Adolescent boys’ music beliefs, values, and identity work in a single-sex independent school Jason John Colin Goopy Master of Music (Aural Pedagogy) Bachelor of Music (First Class Honours) Bachelor of Education Associate Diploma of Music A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2020 School of Music Abstract Music has the potential to shape and support who we are and who we will become. Recent research has highlighted the significance of musical identities in adolescent identity work. The term “identity work” acknowledges that the construction of identities is continuously ongoing and evolving. Adolescents’ musical identities can be examined by their uses of music (music in identities) and the musical roles they adopt (identities in music). Psychological perspectives also seek to explain musical behaviours by investigating inner states such as music beliefs and values. Musical identities can be shaped and supported by music learning and development, highlighting the potential contributions and responsibilities of school music education. Little research has specifically examined the role of secondary school class music (also known as classroom music or general music) education in boys’ identity work. This study investigated adolescent boys’ music beliefs, values, and identity work in a single-sex independent school, interrogating the following questions: 1. What are the music beliefs, values, and uses of adolescent boys in a single-sex independent school? 2. How do these adolescent boys use music to shape and support their identity work? 3. What aspects of class music in this context shape and support adolescent boys’ identity work in and through music? Qualitative research was conducted within a constructivist paradigm, adopting a relativist ontology and subjectivist epistemology. Narrative inquiry and naturalistic case study methodology were used. The research setting was my place of employment at the time; an Australian independent P–12 boys’ school. Consequently, the study methodology was underpinned by continuous teacher–researcher reflexivity. Data were generated and triangulated using one-on-one semi-structured interviews incorporating a “draw and tell” artefact elicitation technique with ten Year 12 students and their parents. Students had continuously studied class music with me over a period of 2.5 to 5 years. Narrative analysis and analysis of narratives approaches were employed in the interpretation of data. This resulted in the co- construction of six unique student stories. The collective analysis of narratives informed the discussion and included the remaining four student interview transcripts, providing a means to corroborate and/or challenge the findings presented in the six student stories. Findings indicate that the music beliefs and values of adolescent boys in this study are mental states which are inseparable from their behaviours and actions, overlapping and fusing together. Their beliefs, values, and uses of music are interconnected, individualised, diverse, and evolving. They use music as a means of making and managing the self; establishing, developing, and maintaining relationships with others; and, developing proficiency in the discipline of music. Adolescent boys in this study use music in personalised and evolving ways as an ongoing resource to shape and support ii their musical identities and possible selves. They have multiple and circumstantial musical identities and the extent of their engagement with music, and music’s influence, varies between individuals. Participants are self-aware and able to identify these differences. They use music as a resource for self-to-self and self-to-others in the construction of their musical identities. Adolescent boys use prior musical experiences in music learning and development in order to inform their present and projected future use of music. The music family script and the conflict between boys’ passion for music and their perceived future financial security are also found to influence their identity work. Despite mixed perspectives in the literature, students in this study articulate the view that school class music has a significant and positive role in shaping and supporting their identity work. My professional relationship with the students was a significant factor in their identity development, with students describing me as a credible model and expert; able to ignite and share passion; and, express genuine care towards their learning and well-being. Student flourishing is at the core of my philosophy and pedagogy, occurring through the explicit development of musical understanding; nurturing learner agency; creating a community of ethical music learners; and, entangling students’ musical worlds. My curriculum values diverse music literature; sequentially layers music domains; and, provides a range of authentic music learning experiences. This research study contributes new knowledge to the fields of music, music psychology, and music education. Further research is justified to examine the interplay between past, present, and projected uses of music and its role in identity work. This study demonstrates school music education can and should seek to positively shape and support student musical identities, and future investigations of participants’ perspectives from diverse settings are warranted. It is recommended that government policy and practices are established in order to ensure that all Australian children in early childhood, primary, and lower secondary school have access to class music education, with consideration given to initial specialist music teacher education. The entanglement of school music teachers and learning experiences and their combined role in student identity work warrants further investigation. Continued research concerning the influence of the family script is needed, and students and families would benefit from specialised music pathway and career education programs in order to assist in the construction of possible selves. Future research investigating the contribution of music identity work to broader identity theory is justified. The use of “draw and tell” artefact elicitation techniques produced rich participant responses and its use in future research with adolescents and adults is worthy of further consideration. iii Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, financial support, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my higher degree by research candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis and have sought permission from co-authors for any jointly authored works included in the thesis. iv Publications included in this thesis No publications included. Submitted manuscripts included in this thesis No manuscripts submitted for publication. Other publications during candidature Peer-reviewed papers Goopy, J. (2013). ‘Extra-musical effects’ and benefits of programs founded on the Kodály philosophy. Australian Journal of Music Education (2), 71–78. Peer-reviewed conference paper abstracts Goopy, J. (2019, October). Observations of daily classroom music lessons by primary school teachers. Paper presented at the Australian Society for Music Education Conference, University of Western Australia, Perth, Australia. Goopy, J. (2019, August). Shaping and supporting young boys’ identity work in and through daily class music. Paper presented at the International Kodály Symposium, Kuching, Sarawak, Malaysia. Goopy, J. (2019, April). Adolescent boys’ beliefs, values and uses of music and how music shapes and supports their identity work. Paper presented at the International Research in Music Education (RIME) Conference, Bath Spa University, England. Goopy, J. (2018, October). Aspects of class music that support and shape adolescent boys’ identity work. Paper presented at the Australian and New Zealand Association for Research in Music Education Conference, Gold Coast, Australia. Goopy, J. (2017, August). Beliefs, values and uses of music by an adolescent boy, and school class music practices that support his identity work. Paper presented at the International Kodály Symposium, University