Abstract
The purpose of this study was to investigate the phenomenology of the female high school band director (FHSBD). In order to achieve a sample for regional maximum variation, one FHSBD from each county in the state of Connecticut was interviewed. After gathering data from a series of three interviews, I used Moustakas’s modification of the Van Kaam method to analyze data to align with common phenomenological analysis techniques. I identified the following nine themes from relevant and validated invariant constituents: (1) support, (2) resistance and barriers, (3) loving the students and loving music, (4) discrimination, (5) motherhood and time consumption, (6) building or rebuilding a program, (7) gender clubs, (8) high school wasn’t the goal, and (9) administrative and leadership degrees and certification. Based on results from the analyzed data, I determined the essence of the FHSBD is most succinctly described as persistence.
Should women be on the podium? Although this question might seem offensive to some, in recent years, some well-established instrumental conductors have made public comments surrounding that very idea: that women cannot and should not become conductors or ensemble leaders (Burton-Hill, 2014; Gillies, 2014; Higgins, 2013; Levintova, 2013; Tsioulcas, 2013). For example, comments from Vasily Petrenko included that “a cute girl on the podium means that musicians think about other things” (Levintova, 2013, p. 1) and that “the essence of the conductor’s profession is strength. The essence of a woman is weakness” (Tsioulcas, 2013, p. 1). Although both statements referred to female orchestral conductors, female band directors have experienced similar negativity (Anderson, 2010; Fischer, 2013; Jones, 2010; Mullan, 2014; Sears, 2010, Smart, 2014). Researchers have questioned if these negative experiences resulted in a lesser ratio of female to male directors (Anderson, 2010; Bright 2006; Fischer, 2013; Fitzpatrick, 2013; Jacobs, 2007; Mullan, 2014; Sears, 2010; Smart, 2014, Venske, 2014). Throughout history, men consistently have outnumbered women as high school band directors (Howe, 2009). In 2001, approximately 33% of high school band directors were female and approximately 67% were male (“Gender Trends Among MENC Music Educators,” 2001). In 2015, approximately 21% were female and approximately 79% were male (Yoder, 2015). These data seem to indicate fewer women are becoming or remaining as high school band directors, so why are women turning away from the position?
Researchers have conducted studies to determine the types of experiences female band directors were having, in order to see if there was a specific reason or reasons for the disproportion of gender representation (Anderson, 2010; Bright, 2006; Cohen-Mishlan, 2015; Fischer, 2013; Fitzpatrick, 2013; Jacobs, 2007; Mullan, 2014; Sears, 2010; Smart, 2014). Some study participants believed women faced challenges with getting interviews for open band director positions (Mullan, 2014; Sears, 2010). Participants in Sears’s (2010) study believed a hiring discrimination existed when women applied for band director positions due to feelings of judgment for applying for a position typically filled by a male. However, participants in Mullan’s (2014) study believed they received positions easily. With laws requiring employers to provide equal opportunity employment, hiring committees must interview minorities. Women have been cited as the minority for band director positions; therefore, women could have a better chance of receiving an interview because of their gender identity. More interviews for women could lead to a greater chance of being hired for positions.
Regardless of how easy or difficult it was to obtain the position, the majority of participants in Mullan’s (2014) study revealed they were often hired into band programs that were small, failing, or “not well established within the community” (p. iv), or they were hired with the purpose of creating a “program from scratch” (p. 109). Once in the position, participants in Cohen-Mishlan’s (2015) study believed they generally “needed to work harder to prove themselves in a male dominated profession” (p. 1). In their personal lives, some participants struggled with the “work-life balance” (Shaw, 2014, p. 63). Female band directors who were mothers often found difficulties in managing the responsibilities of a high school band director and mother at the same time, whereas those who desired to become mothers questioned whether it would be possible with all of the responsibilities they already had as band directors (Cohen-Mishlan, 2015; Fischer, 2013; Fitzpatrick, 2013; Jones, 2010; Mullan, 2014; Sears, 2010; Shaw, 2014; Tsioulcas, 2013). This struggle caused some women to leave the profession, move to the middle or elementary level, or in some cases, not become a high school band director at all (Cohen-Mishlan, 2015; Fischer, 2013; Fitzpatrick, 2013; Jones, 2010; Mullan, 2014; Sears, 2010; Shaw, 2014; Tsioulcas, 2013).
Another reason for fewer women in the high school band director position could be the lack of female mentors. As discussed in Jacobs’s (2007) study, it was a common trend for school districts or state education departments to pair new teachers with mentors in order to assist the new teacher through their first few years teaching. With fewer female than male band directors, new educators have been found to be more likely to be paired with a male mentor than a female mentor (Higgins, 2013; Jacobs, 2007; Jones, 2010). Jones (2010) discovered the lack of a strong female influence caused some women to “question their role and identity as band music educators” (p. 50). Gould (2001) revealed that female band directors at the collegiate level, a population that can be viewed as mentors to newer directors, were willing to function as role models, yet failed to self-identify as one. While in the job, female band directors have expressed challenges with other adults they interacted with including administration, colleagues, parents of students, and members of the community (Cohen-Mishlan, 2015; Fischer, 2013; Mullan, 2014; Sears, 2010). Study participants have believed the success of band directors can be due to support of administration, parents, and the community (Mullan, 2014; Steele 2010). Lack of support or respect along with lack of mentors can lead to challenges within the job (Mullan, 2014).
Beyond a lack of support or respect, some female band directors experienced sexual harassment due to sexually inappropriate treatment from others (Sears, 2010). Other negative interactions included gendered jokes, sexualized treatment, intimidation, and verbal abuse from colleagues (Sears, 2010). All of these negative interactions and experiences can lead to unhappiness and uncomfortable situations, which can be the reason for women leaving the position or changing to a different level (Fischer, 2013; Jones, 2010; Mullan, 2014; Sears, 2010). Many women do not discuss these types of negative experiences out of fear or embarrassment. With no one to turn to and no one to trust, feelings of “professional isolation” can occur (Sears, 2010, p. iv).
Researchers have revealed women band directors’ experiences with students ranged from very positive to very negative. Participants in Cohen-Mishlan’s (2015) study and Fischer’s (2013) study felt students treated them differently than they did male teachers, and therefore, it was harder for them to gain respect as opposed to the male band directors. On the other hand, some women have believed being female was an asset in forming a positive relationship with students (Mullan, 2014; Sears, 2010). The participants in Mullan’s (2014) study believed being female with feminine traits gave them the advantage over their male colleagues in forming connections and mentioning and inspiring other students, especially female students.
Outside of the school environment, women band directors have had negative experiences including sexism and harassment at conferences and festivals (Fischer, 2013; Mullan, 2014; Sears, 2010). Although some women may believe there is value in attending conferences and participating in festivals, others may not feel welcome or struggle to fit in while in these environments (Fischer, 2013, Mullan, 2014). One example of a professional environment is the Midwest Band and Orchestra Clinic held in Chicago each December. According to researchers, the Midwest Clinic “is the largest and arguably the single most important showcase event for wind bands in the world” (Sheldon & Hartley, 2012, p. 43). From 1947 to 2008, only 52 out of 602 conductors were women (Sheldon & Hartley, 2012). This disproportion of gender representation in clinic conductors can lead to beliefs that this is a man’s profession. To further that belief, one of the other reasons for struggle at professional events can be the idea of a Good Ol’ Boys Club (Fischer, 2013; Mullan, 2014; Sears, 2010). The Club is not a literal club that requires a membership to join but rather what participants have referred to as the strong, close-knit relationships male directors have with each other (Fischer, 2013; Mullan, 2014; Sears, 2010). There are positive aspects of being a member of The Club since directors can rely on and support each other when needed. However, due to the title and nature of The Club, women have felt it difficult to join (Fischer, 2013; Mullan, 2014; Sears, 2010). Despite this, some women participants believed with career experience and accomplishments, women can become a member of The Club over time; however, most prevented additional women from joining (Sears, 2010).
As discussed previously, researchers have found that female participants had various experiences with different aspects of the band director position (Fischer, 2013; Jones, 2010; Mullan, 2014; Sears, 2010). While mostly negative, participants shared that positive experiences are possible. Currently, the essence of the female band director has not been determined in any previous study. Therefore, the purpose of this study was to investigate the phenomenology of the female high school band director (FHSBD). I used the following research questions to guide this study:
Definition of Terms
For the purpose of this study, the terms female and male refer to any individual who identifies as female or male, respectively, regardless of biological sex. The term high school refers to a public school housing grades 9 through 12. Sexism and ageism refer to any discrimination or stereotyping based on the individual’s gender or age, respectively, and harassment refers to the creation of “an unpleasant or hostile” environment by another as well as any unwanted verbal or physical conduct (“Harassment,” n.d.).
Method
For this study, I used a semistructured interview format (King & Horrocks, 2010; Patton, 2002) to gather experiences from eight participants in order to investigate the phenomenology of the FHSBD. I created transcripts and analyzed the data from 22 completed interviews. Based on data obtained from analysis, I determined themes and the essence of the FHSBD. This study was approved by the University of Hartford’s Institutional Review Board, the Human Subject Committee.
Participants
In order to obtain varied perspectives, I sampled for regional maximum variation (Creswell, 2013, 2014; Patton, 2002) by interviewing one FHSBD from each of the eight counties in the State of Connecticut. Connecticut was chosen as the state to be used in this study since no states in New England have been previously used in similar studies. FHSBDs interested in becoming study participants provided their name and email address with me following the close of a Women Band Directors forum I led at the 2016 Connecticut Music Educators Association (CMEA) In-Service Conference. Due to fewer than one interested participant from each county, I used the CMEA band director database and sent out an email requesting more participants. When there was more than one interested participant from a county, I selected the participant in order to have the largest variety of background and type of band program. Participant demographic information can be found in Table 1. The large variety of study participant backgrounds and programs allowed for the most robust picture possible in order to determine the essence of the FHSBD. Given the sensitive nature of the topics discussed in this study and low number of FHSBDs in the state, pseudonyms were used to conceal any identifiable information.
Demographic Information of Study Participants Arranged by High School Experience.
Note. In addition to the demographics represented in the table, participants were of a variety of cultural backgrounds, religions, and sexual orientations. This information is not represented in the table due to lack of FHSBDs in the state in order to further conceal participant identity.
Due to low number of female high school band directors in the State of Connecticut, ages and high school experience are given as a range to further conceal participants’ true identities.
Role of the Researcher and Researcher Bias
As common practice in qualitative research studies, I was the primary tool for data collection, and subjectivity was used to analyze and interpret all data (Creswell, 2013, 2014; Miles, Huberman, & Saldaña, 2014). Therefore, it is necessary to clarify my role and potential bias. I was a Connecticut high school band director at the time of the study and had similar experiences to those shared by the participants. During analysis, I made every attempt to view the data with minimum bias so the themes and essence emerged solely from data provided by the participants. I fully believe that in this study subjectivity and my resulting bias were an advantage and allowed the participants to feel comfortable enough to fully share their experiences with someone who could possibly relate and understand (Saldaña & Omasta, 2018).
Creating the Interview Questions and Pilot Testing the Interview Protocol
The creation of the interview guide for the semistructured interviews (Patton, 2002) began with information gathered from similar previous studies (Anderson, 2010; Bright 2006; Cohen-Mishlan, 2015; Fischer, 2013; Fitzpatrick, 2013; Jacobs, 2007; Jones, 2010; Mullan, 2014; Sears, 2010; Smart, 2014). The information was divided into categories, expanded into an interview guide, and used during a single semistructured pilot interview with a current FHSBD in Connecticut. At the time of the interview, the pilot participant Claudia was 34 years old, was in her 13th year of teaching, and taught a competitive high school marching band. In her personal life, she was married and a mother to two children. The pilot interview took an hour to complete and was conducted in the playscape of a local shopping mall so the participant’s children were occupied during the interview. I took jottings throughout the interview to record facial expressions and body gestures exhibited by the participant (Creswell, 2013, 2014; Emerson, Fretz, & Shaw, 2011). I transcribed and analyzed the interview in order to create the protocol for the remaining interviews in this study.
Study Interview Protocol
From the information gathered in the pilot interview, I determined the study interviews would be conversational to best gather the participants’ individual experiences (Creswell, 2013, 2014). To align with common phenomenology practice, I used a series of three interviews for this study (Moustakas, 1994). Although predetermined questions were asked to each participant in the semistructured interviews (Patton, 2002), extra questions were added as needed to gather further information on specific experiences discussed by participants. In addition, I combined and omitted questions when necessary should the participant have already answered the question in a previous interview. The focus of the first interview was demographics, professional background, marital status, motherhood and family, and a general summary of experiences. The focus of the second interview was interactions and experiences with personnel. The focus of the third interview was mentors, self-perception versus perception from others, work attire, discrimination and harassment, opinions on the unbalanced gender split of the profession, and advice. At the end of each interview, I asked the participants if they had mainly positive or negative experiences as an FHSBD.
During the course of this study, I conducted 22 interviews. Two of the participants were unable to complete their final interview due to time restrictions and prior commitments. All interviews were 15 to 45 minutes long depending upon the amount of information the participant shared during the interviews. The interviews were audio recorded using the Voice Recorder iPhone application and were transcribed verbatim using the Dedoose online software. I took jottings during the interviews to record facial expressions and body gestures the participants exhibited throughout the interviews (Creswell, 2013, 2014; Emerson et al., 2011). I also took memos in the event the audio recording failed. Participants had a choice of completing the interviews in person or through use of videoconferencing, both in a location of their choosing. Two interviews were conducted at my house with no one else present beside myself and the participant, one interview was conducted at the participant’s school on the weekend so that no colleagues or students were in the building, and two interviews were conducted in a private location during the CMEA In-Service Conference. Due to busy schedules and difficult weather, 17 interviews were conducted through videoconferencing. During all of these video interviews, both the participant and I were in our respective houses.
Data Analysis and Study Trustworthiness
After gathering data from the 22 interviews, I used Moustakas’s (1994) modification of the Van Kaam method to analyze data in order to align with common phenomenological analysis techniques. I transcribed interviews verbatim, uploaded transcriptions into an online coding software, and initially coded pertinent information in each interview for themes based on findings from the literature (Miles et al., 2014; Saldaña & Omasta, 2018). I then completed a round of coding where I listed and grouped relevant phrases to achieve horizontalization (Moustakas, 1994). After grouping relevant phrases, I used the technique of reduction and elimination by determining the invariant constituents and deleted those coded phrases that related to four or fewer participants (Moustakas, 1994). With the remaining codes, I clustered and determined themes, which I finalized by validation (Moustakas, 1994). Throughout analysis, I created code word clouds to visually track main themes. Once I identified the relevant and validated invariant constituents and themes, I used the resulting information to determine the essence of the FHSBD (Creswell, 2013, 2014; Miles et al., 2014; Moustakas, 1994).
In order to increase the trustworthiness of this study, my bias has been presented. The use of study participants from all counties in Connecticut; the triangulation of data from the interviews, jottings, and memos; and the horizontalization of data between participants further increased the trustworthiness of this study (Creswell, 2013, 2014). Second round and subsequent round codes were paired and connections were made to the literature when they arose from the data (Creswell, 2013, 2014; Miles et al., 2014). I used member checking by sharing all transcriptions, analyzed data, and article manuscripts with the participants to check for accuracy and to ensure participants resonated with the findings (Creswell, 2013, 2014). I also used peer auditors to examine data, analyze codes, and review this article (Creswell, 2013, 2014). Finally, all information gained through the interviews was used regardless if it was positive, negative, neutral, or discrepant to other data.
Findings
For this study, I determined the invariant constituents, extracted codes and significant statements from the interview transcriptions, and reduced and eliminated those that did not fit criteria (Moustakas, 1994). I then clustered invariant constituents to create nine main themes (Moustakas, 1994). Eight of the themes aligned horizontally with at least seven out of the eight participants. I decided to make the remaining one, Theme 8, a theme since it related to five out of eight participants.
The Nine Themes
Theme 1: Support
FHSBDs highlighted the support they received from a network of individuals in their personal and professional life including family members, band and/or music students’ parents, and other band director colleagues. Mentors were also a significant part in FHSBDs’ lives. Seven of the participants mentioned male mentors and three of the participants mentioned female mentors. In addition, four participants named another participant in the study as someone they rely on without ever knowing who the other participants were. All support contributed to successes within their careers and personal lives. According to Kristy, “I’ve always been protected. I’ve always been held up by my supports; family, and friends, and co-workers that support what I do and who I am.” Many, including Mary Anne have been told to “make friends with the secretaries and custodians if nothing else.” Shannon agreed by saying, “When it comes down to it, they’re the people that can really help you and . . . they’re the ones that really can tell you how things really work.”
Theme 2: Resistance and Barriers
When asked, FHSBDs said they generally had positive experiences on the job, but they then spent most of the interview detailing specific negative interactions that caused hurt, sadness, frustration, annoyance, anger, or other similar emotions. According to the participants, school administrators had been the cause of the largest support and greatest barriers. Some of the more negative interactions occurred with female administrators, as in the case of Mary Anne. According to her, “[My principal] made me cry multiple times, both in her office and destroyed me emotionally where I was sobbing on the way home.” Four out of the six participants in this study who had choral colleagues had negative relationships. Three of the choral colleagues were male and one was female. According to Jessi, I think [my choral colleague] did everything in his power to put me in my place . . . Any decision that I made, he second guessed, or told me that there’s a better way to do it. He’s incredibly condescending how he spoke to me, and my decisions, he didn’t quite trust what I was doing and what I was saying.
In general, the first year was the most negative for the FHSBDs. During this time, they experienced struggles due to the type of program they were hired into, interactions with colleagues, the transition between band directors, and other negative interactions with personnel. Some of these negative interactions continued past the first year or appeared in later years.
Theme 3: Loving the Students and Loving Music
FHSBDs had a strong passion for music and for band. Study participants used phrases such as “because I love it,” “I love band,” and “I love music” often. Most realized they wanted to pursue music due to a significant event or person in their life. According to Mary Anne, I realized that music saved me, through my parent’s divorce, through moving . . . that music gave my heart peace, and music, in band, was the only time that my soul had a moment to just be, and enjoy, and I wanted to provide that for other students.
FHSBDs often viewed band holistically and acknowledged that more than music can be taught in rehearsal. According to Abby, “I think that’s why I like my job so much is because I’m not just a music teacher.” Therefore, most goals for the FHSBD involved constructivist techniques such as student-centered learning, leadership roles, and student-lead instruction. According Mary Anne, her goal was to get out of my student’s way . . . because if I am in front of them all the time, and I am controlling all of their learning, then they are not learning anything without me. And what I am trying to do is develop independent musicians.
In the end, the relationship FHSBDs had with students was one of the most positive aspects of the position. According to Shannon, When it comes down to it, you put aside the parents, and the administration, and the building, and the facilities, and the budget and all that stuff, and when it’s come down to my students, which is really what I’m in it for, it’s been positive
Theme 4: Discrimination
It was evident most FHSBDs faced discrimination at some point in their careers; however, it was difficult for participants to distinguish if the negative interaction occurred due to age or gender. Both younger and older participants felt disrespected based on their current age. Sexism and sexual harassment appeared in many forms. Many FHSBDs experienced being called “babe,” “hun,” “sweetheart,” or something similar. In extreme cases, when an individual made rude, offensive, and vulgar sexual comments to a participant, administrative action was taken. None of the participants who discussed sexual harassment in their interviews gave permission to share those stories in this article even with the pseudonyms in place, but they were comfortable with sharing accounts of sexism. According to Abby, “‘I was told [by my principal] that I shouldn’t be hired because I was a girl . . . I constantly felt that I had to prove myself, I felt judged all the time.” Other times, sexism occurred when others assumed the high school band director was a male in the room. As competitive marching band directors, FHSBDs were mistaken for the color guard instructor or another staff member instead of the director of the band. To prevent this, Kristy showed her nametag clearly in judges’ meetings so it was obvious she was the head band director. The most apparent form of sexism FHSBDs encountered was being considered or called a “bitch.” According to Mallory, I’ve totally been called a bitch my entire life for trying to stand up for doing anything . . . if it’s a guy and it’s a different situation, they could go, “You know, he’s just trying to protect those kids. He’s protecting his good name,” you know, and when we do it’s “She’s a bitch.”
Shannon agreed by saying, “I think and it’s been a little difficult just because a strong female comes across as a bitch and a strong man comes across as tough.” Half of the participants used the word “bitch” without being prompted when describing how others view them. In this study, although not all labeled it as such, by definition, all participants encountered sexism, six encountered ageism, and half experienced harassment.
Theme 5: Motherhood and Time Consumption
As to motherhood, the participants in this study wanted or currently had children. All believed balance needed to occur in order to be a “good teacher” and a “good mom.” Kristy described her life as a “circus” when needing to balance her personal and professional life. Two of the participants acknowledged a level of “mom guilt” they experienced when they needed to choose professional life over personal responsibilities. According to Shannon, “It’s hard to fit everything in, I find a lot of guilt doing my school work,” yet she went on to mention if she leaves school immediately after the day to get home to her daughter, she feels like she is “cheating.” To overcome this, participants brought their children to rehearsals and events. For participants with fathers who were band directors, they remembered being brought to band events themselves and now want to give the same experiences to their own children. No participants had mothers who were band directors.
When making the active decision to have children, the FHSBD made every attempt to ensure their pregnancy aligned with the school year in order to have spring births with the summer off. This also ensured they were not far along in the pregnancy during the fall marching band season. Although they acknowledged sacrifices have been made, those with children admitted it was very possible to be pregnant/a mother and a high school band director as long as there was a supportive partner and family. According to Kristy, Having kids and running a program, we have a lot of family support locally, my mom lives in town, my husband’s mom lives close by, so it’s not that far away. Our neighbors are our relatives so it’s easy when you have a community to help you, it takes a village, right?
If they did not have children, female band directors questioned how to obtain balance and wondered what sacrifices will be made. According to Abby, I know that people are able to do it and balance both, but I feel like that at some point something has got to give. Whether it’s you’re not putting in as much effort at your job, or your kids are losing out . . . I definitely have realized that marching band is not forever.
Those without children considered dropping professional responsibilities to become a mother so that they are able to fulfill both roles, whereas those with children are continuing to grow their programs and believed it was possible to be a successful mother and high school band director regardless of commitments.
Theme 6: Building or Rebuilding a Program
Upon being hired into the position, FHSBDs were mostly confronted with a small, struggling, and/or failing band program in need of rebuilding. All eight participants had a male predecessor who left the position due to intended job change, planned retirement, or forced removal. Two participants were hired into strong and established band programs and six were faced with programs in need of rebuilding. Shannon described the program she was hired into as “failing,” whereas Mary Anne described hers as “a trainwreck.” Dawn, who was in her second year in the position, revealed, “Instrumentation is not very balanced so it is challenging . . . that kinda affects what we are able to do and play.” Many attributed weaknesses in their programs to their predecessors. According to Jessi, “My predecessor did not hold students to super high expectations.” In these cases, the FHSBD found herself in a situation where she needed to rebuild a broken program and restore a sense of educational order and rationale to rehearsals. Due to this, all eight instilled change upon being hired, regardless of strength of program. This was often times greeted with resistance from students. For example, Kristy, who was hired into a strong program, shared, It was a learning curve on [the students’] part and on my part trying to find that happy medium between the way that [my predecessor] did things and the way that I did things, which didn’t match up quite a lot . . . That was the initial shock of it all but that subsided after a year or two and then it was fine. Then it became my program, which was nice . . . it was like get rid of all the old baggage and then do your own thing.
Theme 7: Gender Clubs
Most FHSBDs did not realize the unbalanced ratio of males to females in the profession until college or at a specific festival, conference, or competition. Whenever the moment occurred, it “hit her” she was the only or one of few women in the room. According to Dawn, “That’s just something that, I don’t even know when it was that I started to notice that, but it’s really very apparent if you’re looking in the right places.” FHSBDs were aware of a group known as the Good Ol’ Boys Club and believed they are not or were not a part of it. Most spent time proving themselves or working their way into The Club in order to be a member. According to Kristy, I feel that I have had to insert myself into the Boys Club a lot because especially with marching band it is a bunch of guys that are running the marching bands, and I see the few of us that are out there and I am like “Hi!,” and I was like it was one of those moments that I am like “Oh there’s another girl.”
Similarly, Jessi stated, “At this point, I played the game for so long I’m pretty much one of the boys.” On the other hand, others had a hard time inserting into The Club. For example, Mallory mentioned, I think that it’s tough. Sometimes I think that it’s a very sexist position. If I have to say that, personally, could not stand going to many of the [conferences] . . ., I go there and it’s a boys’ club. These guys have known each other for years whether they’ve been at their school for a very long or they’ve migrated to another school . . . it’s very evident that they all know each other and I really don’t feel like they’re interested in accepting some of the other teachers. I’ve always, I’ve always disliked going to any of those events because I’m really just sitting by myself and you know I’m a very social person.
Despite this, she later mentioned, I think, I would hope that with anything it’s gotten better over the years, you know, if you look at the 80’s and the 90’s in terms of female band directors and their acceptance into The Club, you know, I’m hoping that it’s something that’s gotten better over the years.
For this study, all participants mentioned Good Ol’ Boys Club without being prompted and there was no mention of a “Girls Club” in any manner.
Theme 8: High School Wasn’t the Goal
Many FHSBDs did not always want to work at the high school level. For this study, three participants desired high school whereas the other five originally preferred the elementary or middle school level (see Table 1). If high school was the goal, the participant was employed by a high school band as the director, an assistant, or a staff member immediately after graduating college. If high school was not the goal, it was due to a desire to teach at a different level, assumptions of high school time commitments, plans for motherhood and family, or beliefs she would not succeed in the high school setting. According to Stacey, I was going to have a family, and I was going to be home, and I had this perfect little thing set up in my head, and I know that high school band directors have to put in a lot more hours than the others, and for me, that was not where I was in my perfect little world that I had planned out for me . . . I said to myself “I am never, ever going to teach high school.”
Similarly, Abby said, “I hated high schoolers . . . I despised high school, I thought it was going to be terrible, so I was like ‘I am going to teach elementary school, I never want to teach high school.’” The FHSBDs who did not want high school originally were hired into an elementary or middle school position soon after graduating from college. These women were either “forced” or “pushed into” the high school position. According to Stacey, when the position at the high school opened up, her administration came to her and “They said ‘We anticipate that you are going to be teaching at the high school’ so I knew that like I could say no but that I was going to be there.” However, after only 3 months in the position, Stacey admitted to absolutely loving her position. The other participants who felt they were “forced into” the position revealed they now loved the position, loved the students, and anticipated staying at the high school level.
Theme 9: Administrative and Leadership Degrees and Certifications
Most FHSBDs had an administrative degree, administrative certification, and/or some type of leadership- or curriculum-focused master’s degree (see Table 1). One of the participants without one of the above items desired one at some point in her career. With these degrees and certifications, the participants did not necessarily want to be a school-wide administrator but would rather stay within the music department in some capacity. According to Stacey, I want to be a, like a Fine Arts Coordinator of a district. And I look at our district and I see what has happened to our program, and I want to be a part of the change that is going to happen that our superintendent is working towards. So in helping to improve a district and helping the teachers, the music teachers, to realize what their potential is, and give them the professional development that they need to get there. I want to be a leader in music.
Essence of the Female High School Band Director
Based on the information provided by the participants, and the findings from the analyzed data, I determined the essence of the FHSBD is most succinctly described as persistence. According to the Oxford dictionary and for the purposes of this study, persistence is defined as “a firm or obstinate continuance in a course of action in spite of difficulty or opposition” (“Persistence,” n.d.). Without persistence, the FHSBD could not be as efficient, effective, or successful in her professional and personal life. It was persistence that allowed her to disregard negative experiences and interactions and instead to describe her overall experience as positive, as each participant did at the end of each interview. It was also persistence that told her when change was needed. For example, one participant who admitted to being “burnt out” will be leaving the high school level and moving to an elementary position for the following school year, whereas another was leaving due to personal reasons unrelated to teaching. Other participants chose to leave jobs to move their family to a desired location, or when a position opened up that they felt was a better fit. For these women, the decision to leave was difficult, but all did what they felt was best for them personally at that time.
Although persistence could first appear at any point throughout early life, professional persistence first appeared when deciding upon the profession itself. As with all participants, she pursued the band director position only when she was ready to. Regardless of the desired level or age of student to be taught, if she desired to be a band director, she made it her goal to become one at that specific level. For this study, all participants were employed at their desired level at some point in their career and seven were satisfied with being at the high school level. The one who was not, will be leaving and transferring to another level. Therefore, when put into a less than ideal situation, this persistence helped her make the most out of the situation. In these cases, she either learned to love the job or made the decision to leave and find something else that brought her more satisfaction. For this study, all but two participants were employed at a different school or district prior to their current high school position (see Table 1).
As expectant mothers, FHSBDs showed the persistence to work up to (and sometimes past) due dates so they needed to take only minimal amount of time off. This included organizing and putting on concerts, trips, or other band events during late-term pregnancy. As mentioned by the participants who were currently mothers, persistence helped them make those hard decisions when choosing between their own children and their students, embracing the “mom guilt,” and doing what was necessary given the situation. Success in balancing personal and professional life was accomplished through support of family when needing to be at work and understanding administration when needing to be at home.
Sexism, ageism, and other forms of discrimination existed at some point in her career, and the FHSBD had the inner persistence necessary to not let it discourage her from her goals. When these interactions crossed the metaphorical line, persistence allowed the FHSBD to stand up for herself and fight the necessary battles in order to end the negative situation. It was also persistence that allowed her to speak up when she knew she was being treated in an unfair manner. The participants in this study who were harassed by coworkers spoke up, and action was taken against those individuals.
However, no two FHSBDs were exactly alike. Some were quiet and introverted, while others were loud with strong personalities. Some believed others saw them as nice, kind, and sweet, while others believed they were considered a “bitch” due to their confident and strong demeanor. These women who believed they were considered a “bitch” believed if they were a man with a similar personality, they would be viewed as a strong and respected member of the “Boys Club.” Whichever personality, they had the persistence not to care about how others perceived them. They strived to make the environment they were in adapt to them, rather than changing who they were to fit in. In this study, all participants found the need to enact change in their band program to make it their own.
Although they encountered negative interactions and experiences throughout their careers, the FHSBD had the persistence needed to continue to find success for themselves, their families, and their students. In the end, participants agreed staying in the profession was “all about the music” and “all about the student.” Negative experiences and interactions occurred, but it seems their love for music, band, and their students was the lasting thought that lingered on their mind.
Discussion
The purpose of this study was to investigate the phenomenology of the FHSBD. Based on the resulting data, I determined the essence of the FHSBD is persistence. Prior to determining the essence, I first had to answer Research Questions 1 and 2. Study participants revealed during the interviews that despite differences in age, personality, marital status, maternal status, or type of program hired into, FHSBDs encountered similar experiences throughout the state that caused them to become, remain, or consider leaving the profession. Participants mainly discussed specific negative experiences, but most perceived their overall experience as positive. Despite the specific negative experiences and interactions, women chose to remain in the position due to a love of their students and for the positive relationships, experiences, and interactions they encountered. Participants further revealed that women desire to become band directors at any level due to a love of band and music. On the other hand, women chose to leave the profession due to negative experiences, difficult classroom environments, or something that occurred in their personal life. The third research question was answered by determining that the essence of the FHSBD is persistence.
To answer the fourth research question, the findings from this study aligned horizontally between participants of this study, the pilot study, and previous studies. This horizontalization revealed FHSBDs were encountering similar experiences throughout the country regardless of region. For example, participants from previous studies had negative interactions with administration, colleagues, parents, and students (Fischer, 2010; Mullan, 2014; Sears, 2010; Steele, 2010). Participants from Sears’s (2010) study reported they experienced discrimination and harassment as female band directors. Participants in Mullan’s (2014) study revealed they were mainly hired into smaller, failing programs, similar to the majority of the participants in this study. Female band directors in all studies were conscious of the Good Ol’ Boys Club, believed to begin their careers on the outside of The Club, and found that sometimes it was another female who achieved professional success that prevented them from becoming a member (Fischer, 2010; Mullan, 2014; Sears, 2010). Finally, motherhood and family obligations were common themes, along with the need to obtain balance in their personal and professional lives (Cohen-Mishlan, 2015; Fischer, 2013; Fitzpatrick, 2013; Jones, 2010; Mullan, 2014; Sears, 2010; Shaw, 2014; Tsioulcaes, 2013). Although there were some extremely negative interactions with personnel and experiences in both personal and professional life, FHSBDs tended to view their lives using a positive lens due to their love of music, students, families, and other support systems. The participants of Mullan’s (2014) study believed being a woman yields closer connections with students, which relates to the connections mentioned by the participants of this study.
It is important to note I made every attempt to withhold bias and to approach interviews as neutrally as possible. Most participants said they overall had “mostly positive” experiences and interactions with individuals, but they would continue with detailing specific negative occurrences. This became a pattern for most participants: discussing positive experiences in general terms but discussing negative experiences in specific terms. I believe this occurred for one of three reasons: (1) The participants assumed I wanted to hear only negative stories; (2) the negative experiences and interactions were stronger memories for the participants; or (3) the participants seldom have a chance to discuss their negative experiences with a peer and/or colleague. Regardless of the reason, it is clear the participants had a strong need to share their negative experiences in detail.
Suggestions for Future Research
Due to a small number of similar studies, several avenues for future research exist. Qualitatively, researchers could pursue interviewing FHSBDs in states and regions of the country not previously used to further determine whether or not women are having similar experiences based on geographic location. To gain more information about each of the nine themes identified in this study, future studies or a series of studies could occur focusing specifically on each individually. In order to reveal the differences between genders and experiences, a suggestion for future research includes asking the same or similar questions to participants identifying as a variety of genders and comparing answers. Quantitatively, a researcher could survey band directors nationwide in order to gather data from as many participants as possible with the purpose of obtaining the most robust picture.
Implications
Determining the essence of the FHSBD and aligning horizontally to other studies provides insight into the experience women have in this specific position. Difficult situations lead to uncomfortable classroom environments and negative teaching experiences. Therefore, how the study participants were able to use persistence to overcome barriers can be used as a model for other females who are currently or wish to be a high school band director to assist in daily personal and professional life. The findings from this study give answers as to how to be successful when these difficult situations occur. FHSBDs can use this information to relate to other colleagues and know that they are not the only one who is encountering such experiences. The knowledge that other women with professional success were sometimes the barrier for the FHSBD gives insight into how obstacles can occur within the gender. It was also revealed that FHSBDs often do not have a female role model. Therefore, these two findings suggest that should a female achieve career success, she should consider becoming a role model for younger FHSBDs rather than potentially becoming a barrier. Though the findings from this study involve females in high school band settings, females at any level in any classroom setting can relate to the findings and implications from this study to assist with the daily personal and professional lives of both themselves and their colleagues. To expand it further into the profession, this information has implications for all classroom teachers so all gender identities are aware of potential situations and know how to best support themselves and colleagues in and out of the classroom regardless of age, experience, gender, or any other demographic or identity.
Finally, many of the experiences shared could exist in the lives of multiple women, or even within other genders, but since they are not openly discussed, the issues are not recognized as such. If women are silent about how certain experiences made them feel and how their professional and personal lives are affected, then change within the classroom cannot and will not occur. Sexism, ageism, and discrimination should not exist to any degree in the workplace. Harassment from colleagues and coworkers should also not be a concern. These lead to a difficult work environment and an uncomfortable classroom. However, negative interactions can be easily remedied through knowledge and awareness. With this study, I hope to assist in breaking the silence amongst FHSBDs and bring some of these issues to light so change can occur and gender equality can become a reality within the band director 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.
