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Young String Players in The AMBASSADORS OF MULTIPLICITIES: YOUNG STRING PLAYERS IN THE CONTEMPORARY CLASSICAL MUSIC COLLECTIVE CALLED “FACE THE MUSIC” by Ieong Cheng WeAtherly DissertAtion Committee: Professor Randall Everett Allsup, Sponsor Professor JeAnne Goffi-Fynn Approved by the Committee on the Degree of Doctor of EducAtion Date 22 MAy 2019 Submitted in partiAl fulfillment of the requirements for the Degree of Doctor of EducAtion at TeAchers College, ColumbiA University 2019 ABSTRACT AMBASSADORS OF MULTIPLICITIES: YOUNG STRING PLAYERS IN THE CONTEMPORARY CLASSICAL MUSIC COLLECTIVE CALLED “FACE THE MUSIC” Ieong Cheng WeAtherly This study explores the experiences of young string plAyers in a music collective cAlled Face the Music. The organizAtion consists of musiciAns aged 10 to 18, and is dedicAted to the preparation and performAnce of music by living clAssicAl composers. I begin with the assertion that contemporary clAssicAl music, hereinafter referred to as contemporary music, is often misinterpreted and underappreciAted by the general public, And even musiciAns themselves. There is minimAl reseArch exploring what contemporary clAssicAl music educAtion is or could be, especiAlly regarding non-professional musiciAns And/or adolescents. From this stArting point, I explore the experiences of 18 members, six coaches, and one parent. DAtA includes focus group interviews with young string plAyers in quartet settings, individual interviews with coaches, field notes, and a variety of musicAl artifacts. Face the Music musiciAns were highly flexible and versAtile musiciAns; they identified as performers, composers, and improvisers—And possibly rebels of some kind. In addition to these subjectivities, their most prominent characteristic wAs reveAled in their “polytonal roles,” a concept I explicAte. Findings suggest complex relAtionships between their emotions and contemporary music. Several disparate benefits, especiAlly sociAl benefits, were mAnifested through the ideA of community. Coaches at Face the Music perceived their roles as pushing the boundaries of traditional clAssicAl music training and promoting living composers. The unsureness and uncertAinty from the young string plAyers also reflect the ambiguous nature of contemporary music. Findings suggest that there is a space for music educAtors to re-conceptualize contemporary clAssicAl music educAtion for young musiciAns. © Copyright Ieong Cheng WeAtherly 2019 All Rights Reserved ii DEDICATION To my 寶貝, Chris; my parents in MAcAo, Helen Ieong and PAn Ho; And my parents in New York, Terri and JAy. iii ACKNOWLEDGEMENTS First of all, I would like to thank my advisor, Dr. Randall E. Allsup for your tremendous help, guidance, and encouragement. I cAme to TeAchers College to study with you. Your teAching has transformed me as a music educAtor. You alwAys believed in me And helped me to accomplish far more than I believed I could have ever done. You are not only my mentor, but also my friend: I will miss the time we traveled together to China for your workshops on jet-lAg; the two wonderful summers that I studied with you in Xiamen University; and mAny more invaluable memories that we had together. I would like to thank you Dr. JeAnne Goffi-Fynn, who alwAys gives me so mAny performAnce opportunities, trusting me not only a music educAtor, but also as a performer. I gained so mAny insightful experiences through teAching applied lessons at the university. You mAde me reAlized me my passion both as a music performer and educAtor. I would also like to thank other faculty at TeAchers College. Thank you Dr. HAl Abeles for alwAys being so kind and looking out for me. You alwAys send me job postings that you think I would be a good cAndidate for. Thank you Dr. Lori Custodero for giving me precious teAching experiences teAching young children at TeAchers College Community School. Thank you Dr. Kelly PArkes for your detAil-oriented and helpful demeAnor, And for alwAys answering my questions promptly. I am also thankful for my violA teAchers in the ACHT violA studio, Heidi CastlemAn, Misha Amory, and Steven Tenenbom, who tAught me to be a musiciAn, rather than a music student, allowing my passion for contemporary music to grow over the iv yeArs. And also, Yi-FAng Huang, the most skillful and friendly collAborative piAnist I have ever encountered. I would also like to thank MAlika. She is the kindest music office mAnager, and she has supported me and encouraged me throughout the yeAr. I also wAnt to thAnk the other students who work in the office, such as Chris A., Will P, and Elliot A. I come to school five days a week and they are alwAys the people I see and tAlk to everyday. I also have a long list of friends that I would like to thank And here Are just A few: YAn, you are among the first friends I mAde in TeAchers College. I treAsure our friendship And our time working together. Dr. TAmmy Yi, I have leArned so much from you; your passion and pedagogy for teAching young children is admirable. NAtAlie, you are not only my friend, you are my mentor of life. A5: Aggie, Nicole, Glua, Grace, RitA, though you Are all in MAcAu, I still feel your support in texts over ten yeArs. Thank you! LAstly, I would thank my family. My parents, Helen and PAn, you have scArified a lot for me to fulfill this dreAm. I am forever indebted to your unconditional love. I am who I am now becAuse of you. I also like to thank my parents-in-lAw, Terri and JAy. You gave me so much valuable advice, love, and support. I also need to thank my cute pup, Toby, whom I adopted from KoreA. She supports me with her cuteness And accompanies me all the time. In the very end, I would not be Able to Accomplish this without the help of Chris, my husband, my best friend, my soulmAte, my partner-in-crime. You Are the one who motivates me to work hard. You tAke cAre of me when I Am too busy, And celebrate with me even for my minor Achievements. I love you so much And thank you for being here for me. I.C.W. v TABLE OF CONTENTS PAge Chapter I – INTRODUCTION ....................................................................................... 1 Overview ............................................................................................................. 2 Definition of Terms ............................................................................................. 4 Personal NArrative ............................................................................................... 6 Background/Rationale ......................................................................................... 8 TheoreticAl Framework ....................................................................................... 12 Problem StAtement ............................................................................................... 16 ReseArch Purpose ................................................................................................. 17 ReseArch Questions ............................................................................................. 18 ReseArch Methodology Overview ....................................................................... 19 Chapter II – REVIEW OF LITERATURE ..................................................................... 20 HistoricAl Background of Contemporary Music ................................................. 21 Controversies in Contemporary Music .................................................... 23 Contemporary Music Projects in the United StAtes ................................. 24 Professional Ensembles in Contemporary Music .................................... 33 Music and Identity ............................................................................................... 35 Contemporary Music and Young People’s MusicAl Preferences ............ 37 Contemporary Music and Pedagogy ................................................................... 41 Conclusion ........................................................................................................... 46 Chapter III – METHODOLOGY .................................................................................... 48 ReseArch Design .................................................................................................. 49 PArticipant Observations .......................................................................... 49 PArticipants .............................................................................................. 50 Setting ...................................................................................................... 51 Pilot Study ............................................................................................... 52 InstrumentAtion for DAtA Collection .................................................................... 56 PlAn of Analysis ................................................................................................... 57 Ethics ................................................................................................................... 58 Informed Consent and IRB ...................................................................... 59 Chapter IV – FACE THE MUSIC ................................................................................... 60 WAlking Into the Un/known ................................................................................ 60 ReseArch Site: Face the Music ............................................................................ 65 SpeciAl Music High School ....................................................................
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