Chapter 1 Presented by Amanda Zweck

AndSilky Carter

“We learn to understand our own actions as the results of larger, cultural, political, and economic constellations

that shape our country's societal values and socio-cultural traditions.” -

Froehlich

Musical Identities- relationship of an individual to music and the impact that relationship has on an individuals personal development

Occupational identity -working musicians have constructed of them-selves participants of the workforce

Everyone has an identity and it’s formed through socialization

Primary Socialization-occurs earliest, usually controlled by those closest to us, parents, guardians, and other primary givers

Baby preacher video http://www.youtube.com/watch?v=LMzwAEI56-4

Regular preacher Typical of most not all black churches usually Baptist and` gospel http://www.youtube.com/watch?v=s6AbXo7N-Vs

Secondary Socialization-begins with as we enter school, be it pre-school or kindergarten prom these young stages through high school

Occupational Socialization-The stage at which we leave high school enter college and begin making decisions about our profession/career goals

Froehlich argues that the majority of music teachers in schools relate more closely to the

identity of a professional musician rather than to that of a music educator

Is this an accurate statement? Where do you fit?

Can you be both? Should you be?

How are we socialized as pre-service music teachers? How does this effect the development of our occupational identity?

How does this happen? Can it/should it be prevented?

“The fact that comparatively few music teachers join purely educational organizations indicates a strong allegiance to their subject matter. Their musician identities out weighs their identity as an inspiring

educator”

Do music teachers as a group have distinctive qualities that distinguish them from both, musician and teacher?› What are they?› Can this be dangerous or do we use it as a sort of

shield?

Are music teachers who strongly identify with their musician identity able to function well within the interactive emotion work environment?

Froehlich supposes that there are two sides to how music is viewed in sociology.

-The first is music as a social force in the world of entertainment. -The other is music as a complex system of musical aesthetics.

Froehlich says musical instruction is based upon curriculum committees, text books, subject matters, and advocates, as well as political, cultural, and economical influences mandate.

How do we re-guide these influences and create musical instruction that fosters self-identity and self-determination?

Does this change our approach to music as a subject?

Out-of-School Satisfies the user's

personal and emotional goals

Individualistic Makes use of technology to

connect to mavens across distances

Primarily non-classical De-emphasize formal

concert attendance, enabling a performance to be experiences over time and distance

Often Homemade Makes wide use of guitar

and key board, allowing for a life time of musical involvement, alone or with others

In-School Satisfies curricular goals Large-group oriented Makes little use of

technology to connect students to others

Primarily classical Emphasizes one-time

concerts, requiring the audience to be present in a single location at a specified time

Usually composed by others Makes limited use of guitar

and keyboard, instead focusing on instruments that restrict musical involvement after graduation except in large ensembles“Music Education at the Tipping Point”

~John Kratus

How does an understanding of our identity affect how we approach these differences?

-An understanding of our students’ identites?

Do we approach these differences differently based on our personal social positions (race, class, gender etc.)?

-the social positions of our students?-their parents?-school systems?

An interesting video related to identity/influence

http://www.youtube.com/watch?v=7G-7-ZiiM-o

Some articles addressing Musician/Teacher socilization: Hellman, Daniel. “Impediments to the Development of the Music Teacher: Impact of the Social Context in the

music School on the Emerging Identity of Future Music Educators.” N.d. Unknown. Web. 29 Oct. 2009.

Isbell, Daniel S. “Musicians and Teachers The Socialization and Occupational Identity of Preservice Music Teachers.” Journal of Research in Music Eduacation 56.2 (2008): 162-178. Print.

Pellegrino, Kristen. “Connections Between Performer and Teacher Identities in Music Teachers: For setting an Agenda for Research .” Journal of Music Teacher Education I.19 (2009): 55. Electronic. Sagepub.

Regeski, Thomas. “’Music Teacher’ - Meaning and Practice, Identity and Position.” Mayday. N.p., 20007. Web. 29 Oct. 2009. <http://act.maydaygroup.org//_2.pdf>.

An article advocating change in music education

Kratus, John. “Music Education at the Tipping Point .” Music Educators Journal (Nov. 2008): 42-48. Print.