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Lgbtq Music Majors’ Experiences Of Social Climates And Developing Identities In Music Education Settings, Anna Elizabeth Matijasic Hennessy
Lgbtq Music Majors’ Experiences Of Social Climates And Developing Identities In Music Education Settings, Anna Elizabeth Matijasic Hennessy
Masters Theses, 2010-2019
The purpose of this study was to identify roles that music education plays in the lives of lesbian, gay, bisexual, trans and queer (LGBTQ) music majors. Using a collective case study design, the researcher conducted semi-structured interviews with five undergraduate LGBTQ music majors. Participants spoke about their experiences in music education settings, the social atmosphere associated with such settings and their identities as LGBTQ persons and musicians. Music education settings may include high school and college ensembles as well as extracurricular ensembles and private lessons. The researcher sought to explore: a) ways in which peers and teachers in music ensembles …
Piano Proficiency Among Choral Directors, Heather Anderson Robertson
Piano Proficiency Among Choral Directors, Heather Anderson Robertson
Masters Theses, 2010-2019
The purpose of this study was to examine the practice of using piano in the secondary choral rehearsal setting by examining the functional piano skills used and advocated for by current choral educators with the goal of determining if the level and type of preparation provided by university and college music education teacher preparation programs is adequate in terms of meeting choral directors’ “real world” needs. An electronic survey was disseminated to 514 middle school and high school choral directors currently serving in the Commonwealth of Virginia. Research was conducted based on usable responses (N=190) from two groups, those who …
Are All Things Equal In The Back Row?: Issues Of Bias And The Female Percussionist, Pamela Rae Riggles
Are All Things Equal In The Back Row?: Issues Of Bias And The Female Percussionist, Pamela Rae Riggles
Masters Theses, 2010-2019
In observing bands or orchestras at all levels of performance proficiency, very often it becomes apparent to the onlooker that certain sections of instruments tend to be made up of a greater number of either male or female performers. For instance, the percussion and trumpet sections of ensembles often tend to be predominately male (Steinberg, 2001). This begs the question as to what implications there may be for those who have chosen an instrument that is not considered a “typical” instrument for their gender to play? What challenges might these musicians face, and what biases, if any, might they have …