An Exploration of Factors Affecting Persistence to Degree Completion in an Undergraduate Music Education Program

Abstract

The purpose of this study was to explore the experiences of students (N = 26) in an undergraduate music education degree program in an attempt to identify commonalities among students persisting to degree completion. All participants were in their final year of the music education degree at the time of the study. Multiple data collection methods were used to gather information about the students’ experiences in music and teaching, including experiences before and during their time in the degree program. These methods included semistructured interviews, focus groups, written questionnaires, and a researcher journal. The data were analyzed and coded, generating a number of categories for discussion and analysis. The following themes emerged: (a) participants experienced a notable drop in musical confidence early in the degree; (b) participants believed the degree is quite stressful compared to other degrees; (c) participants cited field experiences as important; and (d) participants indicated the importance of peer support to get through the “hard” times.

Keywords

persistence retention music education undergraduate

Approximately 50% of all students who begin an undergraduate degree do not complete it (National Center for Education Statistics, 2003, 2005). This percentage has not fluctuated more than a few percentage points in either direction over the past 40 years, but the subject of undergraduate student persistence and attrition has been among the most prolifically researched areas of higher education (Tinto, 2006). Pantages and Creedon (1978) reviewed college attrition research produced between 1950 and 1975, and they found that a majority of the early literature examined entire student populations when exploring the factors affecting student success. These early inquiries often focused on student demographics, such as gender, ethnicity, socioeconomic status, and psychological variables in an attempt to uncover predictive variables.

As research progressed, a number of researchers examined the interaction between the student and the institution as being predictive of student persistence. These included the models of Spady (1970, 1971), Tinto (1975), Astin (1970, 1975), and Bean (1980). The theories and models developed by these researchers included components relating to the integration of the individual student into the social and academic environments found in college. The conclusions of these studies pointed to the positive integration of students into their collegiate social environments as being of equal importance to their integration into the collegiate academic environment. As researchers continued examining the issue of student persistence, the model formulated by Tinto (1975) surfaced as a preferred avenue for further exploration. This model differentiated itself by presenting a detailed structure through which other researchers could examine specific behaviors affecting persistence and attrition.

As research on student persistence advanced, a criticism arose concerning the narrow populations being investigated (Tinto, 2006). Traditional, majority students attending 4-year colleges were the primary focus of the initial wave of research. In reaction to this criticism, nontraditional students, minorities, and community colleges emerged as areas of specific research interest. In addition to examining these larger subsets within student populations, some smaller subsets and specialty groups within higher education were isolated for further examination. Immigrants, athletes, and members of Greek organizations are just a few groups that were studied in an attempt to assess patterns of persistence and attrition, with the goal of promoting increased retention (Bailey & Weininger, 2002; Debard, Lake, & Binder, 2006; Schutt, 1996). Findings indicated that while most subsets of students tend to conform to some of the more general theories of student attrition and retention, many subsets are affected by identifiable variables that may contribute, either positively or negatively, to student persistence.

Examinations of undergraduate music programs found attrition patterns similar to the national average, with half of those students initially enrolled in music degree programs failing to persist to degree completion (Brown & Alley, 1983; Gavin, 2010). These findings were of special interest due to the number of factors that could, according to a number of models of student persistence, contribute positively to the persistence of degree-seeking students. Previous intensive study in the area of music, participation in ensembles and performance studios, and close student-faculty relationships developed through one-on-one lessons represent experiences that persistence models would highlight as positive influences on student success; however, it appears that these factors did not result in higher rates of overall persistence.

The majority of research focused on student persistence in undergraduate music programs was designed to isolate specific and measurable variables that might be predictive of student attrition and/or persistence (Brown & Alley, 1983; Corley, 2003; Dudd, 1978; George, 1969). Results indicated correlations between persistence and a variety of factors, including high school GPA, college GPA, standardized test scores, and jury grades. These studies provided valuable insight into the field of student persistence in music and music education; however, more recent scholarship has encouraged researchers to focus on increasing the amount of qualitative inquiry in this field (Tinto, 2006).

Conway, Eros, Pellegrino, and West (2010) examined undergraduate music education students using a qualitative methodology. These researchers investigated students’ perceptions of their life experiences within the undergraduate experience, with a special focus on perceived tensions. Results indicated that music education students viewed both themselves and their degree program as unique within the school of music. Results also show that students felt their identity as musicians/teachers changed over the course of the degree.

Gavin (2012) provided a qualitative examination of undergraduate music education students who had withdrawn from the music education major. The reasons students provided for withdrawing included erosion of confidence, failure in the applied music area, major life events, and simply changing their minds. This study also indicates withdrawn students experiences and influences in music prior to reaching college to be similar to the experiences of students who had persisted in previous research.

The current body of research has explored students persisting to degree completion in music education through a quantitative lens, with some qualitative exploration focused on the overall student experience and student withdrawal. The purpose of the current study was to qualitatively examine the experiences of students who had persisted through a music education degree program. Specific questions addressed included the following: “What commonalities existed among interviewed students’ experiences before, during, or after their time as a music education major?,” “What factors influenced persistence through the music education degree?,” and “What were the most valuable components of the music education degree in the opinion of students who had persisted?”

Method

This qualitative exploration employed a case study design (Merriam, 1998). This method of inquiry is ideal for the subject matter as it provides a greater level of depth for each individual being examined, while also filling the research gaps previously addressed by Tinto (1997). The results of this study are not intended to be generalizable but do aim to provide contextual examples from which future discussions and research may be derived.

Participants

I located participants (N = 26) using data furnished by the music education faculty at the sample university. To participate, the students had to have been (a) classified as a newly admitted university student during the 2006, 2007, 2008, or 2009 academic years; (b) classified as a music education major at the time of the study; and (c) intending to graduate from the music education degree within 6 months of the study. The participant group was representative of the music unit being examined and included students who had been enrolled in general (n = 3), choral (n = 9), and instrumental (n = 14) music education tracks. To assure anonymity, pseudonyms were assigned to each participant.

Description of the University, the Music Unit, and the Music Education Program

The sample institution offers three tracks within the music education degree: a general music education track, an instrumental music education track, and a choral music education track. It is a public 4-year university located in the southeastern United States, with a music unit identified by the National Association of Schools of Music (2010) as being in their largest enrollment category (400+). Degree offerings range from the bachelor’s degree through the doctoral degree, with two thirds of students pursuing an undergraduate course of study. The institution was selected for this study based on its large and diverse population of music education students.

Data Collection and Triangulation

Triangulation of data is needed to establish reliability in qualitative forms of inquiry (Merriam, 1998). This study sought to achieve triangulation using four data collection methods: semistructured interviews, focus groups, student questionnaires, and research journal notes.

I created a semistructured interview based on the strategies established by Seidman (1998) and Rubin and Rubin (1995). This interview was intended to guide interview participants to discuss the details of their lives in music, education, and music education. Questions addressed issues relating to participants’ experiences both before and during their college years. To better address the research questions, seven areas of inquiry were highlighted within the design of the interview. These areas were (a) Precollege music experiences, (b) Precollege educational/teaching experiences, (c) Student transition from high school to college, (d) College music experiences, (e) Experiences in Music Education courses, (f) Factors encouraging persistence through the Music Education degree, and (g) Anticipated career path following graduation from the Music Education major. I conducted every interview, using a Zoom H-2 digital recorder to document all interactions with participants. Individual interview lengths ranged between 19 and 68 minutes, with an average length of 42 minutes. Each interview was transcribed verbatim for the purpose of analysis.

All interviews and focus group meetings were conducted over a period of 3 weeks. I maintained a detailed research journal over the course of these 3 weeks, including personal reflections on the interviewees and focus groups. I also recorded a number of observations about the individual participants’ moods, attitudes, demeanors, and level of cooperation. As encouraged by Merriam (1998), the details outlined over the course of this journal guided subsequent interviews, focus group topics, and questionnaire materials. A total of 40 single-spaced pages of journal data were collected.

A follow-up questionnaire was completed by each participant approximately 2 weeks after all interviews and focus groups were concluded. The questionnaire was based on the seven areas of inquiry and included several open-ended questions. All participants received the same questionnaire, with no adjustments made based on their level of participation in the interview/focus group phase of the study or the answers they provided in that phase of the study.

Data Coding

A total of 231 single-spaced pages of written material were produced from all interviews, focus groups, and journal notes. The raw data were analyzed using open coding and axial coding methods (Strauss & Corbin, 1990). In an attempt to identify emerging trends or influential variables, the researcher used selective coding techniques. Two additional music education experts were used in an attempt to establish consistency and agreement within the codification. These experts used the same techniques as the primary research to analyze large portions of the raw data in an attempt to strengthen the trustworthiness of the method. This additional review resulted in a number of minimal alterations of the coding system.

Findings and Discussion

To structure the data collected from the seven areas of inquiry in a cohesive format, the findings for this study are organized into four sections: (a) Participants’ decreases in musical confidence early in the degree, (b) Participants’ belief that the music education degree is quite stressful compared to other degrees, (c) Participants placing heightened value on field experiences, and (d) Participants’ feelings on the importance of peer support to get through the “hard” times.

Participants’ Decreases in Musical Confidence Early in the Degree

Participants described their early performance experiences within the music degree as relatively negative. Most felt they were “very good” players in high school and were surprised at the level of performance in the college setting. The performing ensemble auditions were cited as a place in which these negative experiences took place. Michael reflected on this, stating,

The first ensemble auditions were the hardest. Most of the players are All-State and All-Region level, so when you come in and don’t do as well, it is a real struggle.

Jill believed this negative experience was more common than not, expressing the idea that “After the lists come up, there are two happy people and a million angry people.”

The diminished confidence levels also resulted from experiences in the applied studio environment. Eric spoke passionately on this topic:

For me lessons were just terrifying. These teachers are internationally known musicians who are still performing and still working. And you’re taking lessons from them. They come in and they dazzle you with all of their crazy extended techniques and you’re just like, “I’ll bow down to you. That’s fine.” And every time I walked into a lesson with my professor, or actually every time he walked into a room, I was pretty sure I was going to have a heart attack.

Jill also had a difficult time interacting with her studio colleagues on a musical level, as she believed herself to be profoundly unprepared for the performance demands, especially when compared to her peers. She reflected, “I got here and I felt like I was terrible compared to everyone else.”

Discussion

The finding that students experienced a drop in confidence early in the college experience is consistent with research focused on the college experience in general. Evans, Forney, Guido, Patton, and Renn (2009) addressed this issue in great detail, discussing the combination of intense transitions in both academic and social environments that lead to a lack of security in multiple areas of students’ lives. It was found to be more common than not for college students to experience this phenomenon, and the ability of students to persist through these challenging times has been tied to a number of psychological variables, including academic self-efficacy, performance self-efficacy, and attributional/explanatory style (Richardson, Abraham, & Bond, 2012).

In a music-specific context, Gavin (2012) found a similar drop in confidence among music education students who had withdrawn from the degree. This finding is of particular importance when compared to the population of persisting students examined in the current study, as it suggests that experiencing a drop in confidence may be expected from students who will be successful within the degree program in a way similar to the drop in confidence experienced by students who will not be successful. Further research into the coping mechanisms used by music education students to process and react to decreased confidence levels is needed to understand this issue better. Additionally, research focused on the effect of counseling and support services, both formal and informal, on the lives of music education students experiencing this confidence decline would be beneficial to the professors charged with teaching these students.

Participants’ Belief That the Music Education Degree Is Quite Stressful Compared to Other Degrees

Students reflected on the total experience of navigating the music education degree as one of great stress. The idea that all students are really double majoring (in music and education) surfaced as a contributing factor to this stress, as time demands were equally distributed between the classroom, the performance hall, and the practice room. Sam expressed this clearly:

I’d probably say, the hardest thing I had or the hardest thing that messed me up was just not handling stress well. I guess it has to do with time management. You know, if I wasn’t like super stressed out because I had three papers to do, I felt like everything was fine, but as soon as finals came up and I had like two different finals, papers due in each class, and stuff like that, I got really stressed out. So I feel like my biggest problem and the hardest thing for me to do was manage that.

Tony agreed with this sentiment, stating, “. . . the hard times for me were just not being able to manage my time efficiently.”

The stressful nature of the degree did decline for some students as they progressed through the degree program. Some students came to college with a passion to teach and felt somewhat dejected when they did not get to classes focused on this component of the degree in a “timely” manner. Mary reflected on this dilemma, stating,

It was hard, especially early. I feel like I really had to push myself all the way through the first two years, then I got to the stuff I came for. I got to the good stuff. The second half of the degree felt much less stressful than the first half, which is a much different than I thought it was going to be coming in.

As students like Mary entered this part of the degree program, the stress of the program tended to diminish slightly due to what Kerry described as a feeling of having “gotten to the good stuff!”

Will had a different kind of growth relating to time management as a music education major:

You know, it wasn’t really until this past spring when I just finally had to realize that I have to start stuff early because I’m a big procrastinator. And for me, to start stuff early is really important because it will help me figure out my entire life and I won’t be stressed out as much. It was much more about me than the degree. Really, I just needed to grow up and learn more about myself.

Discussion

The finding that students expressed concern over the stressful nature of the music education degree is consistent with previous research (Conway et al., 2010). Students discussed the idea that the degree is uniquely challenging due to the many diverse areas in which they are expected to excel. These diverse areas included personal growth as a performer, academic coursework, commitments to performing ensembles, and personal growth as an educator. These results support Scheib’s (2006) findings that undergraduate degrees in arts education programs possess a duality of expectations that students find challenging.

Student comments relating to the decrease in stress in the later years of the degree plan are consistent with previous research in the area of student persistence (D’Zurilla & Sheedy, 1991; Galatzer-Levy & Bonanno, 2013; Misra & McKean, 2000). This finding is of special interest when juxtaposed against Gavin’s (2010) finding that most withdrawing from the music education degree occurs within the first 2 years of the degree program. Further research is needed in this area to explore possible connections between overall stress level and attrition within the music education degree.

Will’s summation that he just “needed to grow up and learn about myself” possesses a great deal of merit when discussing the undergraduate experience. Previous research has discussed this phenomenon thoroughly (Evans et al., 2009; Galatzer-Levy & Bonanno, 2013). Given what we know about this particular time period in the life of the undergraduate student, research focusing on the ways in which undergraduate music education students are counseled for stress and time management issues is also encouraged.

Participants Placing Heightened Value on Field Experiences

Students reflected on their experiences in the teacher training components of the music education degree as being very valuable. Specific praise was given to the field experiences in which students were required/allowed to interact with and instruct children. Wilson recalled, “I definitely feel like the field experiences set me up to be more successful in a teaching situation.” Jennifer expressed, “The field experiences made it really interesting . . . getting more and more deep in the subject matter of actually teaching.”

Students also reflected positively on the things field experiences allowed them to learn about themselves. This was especially true of those students who had engaged in very little prior teaching. Tony stated,

The fear (in field experiences) is half of the experience. Learning how to be nervous and keep it together. It just made me realize all the stuff we learn . . . you kind of have to pick what to use from everything we learn, you know. Because some of it like, you can tell when you’re out there, it’s definitely not going to work in this situation. And it makes you realize that it’s kind of hard to make those kids listen and care about what you’re talking about. It just really made me realize that I’ve got to get on this and really make sure I know what I’m doing.

Field experiences were also valued for the information they provided relating to the differences that exist among the different grade levels. Jennifer spoke fondly of this aspect of her field experiences, as she was provided a clearer picture of the age ranges she may one day teach.

Through being in several different classrooms I learned more about what I do and don’t like about certain grade levels and age groups. It was actually surprising in that way. It was just cool to see what kids are like if you haven’t hung out with kids a lot.

Discussion

Participants overwhelmingly expressed the importance of field experiences on their development within the music education degree. Multiple students cited field experiences as a place in which all of the information they gained over the course of the degree could be combined and used productively. They also felt these experiences taught them about their present shortcomings as teachers and musicians. The perceived value of these experiences is consistent with prior research examining music teacher preparation (Butler, 2001; Conkling, 2003; McDowell, 2007; Powell, 2011).

Students also expressed a feeling that they learned more about what kind of teacher they wanted to be through field experiences. Theses realizations included, what grade level was most comfortable to instruct, the challenges a “nice” teacher will have managing the classroom, the reality of an isolated music classroom, and several more. This evolution of teacher identity through field experiences echoes findings of previous research (Bergee, 1992; Butler, 2001; Conway et al., 2010). Further qualitative inquiry examining the relationship between student persistence and the growth of teacher identity is needed to better understand this issue.

Participants’ Feelings on the Importance of Peer Support to Get Through the “Hard” Times

Many of the participants expressed that the degree had been difficult at one time or another. Regardless of whether these difficulties were found in applied study, ensemble rehearsals, academic classes, or general social dilemmas, most students expressed an overwhelming appreciation and need for peer support over the course of the degree. When encountering a difficult period, Bill would regularly “talk to someone older, who knows a little more.” Most students found those peers in the same entering class to be invaluable resources. John experienced this, stating,

The people in class with me served more of a support role than I expected. I think it’s huge who you put yourself around to be successful as far as your peers are concerned, because obviously if you put yourself around lazy people, you’re going to come out lazy because you’re not going to have anyone to motivate you.

Margaret believed her friends were most important during the times she may have left the degree, reflecting,

I remember breaking down and saying “I can’t do this!” and “I hate it!”. My friends would say “give it some time” and “you only hate it today,” and that always helped me stay the course. I can’t imagine going through this without my friends.

Jim believed that the trials and tribulations of pursuing the music education degree served to bring him and his classmates closer, stating,

The people I went through this degree with are my best friends. They are the reason I made it. We kept pushing each other . . . not so much competitive, but like we were all here to keep making ourselves better. The whole group of guys.

Discussion

The presence of peer support over the course of the music education degree appears to be of great importance. This finding supports the long-standing theories of both Astin (1975) and Tinto (1975), in that the students’ successes in the social constructs of the college setting were of equal or greater importance than their academic abilities in the classroom. This finding may be of greatest interest to those professors who interact with students early in the college experience, as the rate of student engagement in socially supportive settings is a variable that is found to increase when prioritized by faculty members (Umbach & Wawrzynski, 2005).

The reliance of music education students on their peers is also supportive of Schlossberg’s (1989) theory of college students’ “mattering” to others. Students pursuing music degrees are often provided multiple outlets in which peer relationships are able to develop quickly. Ensembles, studios, sections, and chamber groups are settings in which all students involved often have a lot in common with each other, while simultaneously relying on each member of the group in some important way. These settings in which peers are interested, dependent, and concerned with the individual student exemplify Schlossberg’s descriptions of “mattering.”

Conclusion

This qualitative exploration of the experiences of persisting undergraduate music education students supports past research in the fields of both undergraduate persistence and music teacher preparation. Tinto’s (1975) assertions on the significance of social connection during the collegiate journey are evident throughout these findings, specifically in the conversations related to confidence and peer support. The positive value of strong social connections during the pursuit of a music education degree is insightful. Programs and methods that encourage a high level of peer support should be investigated further, along with additional quantitative inquiry on the impact of these programs in a music education setting.

Throughout this study, a central theme of insecurity emerged. This insecurity affected confidence, stress, identity, and social connectivity. The factors contributing to students’ ability to persist through this insecurity are important and require additional examination. Furthermore, research examining the role of counseling in the lives of music education students is necessary to better understand the complicated role that stress, worry, and “mattering” may have during this period of life.

The theme of insecurity may also be of special interest to individuals responsible for educating and guiding future music teachers. In a degree plan often wrought with peer comparison, barrier examinations, and public displays of skill, the volatility of confidence and stress is to be expected. Music teacher educators should consider engaging in preventative measures to prepare students for this predictably challenging period of life. Examples may include: compulsory peer support systems, freshman seminars focused on the challenges some students face, a cooperative partnership with college/university student support services, or any number of activities that allow students to discuss the challenges they may face as music education majors.

The path to completing an undergraduate degree in music education is filled with both positives and negatives for most students. This study hopes to provide music education faculty and students with information that may encourage both dialogue and reflection. It is undeniable that every individual student will have a unique experience within their pursuit of an undergraduate degree, but it is evident that some experiences are more common than others. If we are to take Harvard psychologist Daniel Gilbert’s advice in his book Stumbling on Happiness (2006), we must actively engage in exploring the experiences of others who have previously walked the path we are on in order to make the best possible choices about our future. It is within this vision that the current manuscript hopes to contribute to the future of the profession.

Footnotes

Declaration of Conflicting Interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author(s) received no financial support for the research, authorship, and/or publication of this article.

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