Choral Directors’ Experiences with Gender-Inclusive Teaching Practices Among Transgender Students
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As adolescent gender identity expands to encompass non-binary forms of gender expression in contemporary social contexts, some music educators are beginning to examine their role in fostering an environment that is affirming of gender diversity. Anecdotal observations of choral music practices in US schools indicate some changes occurring in the naming of ensembles, the categories used to describe voicing of choral music, the gender terminology used by choral directors during instruction, and overall program structure and function. The purpose of this study was to examine school choral directors’ self-reported gender-inclusive teaching practices and confidence in teaching transgender students. Gender inclusive teaching practices reported in extant research were used to develop an online survey instrument for data collection. The survey contained a total of 39 items including questions regarding experience teaching singers who identify as transgender, gender inclusive instructional practices, and confidence in teaching students who identify as transgender. Study participants were choral directors (N = 227) currently teaching in secondary schools in the United States. Results indicated that a majority of participants were currently engaging in gender-inclusive teaching practices and that they had moderate confidence in the use of these approaches. Participants reported use of gender-inclusive language as an area of high confidence and the impact of medical and non-medical interventions on the singing voice as an area of least confidence. Results also suggested that choral directors who engaged in formal training experiences such as professional development, conference presentations, or in the context of a college course, reported higher levels of confidence in their ability to teach a singer who identified as transgender.
Table of Contents
The research problem -- Review of literature -- Methodology -- Results -- Discussion and implications -- Appendix A. UMKC Institutional Review Board Approval -- Appendix B. Pilot Study Email -- Appendix C. Email Communication with the American Choral Directors Association -- Appendix D. Survey Instrument -- Appendix E. American Choral Directors Association E-Newsletter Invitation to Participate -- Appendix F. Email Invitation to Participate -- Appendix G. Social Media Invitation to Participate [Facebook®] -- Appendix H. Social Media Invitation to Participate [Twitter®] -- Appendix I. Participant Recruitment Printed Materials -- Appendix J. Draft/Pilot Study Survey Instrument -- Appendix K. Q4.3 – “Other. Please Specify:” Responses -- Appendix L. Q78 – Success Responses -- Appendix M. Q51 – Challenge Responses -- Appendix N. Q79 – Factor(s) Influencing No Change(s) -- Appendix O. Q79 – Factor(s) Influencing No Change(s) -- Appendix P. Coding Instructions: Challenge with Gender-Inclusive Teaching Practices -- Appendix Q. Coding Instructions: Primary Factor Influencing No Changes in Teaching Practices -- Appendix R. Q80 – Voice Placement “Other” Responses -- Appendix S. Q6.1 – “Other thoughts” Responses
Ph.D. (Doctor of Philosophy)