College of Education
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The collections in this community comprise faculty research works, as well as graduate theses and dissertations..
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Item "Like Who You Are:" Socially Constructed Identity in the Middle School Band(2008-09-03) Hoffman, Adria R; Silvey, Philip E; Curriculum and Instruction; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this study was to explore the band classroom as a social context and examine its influence on middle school students' identity constructions. Identity theory in sociological research and social identity theory in the field of social psychology provided the theoretical bases for this study. However, the integration of both theories suggested by Deaux and Martin (2003) as well as Stets and Burke (2000) proved most applicable to this inquiry. Both intergroup processes and role identities were explored. This qualitative study included six band students enrolled in a large public middle school located in a metropolitan area on the East Coast. Enrolled in the same sixth grade band class, each of the six participants played a different instrument, and therefore provided a unique perspective on social interactions and the school experience. Ethnography and narrative inquiry informed the data collection process and methodological choices for this collective case study. Data collection included classroom observations, open-ended interviews, and weekly student journals. Data was collected over a period of 5.5 months, ending as students chose to continue or discontinue their band enrollment for the subsequent school year. Interview transcripts, field notes, and student journals were systematically coded first on a case-by-case basis, then compared, contrasted, and interpreted across cases. Findings supported prior research on musical identity and music education. Students simultaneously valued perceived characteristics of their own group while devaluing those of other groups. In addition to supporting prior research findings, this study indicated that middle school band students make choices regarding course enrollment based on influences (rejection or affirmation) of those around them. Students initially chose to enroll in band because friends, teachers, and family members encouraged them to do so. Once they felt accepted as band members, they found particular roles in the band classroom. Based on others' affirmation or rejection of their competency in such roles, they reevaluated whether they felt they belonged in the band. Those who felt rejected or less competent chose to enroll in other courses. Students who felt successful and found unique roles within the band more strongly identified with the group.Item Charles Fowler and His Vision for Music Education: An Introduction and Selected Writings From 1964 to 1989(2008-06-01) Resta, Craig Michael; McCarthy, Marie F; Curriculum and Instruction; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Charles Fowler, eminent advocate for arts education, devoted his career to the idea that music was critical to the development of young people and could positively impact schooling and society. During his 45-year career, he served in many roles: as teacher, supervisor, professor, scholar, author, editor, consultant, and advocate. Although his contributions are prolific, this research represents the first full-scale study that considers his work as an entire body. The purpose of this dissertation is to introduce Fowler as a significant figure in the field of music education, codify the major periods of his career, identify important writings, contextualize them within their times, and review them according to his vision for music education. Utilizing historical method and content analysis, several thousand documents were examined from the Charles Fowler Papers archived at the University of Maryland, College Park. Following an introduction to Fowler and his work, four periods of his career are presented, with the two middle periods, 1964 to 1973 and 1974 to 1989 serving as the focus of the study. Selected works were chosen based on their relevance to important events in Fowler's life and their relationship to his philosophy and viewpoint. The works were analyzed and contextualized by using primary source documents, foundational texts in music education, Fowler's own commentary, and interviews with established scholars and colleagues who knew him and respected his work. Finally, these writings traced the development of Fowler's vision which advocated music education can serve as an agent of social change. Findings reveal that Fowler's initial vision was based on the seven reconstructionist objectives he outlined in his 1964 dissertation. Based on these objectives, fifteen broad themes emerged in his writings during the period of 1964 to 1989. The themes elaborate on Fowler's vision for music education and its value to society, and relate to core concepts of reform, democracy, creativity, advocacy, and social change. It is hoped that this study will serve as a catalyst to encourage others to continue research into the life and career of Charles Fowler, along with further writing about reform and pragmatic change within the music education profession.Item LISTENING TO THE SPONTANEOUS MUSIC-MAKING OF PRESCHOOL CHILDREN IN PLAY: LIVING A PEDAGOGY OF WONDER(2006-11-28) Kierstead, Judith Kerschner; Hultgren, Francine; Education Policy, and Leadership; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This study sings with joy the wonder of preschool children spontaneously being music-makers in play. Through hermenuetic phenomenological methodology provided by van Manen (2003), voices of Heidegger (1962, being-with), Levin (1989, listening), Ihde (1976, music-language), Casey (1993, place), Merleau-Ponty (1962, the body), Levinas (1987, "we"), Arendt (1959, new beginnings), and Steiner (1984; 1985a,b; 1998, human development, freedom) support the work. The study asks: What is the lived experience of preschool children spontaneously making music in play? In Waldorf preschools, forty-six children in three age-differentiated classes are observed and tape-recorded in a pre-study; observations of twenty-four children in a mixed-age class and, during outdoor playtime, an additional twenty-four children from a similar class are observed and recorded in note-taking during a year-long study. Significant themes of will-ing, be-ing, and time-in-place emerge. Freedom to move about in play with peers is essential to music-making that spontaneously expresses Life-lived-in-the-moment. The phenomena of this study -- the songs, chant, and other sound-shapes -- are the being of children, who are not bound by time or by space. In this study, musical form includes a sung-tryptich, a communal-collage, call-response, a transforming chant, and language that sings and stretches into many, varied sound-shapes. The wonder of Life shines through. Teaching music of early childhood is being one's self a music-maker in being-with children. This teaching is preparing a place of beauty, order, and caring, where a rhythmic framework of fine- and living-arts experiences extends the letting-learn, and where the children move about, playing freely with materials that nurture the imagination, indoors and out daily, rain or shine. Teaching is moving through richly developed integrated-circles (songs, poems, and verses, with gestures), worthy of the children's imitation. Teaching is telling tales from the heart, planting seeds of wisdom. Teaching is "reading the children" then creating soft edges in moving-with-one's-own-singing from one activity to another. This is a Pedagogy of Wonder that respects the child's will, enriches the child's Being, lets-be the spontaneous music-making of preschool children in play, nourishing that music-making by being-with the child musically. Listening to the spontaneous music-making of preshcool children in play offers a new beginning.