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Identity Perceptions of Music Performance/Music Education Double Majors: A Qualitative Study

機(jī)譯：音樂表演/音樂教育雙專業(yè)的身份認(rèn)知：定性研究

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摘要

Undergraduate students who double major in music performance and music education often face issues with identity perception unlike those of their single-major counterparts. As they simultaneously develop both identities, double majors cope with additional challenges as they determine who they are and who they hope to become. Some easily adapt to both identities--incorporating values of both majors to create a well-rounded persona--while others struggle to find balance between the two identities. The purpose of this study was to investigate the early stages of performer-teacher identity by examining double majors in various stages of their programs of study who aspire to become a performer and music educator. Using individual and focus-group interviews and e-mail prompts, I investigated the experiences of five undergraduate students majoring in music education and music performance. Participants were asked to describe influences that led them to the double major. They were also asked to consider which of their majors they felt to be more prominent, and how they intended to utilize each major in their future. Participants also described qualities of ideal performers and teachers. They responded to questions regarding training received and perceptions of superiority and inferiority within the school of music. Six themes emerged from the analysis. I found that participants were enveloped in varying degrees of blended musician identity depending on the length of their experience. Participants had been socialized primarily by family and teachers, and secondarily by applied professors and practical experiences. They felt most like performers or teachers when involved in hands-on experiences, and those experiences that were considered in real-life situations were the most helpful in identity development. Participants expressed concerns regarding heavy workloads and their ability to develop adequate skills for success. I also discovered a tendency of participants to cater to the perceptions of those within their environment. Concern for the opinions of others often led to a superiority/inferiority conflict between performance majors and music education majors both within and across applied studios. Implications for music school faculty and music students are included.
機(jī)譯：音樂表演和音樂教育專業(yè)雙學(xué)士的學(xué)生通常會(huì)遇到身份認(rèn)知方面的問題，這與單身專業(yè)的學(xué)生不同。當(dāng)他們同時(shí)發(fā)展兩種身份時(shí)，雙專業(yè)將在確定自己的身份和希望成為誰時(shí)應(yīng)對(duì)額外的挑戰(zhàn)。有些容易適應(yīng)兩種身份-融合兩個(gè)專業(yè)的價(jià)值觀以建立全面的角色-而另一些則難以在兩種身份之間尋求平衡。這項(xiàng)研究的目的是通過考察渴望成為表演者和音樂教育者的學(xué)習(xí)課程各個(gè)階段的雙專業(yè)來研究表演者與教師身份的早期階段。通過個(gè)人訪談和焦點(diǎn)小組訪談以及電子郵件提示，我調(diào)查了五名音樂教育和音樂表演專業(yè)的本科生的經(jīng)歷。要求參與者描述導(dǎo)致他們進(jìn)入雙專業(yè)的影響。他們還被要求考慮自己覺得哪個(gè)專業(yè)更加突出，以及他們打算如何在未來使用每個(gè)專業(yè)。與會(huì)者還介紹了理想表演者和教師的素質(zhì)。他們回答了有關(guān)所接受的培訓(xùn)以及在音樂學(xué)校中對(duì)優(yōu)劣的看法的問題。分析得出了六個(gè)主題。我發(fā)現(xiàn)，根據(jù)經(jīng)驗(yàn)的長(zhǎng)短，參與者被不同程度的混合音樂家身份所包圍。參與者主要由家庭和老師進(jìn)行社交，其次是由應(yīng)用教授和實(shí)踐經(jīng)驗(yàn)進(jìn)行的。參與動(dòng)手實(shí)踐時(shí)，他們覺得自己最像是表演者或老師，而在現(xiàn)實(shí)生活中被認(rèn)為是對(duì)身份發(fā)展最有幫助的體驗(yàn)。與會(huì)者對(duì)繁重的工作量及其發(fā)展成功所需的足夠技能的能力表示關(guān)注。我還發(fā)現(xiàn)參與者傾向于迎合他們周圍環(huán)境中人們的看法。對(duì)他人意見的關(guān)注通常會(huì)導(dǎo)致應(yīng)用工作室內(nèi)外的表演專業(yè)與音樂教育專業(yè)之間的優(yōu)劣沖突。對(duì)音樂學(xué)校的教職員工和音樂學(xué)生的影響也包括在內(nèi)。

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    Sieger Crystal Anne;

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  • 年度 2012
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