AN EXPLORATION OF MUSICAL HABITS OF ALUMNI FROM “THE LAKEWOOD PROJECT” AND HOW THEY MUSICK AFTER HIGH SCHOOL By ELIZABETH AYLMER HANKINS Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May 2017 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Elizabeth Aylmer Hankins, Candidate for the Doctor of Philosophy* Committee Chair Dr. Nathan B. Kruse Committee Member Dr. Matthew L. Garrett Committee Member Dr. Kathleen A. Horvath Committee Member Dr. G. Regina Nixon March 29, 2107 *We also certify that written approval has been obtained for any proprietary material contained therein 2 Copyright © 2017 by Elizabeth Aylmer Hankins All rights reserved 3 DEDICATION To Trish My rock and my best friend and our loving girls Socks, Bella and Shelby. The best family anyone could ever ask for. To my first and most important teachers, my loving parents Dr. Christine A. Newton and Dan E. Hankins, who passed away months before my completion. I miss you! 4 TABLE OF CONTENTS LISTS OF TABLES………………………………………………………………….......10 LIST OF FIGURES………………………………………………………………….......11 ACKNOWLEDGMENTS………………………………………………….…………....12 ABSTRACT………………………………………………………….…………………..14 CHAPTER ONE: INTRODUCTION……………………………………………………16 Participation in High School Music Courses…………………………………….16 Music Education addresses the Need for Relevancy…………………………….17 The Mission of Music Education………………………………………...............20 Adult Music Making After High School……………………………...…………21 Current Adult Music Participation Trends……………………………………….25 Need for Study…………………………………...………………………………25 Musicking………………………………………………………………………..27 Purpose of the Study……………………………………………………………..28 Research Questions………………………………………………………………29 CHAPTER TWO: REVIEW OF LITERATURE………………………………………..30 Overview…………………………………………………………………………30 Theoretical Framework…………………………………………………………..30 Situated Learning Theory………………………………………...……...............30 Situated Learning Theory in Music Education………………………..................33 Related Literature………………………………………………………...............38 Why Students Choose to Play or Not to Play in College? ....................................39 5 Formal Music Learning…………………………………….…………………….44 Informal Music Learning………………………………………………...............47 Reconciling Formal Music Learning and Informal Music Learning….................49 Classical Music…………………………………………………………………..50 Popular Music……………………………………………………………………52 Reconciling Classical Music and Popular Music………………………………...55 Summary…………………………………………………………………………57 CHAPTER THREE: METHODOLOGY………………………………………………..59 Purpose Statement………………………………………………………………..59 Research Questions…………………………...………………………………….60 The Qualitative Research Tradition……………………………………...............60 Case Study Design…………………………………………………….................62 Multiple Case Study or Collective Case Study…………………………………..64 Multiple Case Study and TLP……………………………………………………66 The Role of the Researcher………………………………………………………66 Researcher Bias…………………………………………………………………..66 Entry into the Field………………………………………………………………72 Bounding the Study……………………………………………………...............73 The Setting……………………………………………………………….73 Events…………………………………………………………………….73 Processes………………………………………………………………....73 Ethical Considerations…………………………………………………...74 Data Collection Strategies………………………………………………………..74 6 Participant Interviews……………………………………………………75 Observations……………………………………………………………..76 Unobtrusive Data Sources………………………………………………..77 Data Analysis Procedures..………………………………………………………77 Trustworthiness…………………………………………………………………..80 Reliability………………………………………………………………...............82 Limitations……………………………………………………………………….82 CHAPTER FOUR: RESULTS OF DEMOGRAPHIC SURVEY….……………............83 Demographic Background…………………….………………………................83 CHAPTER FIVE; CASE STUDIES………………………………………………..........93 David, The Movie Orchestrator: The Eager Student…………………………….93 Jeff, The Marketing Executive: Athlete and Class Clown……………………...108 Rachel, The Musicologist: The Concertmaster…………………………………123 Lenny, The Pizza Delivery Driver: The Apprentice……………………………134 John, The Sales and Marketing Association for a Music Talent Agency: First True Garage Band Member……………………….......................138 Chapter Summary………………………………………………………………147 CHAPTER SIX: CROSS CASE ANALYSIS AND DISCUSSION………….………..149 Musical Motivation……………………………………………………………..151 Voluntary Risk Taking in Pursuit of Music…………………………………….152 The Musical Zone…...……………………………………………….................156 Camaraderie………………………………………………………….................161 Comparison of TLP Musicking Environment with Current Musicking Environment…………………………………………………………………….163 Democracy is Alive and Well……………………………………......…………164 7 Formal and Informal Experiences…………………………………..…………..170 Formal Learning Experiences……………………………….………………….171 Informal Learning Experiences……………………………..…………………..173 Skills Missing from TLP Environment……………………………..…………..176 Giving Back……………………………………………………….……………177 Chapter Summary………………………………………………….…...............182 CHAPTER SEVEN: ASSERTIONS AND IMPLICATIONS…………...…..…...........184 A Well Trained Ear………………………………………...…...………………185 A Safe Environment……………………………..……………………...............190 Arranging, Composing, and Improvising…………………………..…………..192 Public Musicking……………………………..………………………...............198 Enabling Musicians to Evolve with Music……………………………………..201 Lifelong Musicking………………………..…………………….……...............204 Environment……………………………..……………………………………...204 Skills……………………………………………………………...…………….204 Setting…………………………………………………………….…………….205 Implications for Music Education………………………………….…...............205 Potential Role of Situated Learning Theory within a Secondary Ensembles………..…………………………………………..................207 Developing a Growth Mindset….…………..……………………..........209 Environment………………………………………………………...…………..211 Democratic Collaboration…………………………………...………………….212 Use of Popular Music…………………………………………………...............213 Voluntary Risk Taking-In a Safe Place………………………...………………214 Skills………………………………………………………………...………….215 Teaching Improvisation…………………………………...……………………216 Empowering Students to Compose……………………...……………...............218 8 Learning to Arrange…………………………………………..………...............219 Planning Concerts………………………………………………………………221 CHAPTER EIGHT: SUMMARY, CONCLUSIONS, AND SUGGESTIONS FOR FUTURE RESEARCH…………………………………….…………………………...224 Summary…………………………………..……………………………………224 Conclusions………………………………………………………..……………228 Suggestions for Future Research………………………………....….................230 APPENDICES………………………………………………………………………….232 REFERENCES…………………………………………………………………............252 9 LIST OF TABLES Table 4.1 Characteristics of Respondents………………………………………………..85 Table 5.1 Members of Jeff’s Indie Rock Band and How They Joined…….…………...116 Table 5.2 Members of Lenny’s Band Vessel of Mischievousnes……………….............136 Table 5.3 Members of John’s Band The Four T’s……………………………………...142 10 LIST OF FIGURES Figure 4.1 Education Level of Respondents………………………………….………….87 Figure 4.2 Undergraduate Majors of Respondents…………….………………………...88 Figure 4.3 Graduate Majors of Respondents……….……………………………………88 Figure 5.1 David entering Horace Mann Middle School…………………………...........97 Figure 5.1 Pre-concert Rehearsal........................................................................................97 Figure 5.2 Private Lesson Studio…....................................................................................99 Figure 5.2 Piano Lab…………………..............................................................................99 Figure 5.2 Music Rehearsal Room……………………………………………….............99 Figure 5.2 Recital Hall…………………………………………………….……..............99 Figure 5.3 Jeff performing at Machine Gun Kelly Concert…………………………….113 Figure 5.4 Jeff’s Indie Rehearsal Space……………………………………….…..........115 Figure 5.5 Jeff’s Indie Rehearsal Space……………………..………………………….116 Figure 5.6 Poster announcing Jeff’s concert at The House of Blues…………………...121 Figure 5.7 Picture of Kefka in the final battle from Final Fantasy V……………............130 Figure 5.8 The Rehearsal Space for Vessel of Mischievousness.…………….................138 Figure 5.9 Truck and Trailer The Four T’s purchased to travel to gigs…………...........143 Figure 5.9 The Four T’s Rehearsal Space (Center View)……………………................143 Figure 5.10 The Four T’s Rehearsal Space (Side View).………………………............143 Figure 7.1 Pachelbel’s’ Canon in D Bass Line………………………………................216 Figure 7.2 Pachelbel’s Canon in D Chord Progression………………………………...217 11 ACKNOWLEDGMENTS It took a village to create this document and I am deeply grateful to those who have supported me through the process. To my dissertation committee, Dr. Nathan B. Kruse, Dr. Matthew L. Garrett, Dr. Kathleen A. Horvath, and Dr. G. Regina Nixon, I thank you for your time and efforts on my behalf. Your varied perspectives and counsel greatly improved this inquiry. To my dissertation advisor, Dr. Nathan B. Kruse, I am truly grateful for your cheerleading, guidance, and mentorship. Your words were always meaningful, inspiring, and comforting. Words cannot express how much I appreciate you. To Dr. Kathleen A. Horvath, thank you for encouraging me to pursue this degree. Your encouragement, mentorship, and friendship were invaluable. I am looking forward to years of working together in the future. To Dr. Matthew L. Garrett, your guidance and support throughout this dissertation have been invaluable. To Dr. G. Regina Nixon, your social