This study applied the Social Cognitive Theory (SCT) to explore the sources of self-efficacy and professional development activities that are most predictive of PreK-6 music teachers’ efficacious beliefs. This study also compared teacher efficacy levels across different groups. The target population for this study was PreK-6 music teachers in the state of Arizona. The survey was disseminated through the National Association for Music Education (NAfME), the Arizona chapters of the American Orff-Schulwerk Association (AOSA), the Organization of American Kodály Educators (OAKE), and snowball sampling via a Facebook message. Of the 660 teachers invited to participate, 92 (13.94%) voluntarily completed the survey. Results from simultaneous multiple regression analyses indicated that teacher efficacy for instructional strategies was best predicted by their mastery experience, followed by vicarious experience, while mastery experience was the strongest predictor of teacher efficacy for student engagement. Additionally, the acquisition of method certification and watching teaching resources via YouTube were significant predictors of teacher efficacy for instructional strategies, while observation hours per year was the only predictor of teacher efficacy for student engagement. Results from factorial between-subjects ANOVAs indicated that teaching experience had a significant main effect on teacher efficacy for instructional strategies and student engagement. However, neither main teaching areas nor the combined effects of main teaching areas and teaching experience had a significant effect on teacher efficacy for instructional strategies and student engagement. Results from independent-samples t-test analyses showed that school types had a significant effect on teacher efficacy for student engagement, while no differences were found between school types regarding teacher efficacy for instructional strategies. The analysis of open-ended comments identified themes related to factors that strengthen or weaken participant teacher efficacy, the impact of the COVID-19 pandemic on teacher efficacy, the types of professional development activities that they engaged during the year, the most effective professional development activities for enhancing teacher efficacy. Findings of this study have theoretical and practical implications for school principals, school administrators, policy makers, music teacher educators, and music teachers to promote and support music teachers’ self-efficacy.

This study aimed to investigate whether female elementary and middle-level (middle school and junior high school) band teachers in the United States perceive discrimination in their profession of band teaching. Data were collected from 241 female band teachers who completed an online questionnaire on their demographic background and perceptions of discrimination, sexism, sex stereotypes, job isolation, mentors and role models, and working as mothers. The study explored the influence of various independent variables, including age, levels of teaching, level of education, primary instruments, years of music teaching experience, years of band teaching experience, region of school, location of school, and type of school. Statistical analyses revealed that significant differences in perceptions of discrimination, sexism, sex stereotypes, and job isolation varied according to age, levels of teaching, and years of music and band teaching experience. No significant differences were found in any perceptions by the level of education, primary instrument, region, location, and types of school. In addition, the majority of respondents reported that their mentors and role models were their colleagues rather than through formal mentoring programs. Also, the majority of respondents reported feeling anxious about being a mother while pursuing their careers. Future research is recommended to interview female elementary and middle/high school band teachers aged 21–30 and 31–40 with 1–5 and 6–10 years of teaching experience to gain a better understanding of their daily work and to identify solutions for working mothers and increased professional mentorship.

This study compares course enrollment data for student-group equity variables for a newly developed and implemented schedule: the Equity Plan, with implemented traditional alternating day schedules. The study compares two implemented Equity Plan schedule frameworks and twenty traditional alternating day schedules over 11 years. The school-based schedule data were from two diverse New York public middle schools in the same school district, a total of 22 complete schedule data sets. Courses analyzed include health, music, physical education, and visual arts. The represented student variables were: all students, English as a new language (ENL), students with disabilities (SWDs), gender, and ethnicity. The compiled data included 255,365 rows and 13 columns for a total of 3,319,745 cells of data, representing 19,822 student schedules. Equitable course enrollment was defined as no more than a 5% difference of enrollment between student groups.The data analysis revealed that ENL students and SWDs were consistently excluded from health, music, and visual arts courses. The Equity Plan schedule was the only implemented schedule framework that has equitable course enrollment for ENL students and SWDs in health, music, physical education, and visual arts. Physical education almost always had equitable enrollment for all student groups. Females and males were equitably represented in band, while females were overrepresented in chorus and orchestra. Students grouped by American Indian/Alaska Native, Asian, Multiracial, and Native Hawaiian/Other Pacific Islander generally had low enrollment representation in school populations and were often not equitably included in courses. ENL students and SWDs may be disproportionately excluded in many schools due to additional mandates for these groups. This identified issue may be widespread throughout the nation. The author recommends that all schools conduct an equitable course analysis using the 5% standard to determine if student groups are disproportionately being excluded from courses. Implementation of an intentional administrative strategy focusing on equitable course enrollment such as the Equity Plan schedule framework is recommended to address equity and inclusion challenges.

The purpose of this sequential explanatory mixed-methods study was to explore Chinese music teachers' concerns that arise from classroom practice in their first six years of teaching using the three-stage model of teacher concerns development proposed by Fuller and Bown (1975). Research questions focused on teachers' concerns, concerns patterns, the shift of concerns patterns, and influences associated with concerns shifts. This study started with quantitative data collection using a survey based on Campbell and Thompson's (2007) Teacher Concerns Checklist to collect data from Chinese beginning music teachers working in Zhejiang Province (N = 316). The qualitative data were generated from semi-structured individual interviews with 12 participants purposefully selected from survey participants. The quantitative and qualitative results revealed that Chinese beginning music teachers' self, task, and student impact concerns exist and progress simultaneously. Their self and task concerns decreased as their teaching experience increased. These beginning music teachers' student impact concerns remained relatively unchanged at a high level in their first six years of teaching. Qualitative data revealed a new potential category of concerns: work environment concerns, including supportive school policies and interpersonal relationships in the workplace. Qualitative data also suggested that teachers' self concerns and student impact concerns may consist of two levels. Self concerns included self-survival concerns and self-improvement concerns, and student impact concerns included awareness of student impact concerns and having ideas for dealing with these concerns. The results of this study showed that some of the teachers' concerns were context-specific. These kinds of concerns may have been influenced by factors other than years of teaching experience, such as teaching circumstances, cultural context, and the teacher evaluation system, which also seemed to influence teachers' particular concerns. Based on these findings, a new model of the progression of teacher concerns was proposed. The findings of this study provide information for teacher educators, mentors, and school administrators to develop professional development programs and school policies that may help beginning music teachers relieve their anxieties and prepare them to be successful in the early years of teaching.

Mental health of children has been a topic of concern in recent years, and was brought to the forefront again in 2020 due to exacerbated stress caused by the COVID-19 pandemic. Due to the amount of time children spend in school, the effects of their emotional stress and mental health challenges are seen by their teachers. Studies have shown that teachers often have high levels of concern about student mental health, but also do not feel as though they have enough resources and guidance from their schools to be able to support the mental health of the students in their classrooms on a daily basis. Research also shows that music is an effective tool for addressing children’s mental health and bolstering their mindfulness. The goal of this study was to better understand whether or not a subset of elementary school music teachers use music to help students who are feeling anxiety, stress, or other emotional or mental disturbances. To that end, I surveyed a convenience sample of elementary music educators, mainly from Arizona’s Maricopa County, about the following research questions: (1) are educators utilizing music in their classrooms expressly for mental health and mindfulness purposes? (2) how do music educators perceive the mental health of their students? (3) how do they manage related behaviors or challenges in their classrooms? (4) do they feel they have adequate resources to address student mental health? A secondary purpose of the study was to utilize the responses to inform my creation of a website intended to provide resources that would be useful for music educators who are willing to address student mental wellbeing. In addition to receiving many individual pieces of helpful information, I analyzed survey responses for general trends. My sample indicates that music teachers do have more than moderate levels of concern over their students’ mental health. It also revealed a lack of consistency in teacher pre-service preparation and also in the kinds of programs and associated training that are in place which address student mental health.

Institutions, including collegiate schools of music, tell stories about the ways in which they have transformed to include and support diverse students, but what do students say about their institution? Collegiate music students possess powerful and intimate knowledge, and their stories can reveal the lived reality of their experiences of equity and justice within the institution. The purpose of this study was to gain understanding of the ways in which music students experience equity and inequity within their school of music and to learn from them how their institution as a system impacts their experiences. The research puzzle comprised, in part, the following questions: In what ways do music students experience equity and inequity?; What institutionalized systems facilitate or hinder their sense of inclusion?; How do their stories bump up against the stories the institution tells itself about equity?To explore these questions, I engaged in a qualitative study grounded in narrative inquiry that placed the counterstories of music students in dialogue with the story of diversity and inclusion as told by their collegiate institution. Eight university music students who each self-identify as being from a marginalized group participated in conversations and ongoing dialogue with me. As this study was premised on promoting equity, participants collaborated in the writing and selection of their narratives. Placing the students’ stories and the institution’s story of equity side by side highlighted the misalignment between the institution’s espoused values and the students’ experiences. The stories raised further questions, such as: How and when do students feel silenced or empowered to speak? What makes it possible for them to challenge an institution (or not)? How do students want faculty and administrators to engage with them? In what ways does their engagement in issues of equity and justice make them susceptible to risk, and what is the risk? Through narrative inquiry, I contribute a complex and nuanced understanding of how one institution, including its school of music, perpetuates oppressive practices, opening space for students who live these experiences to lead the interrogation of—and resistance within—this and similar places.

The purpose of this study was to explore Chinese preservice music teachers’music teacher role-identity. McCall and Simmons’ (1978) theory of identities and interactions served as the theoretical framework. Three research questions guided this study: How do Chinese preservice music teachers describe their music teacher role- identity, specifically, their imagined character and role as an occupant of a music teacher position? How do Chinese preservice music teachers construct their music teacher role- identity through secondary socialization? Where do Chinese preservice music teachers place their music teacher role-identity in their prominence and salience hierarchies? Twenty-five preservice music teachers from two conservatories in China participated; all had more than six months of teaching experience. Data were collected through focus groups and semi-structured individual interviews. Data were analyzed using qualitative content analysis. Findings revealed that each of the 25 Chinese preservice teachers constructed a music teacher role-identity as the occupant of an either group or private music teacher position. These preservice teachers’ imaginative views of self-as-teacher contained shared characters, including being respectful, responsible, and fair, and also shared roles, including acting professionally in music and in teaching. Each preservice teacher appeared to be an active agent, bringing their own idiosyncratic understandings to the characters and roles of specific music teacher positions, making them unique teachers. These preservice teachers constructed their music teacher role-identities through cognitive role-taking and role improvisation, and expressive role enactment and negotiations with important audiences. They consistently balanced the content of their music teacher role-identity, negotiating which characters and roles were and were not negotiable, to balance their own and others’ needs. While each preservice teacher constructed their own music teacher role-identity, not all considered it prominent. Only those who obtained desired rewards, particularly self-support and intrinsic rewards, from enacting their music teacher role-identity placed it higher in the prominence hierarchy of their identity-set. Findings suggested preservice teachers’ salient role-identities were not fixed, but changed, depending on their own interpretations of the situation, of themselves within the situation, and of the opportunities to obtain desired rewards from the situation. Implications for music teacher education policy and practice in China are discussed.

The purpose of the study is to examine how professional growth is sustained over time through exploring a teacher’s narrative of personal and professional growth. The central question of this dissertation is: What creates sustainable and continuous positive professional change and growth in a teacher’s professional life? In this study, I discuss my journey towards understanding my practice while teaching a collegiate course and the implications of my journey for continual professional and personal growth. I used self-study methods to interrogate the personal, professional, and contextual experiences that shaped my thinking about teaching, learning, and my practice. The process of reflection was prompted by various data sources, including journal entries, storytelling, memory work, an experience matrix, concept-mapping, and education-related life histories. This self-study also includes action research projects that I conducted while teaching a college course over seven semesters. Data for action research projects included student reflective writing, observations of their learning, video recordings of group project meetings, and student value-creation stories.
Through reflection on how my personal, professional, and contextual knowledge of teaching developed, I examine how the values I held, the inquiries I undertook, and the communities in which I engaged affected my learning about teaching and shaped both my continuing professional development and who I am becoming as a teacher. Values that emerged in my teaching practice included: creating a student-friendly learning atmosphere, building a learning community, and being a reflective learner. Change agency functioned as a teacher lens and impacted student learning. I also analyzed patterns between my instructional plans, actions, and learning experiences in multiple professional communities. Professional and personal development relied not only on formal learning but was also promoted by informal learning opportunities and a personal learning process.
Findings suggest that teachers’ attempts to engage with external resources and awareness of their personal orientations as internal resources appear essential for sustainable change in teaching practice. Teacher professional growth requires exercising positive personal qualities, such as confidence, compassion, and courage, as well as resilience as an educator and a lifelong learner. Teacher reflection and self-study play a pivotal role in enabling teachers to sustain professional growth.

Over a million children who attend American public schools experience homelessness every year. This study investigates the musical lives of children experiencing homelessness through the lens of the ecological systems theory (Bronfenbrenner, 1979). Children encounter music in a variety of ways and develop their own lexicon of meaning that depicts the relationships they have in, through, and around music. Relationship connections in this study were depicted through a system of relationship networks (Neal & Neal, 2013).

In this study I present and analyze the cases of nine participants who attended an after-school care program at a homeless shelter for families in the southwestern United States. Participants were 8 to 12 years old and represented diverse ethnicities and genders. Data were gathered over a period of two to eight months, depending on participant, via interviews, music and art making, and observations. Research questions in this study included: What are the relationships, as experienced in, through, and around music, in the lives of children experiencing homelessness; and, What do music experiences tell us about the lives of children experiencing homelessness?

Some children experienced fractured music relationships and could not continue to engage with music in comparison to their lives before homelessness. Some children continued to make music regularly before and during their shelter stay. A few children discovered new connections through music interactions at the shelter and hoped to engage with music in new ways in their new homes. Multiple children faced barriers to music making in their respective school music programs. Children preferred to engage in music consistent with current popular culture, accessed through the radio, smart phone, and computer. Use of hands-on activities that fostered active engagement engendered the most participation and connection to music.

Recommendations include examination of current procedures and practices to ensure alignment with the McKinney-Vento Homeless Act federal mandate, development of a supportive environment to foster social and emotional growth, facilitating communication with parents, and the inclusion of music from the child’s background in the classroom repertoire. Performance and interactive music opportunities can mitigate the effects of homelessness and restore a sense of dignity, relationship, and autonomy. All stakeholders in the wellbeing of children should include conversations about student experience of homelessness in current dialogue on educational policy and practice.

Experienced mentor teachers that are prepared for the task of mentoring pre-service teachers are highly valued. Few studies in music education address the music teachers’ role of mentor or the music mentor’s perceptions and practices within the mentoring process. This study investigates the experiences and practices of music mentor teachers and how they construct an understanding of their mentoring role. Guiding questions were: 1) How do music teachers describe their mentoring experiences and practices? 2) What do music teachers’ descriptions of their mentoring experiences and practices reveal about their understanding of the mentoring role? and 3) What types of preparation and support do music teachers feel they need to serve in this role? Four music teacher mentors served as participants for this study. Participants described their mentoring experiences and practices in working with student teachers and responded to questions in three in-depth interviews over three semesters. Each interview was audio-recorded, transcribed, and verified for accuracy and clarification. Findings indicate that 1) Mentors tend to rely on their own student teaching experience and beliefs about teaching when working with student teachers; 2) Mentors construct their own conceptions of the mentor role, mentoring style and relationships based on personality and their beliefs about what mentoring is and is not; 3) The rewards of mentoring are closely tied to student teacher growth and successful relationships, and challenged by issues of time and student teacher readiness; and 4) Learning to mentor is like learning to teach. It is a process learned over time and requires experience. Music education programs and teacher educators should consider preparing student teachers and the cooperating mentor teachers who work with them, by discussing mentor relationships and role expectations within the student teacher triad.