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  1. 1. <ul><li>Chapter 1 Presented by </li></ul><ul><li>Amanda Zweck </li></ul><ul><li>And </li></ul><ul><li>Silky Carter </li></ul>
  2. 2. <ul><li>“ 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 </li></ul>
  3. 3. <ul><li>Musical Identities- relationship of an individual to music and the impact that relationship has on an individuals personal development </li></ul><ul><li>Occupational identity </li></ul><ul><li>-working musicians have </li></ul><ul><li>constructed of them- </li></ul><ul><li>selves participants of </li></ul><ul><li> the workforce </li></ul>
  4. 4. <ul><li>Everyone has an identity and it’s formed through socialization </li></ul><ul><li>Primary Socialization -occurs earliest, usually controlled by those closest to us, parents, guardians, and other primary givers </li></ul><ul><li>Baby preacher video http://www.youtube.com/watch?v=LMzwAEI56-4 </li></ul><ul><li>Regular preacher Typical of most not all black churches usually Baptist and` gospel http://www.youtube.com/watch?v=s6AbXo7N-Vs </li></ul><ul><li>Secondary Socialization -begins with as we enter school, be it pre-school or kindergarten prom these young stages through high school </li></ul><ul><li>Occupational Socialization -The stage at which we leave high school enter college and begin making decisions about our profession/career goals </li></ul>
  5. 6. <ul><li>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 </li></ul><ul><li>Is this an accurate statement? Where do you fit? </li></ul><ul><li>Can you be both? Should you be? </li></ul><ul><li>How are we socialized as pre-service music teachers? How does this effect the development of our occupational identity? </li></ul><ul><li>How does this happen? Can it/should it be prevented? </li></ul>
  6. 7. <ul><li>“ 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” </li></ul><ul><li>Do music teachers as a group have distinctive qualities that distinguish them from both, musician and teacher? </li></ul><ul><ul><li>What are they? </li></ul></ul><ul><ul><li>Can this be dangerous or do we use it as a sort of shield? </li></ul></ul><ul><li>Are music teachers who strongly identify with their musician identity able to function well within the interactive emotion work environment? </li></ul>
  7. 8. <ul><li>Froehlich supposes that there are two sides to how music is viewed in sociology. </li></ul><ul><li>-The first is music as a social force in the world of entertainment. </li></ul><ul><li>-The other is music as a complex system of musical aesthetics. </li></ul><ul><li>Froehlich says musical instruction is based upon curriculum committees, text books, subject matters, and advocates, as well as political, cultural, and economical influences mandate. </li></ul><ul><li>How do we re-guide these influences and create musical instruction that fosters self-identity and self-determination? </li></ul><ul><li>Does this change our approach to music as a subject? </li></ul>
  8. 9. <ul><li>Out-of-School </li></ul><ul><li>Satisfies the user's personal and emotional goals </li></ul><ul><li>Individualistic </li></ul><ul><li>Makes use of technology to connect to mavens across distances </li></ul><ul><li>Primarily non-classical </li></ul><ul><li>De-emphasize formal concert attendance, enabling a performance to be experiences over time and distance </li></ul><ul><li>Often Homemade </li></ul><ul><li>Makes wide use of guitar and key board, allowing for a life time of musical involvement, alone or with others </li></ul><ul><li>In-School </li></ul><ul><li>Satisfies curricular goals </li></ul><ul><li>Large-group oriented </li></ul><ul><li>Makes little use of technology to connect students to others </li></ul><ul><li>Primarily classical </li></ul><ul><li>Emphasizes one-time concerts, requiring the audience to be present in a single location at a specified time </li></ul><ul><li>Usually composed by others </li></ul><ul><li>Makes limited use of guitar and keyboard, instead focusing on instruments that restrict musical involvement after graduation except in large ensembles </li></ul>“ Music Education at the Tipping Point” ~John Kratus
  9. 10. <ul><ul><li>How does an understanding of our identity affect how we approach these differences? </li></ul></ul><ul><ul><ul><li>-An understanding of our students’ identites? </li></ul></ul></ul><ul><li>Do we approach these differences differently based on our personal social positions (race, class, gender etc.)? </li></ul><ul><ul><li>-the social positions of our </li></ul></ul><ul><ul><li>students? </li></ul></ul><ul><ul><li>-their parents? </li></ul></ul><ul><ul><li>-school systems? </li></ul></ul>
  10. 11. <ul><li>An interesting video related to identity/influence </li></ul><ul><li>http://www.youtube.com/watch?v=7G-7-ZiiM-o </li></ul><ul><li>Some articles addressing Musician/Teacher socilization: </li></ul><ul><li>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. </li></ul><ul><li>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. </li></ul><ul><li>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 . </li></ul><ul><li>Regeski, Thomas. “’Music Teacher’ - Meaning and Practice, Identity and Position.” Mayday . N.p., 20007. Web. 29 Oct. 2009. <http://act.maydaygroup.org//_2.pdf>. </li></ul><ul><li>An article advocating change in music education </li></ul><ul><li>Kratus, John. “Music Education at the Tipping Point .” Music Educators Journal (Nov. 2008): 42-48. Print. </li></ul>