Abstract
The purpose of this particularistic case study was to explore Paul’s teacher identity in his first year as a music educator. I chose Paul purposively because, while a high school senior, he had participated in previous research about teacher socialization. Using Olsen’s sociocultural view of teacher identity as a lens, I examined Paul’s teacher identity including personal beliefs about teaching, how those interacted with professional learning and teacher education experiences, and how Paul made sense of himself as a teacher. Through data analysis I revealed three themes: Becoming Student Focused, Learning to Be Myself as a Teacher, and Taking Ownership. I recommend making preservice and cooperating music teachers more aware of teacher identity models and suggest activities to promote teacher identity development in music teacher education programs. Music teacher educators would benefit from having more teacher identity scholarship focused on music student teachers and beginning music educators.
Beginning music teachers are of important scholarly interest because of what they may reveal about preservice preparation, mentoring and induction, and identity construction, thus providing a foundation of knowledge about how to best prepare and support them. When beginning teachers have reflected on their teacher preparation programs, they have pointed to the importance of field work and student teaching (Conway, 2002, 2012b), pedagogical content knowledge (PCK; Ballantyne & Packer, 2004), and preparation for a variety of possible teaching contexts (Ballantyne & Packer, 2004; Conway, 2012b; Roulston, Legette, & Womack, 2005). Other recurring themes have included the importance of psychological and instructional support as part of mentoring and induction (Conway & Zerman, 2004; Greene, Koerner, & Wilson, 2017; Koerner, 2017; Schmidt, 2008) and searching for one’s place within the culture of music teaching (Conway & Zerman, 2004; Schmidt, 2008). Though none of these researchers specifically examined teacher identity, they discussed components of it such as teacher education experiences, mentoring relationships, and current teaching contexts (Olsen, 2008).
Using various methodologies, researchers have examined music teacher identity construction during secondary socialization, or preservice teacher preparation, by looking at role-identity (Bouij, 1998; Draves, 2014), authentic context learning (ACL) activities (Haston & Russell, 2012), and the influence of experiences and people on music teacher identity (Austin, Isbell, & Russell, 2012; Ballantyne, Kerchner, & Aróstegui, 2012; Haston & Russell, 2012; Pellegrino, 2009; Russell, 2012). Isbell (2008) first suggested that secondary socialization could influence music teacher identity construction more than previously revealed. Changes in identity, which frequently occur during preservice preparation and the first few years of teaching, could be initiated by increasing preservice teacher responsibility for planning, instruction, and interacting meaningfully with music education peers and mentors, including cooperating teachers (Austin et al., 2012; Ballantyne et al., 2012; Dabback, 2018; Draves; 2010; Draves, 2014; Isbell, 2008; Haston & Russell, 2012; Paise, 2010).
While the literature on beginning music teachers and music teacher identity has grown, there is little that focuses on beginning music teacher identity specifically. Blair (2013), Powell (2016), and Kastner (2018) explored teacher identity construction through narrative and case study approaches, each with one novice music teacher. Participants in all three studies used “tools of agency” to construct their teacher identity (Powell, 2016, p. 31). Chelsea’s identity developed as she engaged in reflective journaling and increased her awareness of and focus on students’ learning (Blair, 2013). Abigail shifted from being an “outsider” to feeling “at home” with the students and in the school when she drew on her cultural resources, such as her commitment to working with inner-city students (Powell, 2016, p. 39). Nicole experienced tension between her interest in informal learning and her teacher preparation but exerted agency in her teaching context to incorporate informal learning, thus contributing to her identity construction (Kastner, 2018).
Conway (2014) suggested that researchers continue to “document beginning teacher voice” (p. 70). In this case study I documented the voice of Paul, 1 a first-year music teacher. While a high school senior, Paul participated in a previous case study (2012) in which I explored the perspectives of high school students who intended to pursue a music-teaching career. The purpose of this particularistic case study was to explore Paul’s teacher identity in his first year as a music educator.
Teacher Identity Lens
Pellegrino (2009) recommended using a sociocultural approach to examine music teacher identity, which she described as “fluid, dynamic, evolving, situated, layered, and constructed individually, socially, and culturally” (p. 50). A view of teacher identity through a sociocultural framework differs from much of the previous music teacher identity research in which researchers have focused on identity conflicts, role-identity, or identity as viewed or constructed in a community of practice (e.g., Draves, 2014; Pellegrino, 2009). Using a sociocultural framework also allows researchers to do more than “capture preservice and in-service music teachers’ identities as snapshots frozen in time”; rather, they account for the “changing nature of identities” and the multiple internal and external forces that shape identity (Pellegrino, 2009, p. 50).
I adopted Olsen’s (2008) sociocultural view of teacher identity as a lens. Olsen (2008) stated that teachers are products of their personal histories and also have agency in choosing how to act as a teacher. In a diagram, Olsen (2008) depicted a holistic view of teacher identity showing how past, present, and future are connected; how the personal and professional are linked; and how context influences identity. Various teacher components that contribute to identity development included (a) reasons for entry, (b) prior professional experience, (c) prior personal experience, (d) career plans/teacher retention, (e) current teaching practice/context, and (f) teacher education experiences (Olsen, 2008). Each of these components mediates the others in the process of teacher identity construction (Olsen, 2008). One could examine teacher identity by beginning with any component, or “door,” as an entrance into the “holistic, circular mix” of teacher identity (Olsen, 2008, p. 25). In this research I considered teacher identity as a holistic, sociocultural product, and a process linking the personal and professional (Beijaard & Meijer, 2017; Olsen, 2008; Pellegrino, 2009). I used Paul’s current teaching context as the entrance to examine his teacher identity, including personal beliefs about teaching, how those interacted with his professional learning and teacher education experiences, and how Paul made sense of himself as a teacher.
Method
The purpose of this particularistic case study was to explore Paul’s teacher identity during his first year as a music educator (Merriam, 2009). I chose Paul purposively because of his participation in a research study about teacher socialization while a high school senior, his exceptional work as a preservice music teacher in the program in which I was a faculty member, and his employment in a local school (Patton, 2002). Because of his participation in the previous study, I was able to explore his identity more deeply and consider the possibility of evolution throughout his preservice years and his first year of teaching. The boundaries of this case included the specific individual, the time frame of an academic year, the school setting, and the context of Paul’s first year of teaching (Stake, 1994). The focus on the phenomenon of identity construction also bound the case (Merriam, 2009; Stake, 1994).
Three of Patton’s (2002) strategic themes of qualitative inquiry informed my data collection: qualitative data, personal experience and engagement, and empathic neutrality. I collected multiple forms of qualitative data, resulting in a rich data set. My personal experience with Paul as a previous research participant and student, and engagement in his current teaching context through observations and attendance at concerts, allowed me to “get close enough to the people and circumstances to capture what is happening” (Patton, 2002, p. 48). The importance of empathic neutrality, or the idea of communicating nonjudgmental interest and caring, became clear during my first visit when Paul introduced me to the class by stating, with only a slight bit of humor, that I was there to “judge them and make him uncomfortable” (Field Notes 1). Being an experienced qualitative researcher allowed me to maintain a neutral stance and facilitate rapport throughout the inquiry time frame as I listened “deeply and attentively so as to enter into the other person’s experience and perception” (Patton, 2002, p. 53).
Consistent with case study design, I collected multiple types of data including three individual interviews; field notes from three classroom observations and two concerts; six informal e-mail exchanges; and Paul’s written reflections on his interview transcripts and findings from the first study, all of which yielded detailed descriptions and direct quotes (Patton, 2002). I conducted three semistructured interviews, which lasted 20 to 35 minutes, with Paul at his teaching site following observations (Merriam, 2009). Using a mix of more- and less-structured questions, I sought specific information and explored issues about Paul’s teacher preparation, my observations of his classes, and his experiences in his first year (Merriam, 2009; Patton, 2002). I also used “qualitative reflection” by having Paul reflect on his interview transcripts and the findings of the previous study, providing his thoughts via e-mail and in person to an open-ended prompt that asked him to “write a response” to the documents (Conway, 2012a, p. 65).
I analyzed data by coding, categorizing, and writing analytic memos (Saldaña, 2016). Following first-cycle descriptive coding, I categorized codes into larger groups (Saldaña, 2016). Through pattern coding, a second-cycle coding method, I revealed three themes (Saldaña, 2016). Saldaña described analytic memos as “reflections” on the coding process (2016, p. 44). Analytic memo writing is a data analysis technique and it can occur simultaneously with coding, though it may occur during data collection. In analytic memos I reflected on how I related to Paul during data collection and the emerging categories, patterns, and themes during data analysis (Saldaña, 2016).
I used data triangulation and a member check as trustworthiness measures. Using multiple data sources, types, and collection methods, I searched for confirming and disconfirming evidence and established credibility (Miles, Huberman, & Saldaña, 2014). Paul read through initial analysis and provided his feedback. The following section on my role as researcher also served as a trustworthiness measure by describing our relationship before and during the study (Miles et al., 2014). The findings of this research are not generalizable, though readers may be able to transfer them to their specific situations (Merriam, 2009; Patton, 2002).
Researcher Role
I first met Paul when he was a high school senior in an outreach honor choir. He agreed to participate in a study about high school students who had decided to be music education majors (Draves, 2012). He was friendly and willing to talk with me, a complete stranger, about his career choices and allowed me to observe him in rehearsals. Two years later, Paul enrolled in my Introduction to Music Education course and later in my secondary methods course. Paul and I had a positive, though occasionally tense, rapport. I recognized Paul as exceptionally musical and showing tremendous potential as a teacher. Paul sometimes openly expressed disinterest in music education courses and though he did good work, I believed that he did not work consistently to his potential.
During his student teaching semester, we had little contact. Once he secured his first teaching position, I contacted him to see if he would be interested in another study. Paul agreed, welcoming me into his classroom and talking with me about his experiences. Though I was no longer his professor, that role influenced the research process and my perceptions of his experience. Our relationship provided me access to Paul and also helped me examine his experience more deeply due to my insider knowledge.
Providing details of Paul’s experiences and the context of his undergraduate preparation and his current teaching situation are key to understanding his first year of teaching. In the following section I describe Paul’s background, including findings from the previous study when he was a high school student and his undergraduate preparation.
Background
In the 2012 study, Paul described the ideal music teacher, verbally and in visual representations, as one who could communicate with students, possessed good classroom management and music skills, and would be prepared for teaching by engaging in score study. Paul loved music and was confident about his skills; he felt he “was good” at it and pursuing a teaching career seemed like an obvious choice (Draves, 2012, p. 355). Teaching high school choir was his goal and I described Paul as constructing a subject- and teacher-centered approach (Draves, 2012).
Paul was an exceptional and versatile musician. He entered the university as a choral music education major with a high level of musicianship. Paul was also a skilled guitarist and sang in and arranged for a men’s A Capella group at the university, which performed regularly at on- and off-campus events. His studies deepened his knowledge and his musicianship placed him ahead of his peers. He admitted, however, to “not paying as much attention” as he should have in college (Interview 2).
Paul’s student teaching took place in one of the most prized high school choral placements in the area. The cooperating teacher was a beloved mentor to many novice teachers and the choirs were among the highest achieving in the area. This seemed like a perfect place for Paul to grow as a teacher. Paul enjoyed many opportunities for teaching and conducting and his cooperating teacher shared power freely with him. After graduation, Paul began teaching at a local high school.
I enter the small classroom at Heritage High School to observe the Advanced Women’s Choir, which has eight students, and they all stand on the floor right in front of me with Paul facing me. He is engaged in friendly chatter and laughter with his students. As class begins with stretching, vocal exploration, and warm-ups, Paul’s exceptional musicianship is on display as he uses falsetto, accompanies on piano, and conducts. The choir concert is next week, so Paul quickly begins the first piece. “Let’s record ourselves today,” he says. His conducting gesture is practiced and lovely. He has no music and maintains eye contact with his singers. They listen to the recording and Paul and the students offer comments. Paul repeats their words as he expands on their ideas. At the end of the run-through of the next piece, everyone laughs over a few mistakes and Paul says humorously, “What happened? Those things never happened before!” The students ask to try it again and Paul says, “I would love to try it again.”
Paul earned his first music-teaching job at Heritage High School, which was part of a charter school system that included an elementary and middle school. There were approximately 120 students enrolled in the high school. Paul taught only in the high school and his classes were choir, guitar, and music appreciation. His diverse music skills made Paul well-suited for the position, even though his student teaching and previous experience as a long-time boys’ chorus member suggested that he might be more likely to pursue a job in a school with a large choral program. Class sizes at Heritage tended to be smaller than the average public school. In his Women’s Ensemble, considered the top performing choir, there were eight students. The grades were mixed in his classes, though in guitar he usually had freshmen and sophomores, and all of his classes were yearlong. The most students he had in any class was 22 in his mixed choir. His other classes ranged from 8 to 11 students.
A typical day for Paul began with rising at 6 a.m. to report to school at 7:15 a.m. Paul taught guitar and mixed choir in the morning. After mixed choir he had a planning period followed by music appreciation and then lunch. Paul opened his classroom during lunch for students to come in and make music or get help, and students often took advantage of that opportunity. He taught another guitar class followed by study hall, “which is basically another prep for me,” and then advanced women’s choir. The school day ended at 3:15 p.m., but teachers were required to stay until 4 p.m.
Themes
Through data analysis I revealed three themes: Becoming Student Focused, Learning to Be Myself as a Teacher, and Taking Ownership. In the following section I discuss each theme and then discuss the findings using the established teacher identity lens. Finally, I conclude with implications for research and practice.
Becoming Student Focused
In our first interview it was clear that Paul had transitioned from being a content-focused aspiring teacher to a student-focused first-year teacher. As a high school student, Paul believed that “the ideal music teacher should be prepared musically, having analysed the music ‘to make sure they know it top to bottom’ and ‘present that to the choir and make [the choir] give the interpretation of the director’” (Draves, 2012, p. 355). When I asked him to describe the ideal music teacher for this study he replied, “Someone 100% dedicated to giving these students the best musical experience they can. . . . It is really someone who is there for the students and can allow them to learn to express themselves through music” (Interview 1).
Paul acknowledged that his “viewpoint has changed” (Interview 1) and attributed it to his cooperating teacher, saying “I feel like I completely emulate her teaching in that she is so supportive towards her kids” (Interview 3). Though Paul had recognized a need to be student-focused during his teacher preparation program, he found it challenging when he was still a student himself. He said, “I knew it was about the students. But I still was in student mode where people are teaching me and I needed to do all these things, and then it switched when I became Mr. Reed” (Interview 1). His evolving beliefs about teaching conflicted with the instruction he was experiencing during college, which was also challenging.
[It was] “we need to get the specifics of the music down no matter what” . . . but we also want to treat the students like human beings and not these machines in choir to make your sound. . . . During college I knew there were some things that I disagreed with at the University and those things were sort of reinforced in student teaching. It wasn’t that these were new ideas given to me, but that I was given a way to direct my issues and put that into practice. . . . The ethos side of me has been coming out. (Interview 3)
He reflected on the competing discourses between his beliefs and experiences, but it seemed that he did not fully embrace a student-focused approach that aligned with his evolving beliefs until he was in front of students and working with them regularly.
Paul’s student focus was also apparent when discussing instruction and goals for students. In an e-mail exchange he asked for “any suggestions for activities that I might be able to do” to “get my music history material across without only doing lecture,” which the “kids find kind of boring” (Personal communication). He also expressed this concern for his performance-based classes, which he described stating, “Often times we sort of just rehearse, especially in guitar. They get bored, and then we don’t really progress from there. I want to find a way, rather than just throwing new music at them, to get them engaged” (Interview 1). He was concerned about students’ engagement level and its influence on their progression as musicians. He was especially interested in new approaches and activities that would “motivate the kids into doing new things” (Interview 2).
Paul prioritized student enjoyment. I asked him about one of the concerts that I attended and how he felt about it: We had a guy come and he took pictures. . . . And in all the pictures they look so happy. That is just what I wanted for choir, to have them enjoy what is choir. I feel that they really did that. (Interview 2)
Paul’s student focus strengthened throughout his first year and he talked about it with ease and at length in the final interview. It seemed that Paul had settled into a comfortable and rewarding version of himself as a teacher who is focused on his students.
It’s very rewarding seeing their faces light up when they lock a chord or something. Any little thing makes a difference. I have gotten positive feedback from my kids and it was really nice to hear. That is really rewarding. (Interview 3)
Learning to Be Myself as a Teacher
Paul described struggling to develop a teacher persona during his preservice preparation. He explained that he felt stiff and inauthentic as he presented himself in peer-teaching and field-teaching exercises. His cooperating teacher proved vital in helping him learn to be himself as a teacher. Paul recounted an exchange with his cooperating teacher.
She said, “do you put on your teacher voice when you start teaching?” and I said, “what do you mean?” and she said, “you get up in the class and say [imitates arrogant tone of voice] ‘okay, please turn to measure five and do this vowel’” and she goes, “stop it, just be yourself.” And I have really come to appreciate that in my teaching, being able to let go while still staying professional. I was laughing and we were having fun but we were on task while doing it. (Interview 1)
Paul went on to state, “So I learned to laugh in the classroom. I’ve learned to be myself. And you saw me today, I was a goofball most of the time” (Interview 1). Paul also described himself as “. . . encouraging. I am always supportive towards the kids.” (Interview 3).
Part of learning to be himself as a teacher included reconciling differences in expectations about “being on” versus reality. Paul explained, When I first started I was always stressed about always being on and always being excited, and getting the kids revved to go. Then I found myself absolutely exhausted because I was just trying so hard. So I’ve sort of pulled back and still kept the same sort of energy and happy façade. I am still getting the same amount from that. I pulled back and I love it. I think it’s great. (Interview 2)
Learning to be himself as a teacher also meant navigating differing advice he received and drawing boundaries. He seemed to be successful at this and it contributed to what Paul described as a “relaxing” and “easy” first year.
It has been [pause] it’s actually been kind of relaxing. That sounds weird because I expected it to be hectic and full of things going on, but it was a lot easier than I thought. One thing that made it a little bit easier is that I didn’t make myself worry about doing as much as I should. People keep saying you should get into a lot of things your first year and then there are lots of people saying you have to learn to say no. So I learned to say no to a lot of things, which made it a bit easier and a bit more relaxing. (Interview 3)
As he continued reflecting on his first year, Paul was pleased with how he presented himself in the classroom.
I am so happy that I went into it with a calm and supportive attitude towards the kids. I am happy that I came in with that attitude and not “I am Mr. Reed, hear me roar.” I was very open to the kids teaching me something as well if I was wrong. (Interview 3)
Taking Ownership
Paul did not seem to entirely take ownership of his professional learning, teaching, and teacher identity until he began his job at Heritage High School. Paul commented about his level of engagement as a college student, particularly as related to teaching his music appreciation class: “It is really difficult teaching something that you are trying to teach yourself at the same time. I definitely should have paid much more attention in college [laughs]” (Interview 2). He expressed some regret and a desire to continue his learning, stating that “The more I teach, the more I realize I don’t know and the more I wish I had paid attention in college. That hunger for more knowledge is coming back” (Interview 3).
During student teaching, Paul’s cooperating teacher shared her classes with him and encouraged him to embrace his role as a teacher. Despite her support, he still did not feel like he was their teacher: “With student teaching there was me feeling this is [my cooperating teacher’s] choir. Even though she told me ‘no, this is your choir, you take them,’ I still felt like I’m not really their teacher” (Interview 1). He said, “I didn’t really prepare much in student teaching, like I said before with learning music. I know, it was terrible [says in a louder admonishing tone], it was terrible, but it taught me a good lesson” (Interview 1). I asked Paul directly about whether he thought his cooperating teacher knew about his preparation during student teaching.
I definitely think so. I’ve sent her text messages apologizing saying “I am so sorry you had to put up with me last semester and now I have totally changed.”
Okay, so you say you’ve totally changed. Why, because you are on your own?
Yes, because I’ve had to learn this music. I’ve had to be confident. Before she was always there and I would go, “okay I can’t get this, can you try?” But now I feel like I’ve grown into the actual teacher position and conquered those trials. (Interview 1)
Paul had reflected on his perceived shortcomings during student teaching and identified areas on which to focus. He “made it a priority this year” to learn students’ names because he had not during student teaching and he “felt terrible about that” (Interview 1). He also said that he had gotten “a whole lot better now than I was in student teaching” at learning scores (Interview 1). In his reflection on responses from the previous study when he wrote that a director needed to know the music and know each part to teach the choir effectively, Paul responded that My old self would smack present Paul. I rarely spend much time learning the music to teach my kids. I often sight-read with them. I believe that I am a great sight-reader, however, I do know that I would be a much more effective teacher if I spent more time learning before rehearsal.
Past experiences seemed to play a role in his willingness to take ownership. He recalled how he had felt having student teachers when he was a high school student, which had not been a positive experience for him. He remembered judging his student teachers and therefore assumed his students were doing the same.
I always felt like they were judging me and thinking “oh this guy isn’t really our teacher, we shouldn’t really listen to him.” I was in that little prison of that idea and I never really got out of that until the end of the year. When we were conducting the last concert it was like, “whoa, yes, I am their teacher” and then I left [laughs]. (Interview 1)
Being in a setting or context where others recognized him as a leader or teacher made a difference for Paul. Working in a summer camp as a department head “really helped push me in the direction of ‘I am teacher, listen to me’” (Interview 1). He also said, “I love hanging out with other teachers at regionals and all-state. I finally fit in that teacher mold rather than when I was student teaching” (Interview 3). At Heritage High School, Paul had fully taken ownership of teaching because he felt like it was “permanent” (Interview 1).
Discussion
Paul’s current teaching context, teacher education experiences, and past personal and professional experiences featured prominently in his identity construction, though all of Olsen’s (2008) components contributed in some way. His reason for entry to the profession was because he perceived of himself as a good musician. Experiences that influenced his identity construction included various music opportunities, past experiences with student teachers, a leadership role in a summer music camp, and even participating in prior research. Teacher education experiences, specifically student teaching, were key. These experiences, which included past, present, self, other, personal, and professional, all in various contexts, were the “holistic, circular” mix that contributed to Paul’s identity (Olsen, 2008, p. 25).
Ownership is a fundamental concept in identity construction: “Through ownership, student teachers feel the urge or necessity for learning and, subsequently, are willing to invest time and energy in that” (Beijaard & Meijer, 2017, p. 182). Paul described taking more ownership of his teacher identity late in student teaching and continuing into his first year of teaching. His increasing ownership was a result of several sociocultural factors including a summer music camp leadership position and his perception of his current teaching context as “permanent” (Olsen, 2008). Paul’s heightened sense of ownership can be traced through his interest and investment in improving preparation, rehearsal strategies, and student engagement. He also discussed other aspects of teaching that suggested greater ownership such as learning students’ names and engaging in professional growth. These might also be considered “tools of agency” as described by Powell (2016, p. 31).
The teacher education experience that contributed most to Paul’s identity construction was student teaching (Olsen, 2008), a finding consistent with Conway (2002, 2012b). His cooperating teacher influenced his identity substantially, another finding similar to previous research, and played a key role as Paul shifted from a content-focused to a student-focused teacher (Dabback, 2018; Draves, 2010; Paise, 2010). Ballantyne et al. (2012) found that “changes in identity are slow” for preservice teachers and the process often continues into the first years of teaching (p. 223). Paul’s cooperating teacher, however, empowered him to enact his teacher persona by encouraging him to “be himself” in his teaching, therefore potentially facilitating an identity shift. Participants in Dabback (2018) also described learning to be themselves during student teaching with support from their cooperating teacher.
Reflecting on previous attitudes and beliefs seemed to facilitate Paul’s development, perhaps because personal beliefs contribute strongly to the type of teacher one becomes (Beijaard & Meijer, 2017; Blair, 2013; Olsen, 2008). After reading through interviews from the first study Paul stated, “I am so happy that I read this because this is a topic I need to improve on. The lack of positive feedback that I give now would anger high school Paul” (Personal communication). Though during college Paul received messages about teaching that clashed with his personal beliefs, those beliefs became “tools of agency” (Powell, 2016, p. 31) that helped him to be the kind of teacher he wanted to be (Beijaard & Meijer, 2017; Kastner, 2018; Olsen, 2008).
Of particular interest is Paul’s description of his first year as “easy.” Paul’s first year seemed atypical in terms of success and ease; however it is important to note that I only observed Paul’s performance-based classes. Beijaard, Meijer, and Verloop (2004) posited that at the beginning of one’s career teacher identities were composed of many sub-identities that form into an integrated professional identity later. In interviews and reflections Paul seemed to focus most often on a choir director sub-identity. If he had considered his identity more broadly or it was more integrated and included music appreciation teacher, he may have come to a different conclusion. I would also suggest that small class sizes and Paul’s exceptional musicianship contributed to his description in addition to his explanation of setting careful boundaries.
Paul was successful in his performance-based classes because he relied heavily on his musicianship, and possibly intuition, to make up for a lack of preparation (Haston, 2018). This approach, however, was not as useful for his music appreciation class maybe because it was a teaching context for which he was not prepared (Ballantyne & Packer, 2004; Conway, 2012b; Roulston et al., 2005). Paul expressed wanting to develop varied activities for all his classes and increase student engagement. It seemed that his content knowledge was high, but not his PCK. Haston (2018) suggested that music teachers learn over time to enact PCK as they draw on intuition developed in methods classes. Therefore, Paul’s PCK may seem more developed after several years of teaching.
Implications
Several aspects of Paul’s teacher identity construction, such as teacher persona and ownership, suggest that music teacher educators may need to develop a “pedagogy of identity learning” that addresses the personal and professional aspects of being a teacher (Beijaard & Meijer, 2017, p. 184). Identity work may include goal setting, seeking feedback about one’s developing identity, self-assessment with professional standards, and addressing identity tensions (Beijaard & Meijer, 2017). Preservice teachers could set goals for their learning in their methods class then reflect on and assess their PCK against their goals and professional standards, particularly following ACL activities, as a way to contribute to identity construction (Blair, 2013; Haston, 2018). Preservice teachers may benefit also from constructive and supportive dialogue and reflection with their peers and professors about tensions between their beliefs about teaching and learning and their experiences as students (Ballantyne et al., 2012; Draves, 2014; Haston & Russell, 2012; Kastner, 2018; Powell, 2016). More ACL activities, particularly with P–12 students, and reflection may encourage a sense of ownership and promote agency as preservice teachers take responsibility for planning and implementing lessons (Ballantyne et al., 2012; Blair, 2013; Draves, 2014; Haston & Russell, 2012; Kastner, 2018; Powell, 2016). Purposefully incorporating identity work may increase the efficacy of current practices, add new practices, and therefore produce novice music teachers with rich and grounded identities (Beijaard & Meijer, 2017). More teacher identity research focused on deliberate efforts to promote identity construction within courses and field work would be of immense value to music teacher educators.
Cooperating teachers might benefit from learning about identity construction theories and mentoring approaches that support music teacher identity development. Sharing theories of identity construction and approaches to mentoring that focus specifically on supporting it might be useful for cooperating teachers. Music teacher educators might provide Olsen’s (2008) and Bouij’s (1998) models of identity construction to cooperating teachers, ask them to reflect on their own identities and their student teacher’s identity in relation to the models, and develop suggestions for support and mentoring (Ballantyne et al., 2012; Blair, 2013; Draves, 2014). Music teacher educators might also encourage cooperating teachers to facilitate the development of positive relationships between their student teacher and other music educators (Russell, 2012). Researchers should more fully explore how identity develops as cooperating teachers and student teachers interact (Beijaard & Meijer, 2017). To the extent that music teacher educators recognize the multiple sociocultural components, both personal and professional, that influence identity construction, the more likely they will witness novice music teachers who are agentic, integrate the internal and external, negotiate identity tensions, build resilience, and construct strong teacher identities that are sustained well into their careers (Beijaard & Meijer, 2017; Olsen, 2008).
Footnotes
Declaration of Conflicting Interests
The author declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Funding
The author received no financial support for the research, authorship, and/or publication of this article.