STUDENTS’ PERCEPTIONS AND EXPERIENCES: AFRICAN AMERICAN STUDENTS IN BAND AND ORCHESTRA PROGRAMS By Sharese Pearson-Bush BM (East Carolina University) 2005 MA (Webster University) 2010 MEd (Lesley University) 2015 A DISSERTATION Presented to the Affiliated Faculty of The College of Graduate and Professional Studies at the University of New England Submitted in Partial Fulfillment of Requirements For the degree of Doctor of Education Portland & Biddeford, Maine May 2020 Copyright by Sharese Pearson-Bush 2020 ii iii University of New England Doctor of Education Educational Leadership This dissertation was presented by Sharese Pearson-Bush It was presented on April 14, 2020 and approved by: Heather Wilmot, Ed.D, Lead Advisor University of New England Darren Akerman, Ed.D, Secondary Advisor, University of New England Ryan Westberry, Ed.D Affiliate Committee Member Berkeley County School District, South Carolina iv Sharese Pearson-Bush May 2020 Educational Leadership STUDENTS’ PERCEPTIONS AND EXPERIENCES: AFRICAN AMERICAN STUDENTS IN BAND AND ORCHESTRA PROGRAMS ABSTRACT The purpose of this mixed-methods study was to explore how African American students in a South Carolina metropolitan area perceived their experiences in band and orchestra at their middle school. Fifty-one sixth through eighth grade students responded to an inventory that measured students’ predisposition to music, pedagogical preferences, and cultural awareness. Furthermore, seven of the fifty-one students engaged in individual, semistructured interviews that measured students’ personal connection to musical experiences within their culture and communities. This study examined the minimal rate at which African American students participated in music programs through the conceptual lens of African-Centered Pedagogy and Culturally Responsive Pedagogy.
It was proposed that race, culture, musical preference, physiological needs, socioeconomic level, and community or family structures were variables that created significant inequities and lack of inclusion that influenced the recruitment and retention of African American students in school-based band and/or orchestra programs. The quantitative data was used to investigate students’ predispositions to music, pedagogical preferences, and cultural awareness. The following six themes emerged: (a) student/teacher relationships, (b) student self-awareness, (c) teacher cultural acceptance of v students, (d) student desirability of instrumental music classes, (e) teacher community and cultural consciousness, and (f) student outside perception and influence. Furthermore, qualitative data collected through individual interviews was used to develop a profound understanding of African American students’ perspectives and experiences in school- based band and orchestra programs.
The following five invariant constituents and themes emerged: (a) music preference implies listening and/or performing; (b) family, friends influence music listening, music performance, and instrument selection; (c) self-esteem, physiological needs and self-actualization in class; (d) class attentiveness, practice, and teacher feedback influence achievement; and (e) student preference to activities combining music and culture. This study also explored areas for action to expand research to identify what motivates academic success of African American students and broaden horizons of what motivates African American students to join and remain in band and orchestra programs. These areas of action are as follows: (a) individual awareness of the teacher, student, and school community; (b) district initiatives through professional development and band and orchestra framework; and (c) state curriculum to diversify music education and transform music studies. Keywords: Music education, instrumental music, Culturally Relevant pedagogy, Culturally Responsive pedagogy, African Centered pedagogy, metropolitan middle school vi ACKNOWLEDGMENTS To my older brothers, Craig and Dexter Pearson.
God bestowed musical talents within you illuminating my artistic spirit. You were my footprints.My precious child, I love you and will never leave you. Never, ever, during your trials and testings. When you saw only one set of footprints, it was then that I carried you.
(Excerpt from Footprints in the Sand, Mary Stevenson, 1936) To my parents, Dr. Sam Pearson and Mrs. In honor of your faith, compassion, and persistence to encourage academic and artistic virtue; you will continue to illuminate my holistic spirit and my purpose in life. My mission in life is not merely to survive, but to thrive, and to do so with some passion, compassion, some humor and some style.
(Maya Angelou: In her own words, 2014) To my husband, Jason Bush, our feline child, Dakota, and heartfelt friends. Your everlasting love, patience, and genuine compassion provided vivacity to complete this academic journey. You reminded me to have faith in unconditional love. Keep smiling, keep shining.
Knowing you can always count on me, for sure. That’s what friends are for. For good times and bad times, I’ll be on your side forever more… (Excerpt from That’s What Friends are For, Dionne Warwick, 1985) To the numerous adjudicators, clinicians, conductors, music instructors, music teachers, and music professors from my personal life: All-State Orchestra, Band, Chorus, Church choir, District Band, General music, Marching Band, Orchestra, Private/Studio instruction, Region Orchestra, Senior Drum Corps, Summer music camps, Various symphonies, Youth orchestra, and other miscellaneous productions. You saw the best in me when other teachers minimized my capabilities.
vii He saw the best in me. When everyone else around could only see the worst in me.When folks walk you off, said you would never make it. What did He see? He saw the best. (Excerpt from The Best in Me, Marvin Sapp, 2010) And finally, to my innumerable students and numerous professional colleagues.
You have given me courage. My job is to somehow make them [African Americans] curious enough or persuade them.to get more aware of themselves and where they came from and what they are into and what is already there is to bring it out. This is what compels me to compel them. (Quote from Nina Simone, cited in Love me Nina/Semiautomatic, Wale, 2019) viii TABLE OF CONTENTS CHAPTER 1: INTRODUCTION .1 Statement of the Problem .2 Purpose of the Study .4 Assumptions, Limitations, and Scope .5 Rationale and Significance .9 South Carolina Visual and Performing Arts Standards .9 Profile of School District Instrumental Music Programs .24 Definition of Terms.37 CHAPTER 2: LITERATURE REVIEW .40 Methods for Establishing and Maintaining Instrumental Music Programs .41 Recruitment in Instrumental Music .41 Retention in Instrumental Music .43 The Significance of Instrumental Music for African American Students .45 The Importance of Cultural Influence.46 Socioeconomic Status and Psychosocial Disadvantages .49 Musical History of the Geographical Location .51 ix Historical Events .88 Culturally Responsive Pedagogy .89 Culturally Responsive Teaching in Music Education .91 African-Centered Pedagogy .104 African-Centered Pedagogy in Music Education .147 Data Collection Summary………………………………………………………………148 Data Analysis .149 Research Questions Investigated .155 x Description of Participants .156 Data and Analysis .185 Presentation of Interview Themes .218 Recommendations for Action .237 Limitations and Recommendations for Further Study .239 Recommendations for Further Study .249 APPENDIX A: PARENT RECRUITMENT LETTER .264 APPENDIX B: STUDENT RECRUITMENT LETTER .266 APPENDIX C: PARENTAL CONSENT FOR PARTICIPATION IN RESEARCH .268 APPENDIX D: CHILD ASSENT FOR PARTICPATION IN RESEARCH .276 xi APPENDIX E: INSTRUMENTS/QUESTIONS .282 APPENDIX F: INTERVIEW INVITATION .293 APPENDIX G: INTERVIEW PROTOCOL .295 APPENDIX H: FOLLOW-UP (PHASE 1- SURVEY PARTICIPATION: THANK YOU LETTER) .297 APPENDIX I: FOLLOW-UP (PHASE 2- SEMISTRUCTURED INTERVIEW PARTICIPATION: THANK YOU LETTER) .298 APPENDIX J: FOLLOW-UP (FULL STUDY- THANK YOU LETTER- PRINCIPAL) .299 APPENDIX K: PHASE 1- SURVEY PARTICIPATION: DATA & GRAPHS .300 APPENDIX L: PHASE 2- SEMISTRUCTURED INTERVIEW TRANSCRIPTIONS .321 xii LIST OF TABLES Table 1: Profile of the South Carolina Graduate .10 Table 2: Metropolitan Area School District—Middle Schools .13 Table 3: Metropolitan Area School District—High Schools .20 Table 4: Metropolitan Area School District—Middle School Band/Orchestra Programs .25 Table 5: Metropolitan Area School District—High School Band/Orchestra Programs .30 Table 6: Data Analysis Recoding .128 Table 7: Data Analysis Recoding .130 Table 8: Research Questions and Data Sources .152 Table 9: African-Centered Pedagogy Data Sources .154 Table 10: Culturally Responsive Pedagogy Data Sources .155 Table 11: Participant Description, Survey Questions 2–6 .168 Table 12: Student Activities and Classroom Environment .171 Table 13: Likert Responses Options Based on Frequency, Mode, Median, and Interquartile Range .178 Table 14: Domains (Themes) of Survey Questions .183 Table 15: Domains (Themes) Mean and Standard Deviation .185 Table 16: Survey Distribution Process and Interview Follow-Up .186 Table 17: Preliminary Data Analysis of the Respondents .188 Table 18: Individual Interview Duration and Word Counts .189 Table 19: Student Personal Music Preference and Family Music Preference .192 xiii LIST OF FIGURES Figure 1: Participant’s Statement .159 Figure 2: Interest to Participate in an Optional Interview.160 Figure 3: Music Class Enrollment .162 Figure 5: Music Classes .163 Figure 6: Other Music Groups Outside of School .164 Figure 7: Music Preference(s) .165 xiv 1 CHAPTER 1 INTRODUCTION According to the National Association for Music Education, music education programs enrich the lives of all students where music is the connection to academic strengths and cultural significances (NAFME, 2016).
These programs are also supported with national and state standards to structure curriculum. Instrumental music, such as band or orchestra (also known as strings), is defined as an academic discipline that engages cognitive, physical, and social skills through the creation of music (NAFME, 2016; Peard, 2012). The art of playing an instrument does not require immense intelligence, but the skills acquired from playing an instrument empower students’ academic abilities and strengthen psychosocial development (NAFME, 2016; Peard, 2012). Music Education, specifically instrumental music programs, are anchors of a well- rounded education accredited on state and federal levels (NAFME, 2016; Walker, 2016).
Every Student Succeeds Act (ESSA) is a federal initiative that defines a well-rounded education as curriculum including, but not limited to, courses in the arts, physical education, science, civics and government, music, and foreign languages (Walker, 2016). These subjects include standards for coursework and student engagement, which are areas that broaden and reinforce college and career readiness (Walker, 2016). Regardless of the state and federal regulations, research in instrumental music education has documented inequalities. According to the NAMM Foundation and Grunwald Associates, African American and Hispanic parents/guardians feel that music education classes are an essential part of their child’s education (NAMM & Grunwald, 2015).
Furthermore, 76% of African American parents and 75% of Hispanic parents enroll their children in music education 2 classes (NAMM & Grunwald, 2015, p. However, African American and Hispanic students are reported to receive fewer years of instruction in music classes (NAMM & Grunwald, 2015). African American students receive approximately 2.82 years of music instruction compared to 3.34 years of instruction received by their Caucasian counterparts (NAMM & Grunwald, 2015, p. Although much research has been conducted to determine the rate at which African American students participate in music programs, and the need to increase recruitment of diverse populations, there is little research from the African American students’ perspective about why they choose or choose not to participate in band and orchestra programs.
Therefore, this study examined the recruitment and retention of African American students in music performance and their interest in music education from the perspective of the students. Statement of the Problem When examining the significance of instrumental music for African American students, social factors such as family culture, the impact of social media, life experience, and personal music preferences encourage musical instrument choice and interest (Varnado, 2013, p. Boon (2014) noted in addition to student interests, African American students’ participation in string orchestra was based on the music educator’s cultural awareness of student perspective in music preferences, and the social aspects (e., cooperative learning, teamwork, etc.) that performing on a stringed instrument provide for the student in their community. However, music programs tend to create prejudice between the haves and the have nots, where students who cannot afford instruments are overlooked (Odegaard as referenced in Berman, 2018, p.
Ester and Turner (2009) reported that perception of and participation in school band programs increase based on the availability of school loaner instrument programs 3 for minority students and students identified as having low socioeconomic living conditions. Furthermore, according to Varnado (2013), low socioeconomic status and ethnicity do influence student attraction toward the look of certain instruments and instrumental sounds and timbre, and teacher selection for the student to play a certain instrument. Purpose of the Study The intent of this study was to examine middle level (e.