully conveyed in this space. Thank you for constantly nudging and pushing me to be more courageous. This is perhaps the greatest lesson I have taken from you—that risk-taking and vulnerability are prerequisites for deeper artistry and personal growth. Thank you for always believing in me—even when I wasn’t sure myself. You have reshaped my musical self-image, opened my eyes and ears to new ways of thinking and teaching, and changed my life in the best of ways. I look forward to many more years of continued learning from you (and friendship). v I am also grateful for those musical mentors who influenced me at a younger age: my middle school and high school choir teachers, Mr. Trent Clayton and Mr. Gary Morris; my high school voice teacher, Dr. Ellis Julien; and Mr. Phil Parker, my undergraduate composition instructor. Additional special thanks to my undergraduate voice professor, Mrs. Holly Ruth Gale (and her husband, John)—you two are family to me, and my life is so much richer for knowing you. To my fellow Michigan State music education and choral conducting student-colleagues, thank you for your friendship and for making this journey so much more enjoyable. Special thanks to Dr. Derrick Fox for his encouragement and friendship since high school. I can’t imagine having done this without you, Fox. I am grateful for my family who has always supported my musical endeavors. The love you have shown to me and faith you have placed in me is woven into this study. Thank you to my mother, Patsy Weatherly, and my father, Charles Ramsey, for believing in me and for sacrificing greatly so that my brother and I could have musical opportunities. You instilled in us the importance of pursuing our dreams, getting a good education, and finding careers we loved. We took those lessons to heart, and our lives are better for having done so. Finally, thank you to my younger (and smarter) brother, Dr. Matthew Ramsey. I am so proud of you and inspired by you. You willingly accepted the mantle of “older brother” (academically-speaking) during this season of my life. Thank you for your solid advice and ever-listening ear as I grappled with the challenges and trials of pursuing this degree, and for helping me celebrate each small success along the way. I love you, bro. vi TABLE OF CONTENTS LIST OF TABLES ......................................................................................................................... xi LIST OF FIGURES ...................................................................................................................... xii CHAPTER 1 Introduction............................................................................................................... 1 Personal Teaching Reflection 2006: Speaking the Language ..................................................... 1 Reasons for Singer Participation in Choral Ensembles .............................................................. 4 Personal Teaching Reflection 2008: A Sister in the Brotherhood .............................................. 7 Choir as Community ................................................................................................................... 9 Personal Teaching Reflection 2012: “Just Do the Music” ........................................................ 13 Summary ................................................................................................................................... 16 Purpose and Problems ............................................................................................................... 19 CHAPTER 2 Review of Related Literature .................................................................................. 20 Single Sex and Coeducational Learning in General Education ................................................ 20 Experiences for students in single sex learning. ................................................................... 22 Scientific Considerations in Single Sex Learning ...................................................................
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