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Onstage, Offstage, and In-Between : = Negotiating Gay Identity and Teacher Identity in the Choral Classroom.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Onstage, Offstage, and In-Between :/
其他題名:	Negotiating Gay Identity and Teacher Identity in the Choral Classroom.
作者:	McBride, Nicholas Ryan.
面頁冊數:	1 online resource (260 pages)
附註:	Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.
標題:	Music education. -
電子資源:	click for full text (PQDT)
ISBN:	9781369815115

Onstage, Offstage, and In-Between : = Negotiating Gay Identity and Teacher Identity in the Choral Classroom.
McBride, Nicholas Ryan.

Onstage, Offstage, and In-Between :Negotiating Gay Identity and Teacher Identity in the Choral Classroom. - 1 online resource (260 pages)

Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.

Thesis (Ed.D.)--Teachers College, Columbia University, 2017.

Includes bibliographical references

Research in music education is beginning to explore the multiple ways in which LGBTQ educators negotiate personal and professional identity within public school music settings. In spite of general progress, many risk adverse and morally vigilant public school settings remain reluctant to embrace gay and gender nonconforming persons as productive members of their community. Often, school environments require gay teachers to remain closeted, to align their LGBTQ identities with discourses of good teaching. Choral music educators, whose ensembles require commensurate numbers of boys and girls, must recruit male singers into a discipline that is read as "feminized." Male choir teachers may be tempted to perform traditional notions of masculinity in order to preserve the accepted format for middle or high school choral programs. These conditions produce an especially difficult environment for gay male choral teachers to navigate. Using ethnographic observations and semistructured interviews within a narrative ethic, this study explores how four self-identified gay male choral directors contend with the prevailing conditions of public schooling. Findings suggest that choral music education served as a type of surrogate emotional identity in place of a music teacher's gay identity. Like their students, the gay male teachers needed open---not necessarily "safe"---spaces in which to discuss the intersections of their sexual and teacher identities. The study asserts that choral music education may play a critical role in reshaping perceptions of gayness, queerness, and otherness in school spaces, when (and if) permitted to "come out."

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9781369815115Subjects--Topical Terms:

1179893
Music education.
Index Terms--Genre/Form:

554714
Electronic books.

Onstage, Offstage, and In-Between : = Negotiating Gay Identity and Teacher Identity in the Choral Classroom.
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504 $a Includes bibliographical references
520 $a Research in music education is beginning to explore the multiple ways in which LGBTQ educators negotiate personal and professional identity within public school music settings. In spite of general progress, many risk adverse and morally vigilant public school settings remain reluctant to embrace gay and gender nonconforming persons as productive members of their community. Often, school environments require gay teachers to remain closeted, to align their LGBTQ identities with discourses of good teaching. Choral music educators, whose ensembles require commensurate numbers of boys and girls, must recruit male singers into a discipline that is read as "feminized." Male choir teachers may be tempted to perform traditional notions of masculinity in order to preserve the accepted format for middle or high school choral programs. These conditions produce an especially difficult environment for gay male choral teachers to navigate. Using ethnographic observations and semistructured interviews within a narrative ethic, this study explores how four self-identified gay male choral directors contend with the prevailing conditions of public schooling. Findings suggest that choral music education served as a type of surrogate emotional identity in place of a music teacher's gay identity. Like their students, the gay male teachers needed open---not necessarily "safe"---spaces in which to discuss the intersections of their sexual and teacher identities. The study asserts that choral music education may play a critical role in reshaping perceptions of gayness, queerness, and otherness in school spaces, when (and if) permitted to "come out."
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