Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 12-8-2018 Performers as Teachers: A Case Study on How Two El Sistema-Inspired Teaching Artists' Performance Identities Manifested During Instruction Alicia J. Monroe Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons Recommended Citation Monroe, Alicia J., "Performers as Teachers: A Case Study on How Two El Sistema-Inspired Teaching Artists' Performance Identities Manifested During Instruction" (2018). LSU Doctoral Dissertations. 4776. https://digitalcommons.lsu.edu/gradschool_dissertations/4776 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PERFORMERS AS TEACHERS: A CASE STUDY ON HOW TWO EL SISTEMA-INSPIRED TEACHING ARTISTS’ PERFORMANCE IDENTITIES MANIFESTED DURING INSTRUCTION A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts by Alicia J. Monroe B.M., University of Wisconsin-Madison, 2011 M.M., Louisiana State University, 2014 May 2019 Acknowledgements It was an honor to have been given the opportunity to complete my doctoral work. Special thanks to the individuals who selected me to be the recipient of the Huel D. Perkins fellowship and making this degree possible. I would like to thank the Louisiana State University music education and performance departments for their support the last six years. Special thanks to: 1) my doctoral committee, for making their evenings available for my exam defense and final defense: Ann Marie Stanley, Elias Goldstein, Espen Lilleslatten, and Susan Duncan, 2) the LSU music education department for several years of patience and guidance: James Byo, Jane Cassidy, Dan Isbell, Jason Bowers, and Ann Marie Stanley, 3) Melissa Brunkan for helping me begin this research, 4) Jody Hanet for believing in me, for giving me a chance to teach five years ago, and the continued support, 5) Elias Goldstein for pushing me to teach and always expecting the best out of me, 6) Ann Marie Stanley for helping me realize my love for teaching general music and all the guidance on this research project, 7) Sam Trevathan for his kindness, patience, and sense of humor, and 8) Sheila and Darrel Monroe for their unconditional love, support, and belief in me and everything I have wanted to do with my life these last 30 years. ii Table of Contents Acknowledgements ......................................................................................................................... ii Abstract ............................................................................................................................................v Chapter 1. Introduction ....................................................................................................................1 Personal Vignette .........................................................................................................................1 El Sistema: Origins and a TED Wish ..........................................................................................4 Kids’ Orchestra: Brief Overview .................................................................................................5 Teaching Artists ...........................................................................................................................7 Chapter 2. Review of Literature.......................................................................................................9 Community Music and El Sistema/El Sistema-Inspired Programs .............................................9 Teaching Artists, Pedagogy, and Teaching Styles .....................................................................22 Musicians’ Identities ..................................................................................................................25 Culturally Relevant Pedagogy ...................................................................................................28 Need for the Study .....................................................................................................................31 Purpose .......................................................................................................................................32 Chapter 3. Method .........................................................................................................................33 Instrumental Case Study Design ................................................................................................33 Participants and Sampling..........................................................................................................33 Data Collection ..........................................................................................................................34 Data Analysis .............................................................................................................................35 Validity of Data and Integrity ....................................................................................................36 Chapter 4. Participant Portraits ......................................................................................................37 Kevin ..........................................................................................................................................37 Paulo ..........................................................................................................................................42 Final Thoughts ...........................................................................................................................47 Chapter 5. Findings ........................................................................................................................49 A Manifestation of Performer Identity within Instruction .........................................................49 Goals and Objectives .................................................................................................................49 Feedback and Praise ...................................................................................................................59 Fun and Learning Music ............................................................................................................68 Instructional Differentiation.......................................................................................................70 The “Helper” ..............................................................................................................................71 Part Differentiation ....................................................................................................................75 iii Chapter 6. Discussion ....................................................................................................................78 Research Questions ....................................................................................................................78 Purpose Statement ......................................................................................................................79 Cultural Acknowledgement in the Kids’ Orchestra Classroom .................................................79 Connecting With and Understanding the Kids’ Orchestra Mission and Vision ........................82 Professional Development for Teaching Artists ........................................................................84 Implications................................................................................................................................87 Future Research .........................................................................................................................88 Personal Vignette .......................................................................................................................88 Concluding Thoughts .................................................................................................................90 References ......................................................................................................................................91 Appendix A. Louisiana State University Institutional Review Board Exemption Approval ........96 Appendix B. ESI Teacher Examination Case Study Administrator-Consent Form ......................97 Appendix C. ESI Teacher Examination Case Study Participant-Consent Form ..........................99 Appendix D. Interview Questions................................................................................................101 Appendix E. Reflection Questions ...............................................................................................103 Vita ...............................................................................................................................................104 iv Abstract Kids’ Orchestra (KO) is an afterschool El Sistema-inspired program in Baton Rouge, Louisiana with a Title I school district, which employs a high percentage