NARRATIVES OF NOTE: THE DYNAMICS OF SOCIALLY JUST MUSIC EDUCATION Alison Elizabeth LaGarry A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Education (Culture, Curriculum, and Change). Chapel Hill 2015 Approved by: George W. Noblit Charles Price Xue Lan Rong Daniel Huff Silvia Cristina Bettez ©2015 Alison Elizabeth LaGarry ALL RIGHTS RESERVED ii ABSTRACT ALISON ELIZABETH LAGARRY: Narratives of Note: The Dynamics of Socially Just Music Education (Under the direction of George W. Noblit) The field of music education has historically constructed ‘professional’ music educator identity as divorced from historical, political, and moral commitments, categorizing these responsibilities as components of ‘personal identity. This strategic dissection of identity is in direct opposition to the tenets of Social Justice Education (SJE). In an effort to move toward more inclusive curricula and classroom practice, there has been significant emphasis on multiculturalism over the last fifty years. While the aims of multiculturalism are noble, efforts at highlighting other cultures often become tokenistic in practice and, as such, do not engage with the social and political critique that are central to SJE. Previous research has centered on the merits and practical elements of teaching multicultural perspectives of music, as well as the socialization of pre-service music teachers into the professional field. Recently, however, a few scholars have begun to call for a critical shift in the aims of music education toward social justice. In order to inform music teacher education in support of this critical shift, this study analyzed the personal narratives of seven music educators and one visual art educator who maintain moral, ethical, and political commitments toward equity in their teaching practice. The study sought to answer the following research questions: What are the life experiences of music educators who take a stance toward social justice in their work? What are their conceptualizations of social justice, and how have these conceptions been constructed as such? How do these music educators conceive of their own identity and agency regarding issues of social justice? The study iii used personal narrative inquiry as both methodology and frame. Findings suggest that the participants see unique possibilities for socially just music education practice, despite significant instrumental and conceptual constraints. There was variation apparent in the way that participants engage with and seek to accept or resist constraints. Thus, there exists dynamic a space of agency in between these possibilities and constraints, where music educators make moves to engage in socially just practice. The degree to which each participant resists or desires to resist constraints is grounded in their positional identities and life experiences. iv This work is dedicated to Imogenecoco Pierce McDonald, whose friendship and mentorship inspired me to expand my vision of possibility and care in the classroom; and to the eight educators who participated in this study, who shared their stories and time with me this past year. Although I cannot name you, I am inspired by your presence and persistence in the field of music education. v ACKNOWLEDGEMENTS There are more people that have contributed to my understanding of social justice in music education than I can formally thank here. I do, however, hope to acknowledge some specific mentors, friends, family members, and colleagues that have provided significant support and inspiration for me during this journey. First, I would like to thank all members of my dissertation committee. To George, thank you for continually challenging my understanding of the social world around me, and helping me to apply my expanding critical awareness to my relationships and my work. Thank you for providing me with research and writing opportunities where I have been able to apply these new skills and knowledge. Finally, thank you for believing in my ideas and allowing me the opportunity to ask questions that have no easy answers. To Charles, thank you for pushing me to see the great wealth and richness of personal narratives; your feedback and insight provided the inspiration for the design of this study. To Dan, thank you for the opportunity to dialogue openly about the field of music education, and for being so generous with your time and teaching. To Xue, your Critical Multicultural Education course was my first course in the Ph.D. program, and laid the foundation for this study and my future academic path. Thank you for pushing me to answer difficult questions, and for making me see connections between my thinking and larger discourses. To Silvia, thank you for challenging me to view social justice beyond binaries, and for introducing me to critical communities and the idea of self-care. These are two components of critical work that have sustained me throughout my doctoral studies. vi I would not have been able to complete this dissertation without the camaraderie, support, and advice of my own critical community. To my academic big sister, friend, and colleague Ashley, thank you for your generous mentorship and feedback throughout this process. I am so thankful that we have been able to maintain our close friendship now that you are a professor on the other side of the country! To Mandy, my comps and dissertation buddy, I would never have made it through the last two years without you by my side to laugh, cry, commiserate, and celebrate. Thank you for so much; it has meant the world to me to have someone to share in this journey of emotion and accomplishments. To Tim C., my intellectual and literal neighbor, our projects together have helped me to delve deeper into theory and have inspired my framework for this study. Thank you for your insight, your unique sense of humor, and your extreme generosity. To Summer and Hillary, my C.C.C. ladies, thank you for your willingness to claim our cohort as friendly colleagues rather than competitors. We have shared our challenges and successes throughout this journey; I hope that we continue to rely on our friendship as a source of support and celebration. To Esmeralda, your honesty and wit have been pushed me to think differently about many things. Thank you for all of our critical conversations, and for the not-so- critical ones, too. During Summers 2012 and 2013, I had the opportunity to work with an amazing group of individuals who challenged my understanding of social justice on a daily basis. To my Freedom School family, thank you for your intense dedication, your energy, and your commitment to re- imagining education as equitable, joyful, and relevant. Special thanks to my Freedom School leadership colleagues: Cheryal, Carolina, and Morgan. To Andy, thank you for your continuing friendship, and for speaking success into existence for the both of us. I am so proud of your recent accomplishments, and hope to collaborate again soon. vii My family has provided me with a constant source of support, and a meaningful foundation for valuing relationships and roots. To my extensive web of aunts, uncles, and cousins, your frequent check-ins throughout this process have lightened my spirits, and reminded me that I am but one part of a larger constellation. To my Grandma Sullivan, thank you for introducing me to the world of music and for providing me with a model of strength. To my Grandma LaGarry, thank you teaching me to find joy and laughter in hard work. To my Grandpa LaGarry, thank you for showing me that storytelling has deep tradition and meaning, and can serve to strengthen relationships and community. To Mom and Dad, thank you for not only supporting my dreams, but striving to learn more about my work and evolving perspective at every step of the way. You’ve both shown me that one should approach new challenges with courage, humor, and compassion, and that goals are most easily accomplished when you accept the help of those who are willing to hold you up in difficult times. To my brother Timmy, your strength and persistence inspire me every single day; I truly admire your ability to make daring choices in the interest of your own well-being and happiness. Finally, to James, thank you for your constant unflagging support and patience throughout this process. It has meant so much that we could pursue our work as educators together over the last several years. Your kind presence and humor serve to ground me, and help me push past my anxieties and fears. Thank you for listening to my ideas, and inspiring me to do my very best work. viii TABLE OF CONTENTS PART I: INTRODUCTION TO THE STUDY .............................................................................. 1 Chapter 1: Introduction ............................................................................................................... 1 Purpose .................................................................................................................................... 3 Nature of the Study ................................................................................................................. 4 Significance of the Study ........................................................................................................ 5 Theoretical Framework ........................................................................................................... 7 Potential Limitations