Elementary General Music Performances and Teachers’ Perceptions of Stress

Participants

The human subjects committee at the host university granted permission to conduct this study. I recruited a purposive, criterion-based sample (Merriam & Tisdell, 2016) of public school elementary general music teachers. Criteria for selecting participants were years of teaching experience (mid-career) and advanced degree completion. To recruit potential participants, I sent an email containing the purpose of the study and an informed consent letter to eight potential participants. Following their identification, three participants received study information and consent forms.

All participants identified as female and White; no male elementary general music teachers responded to the call to participate. The participants’ years of teaching experience ranged from 6 to 11 years, and they reported giving approximately six to seven elementary general music performances per year. All participants had obtained an advanced degree in music education within the past five years.

Participants represented three schools within two school districts, located in varying socioeconomic and geographic areas, in a large metropolitan area in the Midwest. According to data from the National Center for Education Statistics (2017), two participants taught in a Title I school, whereas the third taught at a non-Title I school. For two participants, their schools served children in grades kindergarten to fifth; the other participant’s school served children from preschool to sixth grade.

Data Collection Instrument

The instrument used for this study consisted of a series of semistructured questions, which were developed from the research questions. Prior to conducting the interviews, I developed an interview protocol from the “opening-the-locks” model (Rubin & Rubin, 2005, p. 144), including thematic and dynamic questions. See Figure 1 for the complete interview protocol.

OPEN IN VIEWER

Figure 1.

Interview protocol.

An expert panel reviewed the purpose statement, research questions, and data collection instrument to determine validity. The panel consisted of a tenured music education faculty member with more than 15 years of qualitative research experience, and two doctoral music education students who had both recently published qualitative research. After reviewing the material for the study, the panelists suggested minor revisions to the research questions.

Data Collection Procedure

I prepared for the one-on-one interviews by participating in paired practice with two music education colleagues. After that practice, I listened to the audio recordings to analyze strengths and weaknesses of the interview protocol. After making necessary adjustments, I scheduled each participant’s first interview at a time and location of their choosing. These locations ranged from my office at the university to the participants’ elementary music classrooms; however, due to the COVID-19 pandemic, all participant interviews were rescheduled to take place virtually.

Over the course of two months, I conducted and recorded two separate interviews with each participant in a password-protected Zoom meeting. These meetings lasted for approximately 30 to 45 minutes each. In the second interview, approximately two weeks after the first, I asked follow-up questions based on content previously discussed. During each online interview, I wrote analytic notes to help formulate follow-up questions and aid in my understanding of patterns and themes (Glesne & Peshkin, 1992). Each of the online interviews were recorded within Zoom, which provided secure audio transcripts and recordings. Additional sources of data included my field notes from two, one-hour online observations of each participant preparing her elementary general music class for an upcoming performance.

My methodological approach to conducting each interview consisted of a conversation “between two partners about a theme of mutual interest” (Kvale, 1996, p. 127) in order to create a comfortable but meaningful dialogue surrounding a topic that could be regarded as somewhat sensitive in the field of elementary music education. I strived to be clear, show my knowledge about the topic, structure the interview appropriately for each participant, gently redirect tangents of conversation, and display sensitivity to participants’ responses in order to interpret them accordingly (Kvale, 1996) and gain depth and detail (Rubin & Rubin, 2005).

Analysis

After I completed each interview, I wrote a detailed summary of the structured conversations, noting interesting phrases or terms each participant used. I transcribed the interviews following Kvale’s (1996) guidelines, writing them out in order to “translate the oral style into written form in harmony with the specific subjects’ general mode of expression,” and to “confirm their views are adequately rendered” (p. 170).

After transcribing all interviews, I labeled each interview transcript with an identifier including the participant’s initials, years of teaching experience, and the initials of their school district (i.e., KT-7-LPSD), which served as an alias to protect the participants’ identities. I read each interview transcript, by using an open coding process to identify the “who, what, when, and where” behind the participants’ statements (Gibbs, 2007). During the next several readings, I used axial coding to draw connections between codes and organize them into themes and patterns (Creswell, 2012).

Researcher Bias

I recognized that my personal bias could be a potential threat to validity (Maxwell, 2013) and might lead to a misinterpretation of data (Merriam, 2016). As a professional acquaintance of each of the participants, I brought into the study an awareness of their teaching preparation and my own positive and negative experiences with elementary general music performances.

Validity

I used participant validation to help reduce threats to the validity of the data and the study (Maxwell, 2013). Specifically, after I completed the interviews, each participant received a one-page summary of their interview as a form of a member check (Merriam, 2016). I asked the participants to carefully review their summaries and elaborate and/or clarify information found in their respective executive summaries. All of the participants gave their approval. Data were triangulated through multiple sources including the interviews, analytic notes, and observations.

Admittedly, the findings of this study might not be transferable due to the small sample size and demographics of the participants (i.e., all women from a similar location). Though the participants do represent the typical elementary general music teacher in terms of sex and years of teaching experience, only two school districts were represented. In addition, the participants’ years of teaching experience in this study do not necessarily reflect the perceptions of novice or veteran elementary general music teachers. I did attempt to look for variation in the sample (Merriam, 2016) by identifying participants within different types of school settings, experience, and varying approaches to teaching.

Theme 1: Time Management

Overall, participants displayed a keen sense of responsibility and determination as it pertained to timely facilitation of their performances. All three participants acknowledged that, in their preparation for elementary general music performances, time management affected both their attitude and perceived type of stress. Participants discussed how time management was a crucial factor that affected their students, colleagues, and themselves in preparing elementary general music performances. These facets of time management, both successful and frustrating, included strategic planning, organizational techniques, and instructional time.

All three participants mentioned their own strategic planning system in preparation for their elementary general music performances. In all of the interviews, participants described the importance of planning performances well in advance. This included providing students adequate time to learn the material and giving themselves sufficient time to develop speaking parts and facilitate other elements while continuing to teach the district music curriculum.

The participants appeared to be sincere and highly focused in their pursuit to diligently plan and prepare performances for the betterment of their students. Lauren seemed to have a thoughtful attitude as she explained preparing performances: “I plan things out at least 10 rotations beforehand; 12 to 13 if we are planning on [playing] instruments. I kind of gauge out what we’re doing.” Karen also focused on this aspect of preparation as she began preparing students at least 10 to 12 lessons in advance because “program time is its own beast. I don’t want to spend more than ten classes [because it is] not worth the lack of time and setup that I actually have.” Brittany appeared to view her music program preparation in slightly different terms:

In terms of prep [sic], I try to have at least a couple of months in advance for starting the music program. For example, third grade is in mid-February. I started before Thanksgiving break with their music program so it’s starting to just get in their ear, and we’re going over music.

They were clearly dedicated to doing all that was within their capabilities to ensure students felt equipped to take part in a successful performance.

Within those strategic planning systems, participants described specific organizational techniques that helped them with time management. Both Lauren and Karen mentioned enthusiastically that they used checklists in order to effectively manage time and to reduce negative stress. As Karen explained, “ . . . preparing and planning, very little stress. I’m a fairly organized person. I’m a checklist person.” Lauren echoed that sentiment: “I kind of have a checklist of. . .make sure this happens, and this happens . . . ” Yet, despite her organizational preparedness, Karen explained, “it doesn’t matter how organized I am. There is always something that happens that day. I will be incredibly stressed.”

Conversely, Brittany did not mention a specific organizational approach within her preparation for music performances; however, she did seem aware of her stress associated with such preparation. “I have learned [laughs] that I’m going to stress out every time, I’m going to stress out every time there’s a performance.” Even though organizational skills seemed paramount for successfully completing an elementary general music performance, none of the participants noted that preparation had any effect on reducing or eliminating negative stressors. That being said, the participants’ attitudes reflected those of careful practitioners, ready to take on any challenges to move forward for a meaningful performance.

The other element that necessitated strategic planning appeared to be balancing curriculum instructional time related to preparing for performances. Brittany, for example, expressed her frustration about this:

Sometimes, I feel like programs can take a little bit away from the curriculum that you’re trying to teach because they take so much time to put together and to get done to a level that you want to perform in front of people. We wouldn’t take all of our time to teach the program every single class, but as we got closer, we would take a good chunk [sic] of the music class time. So, we lost a lot of curriculum in the fall.

Karen and Lauren made similar remarks in that they struggled with how much to focus on preparing for a music performance when they were also expected to teach district and state music education standards. Both of them mentioned they would rather integrate elementary music performances into their curricula. Interestingly, all three participants were noticeably anxious when discussing this particular aspect of time management. It seemed clear that the participants strived to provide their students with ample time to prepare for the performances while also navigating the curricula. Perhaps this is one example of many “balancing acts” elementary general music teachers face within a school year or their careers.

Theme 2: Control

Throughout the interviews, participants spoke of their concern about the degree of control they had over certain aspects of their students’ performances. Whether it was absolute control or a complete lack of control, the participants mentioned scheduling, repertoire selection, equipment, and performance venues. Though not an exhaustive list, these factors appeared to be consequential in terms of both positive and negative stress, seemingly affecting their attitudes on the subject.

All three participants mentioned the complexities of organizing six or seven separate elementary music performances in accordance with the dictated schedules of their respective schools and districts, an aspect with which participants may or may not have had control. For example, though working closely with her principal, Lauren maintained the majority of the control with scheduling of performances:

There’s been a couple times where I’ve decided to do some really weird things, and my principal’s like, “Great.” One time, I decided we’re gonna [sic] get all of the music programs done in 3 weeks. I could just have a unit of music programs, and I want to see how it goes. And then we did it, and we decided, no, we’re never gonna [sic] do that again.

Interestingly, Lauren and Karen discussed how their elementary general music performances were included as part of a supplemental contract. Both maintained control over certain aspects of the performances within this contract; however, the contract stipulated the number of music performances they were required to prepare each school year. Lauren and Karen appeared to be very confident as they described their autonomy in decisions concerning performances such as selecting grade-level program dates.

Brittany, however, who was not contractually obligated to prepare elementary general music performances, was expected to approach all aspects using her own expertise and judgment. She mentioned this level of control including the decision for how many grade levels presented performances each year, as she described, “I got to pick and choose how I wanted to structure my year. Some years the even numbered grades will perform, and some years the odd ones will do the programs. It’s up to me.” They all maintained realistic perspectives with respect to what they were able to control with performances, and continuously brought the conversation back to what was best for the students.

Selecting literature was one of the most commonly discussed aspects within the participants’ control when preparing elementary general music performances. Each spoke of this with enthusiasm. Notably, Karen explained her approach to selecting repertoire:

Within the show [performance], I have my own creative license. I work in elements that they’re studying in class, but I make program time its own beast. I want to do my content, but I do weave stuff in. It has to have a theme. I think about the context of what they’re [students] singing. I try to make sure that they end on a happy, light note . . . it’s somewhere between eight to ten songs is how I plan it, and my fifth graders always get to end with a pop song with glow sticks.

Similar to Karen, Lauren used literature from students’ previous repertoire: “I will maybe have [sic] brought back songs from the beginning of the year.”

Though all of the participants mentioned their respective authority over their performance repertoire, they did not have complete autonomy with other factors such as equipment and venues. In particular, Karen discussed how she had no oversight with risers:

I’m not allowed to put risers or chairs on the gym floor. I have to go to the middle school. So, for the last years we’ve performed in our auditorium, which [on the] positive side they sound fantastic. Downside, the middle school won’t let me use their risers, so I have to order in my own risers and set up my own risers, all in the middle of having to teach during the day.

In addition to having little control over risers, Karen’s students were required to perform at the middle school due to the lack of space in her elementary school. In contrast, Lauren and Brittany’s students prepared, rehearsed, and performed in their own elementary school buildings. Brittany had no problems with equipment and mentioned that she chose the best space, either the multipurpose room or the gymnasium:

I’m not sure, really, which one will be best yet, and I need to discuss that with my principal. But the great thing is, I have risers that are easily transferable to any location in the school. It’s just a matter of figuring out space, how many people we anticipate having. We’re right here at school, which is great.

Having control over aspects of their elementary general music performances was expressed with both confidence and trepidation and appeared to contribute to both positive and negative stress. Participants were aware of their boundaries within these contexts; control in some areas and none in others. Interestingly, all participants discussed how their stress levels spiked the night of the performance, perhaps due to an overall lack of control in student, audience, or parent/guardian behavior, but noted that relief and joy usually arrived during and after the performance. Though they all articulated positive and negative aspects of control, participants seemed to be dedicated to doing their best with their particular situation.

Theme 3: Isolation

The theme of isolation emerged from speaking with each of the participants about their role in planning for, preparing, and executing various elementary general music performances throughout each school year. Each of the participants mentioned a general lack of understanding, from people outside of the general music program, of undertaking so many extra responsibilities in facilitating these performances. The participants also described distinct variations in assistance from administrators, classroom teachers, and parents. They displayed great amounts of humility within these particular discussions while also showing consideration of all involved when planning and preparing elementary general music performances.

Throughout all of the interviews, the participants discussed feelings of being misunderstood by those around them, as Karen stated as follows:

[N]obody understands what I’m actually doing. Because they [teachers, administrators, parents] always see the product. They don’t see the process. Like, [sic] literally even the process of setting up that day, the only person who I think truly gets it is my art teacher because she’s right there with me in the thick of it.

From both classroom teachers and administrators, assistance and support, or lack thereof, surfaced as a point of anxiety and stress for the participants. For instance, Lauren mentioned how she often felt more negative stress due to a lack of involvement from classroom teachers:

Sometimes, I feel like it would do more harm than good because one of the teachers would try to sing along, and they really didn’t know the pitches, or, um . . . [sic]. And so, there is that. There have been times that I’ve, you know, sent them, you know, something to do. It usually ends up giving me more work to do.

As Lauren spoke, she seemed to be visibly upset. She appeared to be torn between wanting help from her colleagues while being unsure of their ability to help the students learn the material for the performances. In contrast, Brittany described how classroom teachers at her school were very willing to assist with performances but only in the form of “corralling children on the stage” for safety reasons. There seemed to be a very delicate balance among the participants on this sensitive subject. They expressed their need for support and assistance from elementary classroom teachers while also showing an awareness of some sort of extra burden to ask for that kind of support.

All participants reflected a positive attitude toward elementary general music performances and receiving assistance from other specialists. These specialists included the art and physical education teachers and, as Lauren said, “I could not do any of this without the other specialists. They are all amazing people and teachers.” Brittany agreed that her team of specialists was vital to the success of elementary general music performances: “Assistance-wise, I usually call on other specialist teachers.” Karen echoed their sentiments:

I could not do my programs without my art teacher because a lot of times what she will do, um, [sic] is she will take the last ten minutes of the class right before the kids who are performing, so I can zip over and greet them at the door.

The sense of comradery was clear during these conversations with the participants. The goodwill among these educators and other specialists was apparent.

Unfortunately, due to the nature of teaching elementary general music by being the only person in the building doing so, the participants generally felt isolated and alone in their preparation for elementary general music performances. Participants appeared to describe their frustrations honestly and displayed anxiety describing these events.

Attitudes

All participants acknowledged that time management, though potentially a source of frustration, was a critical factor in their preparation for elementary performances. Although the increased workload required participants to make tough decisions concerning teaching and students’ learning, all participants asserted that effective time management was crucial in order to prepare their students for meaningful and successful performances. Other researchers have also found that time management affected music educators as it pertained to their excessive workload (Gordon, 2000; Hedden, 2006). Additionally, Scheib (2003) reported that, as a result of meeting the demands of teaching and directing performances, music educators felt overwhelmed or overloaded. I observed similar feelings in this investigation. It could be feasible for elementary general music educators to consider scheduling in-class performances, or “informances” (i.e., informal opportunities for music educators to demonstrate classroom activities to a small audience), to help alleviate some of the burden in preparing and planning larger performances (Anderson, 1992). A future study might investigate elementary general music teachers’ attitudes and stress in correlation to “informances” and larger performances. I would also like to replicate this investigation within various geographical regions as there may be differing expectations of elementary general music teachers in terms of workload and yearly performances.

Participants displayed various attitudes when discussing the aspects of control they did or did not have in connection with elementary general music performances. They seemed highly concerned with the delicate balance of teaching music curriculum while also planning and preparing multiple performances for the school and community. Similar to the results reported by Abril and Gault (2005), the participants in this study valued their school and district’s curricular goals; however, they recognized the importance of students showcasing their music achievements in performances as a means of engaging, encouraging, and building community support for the students and school. From my observations, I noticed their outward struggle of meeting district objectives while actively focused on preparing their students for a successful and positive performance experience. Logically, these dilemmas might also affect middle and high school music educators. Another study could examine similarities and differences among elementary general music educators and those teaching middle and high school music ensembles.

The participants appeared to appreciate the trust of some administrators to facilitate performances with expertise and autonomy, while others were thwarted by the constant intervention of administration. I noticed that this particular topic was one that brought about noticeable anxiety among the participants. A subsequent study might include a scale to measure music educators’ anxiety surrounding this topic and the possible correlation to performances.

Though the participants taught every child in each of their respective schools, they all expressed feelings of isolation in their planning and preparation of general music performances. The participants felt solely responsible for their music program, specifically performances showcasing student learning, corroborating findings from Abril and Bannerman (2015). These feelings lent themselves to participants experiencing emotional exhaustion. It could be beneficial for elementary general music educators to plan joint performances, across multiple schools, to lessen the amount of preparation and to share control of such aspects with fellow music educators. A future study could investigate attitudes of those general music teachers planning performances on their own and those who have collaborative partnerships.

Stress

Time management was a source of both negative and positive stress. The participants clearly described their struggle between teaching district and state curricula while simultaneously preparing large general music performances. Though the participants understood the positive aspects for their students and the community, the heavy workload contributed to their negative stress. Supporting these findings, Shaw (2016) found that an intensification or increased workload among music teachers was a common source of stress, often leading to increased time at school to plan and prepare these performances and increased duties. Additionally, participants experienced a stressful dilemma with instructional time viewed as “wasted” when preparing for elementary general music performances. They appeared to be cognizant of positive stress in that they were pleased with their time management in terms of organization and planning skills. A replication of this study with novice, mid-career, and veteran teachers to see if experience is a contributing factor to either positive or negative stress associated with these performances seems worthwhile.

Though most of the participants had control over aspects such as performance repertoire, the lack of control over variables such as equipment and performance facilities caused negative stress. Similar findings were reported by Scheib (2003) and Gordon (2000), supporting the need for communication between music educators, administrators, and classroom teachers. A future study might investigate the perspectives of both elementary general music educators and their administrators to better understand what aspects of control should be held by either or both parties. It also might be beneficial to examine the type and amount of assistance elementary general music teachers desire from their administrators when planning and preparing for performances.

Participants reported both negative and positive stress with respect to support and assistance from classroom teachers and administrators. Research supported these feelings of isolation among elementary general music teachers, especially in relation to the perspectives of classroom teachers. According to Abril and Gault (2005), there is evidence supporting a devaluing of music instruction from classroom teachers. This could be due to a fundamental lack of knowledge about or value for the curricular goals of a music program. Additionally, Madsen and Hancock (2002) reported that music educators tend to leave the profession, early in their careers, due to a lack of support. This lack of support encompassed a misunderstanding of the importance of music education and music perceived as only an extracurricular activity. A future investigation about the perceptions of both elementary classroom teachers and elementary general music teachers to ascertain if there is misinformation with respect to the function and importance of these performances. Notably, these performances have been affected by the COVID-19 pandemic so another investigation might examine how educators have reimaged performances all together.