The Occupational Identity of In-Service Secondary Music Educators

Abstract

In order to explore the factors that inform the occupational identity development of in-service music educators and to compare the identities of in-service teachers with those of preservice music educators as examined in previous research, the purposes of this study were to examine the reported occupational identity of in-service secondary music educators and identify the interpersonal interactions and activities that help form occupational identity. A stratified random sample of secondary music teachers ( N = 300) completed a questionnaire based on previous research. Participants reported a majority of integrated (view of self and perceived view of others) professional roles, although participants believed themselves to be musicians more than they felt others believed them to be. Participants reported positive interactions with music students and other music educators and that directing ensembles and attending music conferences were the most positive experiences. Participants who reported positive relationships with other music educators and music students were likely to develop an educator identity. External musician identity was predicted by relationships with other teachers as well as with students outside of music. Participants with positive administration relationships were less likely to exhibit an internal musician identity. As teachers move from preservice to in-service, their musician identities may transform from being relatively integrated to becoming more differentiated.

Viewing the Parent-Teacher Relationship in Music Education Through the Lens of Role Theory: A Literature Review

“…Teachers play diverse and complex roles in music education. We identified four roles from the surveyed literature, and discuss the roles of professional musician and educator (Austin et al, 2012; Ballantyne et al, 2012; Bernard, 2004; Bouij, 2004; Miksza, 2007; Pellegrino, 2009; Russell, 2012; Scheib, 2006), teacher as partner in education (Fischler, 2007; Macmillan, 2003; Music Teachers National Association [MTNA], 2004), and teacher as role model (Ballantyne et al, 2012; Dwyer, 2015; Leong, 2008; Pitts, 2012).…”

Under construction: Undergraduates’ perceptions of their music teacher role-identities

“…This served two purposes: (a) situating the research in an identity model developed specifically with music education majors and (b) applying a theory often referenced-although not employed as a theoretical framework-in articles by American music education scholars (e.g., Austin et al, 2012) to a different cultural context than the one in which it was developed (i.e., Sweden) in order to explore its appropriateness within this American setting. Finally, I hoped it might also provide a basis on which to build future studies using the same framework, therefore developing a logically connected body of research (Russell, 2012).…”

Healing bruises: Identity tensions in a beginning teacher’s use of formal and informal music learning

“…Music teacher identities have been consistently described as having two separate entities of a performer and a teacher (Bouij, 1998; Dolloff, 2007; Isbell, 2008; Roberts, 2004). More recently, Russell (2012) described six roles used by ensemble teachers, including educator, conductor, creative business person, entertainer, external musical identity, and internal musical identity. However, scholars have suggested considering identity in a more holistic way (Dolloff, 2007; Pellegrino, 2009) and using methods like narrative inquiry to better examine identity’s “complexity” (Pellegrino, 2009, p. 50).…”