Band Director in Music Programs
Band Director in Music Programs
Band Director in Music Programs
Dissertation Manuscript
School of Education
DOCTOR OF EDUCATION
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August 2019
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Experienced High School Band Director Perspectives on Sustainability for a Successful
Instrumental Music Program
By
MARYANN CECILIA CAPONE-RASCHILLA
Monifa Beverly
Dissertation Chair: INSERT NAME Degree Held Date
INSERT
Committee Member: Brandy NAME Degree Held
Kamm Date
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Abstract
Experienced high school band directors’ lived experiences and perspectives on program success
and sustainability were explored in this qualitative phenomenological research study. The
problem addressed in this study regarded factors that affected instrumental music program
success and sustainability. The purpose of this research was to discover lived experiences of
high school band directors from a successfully sustained instrumental music program and gather
perspectives on how that success and sustainability were achieved. Sustainable leadership theory
was used to focus the research on the lived experiences of the band director as leader of a
program. A conceptual framework was used to focus lived experiences on sustained program
success from directors who achieved it. Expert experiential knowledge was gathered from
interviews of five participants. Categories were generated from verbatim transcripts. Two
questions guided the research: RQ1. What are the lived experiences of high school band
directors from a successfully sustained instrumental music program? RQ2. How did
experienced high school band directors perceive instrumental music program success and
the sustainable success of a program. An unexpected finding was that no directors perceived
success and sustainability. Directors’ visions for an ideal program encompassed comprehensive
music programs, group/private lessons and trusting and supportive relationships. Implications
were that program success findings diverged from existing research that benchmarked success
according to awards. The results of this study converged with exiting leadership research
promoting emotionally intelligent leadership for sustainability. Recommended next steps would
be to design a qualitative survey for distribution to a larger sample population based on findings.
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Directors could use these findings for instrumental music advocacy efforts. Institutions could
use this study as a basis for curriculum development to better prepare future band directors for a
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Acknowledgements
I was blessed to be surrounded by a love of music. From my mother who loved Motown and
Rock and Roll to my father who loved Classical music and Opera…to grandparents who enjoyed
Polkas to Pops concerts. I’ll never forget my Grandpa Capone cranking the stereo to play me
Gershwin’s Rhapsody in Blue. From the moment I heard that glissando, I was hooked. I knew I
wanted to be a musician. Inspiration alone was not enough. It took the tireless sacrifices,
commitment and support from my parents over the years to help me achieve my goals and
dreams. I could hear their cheers and spot them amidst thousands in an arena. Their support
could never be silenced, and their commitment was unparalleled. My parents blessed me with a
brother whose talent inspired, motivated and challenged me to discover what I thought was my
best and surpass it. Thank you, Mom, Dad and TJ, for being my biggest fans. I could not have
accomplished this without you. Thank you to all my music teachers who continued to nourish
my passion for music and imbibe a lifelong love of music. Especially my marching band
directors who saw leadership potential in me when I didn’t by making me a drum major. Thank
you to my Spanish teacher Barbara Pellicano who showed me what true passion and love of
subject matter was. I wanted all my students to feel how I felt in her classroom. Thank you to
all the family and friends who’ve supported me on this Doctoral journey. Your support meant so
much. Last but not least, thank you to my husband. I believe I can explain my gratitude for my
husband’s support by relaying what my children have witnessed and learned. My children
witnessed their father support their mother’s dream. My children learned that when you truly
love someone, you’re willing to work harder, make sacrifices and compromise. My husband’s
love and commitment helped me achieve this Doctoral goal and continues to support the dreams
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Table of Contents
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List of Tables
Table 2. Research Questions, Categories, Subcategories and Emergent Categories ................ 119
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Chapter 1: Introduction
The director of a band was by definition, the leader of the ensemble (Kerres, 2013).
Extant research noted the important role leadership played for organizational sustainability
(Benn & Metcalf, 2013; Evarts et al., 2015; Kosempel & Wilson, 2016). However, perspectives
from those important roles were given limited research attention (Acklin et al., 2014; Angeline,
2014; Austin, 2017). Sustaining support and success required strong advocacy from directors
(Fischer & Hedgecoth, 2014). Moreover, successful and sustainable instrumental music
programs provided a stage for directors to cultivate and nourish student leaders (Leshnower,
2008). Austin (2017) affirmed the importance of sustainable music programs to elicit positive
community relations and “hope” for students (p.7). Successful instrumental music programs
enabled directors to create an environment for success, and subsequently increase participation
and sustainability (Phillips, 2016). Gaps remained on how such success and sustainability were
made possible (Edgar, 2014; Hancock, 2016). McKoy (2018) affirmed those gaps and added
Implementation of successful sustainability was investigated through the voices of band directors
ensemble director and their program (Phillips, 2016). Several factors threatened program
sustainability such as (a) high attrition or turnover rates of directors, (b) loss of funding/program
expurgation, (c) lack of administrative support or (d) lack of student participation (Bottery et al.,
2012; Carlsson et al., 2014; Dodson, 2014; Schmidt, 2012). Regardless of the reasons for
unsustainability, the effects of program loss were significant (Austin, 2017). During a director’s
tenure, trust, rapport, pedagogy techniques and community relations were developed over time
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(Phillips, 2016). When programs frequently changed directors, directors left, or programs were
cut, the interrelationships became unstable (Carlsson et al., 2014). Advocacy for music
parents and communities (Fischer & Hedgecoth, 2014). Extensive amounts of research relayed
the importance of music and ensemble instruction in schools (Barrett, 2012; Odegaard, 2016).
inclusion, self-discipline and personal responsibility (Fischer & Hedgecoth, 2014; Odegaard,
2016). Sustainability of those programs was essential to provide continued creative and
prompted music educators to leave a school or district and pursue potential elsewhere such as
private lessons or the business sector (Carlsson et al., 2014; Hancock, 2016). Attrition from the
field of music education was linked to absence of director input and recognition of professional
was noted as a continued systemic gap (Edgar et al., 2014). Due to lack of director perspectives
and the negative impacts unsustainable programs could incur, further research was needed to
bridge the gap between needs and actions (Carlsson et al., 2014).
instrumental music program success with sustainability practices from director perspectives
instrumental music programs was warranted to improve retention of directors and programs.
Undergraduate institutions could use the findings in this study to develop curriculum for future
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The problem addressed by this study was that unsustainable instrumental music
programs had substantial negative impacts (Austin, 2017). Specifically, lack of program
sustainability could incur significant loss of teacher or student motivation, student participation,
(Austin, 2017; Hancock, 2016). Attrition, frequent director turnover or program termination
rendered a program unsustainable (Carlsson et al., 2014; Schmidt, 2012). Frequent turnover was
considered a change in directors less than five years after starting a program (Austin, 2017;
Conway, 2012; Eros, 2012). When programs frequently changed directors, had funding cut or
were not supported by administrations, students and their extended communities “lose hope”
(Austin, 2017, p.7). When students and communities lost hope, participation receded (Austin,
2017). There was no program without participation (Phillips 2016). Without instrumental music
programs, there was no stage for directors to cultivate and nourish student leaders (Austin, 2017;
Effective director leadership was the most important factor for the success of an
ensemble (Acklin et al., 2014; Biggs et al., 2010; Kerres, 2013). However; band directors’
continued to be unheard (Angeline, 2014; Eros, 2012; Hancock, 2016). Gaps in research
remained linking band program sustainability of excellence with how such accomplishments
were made possible (Acklin et al., 2014; Edgar et al., 2014). Not exploring why successful
programs became and remained successful would only permit a myopic view of the phenomenon
and limit the potential for institutions to learn and grow through shared experiences (Angeline,
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The purpose of this qualitative phenomenological study was to discover the lived
experiences of high school band directors who sustained instrumental music program success.
Highlighting the voices of successful directors and discovering how they sustained program
success was a logical response to research gaps on the phenomenon of sustained program success
from director perspectives (Acklin et al., 2014; Edgar et al., 2014). The target population was
high school band directors with ten or more years of experience and three or more years of
sustained program success. The first phase of the research was a qualitative exploration through
interviews of five high school band directors meeting the study criterion (Biggs et al., 2010;
Collier & Rosch, 2016; West, 2014). The second phase involved development of categories
based on verbatim transcripts. Data were analyzed first according to research questions (RQs)
then interview questions (IQs). Data directly answering IQs generated priori categories. Data
that indirectly answered IQs yet directly pertained to the phenomenon of sustained program
success generated emergent categories. The third phase involved formation of subcategories
(See Appendices C-P for categorical data). The fourth and final phase involved a discussion of
music programs could provide institutions with concrete knowledge to design meaningful
curriculum and professional development for future band directors (Angeline, 2014;
Baumgartner & Silvey, 2016). The goal of this research was to share this knowledge in the hope
that better prepared directors will become and remain successful and in effect create sustainable
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Theoretical/Conceptual Framework
The framework guiding this research was based on sustainable leadership theory;
“leadership for the purpose of sustainability” (Kosempel & Wilson, 2016, p. 43). This research
was guided by a conceptual framework of understanding what worked well, consistently, and
that learning from experts who achieved those results, would provide vital information for
effective professional development of future band directors (Fischer & Hedgecoth, 2014).
Sustainable leadership theory guided the research while the relationship between success and
sustainability organized the data conceptually, making this combination the most ideal
framework.
Sustainable leadership theory evolved from a business model mentality to one focused on
leadership practices (Benn & Metcalf, 2013). Sustainable leadership was often used in an
environmental and engineering context (Benn & Metcalf, 2013; Kosempel & Wilson, 2016).
The same guiding principles were echoed by research for sustainability in higher education
(Evarts et al., 2015). Theories on successful sustainability practices were explored among
framework was used to examine the relationship between success and sustainability.
Bottery et al. (2012) contended that leadership for sustainability required “more systemic
al., 2015, p. 700). Personal understanding was acquired through interviews of experts in the
directors and their programs to remain relevant and meaningful (Barret, 2012; Fischer &
Hedgecoth, 2014; Odegaard, 2016). The relationship between success and sustainability
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required expert experiential knowledge for comprehensive understanding (Bottery et al., 2012;
“highlight the voice of the teacher…as a key component…for professional development” (Edgar
et al., 2014, p. 1). This research satisfied the need for “the [voice] of the master music
Phenomenological research methods were used in this qualitative study. Qualitative data
were derived from interviews centered on the phenomenon of sustained instrumental music
phenomenon made using qualitative phenomenological research the optimum method for this
study (Creswell, 2014; Leedy & Ormrod, 2010; Moustakas, 1994). A quantitative study method
would not permit an appropriate platform for band director voices to be heard (Edgar et al.,
2014).
Evarts et al. (2015) attested that experiential knowledge was vital to understand the
interrelationships sustainable leadership required. Conway (2012), Evarts et al., (2015) Hancock
(2016), Kerres (2013) and West (2014) used interviews to promote deeper phenomenon
meeting the criterion for experience and success provided validity to perceptions of the
phenomenon (Angeline, 2014, Austin, 2017). Open-ended questions with reflective dialogue
promoted greater breadth and depth of phenomenon understanding (Leedy & Ormrod, 2010;
Moustakas, 1994).
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The goal of this study was to discover important factors, practices or other considerations
for a successful and sustainable instrumental music program. The study problem was addressed
by focusing on the phenomenon of program sustainability while filling research gaps on this
phenomenon from experienced director perspectives. The purpose was achieved by gathering
lived experiences through interviews of five high school band directors with sustained success.
The study goal was accomplished using direct yet open-ended questions. Using open-ended
questions permitted a broader understanding of the phenomenon rather than limiting perspectives
Five participants were interviewed. Justification for sample size was based on similar
phenomenological studies that used N=2 (West, 2014) to N=7 (Conway, 2012). The aim for
acquiring five participants was to enlist diverse perspectives regarding school types. Interviews
were audio recorded and transcribed using a transcription service (Eros, 2012). Transcriptions
were verified by participants for accuracy (Conway, 2012; Eros, 2012). Transcriptions were
examined for thematic data in the form of words and phrases (Dye et al, 2013). Categories were
generated organically from thematic data; first individually then collectively (Conway, 2012).
Categorical data were displayed using tables (Carlsson et al., 2014) (see Appendices C-P for
categorical data). Results were noted in conjunction with correlating interview excerpts where
applicable (Eros, 2012, West, 2014). Findings were discussed relative to scholarly literature.
Research Questions
explored to examine how retention of directors and instrumental music programs could be
improved and how gaps in research from director perspectives could be addressed. Exploring
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and examining director perspectives could lead to further studies benefitting the broader
instrumental music education field. The following questions guided the research.
RQ1. What are the lived experiences of high school band directors from a successfully
RQ2. How did experienced high school band directors perceive instrumental music
This study was important because band program success was directly linked to effective
director leadership (Acklin et al., 2014; Keres, 2013; Semones, 2013). Understanding lived
experiences of those leaders illuminated factors that affected sustainable success (Austin, 2017;
Biggs, et al., 2010). Expert experiential knowledge was needed to understand sustainability of
band program success (Acklin et al., 2014; Angeline, 2014; Edgar, et al., 2014).
The complex and dynamic relationships required to build successful music programs
must be explored through the lenses of directors leading those ensembles (Angeline, 2014; Benn
& Metcalf, 2013; Phillips, 2016). Understanding sustainability amidst those complexities
contributed to the field of instrumental music education by answering the call for master music
teacher voices to be heard (Angeline, 2014; Edgar et al., 2014; Kosempel & Wilson, 2016). The
results from this research filled gaps in research of experienced perspectives on successful and
uncovered practices promoting retention of band directors and their programs (Hancock, 2016).
Discovering factors, practices or other considerations for a successful and sustainable band
program could provide a foundation for undergraduate curriculum, higher education and
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professional development (Edgar et al., 2014). Focused instruction could provide vital skills to
better prepare and promote retention of band directors and their programs. Future band directors
equipped with preparation geared towards sustainability would enable programs to flourish and
Attrition from the field/Turnover. Attrition from the field or turnover could be
considered changing positions within a program and district or leaving a program, district or the
instrumental music educator are used interchangeably to refer to the leader of an ensemble such
as band, marching band, jazz band or pep band who is responsible for teaching and executing a
composer’s intent for a given piece of music and inspiring the group to work as a cohesive unit
(Kerres, 2013).
hands-on and interactive experiences (Cai & Ding, 2017; Evarts et al., 2015).
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middle school ensemble musicians who would form the foundation of students entering the high
programs or beginning teacher professional development refer to the first years of a beginning
teacher where “self-defined problems and concerns” are the central focus rather than pedagogical
Master music teacher. The classification of master music teacher refers to a music
educator of any specialized discipline such as classroom music, instrumental or choral with 20 or
more years who reached a level of stability in their program (Angeline, 2014).
performance and expression (Baumgartner & Silvey, 2016; Chaffee et al., 2012).
to undergraduate students in their final semester of school who gained experiential knowledge
while being mentored throughout the process of teaching (Berg & Miksza, 2013).
Retention. Retention refers to directors who remain in their current program and district
section. Section leaders refers to a student who leads/instructs the section independently
(Leshnower, 2008).
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were considered successful when “superior” or other titles indicating high performance were
achieved at contests, festivals and other ensemble competitions (Acklin et al., 2014; Biggs et al.,
2010). High performance descriptors can vary by state and competition type (Biggs et al., 2010).
sustainability” with a mindset for program legacy (Kosempel & Wilson, 2016, p. 43).
consecutive years or 4 out of 5 years receiving top ratings at contests or festivals (Acklin et al.,
2014).
Voice of the teacher. The voice of the teacher refers to a teacher’s ability to propose
change and actions that would result in desired outcomes; their voice being heard (Edgar et al.,
2014).
Summary
Factors such as attrition, turnover and program cuts challenged program sustainability
inspiring the problem under examination (Dye et al., 2013). Successful sustainability practices
must be gathered from expert experiential knowledge through the voices of those who lived it
(Angeline, 2014; Austin, 2017; Edgar et al., 2014; Cai & Ding, 2017). Interviews with experts in
the field achieved the purpose of this study by providing data on factors, practices or other
considerations important for a successful and sustainable instrumental music program (Conway,
Sustainable leadership theory guided the research (Kosempel & Wilson, 2016). A
conceptual framework of understanding what worked well, consistently, and learning from
experts who achieved those results was used to examine the relationship between success and
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were used in this study. Two questions guided the research process to discover lived experiences
and perceptions from directors on sustained program success. This study was significant because
illuminated factors promoting retention of directors and programs (Austin, 2017; Biggs, et al.,
2010). A stage was provided through this research for directors to voice concerns and relay
factors contributing to successful and sustainable outcomes. The goal of this research was to
understand what worked well in the hopes of cultivating similar successful endeavors. Higher
education institutions could compare current director preparation programs to the data collected
in this study to design curriculum geared toward success and sustainability. Band directors’
voices must be heard if instrumental music programs wish to retain talented and capable
directors to lead future programs (Angeline, 2014; Conway, 2012; Eros, 2012).
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The purpose of this qualitative phenomenological study was to discover the lived
experiences of high school band directors who sustained instrumental music program success.
This research evolved from a discovery that a once prominent high school marching band
program was less than 50 members. Twenty years ago, there were over 200 members. Concern
and curiosity led to inquiry. The state’s field competition website was scoured for recent
placements and discovered that the program and quality had receded significantly. Further
concern lead to an exploration to determine if other music programs at that same school had
diminished as well. Area All-State and All-County websites were searched for that school’s
representation (New York State Field Band Conference, NYSFBC, 2016). Wind ensembles, jazz
and concert bands were not among the competitive groups. Individual soloists were not listed
among the All-County or All-State participants. Twenty years ago, the school was represented in
almost every category and ensemble of music excellence. Finding answers to this shocking
discovery inspired broader research endeavors. The following literature review chronicled
literature related to the discovery and concerns that inspired the present research study.
The purpose of this literature review was to investigate: (a) How did researchers capture
and analyze lived experiences of successfully sustained organizations? (b) How did prior studies
organization’s diminished quality? (d) How do organizations and instrumental music programs
specifically sustain quality and overall success? (e) What role does leadership play in the success
broader knowledge and fill gaps in research pertaining to the study topic. The following
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literature review outlines research strategies used to address the study problem associated with
un-sustained instrumental music programs. The purpose of this research, to discover important
factors that affected the success and sustainability of an instrumental music program, was
addressed within each subheading. Each element of the research was used as headings to outline
research for synthesis. Third, fourth and fifth level subheadings were used to organize research
topics where applicable. Literature regarding the relationship between success and sustainability
Research Strategies
Initially, research was explored for existing literature related to the present study.
EBSCO host database was the primary search engine. Articles not available, or available in text
format only were found by locating the publisher and following the publisher’s website to locate
articles in PDF format. Sage publishing was the most beneficial resource to locate music
education research. However, navigating the search parameters was not as user friendly as
EBSCO host. Sage had a particularly useful tool when locating articles. Tracking cookies
suggested articles of interest based on previous searches. Many articles were found based on
Sage suggestions. Tracked suggestions saved search time by providing articles without needing
to input different search parameters. Many articles found from the tracking to suggestions
References from applicable research were followed. Studies that specifically pertained to
instrumental music education, experiential knowledge, sustainability and success were used as
springboards to discover more research using literature references. Locating resources based on
references was challenging. Many references were greater than 10 years old. Most articles
derived from references were not located using EBSCO host. Google Scholar was a valuable
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asset for hard to find research. Sometimes, locating proper research required a cyclical method.
References would lead to a worthy study. The study would not be found in EBSCO host.
Google Scholar was used to locate study. The trail was followed to find the publisher. The
publisher was found using Road Runner search engine of all NCU databases. The links were
Parameters for searches included years 2012 to 2018. Only peer-reviewed research and
articles were viewed. Significant articles prior to 2012 were used based on references of more
current articles. Using a Boolean search with the key words director and success* and
sustainable* in the title turned up few usable results. The term director resulted in many
business and management related articles such as director of operations. Music, success* and
sustainable* in the title resulted in just a few resources. Music* and success* in the title resulted
in approximately 6 usable resources. Music* and sustainable* in the title resulted with no usable
resources. Search parameters were expanded to the abstract. Abstract searches for band,
success* and sustainable* provided no usable resources. Adding band* produced research
results having to do with band width science experiments. Band as a key word generated articles
pertaining to people banding together in social contexts and medical studies relating to lap band
surgery. Synonyms of band director were then used to obtain more pertinent search results. The
interchangeable terms of conductor, director, educator and teacher were added to instrument*,
success* and sustain* respectively. Adding “not” to Boolean search for medical*, health and
Search parameters were generalized within the abstracts to include education*, music*
and leadership*. Hundreds of articles surfaced. Each resource was analyzed individually
according to title and abstract to determine applicability to the present study. No resources were
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found directly addressing the phenomenon of experienced director perspectives for a successful
and sustainable instrumental music program. However, many articles and studies were found
that relayed the importance of experiential perspectives to understand success and sustainability.
green engineering. Business, management and engineering research provided leads to usable
research. Business and management research used terms such as succession and strategic
aligned with an organization’s visions and goals. Running an instrumental music program was
like running a small non-profit business (Phillips, 2016). Many band booster organizations were
non-profit. Non-profit*, music* and success* within abstracts resulted in several subject related
identified. Music education in a general context was referred to regarding volunteers, grants,
Sustainable leadership theory research did not directly address music education.
However, sustainable leadership research in a business and management context was beneficial
for comparative analysis to music education articles. Similar language was used in sustainable
leadership business and management research as was used in music education articles. Many
articles relating to this study’s phenomenon were found, few contained significant research with
confirmed data and findings. Leadership* and education* searches within titles and abstracts
transformational and transactional leadership research was used for comparative analysis to
instrumental music education specific articles. Since several non- research articles were found
conveying the importance for experienced music educator perspectives and a need to fill the gaps
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on this subject, extant research was required to form a holistic need for the present study.
Sustainable leadership theory would need to be examined among various professions to form a
Theoretical Framework
The framework guiding this research was sustainable leadership theory; “leadership for
the purpose of sustainability” (Kosempel & Wilson, 2016, p. 43). This research adopted a
conceptual framework of investigating what worked well consistently from experts who
achieved those results to provide vital information for effective professional development of
future band directors (Fischer & Hedgecoth, 2014). Each framework will be discussed
separately, then the relationship between the two will be examined. Sustainable leadership
theories’ applicability to the present study will be discussed. Justification for the conceptual
framework and the relationship between the two frameworks and why this combination is ideal
will be explained.
process (Kosempel & Wilson, 2016). Directors were viewed as the primary leadership role.
programs such as bands and other ensembles were the organizations under investigation. Three
main themes emerged among sustainable leadership literature (a) complexity of definition, (b)
successorship and (c) strategic planning. Literature was examined relative to the aforementioned
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sustainability was a complex problem and that knowledge must be expanded to fully understand
this theory. The complexity of sustainable leadership was echoed by McDonald et al. (2010)
who contended that organizations involved multiple stakeholders, to which relationships must be
Schuyler (2016) compounded the stakeholder complexities by adding a time component for
consideration. Understanding shifts in thoughts, actions and results over long periods of time,
prior to the present leader, were considered essential to form a holistic picture of the present
leadership culture (Koskela & Schuyler, 2016). In addition, comparing prior leadership to
present leadership promoted gainful insight into sustainability practices (Koskela & Schuyler,
2016). Evarts et al. (2015) added to theoretical complexities by arguing that environmental and
environmental and cultural aspects required leader and follower perspectives (Evarts et al.,
2015).
Evarts et al.’s (2015) theory affirmed Benn and Metcalf’s (2013) consideration for human
sustainable development, was considered by Bottery et al. (2012) as being fueled by moral
purpose. Moral purpose combined with forming strong interrelationships with administrations,
staff and communities were essential for music teacher professional development (Eros, 2012).
One could consider building human capital as forming strong interrelationships. Bradley et al.
(2010) would argue that musical creativity, performance and pedagogy were dependent upon
strong interrelationships. Furthermore, Bradley et al. (2010) attested that the leadership role for
directors was “complex and obscure” (p. 96). The complexity or obscurity of a director’s role
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knowledge from directors (Acklin et al., 2014; Angeline, 2014; Biggs et al., 2010; Edgar et al.,
2014).
contended that regardless of stakeholder perspectives, successorship was the keystone to building
development of a program successor evolved over time (Bottery et al., 2012). As a future
successor evolved, values, morals and principles would encompass a shared vision that spanned
the passing of the baton (Bottery et al., 2012). Strategic planning was vital for a director to trust
that the program would continue beyond that director’s tenure (Rhine, 2015).
Strategic planning. Rhine (2015) argued that the leader was the “driver of the strategic
planning process” (p. 3). Sustainable leadership according to Rhine (2015) involved strategic
development of (a) resource coordination, (b) direction/vision planning and implementation, (c)
feasibility of sustained implementation and (f) potential for future improvements. Resource
coordination would involve multiple stakeholders such as administrations for approval and
community involvement for fundraising efforts (Phillips, 2016). Fisher (2010) suggested that
strategic development for sustainability should be viewed according the hierarchical nature of the
educational system. Program sustainability would involve strategic planning with all parties
affect curricular needs for students (Colwell, 2011). Therefore, locally generated approaches to
sustainability, using mentoring as a tool for leadership induction and succession were
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recommended (Colwell, 2011; Furtek, 2012). Stakeholder and community needs required a
strategic vision that included buy-in into the program through rapport building (Lidh, 2013).
Stakeholders needed to “feel like they [were] partners” in the strategic planning process (Lidh,
2013, p. 249). Core values shared across stakeholder lines could help implement a sustainable
sustainable program. However, Prieto (2013) attested that a leader’s characteristics such as
passion, persistence, patience, motivation, empowerment and sense of team were essential for
vision feasibility and implementation. Potential for future improvements would rely on the
earned respect of the director and their ability to adapt, be flexible and commit to change (Lake
& Wiley, 2014; Schmidt, 2012). Strategic planning for a sustainable instrumental music
shared vision (Cementina-Olpoc & Hechanova, 2013; Colwell, 2011; Fisher, 2010; Lake &
examined among the literature. Three themes emerged in the literature as key factors towards
sustainability; (a) emotional intelligence, (b) recognizing and capitalizing on leadership within
the program and (c) ability to adapt and change. Threats to those key themes will be discussed.
Emotional intelligence. Doe et al. (2015) contended that emotional intelligence was a
determining factor for the success or failure of a program. Lack of emotional intelligence and
social awareness would not “facilitate rational thinking and decision-making intuition” (Doe et
al., 2015, p. 106). Furthermore, abrasive director personalities and approaches that lacked
emotional intelligence would make strategic planning or vision implementation challenging and
reduce followership (Conger, 2013; Doe et al., 2015). Moreover, a director who exemplified and
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instilled emotional intelligence practices in students could solidify sustainability (Shieh, 2008).
in emotional intelligence for effective implementation (Leonard et al., 2012; Shieh, 2008).
within an instrumental music program was necessary for program sustainability (Leshnower,
2008; Semones, 2013). However, Brewer (2009) contended that leadership positions without
decision-making involvement could threaten morale, trust and motivation, therefore threatening
sustainability. Bush and Glover (2014) echoed that sentiment by purporting that leadership was
a catalyst for sustainable development. Leadership as a catalyst would imply that that the
director must begin the process of recognizing, cultivating and nurturing leaders, yet ultimately,
the process must be continued using student leaders to promote program sustainability. Eacott
(2010) affirmed that assertion and added that insight into the student/director relationship must
be examined from a macro and a micro perspective. Furthermore, Eacott (2010) contended that
Sustainable leadership would involve continued director awareness, reflection and empowerment
of student leaders in decision-making processes for program sustainability (Brewer, 2009; Bush
Adaptability and change. According to Boerner and Gebert (2012), directors went
through three phases; “testing…working and inspirational” (p. 348). Those three phases were a
means for directors to gauge ensemble capabilities. Gauging ensemble capabilities allowed
directors to adapt and change repertoire, teaching and leadership styles to best suit the
performers (Boerner & Gebert, 2012). Inability to determine appropriate methods of instruction
and challenging, yet feasible repertoire, could threaten the sustainability of the program (Boerner
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& Gebert, 2012). Music that was too difficult could make students feel defeated. Music that
presented minimal or no challenge would not inspire students to improve one’s musicianship
(Boerner & Gebert, 2012; Phillips, 2016). Bush and Glover (2014) attested that the lines
between leaders and followers could become blurred. Boerner and Gebert (2012) would argue
that a director must study and follow the needs of students to effectively lead them. One could
posit that program sustainability could be threatened if a director could not effectively assess the
needs of followers.
qualitative phenomenological study was to discover the lived experiences of high school band
directors who sustained instrumental music program success. Using sustainable leadership
theory was applicable to the present study regarding sustainable and successful instrumental
music programs under the same director. Successful directors and programs have been articled
and documented extensively. However, gaps in research existed explaining how such success
was sustained. Using sustainable leadership theory, with the director as leader to guide the
research, kept the research focused on how success was sustained from director perspectives.
Conceptual Framework
This research adopted the conceptual framework that understanding what worked well,
consistently, and learning from experts who achieved those results, would provide vital
information for effective professional development of future band directors (Fischer &
Hedgecoth, 2014). Biggs et al. (2010) conveyed that expert experiential knowledge was
necessary to understand the “skills and characteristics relevant to effective teaching” (p. 366).
Years of experience alone did not equate with success (Acklin et al., 2014). Cai and Ding (2017)
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was gained regarding methods for instruction, however, without knowing the success of those
methods over time, one could not determine if the experiential knowledge had applicable value
and recruiting methods should be considered (Acklin et al., 2014; Angeline, 2014). Discovering
what methods worked well consistently could provide focused professional development (Biggs,
2010). For example, if a director teaching for 25 years had consistent growth in their program
using method A for 20 years, then tried method B years 20 through 25 and saw a decline, the
success of method A could be used as an example for curricular and professional development.
Reflective practices on methods and overall results would be needed to fully understand the
impact a director’s method had on the success of the ensemble (Edgar et al., 2014).
Directors had multiple roles (Gillis, 2011). Different types of ensembles required
different roles as well (Kerres, 2013). Regardless of ensemble type or roles involved,
understanding successful outcomes from experts who achieved those results was necessary for
institutions to effectively prepare future directors for a sustainable career (Edgar, 2014; West,
2014). Therefore, the conceptual framework for this study centered around the concept that
understanding success from experts who achieved it, would provide institutions with gainful
Relationship between theoretical and conceptual frameworks. This study was guided
by sustainable leadership theory. Expert experiential knowledge was needed from directors who
directors and programs (Biggs et al., 2010; Eros, 2012). Focusing research on sustainable
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leadership or directorship theory in this context, with a goal to use that data for future director
similar outcomes. Therefore, a synthesized connection between the two frameworks was the
Assumptions and propositions regarding frameworks. The first assumption was that
higher educational institutions and curriculum developers would want to know proven successful
results. The second assumption was that future directors would want to know how successful
programs became and remained successful. The final assumption was that directors,
Subsequent studies could use the data collected to form qualitative surveys for distribution to a
larger sample size. Exploration of variables such as demographic information could provide
In the following sections, literature was reviewed surrounding the study problem
experienced attrition of a director or expurgation of a program. Reasons for director attrition will
be discussed followed by emergent themes which include (a) lack of undergraduate preparation,
(b) beginning years challenges, (c) lack of professional development opportunities, (d) strategic
planning challenges, (e) succession planning challenges and (f) other challenges to successful
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Director Attrition
The majority of teachers leaving a school, district or the profession, do so within the first
five years (Carlsson et al., 2014). Carlsson et al. (2014) conducted a longitudinal study on
teachers of various subjects and grade levels to discover attrition trends and possible reasons
why. Classroom management issues and frustration with administrations were echoed in similar
studies to Carlsson et al. (2014). As more emphasis was placed on teachers to resolve classroom
management issues, less support was received from administration, yet greater results were
expected (Conway, 2012). Conway (2012) attested that “high turnover” was due to “lack of
…[administrative] support” (p. 69). Power dynamics between administrations and teachers,
attrition. Inadequate support, non-instructional responsibilities and isolation were main reasons
for music teacher attrition (Hancock, 2016). Music was not considered a standard subject since
there were no state or national standardized exams. However, music teachers were evaluated
according to national and state standards according the National Association for Music
Education (NAfME, 2017). Special education instruction was often required as part of inclusion
initiatives, yet music educators were often not included in Individualized Education Plan (IEP)
meetings (Van Weelden & Whipple, 2014). Observation of music teachers were often done by
administrators with no background or expertise in music subject matter (Eros, 2012). Lack of
value-adding feedback furthered music teacher frustration thus increasing the probability for
attrition (Eros, 2012). Eros (2012) affirmed Hancock’s (2016) assertion that music teachers left
due to lack of administrative support and added that professional development support was
equally important.
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Music teachers called for subject specific and applicable professional development
opportunities (Eros, 2012). However, music specific formal, informal, workshops or conferences
were often not approved or approved at the expense of the music teacher (Eros, 2012; Jorgensen,
2010). Jorgensen (2010) affirmed the powerlessness conveyed by Eros (2012) and added that
music teachers had the unique capability to incorporate all subject matters. Rather than
administrators viewing music as an all-inclusive subject, music was considered a separate entity
(Jorgensen, 2010). Angeline (2014) reiterated the disconnect between approved and desired
(p. 50).
educator perspectives. Although teaching music content had not changed much in the past 100
years, according to McKoy (2018), culture and technology were ever evolving. Technological
advances and cultural shifts required new skill sets. New state mandates were designed to meet
the needs of those changes (Colwell, 2011). However, Colwell (2011) added that professional
proper leadership development was echoed by undergraduate music educators (Carey & Lebler,
2012). Future directors felt unprepared to lead when entering the field (Carey & Lebler, 2012).
leadership skills further fueled attrition thus leading to unsustainable programs (Carey & Lebler,
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important figure in …students’ lives” according to Gavin (2012, p. 315). Directors, and the
ensemble experiences created, inspired students to follow a music teaching vocation (Gavin,
2012). Future directors went into the profession with preconceived notions of how a band
director experience should be. However, the reality of the challenges and necessary commitment
to continue a director’s inspirational path created a rude awakening (Gavin, 2012). Students
found inspiration and motivation through leadership roles in high school. Average musicians
with strong leadership, organizational and motivational skills and a strong work-ethic received
preparation often held music education majors to the same musicianship standards as
performance majors (Conway et al., 2010). Heavy course loads, unreachable expectations and
absence of respect through leadership roles caused many once aspiring directors to leave an
active teaching experience (Draves, 2013; Powell, 2014). However, many institutions began
lacked necessary components for real-world preparation (Powell, 2014). Powell (2014)
conveyed that peer-teaching when combined with thoughtful reflection and discussion was
beneficial. Although Powell (2014) found peer-teaching with reflection beneficial, Legette and
McCord (2014) discovered that classroom management, linking courses to practice and materials
selection, were the most desired skills for improvement. One could assume that teaching
undergraduate peers would not equate with teaching school-aged children. The most beneficial
skills acquired during undergraduate preparation were hands-on experiences and field-
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experiences (Legette & McCord, 2014). However, significant emphasis was placed on lesson
planning despite evidence to the contrary (Legette & McCord, 2014). Moreover, Collier and
Rosch (2016) attested that leadership training and preparation were key to developing effective
future directors. There was no mention by Collier and Rosch (2016) regarding the importance of
lesson planning to nurture future directors, yet lesson planning was the most reinforced concept
Specialization preparation also lacked adequate support. Groulx (2016) contended that
methods courses should be taught by experienced educators. Groulx (2016) discovered that “the
least valuable coursework included courses in education because students felt many courses
lacked relevance to music education” (p. 15). Lack of course relevance was echoed by Van
Weelden and Whipple (2014) regarding inclusion. Music classrooms were used for inclusion;
however, special education pedagogy was not a required course for degree attainment (Van
special education environment (Van Weelden & Whipple, 2014). Future directors would be
required to teach special education students as part of inclusion, yet proper preparation to do so
was beyond the scope of an already burdened course load (Van Weelden & Whipple, 2014).
Lack of necessary preparation, the burden of non-value adding courses and lack of proper field
experiences left future directors unprepared for a sustainable program and career (Collier &
music teacher learning through professional development; preparing new music teachers for an
uncertain future; and generating innovative and sustainable curricular reform in [the music]
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(2013) affirmed that assertion and added that veteran teachers should act as mentors to novice
directors. Collaboration between schools and universities would require rapport and trust built
over time. When the majority of attrition occurred within the first five years of teaching, one
could posit that collaboration and meaningful preparation methods must take place prior to
Carey and Lebler (2012) noted systemic gaps in undergraduate course requirements that
were vital for career and program survival such as professional business skills, public relations,
technique and musicianship, Major and Silvey (2014) found that “nonverbal communication,
teacher self-efficacy and leadership [were] cited as three of the most important characteristics of
effective teachers” (p. 75). Shieh (2008) concurred with Major and Silvey (2014) in that
confidence and student leadership were uniquely achieved in an instrumental music ensemble.
Such skills may have been experienced or emulated by future directors, however, teaching such
skills at the beginning of a career provided unique challenges (Silvey, 2011). Perhaps those
Fischer and Hedgecoth (2014) conveyed that not much had changed in musical content
over the past 100 years. However, keeping music education relevant and thriving required
“music educators…to connect their curricula to the lives of the students, parents, administrators
and community members they [were] serving” (Fischer & Hedgecoth, 2014, p. 55). Being a
novice teacher in a new environment could be intimidating and confusing according to Hancock
(2016). Beginning directors may not have known who to go to for questions or concerns.
Without a mentor to guide future directors, directors often experienced burnout and frustration
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resulting in attrition from the school or profession (Hancock, 2016). When similar frustrations
occurred without an effective remedy such as mentoring, high turnover rates resulted (Carlsson
et al., 2014; Hancock, 2016). Frequent turn-over rates of directors eventually led to loss of
program hope and stakeholder buy-in (Christensen et al., 2012). As program hope faded so too
Researchers posited that hope be instilled in the novice teacher through a supportive
effectively prepare directors for a sustainable career (Austin, 2017; Fischer & Hedgecoth, 2014).
Fischer and Hedgecoth (2014) conveyed that the success and sustainability of one’s program
were dependent upon a director’s ability to advocate for one’s program. “Educating students,
[sustainable] music education [could] not only prevent program cuts in times of financial crisis
but [could] help … ensure that programs thrive for years to come” (Fischer & Hedgecoth, 2014,
development opportunities that were meaningful and applicable (Carlsson et al., 2014; Hancock,
educators to feel isolated, uninspired and devoid of motivation for professional advancement
(Hancock, 2016). Jorgensen (2010) echoed that sentiment and added that music educators often
felt powerless regarding the ability to enact change in a music program. Jorgensen (2010)
argued that directors were “in a position to imbue lived life with imaginative thought and
practice and nourish the hearts, minds, souls, and bodies of young and old alike” (p. 23).
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Furthermore, that music education was able to “relate music to other school subjects, to
contribute to an integral and holistic general education and to enrich the educational experiences
One could question why such an adaptable and influential subject would not receive full
backing from administrations. Though administrations may be aware of holistic music education
benefits, Fischer and Hedgecoth (2014) contended that music educators must continually
advocate for one’s profession. Advocating for one’s profession may include collaboration with
other teaching professionals. According to Hall (2010) “music [was] a powerful teaching tool
educators [could] use to create a fresh and innovative approach to learning that promise[d] to
invigorate the traditional…classroom” (p. 108). The benefits of instrumental music education
added that particular attention should be given to beginning music teachers. In contrast,
Angeline (2014) argued that experienced music educators were altogether forgotten by
administrations. Eros (2012) would agree with Conway (2012) that beginning music teachers
should receive administrative support, especially in the first five years. However, Eros (2012)
noted that second-stage teachers (5 or more years teaching) should receive meaningful feedback
from experts in the field rather than arbitrary administrative mandates. Professional
development mandates were often generalized and lacked applicability to the music classroom
administrations or approved at the expense of the music educator (Angeline, 2014; Eros, 2012).
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7). Huizenga and Szczesiul (2014) contended that principals must establish direction for teacher
reflection were expert led according to Edgar et al., (2014). Expert led mentoring from
experienced music educators and directors within the same district could strengthen the program,
provide sustainable professional development and offer desired improvements to novice directors
at minimal cost to districts (Edgar et al., 2014). Edgar et al. (2014) affirmed the success of such
actions and found that “when teachers [had] control over their own learning, they [were] more
When directors were able to make strategic choices regarding the purpose of one’s
leadership role, meaningful and effective professional development was possible according to
Hyler et al., (2014). “Leading with purpose [was] a substantial part of …leadership
development” (Hyler, 2014, p. 1). The director of an instrumental music program was the
primary leadership role holding direct impact and influence over students (Hallam, 2011). A
director’s ability to collaborate and work in harmony with administrations impacted students as
well (Hallam, 2011). Students could either see positive partnerships exemplified through trust
building and strong relationships or see advocacy, time and effort rejected as if without value
(Hallam, 2011). Grunewald and Salleh (2013) affirmed Hallam’s (2011) assertion and added
that “organizations need[ed] both strong leadership and strong management for optimal
effectiveness” (p. 13). Though Grunewald and Salleh (2013) were discussing leadership and
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management from a business perspective, the message was applicable in a music education
Strong leaders should create and implement a vision (Grunewald & Salleh, 2013).
Enabling administrations to adopt and support a director’s vision required “creative visionary
leadership [from the director] that included innovation and development of ideas and people in
order to be effective” (Grunewald & Salleh, 2013, p. 14). While Hallam (2011) promoted strong
partnerships between directors and administrations, in contrast, Carpenter (2016) purported that
peer feedback and unstructured reflective discussions were the most beneficial forms of
(2016) did not discount the importance of administrative collaboration, however, collective
knowledge from colleague interactions were found to impact the social, emotional and
Chikoko et al., (2013) argued that principals were the most important figure to enact
change within a school and that strong administrative leadership would have the most profound
impact on teacher development. One could posit that an ideal environment for directors would
have supportive administrators and colleagues that worked as one collective team towards a
common goal. The common reality of the situation was that directors were held to standards that
encouraged student performance, progress and growth (Dietz et al., 2013) yet, directors were
often not given the proper support and resources to improve one’s own performance, progress
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required effective strategies. Strategic planning for retention of directors included targeted
initiatives (Hancock, 2016). Targeted initiatives for strategic planning should be viewed from
the perspectives of students, self and subject according to Dye et al. (2013).
Student. Student cultures changed over time (Fernandez, 2011). Directors who were
unaware of present and changing cultures were unprepared to effectively lead ensembles
attrition from the field (Hancock, 2016). Preparation for dynamic changes in student needs
centered professional development could include both formal and informal methods (Van
Formal methods could include courses, workshops and seminars designed to understand
student needs on a broad spectrum (Groulx, 2016). Broad spectrum professional development
was often not applicable or insufficient (Angeline, 2014; Hancock, 2016). Strategic planning
challenges regarding students involved obtaining awareness of student needs and acquiring
meaningful professional development to address those needs (Groulx, 2016; Hancock, 2016; Van
Weelden & Whipple, 2014). Without meaningful support, unsatisfied student needs could result
strategic planning based on student emotions, self-motivation, social skills and leadership
development (Doe et al., 2015). Strategic planning involved first-hand experiential knowledge
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to obtain emotional intelligence (Chikoko et al., 2013). Developing skills within a classroom
setting was found to be more effective for implementing change (Chikoko et al., 2013).
Although informal methods were found to be more effective, Rhine (2015) attested that directors
Directors could strategically plan for both formal and informal professional development
using reflective assessment (Conger, 2013). Reflective assessment involved using a “breadth
approach” with “in-depth skill development” (Conger, 2013, p. 77). For example, directors
could assess the breadth of student needs then formulate a detailed plan for implementation.
Directors may discover overall intonation issues among ensembles. That would be a breadth
discovery. Strategic planning might consider director analysis of instrumentation and balance in
each ensemble. Further strategies might consider narrowing the focus to include sections then
individuals to address the common issue of intonation. Without having a plan to address quality
of sound, students may become frustrated. Frustration due to lack of musical progression could
lead to student attrition enacting a snowball effect into program expurgation (Gillis, 2011;
Ponchione, 2013). Finding meaningful ways to connect motivation to musical purpose for
environments (Carlsson et al., 2014). Edgar et al. (2014) found that directors in charge of one’s
own professional development were more likely to be effective. However, researchers conveyed
that desired professional development was often not approved or approved at one’s own expense
(Angeline, 2014; Carlsson et al., 2014; Edgar et al., 2014). Furthermore, experienced, successful
directors were more likely to have improvement requests denied by administrations (Angeline,
2014). Challenging power dynamics between directors and administrations created a stifling
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environment and culture within a school (Christensen et al., 2012). “Teachers asserted
that…power dynamics [were] sharply affected by how teachers perceive[ed] the dominant
culture” (Christensen et al., 2012, p. 77). Suppression of needed skills, funding, resources or
other developmental improvements created negative work environments thus leading to director
Fisher and Hedgecoth (2014) conveyed that directors must continuously advocate for
one’s program. Advocacy for self-improvement should be given equal consideration (Gillis,
2011; Kerres, 2013; Ponchione, 2013). Ponchione (2013) noted that “conductors [were] often
large measure bear the weight of preserving and promoting the sophisticated, culturally elite
image of the ensemble and of [instrumental] music more generally” (p. 184). One could
supporting the individual growth of that educator. Why would directors remain in an
environment counterproductive to one’s personal growth as a conductor and educator? When the
majority of director attrition occurs within the first five years, why would administrations not
support “quality professional development…an essential element of the profession” (Eros, 2012,
p. 20)? Further research should examine why administrations would reject director desired
Subject. Conway (2012) attested that administrations knew little about how best to
was requested by directors according to Conway (2012), yet director voices went largely unheard
(Angeline, 2014; Conway, 2012; Edgar et al., 2014; Jorgensen, 2012). West (2014) found that
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experience played a large role in cultivating pedagogical technique. However, Ponchione (2013)
noted that improving one’s conducting required specific professional development to refine
technique. Improved artistry and musicality required willingness to continuously improve one’s
craft (Ponchione, 2013). Although Ponchione (2013) contended that directors must seek specific
conducting professional development, the desire to do so was deemed an innate quality. The
challenge for directors to improve competency in one’s subject would be to possess intrinsic
motivation for improvement. Directors who possessed innate conducting ability with intrinsic
commensurate support for directors to improve one’s individual technique, pedagogy and content
knowledge (Eros, 2012). Without those challenges being addressed, directors could lose
motivation resulting in attrition from the field (Carlsson et al., 2014; Hancock, 2016; Jorgensen,
2010). Those problems would carry through succession to the incoming director (Hancock,
2016).
(Northfield, 2014). Fluid decision making could be challenging if instructional leadership was
not in place according to Northfield (2014). Instructional leadership would promote smooth
transitioning by maintaining core teaching and learning processes (Northfield, 2014). Northfield
needs” (p. 421). Environments without administrative support for succession planning to
accommodate the aforementioned needs could challenge successful transitioning (Furtek, 2012).
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Furtek (2012) contended that directors should strategically identify and develop new
talent. However, directors did not have authority to identify, hire and develop new talent.
Administrations often made hiring decisions regardless of the possible disconnect between a new
director’s personality and a program. One could assume that a director who worked with
ensemble members everyday would have better insight into an ensemble’s needs as opposed to
an administrator who conducted periodic reviews. Personality played a large role in building
successful relationships between directors and ensembles (Bottery, 2012). Moreover, Bottery et
al. (2012) argued that personality played a prominent role in talent development and vision
planning. One could posit that incoming directors would possess different personalities.
Therefore, directors would also identify and develop talent in different ways. Combating such
challenges required reflection and self-awareness according to Evarts et al. (2015). Director self-
awareness of competency, knowledge, skills, and abilities could illicit trust between current and
incoming directors (Northfield, 2014). Incoming directors who trusted current directors would
be more likely to sustain vision trajectory (Benn & Metcalf, 2013). Benn and Metcalf (2013)
contended that the complex and dynamic succession process required authentic, transparent and
adaptive systems.
Succession planning could affect student perceptions (Evarts et al., 2015). Successful
succession of directors could be challenging if students did not trust an incoming director;
particularly if the present director had an admirable reputation (Benn & Metcalf, 2013; Evarts et
al., 2015). Reputation, according to Faulk et al. (2015) had a “major impact on the actual
supporting behavior of stakeholders” (p. 456). Succession planning challenges would be for
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incoming directors to maintain human and social capital among stakeholders (Minkler, 2014).
Maintaining human and social capital could be frustrating and overwhelming according to
Zysberg (2013). Lack of training and preparation were found to pose significant challenges to
incoming directors (Zysberg, 2013). Anticipating such challenges and formulating strategic
Though directors were evaluated on teaching skills, classroom management and other
pedagogical elements, Shieh (2008) posited that ensemble directors were in a unique position to
develop leadership in students. Bush (2011) echoed that sentiment and added that directors were
formative and influential leaders who invoked student aspirations to lead. Therefore, high school
according to Wis (2009). Wis (2009) conveyed that becoming an ensemble leader required
questioning the nature of one’s experiences. Exploring the nature of a director’s leadership role
should involve well-defined problems and objective evaluation of solutions tried or abandoned
and the outcomes (Barrett, 2012). Leading by example required strong musicianship, artistic and
performance skills (Bush, 2011). Acklin et al. (2014) argued that personality characteristics
were more important than musicianship capabilities. Biggs et al. (2010) affirmed Acklin et al.’s
(2014) assertion adding that teaching and personal skills relating to motivation and classroom
management were more influential toward program success. Love (2013) noted that passion and
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Passion, purpose and artistry through leadership should be authentic (Elrod, 2012).
Authentic directors would need strong musicianship yet possess transparency and humility for
one’s weaknesses (Ponchione, 2013). Leading by example could involve personal goals set by a
director and relayed to the ensemble (Ponchione, 2013). For example, a director could convey to
an ensemble that he/she was working on improving one’s cue technique. The ensemble would
give feedback regarding the clarity and execution of particular cues. The process of
improvement would be the example (Elrod, 2012; Ponchione, 2013). Accountability through
transparency and authenticity would provide students with ownership in a director’s leadership
(Cleveland-Innes & Orr, 2015). Cleveland-Innes and Orr (2015) considered accountability as
2015, p. 238).
Director leadership required many roles that included recruitment and retention,
communication and providing a high-quality music environment (Phillips, 2016). Gray (2012)
conveyed that directors inspired “young people to become the kind of persons who embrace life
and make full use of their special gifts” (p. 28). Those gifts “need[ed] challenging learning
experiences that instill[ed] creativity and critical thinking” according to Leshnower (2008, p. 30).
Directors who led with stewardship and innovation in mind promoted sustainability of music
Ensemble performance and leadership. Bush (2011) conveyed that musicianship was
leadership (p. 37). Instrumentalists performed a piece of music, however, creating life into that
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performance was inspired by a director (Bush, 2011). Inspiration, motivation and life infused
(Fischer & Hedgecoth, 2014). The road to accomplish harmony required continued advocacy
(Fischer & Hedgecoth, 2014). Advocates for music education contended that music engaged
students intellectually, aesthetically, educationally and socially (Fischer & Hedgecoth, 2014).
Emotional intelligence of a director should be present, developed and nurtured for such engaging
Emotional intelligence was defined as “the capacity for recognizing our own feelings and
those of others, as well as the ability to effectively manage our feelings as we interact with
others” (Doe et al., 2015, p. 105). Leonard et al. (2012) added that developing emotional
accountability that needed no words to garner trust (Hernandez et al., 2014). Trust that each
ensemble member was contributing to the group’s success separated music’s benefits from other
subjects. Leader and follower trust manifested through actions (Hernandez et al., 2014).
Instrumental ensembles offered opportunities for peers to lead peers (Leshnower, 2008;
Semones, 2014; Wis, 2002). Hannah et al. (2013) argued that peers leading peers “provided a
valuable lens through which newcomers [made] sense of their relationship” with the ensemble
(p. 1153). However, Hannah et al. (2013) cautioned the use of peer leadership in that affect-
based trust could influence a student leader’s self-identity, cognitive and emotional development.
Thies (2013) posited a logical assumption that chosen student leaders would have been chosen
because those leaders already possessed a strong self-identity and maturity. Future life-skills
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such as work-ethic, personal accountability, and persistence were required in business and
management according to Prieto (2013) and evidenced through instrumental music education
(Austin, 2017). Ensemble student leaders would be “highly committed leaders [with a]
…transforming social reality” (Cummins & O’Boyle, 2014, p. 33). Transforming social reality
involved leading with purpose (Cummins & O’Boyle, 2014; Hyler et al., 2014; Morrison, 2013).
Effective management research echoed the importance of leading with purpose and added
that purpose was achieved through a strategic vision (Lidh, 2013). Ensemble performers may
not have possessed a strategic vision; however, ensemble instruction provided a platform for
director leadership to impart and implement a strategic vision (Kerres, 2013; Morrison, 2013).
leadership and emotional intelligence (Kumar, 2014). A director’s “leadership [was] inseparable
from an [ensemble’s] needs and goals” (Kumar, 2014, p. 1). Goals should not be confused with
educators would argue the importance of musical competence, transactional consequence for
lack of competency was a far less effective motivator than transformational leadership
(Deichmann & Stam, 2015; Popa, 2012). Awards and recognitions provided ensembles with
recruitment, funding and support from communities and administrations (Phillips, 2016).
Transactional leadership was commonplace in the instrumental music education culture (Phillips,
Hechanova, 2013).
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High school ensemble leadership. High school level ensembles promoted self-directed
learning according to Carlisle (2013). Voluntary ensembles were assumed to contain students
with intrinsic motivation (Carlisle, 2013). Students who began in elementary or middle school
that continued participation into high school possessed a positive work-ethic that prompted
continuance (Carlisle, 2013). For example; a student who wanted to participate in jazz ensemble
or marching band may be required to also participate in concert band. Although some schools
made certain ensembles necessary, Carlisle (2013) noted that students valued the emotional and
social interactions among groups whether voluntary or not. Montemayor (2014) concurred with
Carlisle (2013) regarding the emotional and social benefits of multiple ensemble interactions
adding that effectiveness of rehearsals, performance and long-term musical development was
enhanced. Enhancing such skills “[took] skill to gain skill” according to Montemayor (2014, p.
44). High school level ensembles contained student musicians with a higher level of maturity
able to proactively enact change and progress (Guenter et al., 2017; Montemayor, 2014).
Guenter et al. (2017) attested that proactive, self-directed, authentic leadership would
towards a common goal (Hruska, 2011). Understanding common goals required working closely
together in partnership (Hallam, 2011). Chamber ensembles such as quartets, where there was
one player per part and often rehearsed independently, were possible with high school level
ensembles (Epstein & Makowski, 2012; Leshnower, 2008). Trust between directors and students
should be present for such independent rehearsing to occur (Hallam, 2011). Hallam (2011) noted
that “trust [was]...a key component for effective partnerships” (p. 161). Effective partnerships
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Distributed leadership could involve student leaders, parents, community members and
other faculty or staff (Phillips, 2016; Semones, 2014). Student leadership roles at the high school
level could involve mentoring. Juniors or seniors could mentor incoming freshman. Mentoring
built trust, encouraged cooperation and adoption of policies and practices (Levy-Gazenfrantz &
leadership roles as one progressed through a program. Directors would need to authentically
nurturing distributed student leadership would require reciprocity, critical thinking and problem-
solving through reflective and engaging communication (Turner, 2012). Structured reflections
among directors, student leaders and followers could increase social capital by building trust
(Turner, 2012). Bush (2014) affirmed the need to build social capital and added that complex
social networks must be understood. Understanding social networks required directors to gather
knowledge directly from those networks using student leaders as conduits (Bottery et al., 2012).
Christensen et al. (2012) challenged the use of distributed leadership regarding power
struggles. Once a student went from being a fellow ensemble player to a leader, one’s role
changed and with it one’s social identity (Christensen et al., 2012). Coyle et al. (2014) echoed
concerns for affective responses to leader/follower social dynamic changes. Dealing with social
dynamic changes would prepare students with valuable life skills according to DuBois et al.
(2015). High school level ensembles possessed opportunities for students to show one’s
leadership potential and nurture it (Chaffee et al., 2012). Instrumental music education provided
students with “opportunities for creative freedom, responsibility, job training and a sense of
ownership and autonomy” (Chaffee et al., 2012, p. 36). Those opportunities would translate to
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Long-term successful life skills involved balancing authority with charisma (Boerner &
Gebert, 2012). Balancing authority with charisma required problem-solving through trust and
communication (Bond, 2012). Trust could be established through student leader transparent self-
evaluation (Burk & Olsen, 2014). Exemplifying desired outcomes with transparent and authentic
assessment through reflective dialogue could build rapport and trust among student leaders and
peers (Burk & Olsen, 2014). Burk and Olsen (2014) argued that assessment without dialogue
would not promote progress. Reflection should be a cyclical and continuous process for
ensemble participants and student leaders to grow as musicians and adults (Cook & Howitt,
2012; Burk & Olsen, 2014). Learning leadership/followership skills in high school ensembles
could help students “thrive and survive in ways that [were] genuinely sustainable” (Cook &
Experiential Knowledge
excellence” (p. 14). Proper teacher development included gathering, learning and understanding
“spiritual capital” according to Intxausti et al. (2016). Spiritual capital referred to understanding
director’s inspirations and motivations enabled a comprehensive view of emotional and social
knowledge (Carlisle, 2013). A director’s emotional and social well-being were “important for
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Eros (2012) attested that directors felt powerless due to lack of administrative concern for
directors and a program’s well-being. When a director’s experiential knowledge was given no
concern or value, programs suffered, often resulting in teacher attrition and program reductions
or expurgation (Angeline, 2014; Eros, 2012; Jorgensen, 2010). Conway (2012) affirmed that
sentiment and added that “we know very little about how to best provide support for music
teachers throughout their careers” (p. 74). Experiential knowledge gathered through
observations, discussions and reflections with meaningful feedback could provide directors with
a sense of partnership (Colwell, 2011). Parker (2012) would concur that understanding daily
lived experiences was beneficial. However, understanding pivotal moments in one’s career
could offer deeper insight into influential practices (Parker, 2012). Learning how directors
functioned and adapted to pivotal challenges were important to understand the impact on
musicianship and student learning (Parker, 2012). Understanding lived experiences from
experienced experts in the field could enable administrators and institutions alike the opportunity
to form partnerships that provided comprehensive, innovative and inclusive strategies for
Expert experiential knowledge. McKoy (2018) attested that music educators achieved
success based on the experiences and paths taken to achieve success. Furthermore,
understanding a music educator’s path toward present success was necessary yet “remain[ed]
persistently elusive” (McKoy, 2018, p. 3). Angeline (2014) affirmed that statement and added
that experienced music teachers, with successful programs, were often ignored. When a program
was successful and running smoothly, administrators did not see the need for developmental or
“what drives a teacher toward greater mastery” (Angeline, 2014, p. 53). Gathering experiential
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knowledge from expert directors in the field would “embrace the profession in a
describe experienced and successful band directors (Acklin et al., 2014; Angeline, 2014; Biggs et
al., 2010). Edgar et al. (2014) considered experts as directors who taught for 10 or more years
whose ensembles achieved at least three consecutive years of success based on local, regional or
state competitions. Superior ratings at contests and adjudications were used to select exemplary
directors for experiential knowledge research according to Acklin et al. (2014). Directors that
achieved notable expertise should be sought out to discover that director’s path to achievement
(Kerres, 2013). Directors possessed multiple roles (Gillis, 2011). Ponchione (2013) argued that
ensemble would provide a clearer picture of a director’s role and emergence. One could interpret
observations. Longitudinal studies could provide significant insight into the emergence of an
exemplary director. However, West (2014) argued that the uniqueness of a director’s success
inspired the worthy research; research that required director reflections on one’s journey to that
knowledge (Edgar et al., 2014). Expert reflection and discussion with novice teachers could
provide informative and effective professional development (Edgar et al., 2014; Eros, 2012).
Collaborative reflections and discussions between expert and novice teachers could improve
director retention (Eros, 2012). Learning, reflecting and understanding expert experiential
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knowledge of proven practices would provide meaningful support for incoming teachers
(Odegaard, 2016). When studying highly effective educators, Intxausti et al. (2016) conveyed
that strategic thinking, classroom management, relationships and organizational methods should
be viewed from a leadership as well as instructional perspective. Biggs (2010) found that
teaching and personal skills were more important than musical skills. Exemplary directors could
possess basic musical competence yet excel due to effective leadership skills (Biggs, 2010).
Leshnower (2008) equated directorship with leadership in that a director’s role was to “influence
relationships…and intend real changes and outcomes that reflect …shared purposes” (p. 29).
Gray (2012) would posit that to achieve expertise, one must “have a constant collaboration
between research and practice” (p. 29). Constant collaboration, intending change, research and
practice would require perseverance or “true grit” according to Duckworth and Robertson-Kraft
(2014, p. 1). Teachers could be considered experts when sustained commitment to excellence
was accomplished with “true grit” despite challenging contexts (Duckworth & Robertson-Kraft,
2014, p.1). Observing, reflecting and discussing an expert director’s personality traits,
instructional behaviors, creativity and flexibility during challenging times “could advance our
Phillips (2016) conveyed that “the three pillars of a great music program [were] (a)
recruitment and retention, (b) a high-quality music environment and (c) communication” (p. 40-
41). Recruitment and retention of students involved promotion of expression and diversity,
flexible leadership and opportunities for student leadership according to Shieh (2008). While
Phillips (2016) emphasized logistic strategies for recruitment and retention, others argued that
inspiring student leadership was more valuable (Chaffee et al., 2012; Shieh, 2008). Montemayor
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(2014) found that long-term music development and performance skills were enhanced through
effective director led instruction. Success, from Montemayor’s (2014) perspective should be
viewed both long and short-term. One could question the extent of director significance within a
small timeframe regarding recruitment and retention. Phillips (2016) noted that recruitment and
retention was an ongoing process. One could question whether success could be obtained in a
Recruitment and retention. Acklin et al. (2014) posited that a director’s personality
characteristics and instructional behaviors were primary contributors to ensemble and program
success. Success according to Acklin et al. (2014) should consider achievement beyond an
musicianship into college and beyond were considered indications of a successful director
(Acklin et al., 2014). However, formal director evaluations were not based on retention of
students, students’ desire to play in multiple ensembles or continued musicianship (Deitz et al.,
Director personality was not under specific scrutiny, however, relationships with students were
(Deitz et al., 2013). One could question whether director personality, relationships and
Biggs et al. (2010) echoed Acklin et al.’s (2014) assertion on the importance of
personality and instruction. However, Biggs et al. (2010) enveloped personality with leadership
traits that included motivation and management skills. Recruiting students would require
motivation from current students, feeder programs and school communities (Philips, 2016).
Student motivation towards successful recruitment and retention of fellow players was goal
related according to Hruska (2011). Hruska (2011) promoted the use of “mastery goals” in that
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“goals [were] related to motivation because they [were] cognitive representations of the
approaches and intentions people [had] in different achievement situations” (p. 4). One could
assume that an ensemble would want to retain good performers. Extrinsic and intrinsic
2011).
2012; Liket & Maas, 2015). Transparency of goals and motivating factors towards those goals
enacted accountability (Liket & Maas, 2015). A transparent vision and mission could aid
recruitment and retention efforts (Jegers & Wellens, 2014). Grunewald and Salleh (2013)
conveyed that “the most important task of the [director]…[was] to act as a visionary leader…that
create[d] a vision and a set of goals for the [program] to achieve” (p. 13). Jegers and Wellens
(2014) argued that the director must understand the needs and objectives of the students. One
could question whether a director would be able to accomplish such a task with new students.
Should incoming member needs and objectives be considered? How would incoming member
needs affect veteran members? How could a director address the needs of incoming players
without devaluing veteran members? Accomplishing collective objectives would require a “high
High quality music environment. High quality music environments would provide
multiple ensemble opportunities where students could improve overall knowledge and
musicianship (Phillips, 2016). One could posit that the more opportunities one had to practice
and nurture one’s musicianship, the more improved one would become (Chaffee et al., 2012).
Chamber ensembles, such as quartets, provided “opportunities for learning and development
beyond the realm of music” (Chaffee et al., 2012, p. 37). Offering opportunities for leadership
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positions in large ensembles was a strong motivational force (Biggs et al., 2010; Chaffee et al.,
2012; Kallio, 2015). Student led chamber ensembles enlisted greater self-motivation and self-
discipline through leadership development (Bradley et al., 2010). Students wanted opportunities
to perform in a variety of genres (Bradley et al., 2010). High quality music environments would
provide frequent and varied opportunities for students to discover one’s passion for performance
(Kallio, 2015). Epstein and Makowski (2012) contended that tensions created and resolved
during a music rehearsal was a key lesson relatable to life. Dissonance and resolution in music
promoted critical thinking and problem-solving (Bond, 2012; Epstein & Makowski, 2012;
dissonance according to Epstein and Makowski (2012). High quality music environments would
provide students with the musical and social skills to work together as a team to resolve
dissonance and problem-solve (Bond, 2012; Epstein & Makowski, 2012; Minkler, 2014).
empowerment through others (Chacon et al., 2013). Sectional camaraderie built social capital
which in turn promoted ensemble strength (Biggs et al., 2010; Minkler, 2014). For example, a
saxophone section from a wind ensemble that also practiced together as a quartet, would improve
cohesiveness and responsiveness to one another. The extra, more focused practices in a quartet
environment would carry over to ensemble rehearsal. Doing so would appeal to the competitive
nature of students in that hearing an improved saxophone section would prompt other sections to
follow suit (Bush, 2011). High quality music environments would encourage students to
exemplify desired outcomes through work-ethic, practice and musicianship as exemplary role-
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Biggs et al. (2010) conveyed that displaying high levels of musicianship and musical
standards were important for a successful program. Boerner and Gebert (2012) added that an
effective director would inspire students to display those high standards. Although researchers
implored the importance of director musicianship and musical skill competency, a high-quality
music environment should be formed with student leadership as the foundation through director
inspiration (Biggs et al., 2010; Boerner & Gebert, 2012; Bush, 2011). A director must “influence
others to become more than they believe they can be” (Walker, 2014, p. 88). The same influence
applied to all stakeholders within and surrounding the program (Jegers & Wellens, 2014).
Students, parents, faculty, administrations and communities must believe in the passion,
mission and vision of the director according to Cleveland-Innes and Orr (2015). A high-quality
music environment enlisted stakeholder support for the director and a program’s future
(Cleveland-Innes & Orr, 2015). Cleveland-Innes and Orr (2015) attested that fostering
stakeholder support needed “focus on how people think rather than …what people do” [and that
staff should be able to] “innovate and organize themselves” (p. 237). High quality music
environments would consist of allotted time and resources for stakeholders to effectively
Lishchinsky, 2015). Supportive communication efforts would build trust and encourage
cooperation where innovations and changes would be more likely adopted (Levy-Gazenfrantz &
Shapira-Lishchinsky, 2015). High quality music environments should have all parties involved
working in harmony with trust and fluid communication (Hannah et al., 2013; Levy-Gazenfrantz
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direction to all stakeholders was necessary for a successful program. Boies et al. (2015) would
add that effective communication required trust. Boies et al. (2015) found that “communication
and …trust would sequentially mediate the relationship between leadership and …performance”
(p. 1088). Popa (2012) affirmed the importance of trust for effective leadership. However,
director leadership and its effectiveness should ultimately be based upon results according to
Popa (2012). Determining which results were meaningful was debatable. Retention of existing
Social intelligence conveyed through motivational leadership would build rapport and
enthusiasm for a program (MacLeod & Napoles, 2016). Non-verbal communication through
“eye contact, voice modulation, proximity and facial engagement” were positively related to
effective teaching (MacLeod & Napoles, 2016, p. 61). One could question whether effective
program be sustainably successful with effective communication in the classroom alone? Should
community relationships? Hruska (2011) would argue that increased mastery of skills and
performance would increase student motivation and that that motivation would influence
goals…it [was] impossible for students to take the necessary steps to achieve them” (p. 6).
Communicating clear goals would require a strong shared social identity according to Cummins
and O’Boyle (2014). While Larsson et al. (2014) conveyed the importance of self-awareness for
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improved performance, Cummins and O’Boyle (2014) would add that ensemble-oriented
communication processes were more beneficial for long-term success. “Clear, concise and
(DuBois et al., 2015, p. 42). Lidh (2013) echoed the importance for clear and concise
communication adding that “the most important part of communication is listening” (p. 252).
Listening to students, staff, parents, administration and the community would promote ownership
and therefore program support (Chacon et al., 2013). Trust and rapport could be established
through active listening (Chacon et al., 2013). Establishing and cultivating trust through active
Emotionally intelligent communication would involve integrity, persistence and trust (Parrish,
2015). Parrish (2015) suggested that integrity, persistence and trust could be obtained through
formal leadership development. Empathy, according to Parrish (2015) was considered the most
authentic empathy through active listening, students would be more likely to trust a director and
implement a director’s vision and achieve goals (Parrish, 2015). Building trust through
emotionally intelligent leadership would motivate students and inspire intrinsic perseverance
(Parrish, 2015).
Motivating students through enthusiasm, mutual trust and fostered rapport was
considered social intelligence according to MacLeod and Napoles (2016). Enthusiasm through
verbal and non-verbal communication was highly influential on the effectiveness of teacher
delivery and students’ responses to that delivery (MacLeod & Napoles, 2016). Influential
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directors who communicated with enthusiasm, passion, and purpose could “compensate for
motivational deficits of the musicians” (Boerner & Gebert, 2012, p. 359). Although ensembles
learned to play as a unified entity, Bush (2011) argued that technically challenging pieces
required “empowering the musicians to ‘perform’ as a single entity rather than a body of capable
musicianship while rehearsing an ensemble to obtain a unified sound. One could question
whether goals for individual students and ensembles should be separate considerations. Should
individual goals be determined by group benchmarks? For example, should an entire ensemble
have a goal of learning all the major scales? What if some students already know those scales?
Should a median goal be set that could ensure the full ensemble meeting that goal or should the
highest level of musicianship among the ensemble members be met or surpassed by the group?
Gillis (2011) conveyed that “the director’s choice of rehearsal activities… serve[d] as an action
plan to support desired student conduct, and the performance goals of the ensemble” (p. 36). An
effective action plan would require emotionally intelligent leadership where trust enabled
effective communication with all stakeholders of an instrumental music program (MacLeod &
Gillis (2011), “only through the development of basic administrative skills [could] educators
become efficient contributors to the musical growth of their students” (p. 35). Fischer and
Hedgecoth (2014) affirmed that assertion adding that directors should advocate for student
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music programs were dependent upon school allotted budgets, fundraising efforts and grants
(Fischer & Hedgecoth, 2014; Phillips, 2016). Band programs often “fill[ed] gaps in budget
shortfalls through increased fundraising efforts” (Christensen et al., 2014, p. 121). Successful
programs required directors to motivate students to excel in musicianship and motivate students
Cementina-Olpoc and Hechanova (2013) argued that directors, like other educational
leadership positions, should plan pedagogically for long-term terms goals. However, the
business side of budgeting and fundraising was more dynamic and addressed short-term goals
(Cementina-Olpoc & Hechanova, 2013). One could posit theoretically that inspiring a vision for
long-term growth and success with short-term support could be counterproductive. Band booster
according to Ford and Ihrke (2016). Parents and communities had a vested interest in the
success of the children in the program (Ford & Ihrke, 2016). However, as booster organizations
increased fundraising and commensurate financial support, administrations often saw those
efforts as budget reduction opportunities (Ford & Ihrke, 2016). One could posit that the more a
administrative financial support, morale of the program could be threatened (Jorgensen, 2010).
Moreover, the social and cultural dynamics among the ensembles could be affected (Jorgensen,
2010). For example, a marching band with 200 members might fundraise a substantial amount
of money and be able to purchase equipment upgrades. Administrations might determine that
since the marching band was able to obtain desired equipment independently, the program would
not need as much money from district budgets. However, reducing music budgets across the
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board could affect other ensembles within the program. Therefore, one could question whether
each individual ensemble should have independent budgetary and financial considerations.
Regardless of independence, a director should address both the pedagogical and budgetary needs
of the program by managing the program as one entity according to Ford and Ihrke (2016).
Therefore, challenges to director success was examined according to (a) pedagogical challenges
initiatives and implementations were more favorable in academic organizations than in business
student and community buy-in and program support (Cementina-Olpoc & Hechanova, 2013).
were favorable for financial program support (Cementina-Olpoc & Hechanova, 2013).
Therefore, pedagogical challenges for directors involved balancing academic approaches with
business etiquette.
Classroom management was crucial for effective teaching according to MacLeod and
Napoles (2016). Powell (2014) affirmed that assertion adding that novice directors were most
concerned about classroom management challenges upon entering the field. Although delivery
style was considered essential for effective classroom management according to MacLeod and
Napoles (2016), Powell (2014) attested that the majority of teacher preparation focused on lesson
planning and rehearsal strategies. Disparities between preparation and implementation were
and building rapport within one’s program lacked administrative professional development
support for improvement (Powell, 2014). Effective communication of musical content and
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direction required “eye contact, voice modulation, proximity and facial engagement”; skills that
should be learned and developed by the director according to MacLeod and Napoles (2016, p.
effective if director insecurities or lack of confidence were minimized by pertinent, desired and
Effective teaching did not necessarily correlate with student success (Montemayor,
2014). Montemayor (2014) suggested that “some aspects of the quality of instruction [were]
related to the band’s performance skills and perhaps to students’ long-term music skill
development” (p. 44). Achieving short-term rehearsal goals could appear as effective teaching
when viewed objectively in a single rehearsal (Montemayor, 2014). However, long-term success
strategies that developed technical skills and musicianship were positively related to overall
ensemble success (Montemayor, 2014). Therefore, one could question whether a choice between
short-term or long-term teaching strategies should be made or if a synthesis of the two would
prove more effective. Could short-term goals be implemented to achieve long-term vision for a
program?
Instrumental music program needs were continuously changing (Caniels & Rietzschiel,
would require trust. Trust, according to Hernandez (2014) was personal, relational and
contextual. The best lesson plans and intended rehearsal techniques could not be effectively
implemented if a director’s personality did not inspire trust (Hernandez, 2014). Likewise, if a
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director’s plans and techniques did not relate to students, there would be a disconnect. Knowing
the social culture of an ensemble would improve communication and trust (Fernandez, 2011).
Fernandez (2011) attested that cultural intelligence went beyond race and ethnicity to
include “eating rituals, personal space, conflict resolution, eye-contact, greetings, tone of voice
and many other factors” (p. 16). Understanding cultural factors could greatly improve pedagogy
effectiveness (Fernandez, 2011). One could question whether such inquiry and understanding
was possible or feasible. How could a director learn about students’ cultures without infringing
on one’s privacy or personal life? How could a director adapt teaching to accommodate cultural
needs within a diverse classroom setting? Perhaps the concept of understanding each ensemble
member’s culture was utopian, however, the intent and attempt of understanding could improve
relate pedagogy to student cultures while putting learned skills into applicable contexts
(Hernandez, 2014). Cultivating follower trust, according to Hernandez (2014), would involve
teaching students’ skills in the music classroom that would benefit students in other contexts
sense would suggest knowing students’ future needs. One could argue that learning leadership
and positive work-ethic would be beneficial in any context and not be personally unique to any
one student. However, knowing specific future needs of disenfranchised students could form a
Connecting with students should be viewed from a macro and micro perspective
according to Eacott (2010). Directors’ pedagogy approaches from a macro perspective would
involve analyzing long-term goals for an ensemble. Instituting rehearsal goals attainable by all
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ensemble members through a macro perspective leadership lens could improve overall ensemble
performance. However, Eacott (2010) noted that “there [was] no one size fits all leadership” (p.
273). Moreover, reflective approaches must be cyclical and consistent regardless of the
leadership style to determine micro level instruction for macro level goal attainment (Eacott,
2010). Micro level instruction should involve reciprocal and cyclical reflection (Eacott, 2010).
Analyzing relationships among ensemble members could offer gainful insight into proper
rehearsal strategies. One could assume that knowing one’s ensemble better would make them a
better director, however, not all directors were fully prepared to accommodate learner needs
(West, 2014).
Directors may have been hired to teach certain classes such as bands and general music.
Increased participation or desire for extended ensembles such as jazz, marching or pep-bands
may require directors to teach outside one’s training and comfort level (West, 2014). Although
specializations were not required to teach jazz or other such ensembles, West (2014) noted that
“college jazz courses did little to prepare [directors] to teach jazz” (p. 71). Familiarizing oneself
with jazz through performance and demonstration was found to be more beneficial than formal
courses (West, 2014). West (2014) noted research disparities regarding the benefits of formal
jazz training. There was no consensus among leading jazz pedagogy researchers, however, a
common denominator, despite differing opinions, was that performance and practice were crucial
promote effective jazz pedagogy techniques (West, 2014). One could question how such active
involvement would be possible given the amount of suggested director preparation to teach jazz.
How could a director learn to listen, analyze, reflect, record and teach while simultaneously
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handling a full course load? West (2014) suggested that directors “look for ways to help students
develop the skills required to adapt and apply general knowledge to area-specific knowledge” (p.
75). Perhaps West (2014) was implying that directors should use one’s jazz learning experiences
as the foundation for pedagogy. Learning alongside students could empower students by making
individuals part of the learning process (Schmidt, 2012). However, directors should have the
relationship could empower students to be self-motivated learners, yet, directors were ultimately
Accountability of teachers was evident regardless of the subject matter. However, special
education instruction held music teachers accountable without permitting director input (Groulx,
2016). Directors were often not included in IEP meetings yet were held accountable for overall
progression of a special education student (Van Weelden & Whipple, 2014). Special education
was not required for degree attainment, however, inclusion initiatives placed unprepared
directors in accountable positions (Van Weelden & Whipple, 2014). Lack of professional
development support caused “the vast majority of teachers [to] locate materials, resources and
devices on their own without the help of special education teachers, school-based therapists, or
their school system” (Van Weelden & Whipple, 2014, p. 43). Pedagogical challenges for
directors were that specialized trainings were needed yet specialized professional development
Groulx (2016) echoed calls for specialized training and added that more teacher
preparation, specific to one’s needs, was necessary. Specialized training could involve non-
course curriculum such as fundraising, budgeting, booster organization management, tax laws,
music library, policies, regulations and compliance (Groulx, 2016). Eros (2012) noted the
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mandated pressures for performance goals placed on directors and asserted that such pressures
without proper support could lead to teacher attrition. Gleeson (2015) affirmed that external
mandates placed enormous pressure on teachers and added that Catholic schools had critical
challenges stemming from education and faith-based mandates. Pedagogical challenges for
directors in a faith-based school included accountability to all stakeholders in the educational and
faith-based communities (Gleeson, 2015). Although directors at a Catholic school did not need
to be actively practicing Catholics, educators must “visibly demonstrate the Catholic character of
learning [with] …integrity of the academic discipline” (Gleeson, 2015, p. 153). One could
question whether a director could authentically teach in a Catholic school if the director was not
reality [was] subjective and constructed from a person’s life experiences, background and social
interactions” (Chikoko et al., 2013, p. S140). Perhaps Chikoko et al. (2013) was implying that
the sum of one’s character was more important than one’s religious affiliation. One’s character
and teaching effectiveness, regardless of school type should have “Specific, Measurable,
Achievable, Realistic and Time-bound” (SMART) objectives (Fisher, 2010, p. 5-6). SMART
objectives would help directors match performance results with expectations (Fisher, 2010).
Pedagogical challenges would be for directors to sustain performance results with increased
feedback (Huizenga & Szczesiul, 2014). Director efficacy and motivation could be affected
without proper collaborative efforts (Huizenga & Szczesiul, 2014). Formal and informal
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collaborations could help directors navigate through challenging contexts (Huizenga &
Szczesiul, 2014). Huizenga and Szczesiul (2014) noted that teacher collaboration efforts should
be directed, encouraged and supported by the principal. Lack of administrative direction and
support for collaboration would make forming a unified vision unattainable (Huizenga &
Szczesiul, 2014). Therefore, program goals in pursuit of that vision could be compromised.
Moreover, isolation of directors would not promote “ongoing professional exchange and growth”
Isolation of directors could impact the school culture (Christensen et al., 2012). Power
dynamics stemming from teacher isolation could thwart authentic interactions and impact
problem-solving and decision-making (Christensen et al., 2012). One could question whether
director isolation was problematic or beneficial. More people involved, such as staff, faculty,
administrators or other stakeholders could also mean more opinions and commensurate scrutiny.
The challenge for directors would be to balance the value of outsider involvement with the
Directors who surrounded themselves with transformational leaders could overcome pedagogical
challenges by learning to be proactive rather than reactive (Batch & Heylinger, 2014).
Supportive leadership in that manner could improve director job satisfaction and therefore
according to Cementina-Olpoc and Hechanova (2013). Graduating high school seniors, student
retention or attrition rates and changes in school personnel could fluctuate dramatically
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fluctuations could be challenging. Although Cementina-Olpoc and Hechanova (2013) noted that
during times of change, program management processes should follow suit. School leadership
2013). Collaborative efforts posed unique challenges to directors’ needs for autonomy and
implement the passion and vision for a program. However, pursuing such endeavors could
Although researchers contended that collaboration was necessary for proper program
management, Bush and Glover (2014) attested that the director must act as a catalyst. When a
director acted as a catalyst to enact collaborative efforts, power relationships could become
Christensen et al. (2012) echoed Bush and Glover’s (2014) concern regarding power
dynamics adding that “power dynamics [were] sharply affected by how teachers perceive[d] the
dominant culture” (Christensen et al., 2012, p. 77). Identifying dominant cultures could be
challenging for directors who often felt isolated from the rest of the academic community
(Angeline, 2014). Isolation could be overcome through awareness and participation in social and
civic processes (Christensen et al., 2012). Perhaps Christensen et al. (2012) was suggesting that
directors should be involved in students’ lives in non-music related contexts. For example, a
director who encouraged band students to support an athletic event may receive greater
reciprocal support for a music event. One could question who was responsible for initiating
support and subsequent reciprocity. Should a director lead reciprocal support or should a
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According to Huizenga and Szczesiul (2014), principals possessed social influence for
meaningful collaboration. Huizenga and Szczesiul (2014) noted that director self-efficacy was
supportive efforts were mandated by administrations (Huizenga & Szczesiul, 2014). Moreover,
principals’ social processes could affect director motivation, attitude, and other behaviors
associated with collaboration (Huizenga & Szczesiul, 2014). While Huizenga and Szczesiul
(2014) argued that principals should provide direction for teacher collaboration, Batch and
Heylinger (2014) found that administrative mandated collaboration reduced faculty job
satisfaction and lowered morale. Addressing director management challenges would involve
awareness of a principal’s social influence and leadership style (Batch & Heylinger, 2014).
management and principal leadership style management. Fisher (2010) would argue that music
program contest results would offer objective data encouraging program support school-wide.
However, without principal led recognition and support, how would school communities be
aware of a music program’s results and effectiveness? How could faculty and communities
support a program they were unaware of? Fisher (2010) noted that programs had a certain level
parents, volunteer participation and faculty cooperation, yet administrators should clearly
communicate extended stakeholder expectations (Batch & Heylinger, 2014). For example,
directors could communicate a program goal to qualify for a national competition. Plans and
Opportunities should be provided at those meetings to ensure mutual understanding of needs and
expectations to illicit trust (Hernandez et al., 2014). Trust among directors, faculty,
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of interdependence towards “shared vision, purpose and goals” (Huizenga & Szczesiul, 2014, p.
187).
Olpoc & Hechanova, 2013). Directors who inspired a shared vision among administrators and
Hechanova, 2013). DuBois et al. (2015) concurred that transformational leadership practices
were important for directors to inspire a vision. However, managing a program efficiently and
personality was the trait that contributed positively to success in almost all types of projects
especially those of high innovation and complexity” (DuBois et al., 2015, p. 40). One could
interpret Cementina-Olpoc and Hechanova’s (2013) diverging view point from DuBois et al.’s
mentality to implement changes. The managerial challenge for directors would be to match
one’s personality and management type with project type (DuBois et al., 2015). For example,
encouraging greater attendance at a band festival may require a different approach than getting
approval for a bake sale fundraiser. Regardless of project or management type, DuBois et al.,
(2015) contended that for programs to be successful, directors must communicate passionately
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Although communication with passion and purpose was important, Johnstone and Nodine
(2015) argued that skill competency and results were more influential. Rather than garner
based management approach would allow program results to speak for themselves. However, in
order to advocate for one’s program in a competency-based fashion, a director would have to use
comparative analysis among other school programs. Doing so could ostracize or isolate
colleagues and ultimately reduce support. Preventing possible interpersonal conflicts would
Appreciative leadership would “search for the best in people…asking questions that
strengthen[ed] a system’s capacity to heighten positive potential” (Cleveland-Innes & Orr, 2015,
p. 235-236). Appreciative leadership directors would manage one’s program by highlighting the
positive and mutually beneficial relationship already in existence. Doing so would create a
focused program management could solidify existing connections while appealing for future
support. However, directors would need existing positive relationships to progress with
appreciative leadership. How could a novice director showcase existing positive relationships?
Could a director effectively manage one’s program without external support? Cummins and
O’Boyle (2014) would argue that social identity theory should be considered.
which both group and self-categorizations” were constructed (Cummins & O’Boyle, 2014, p. 29-
30). Directors would need to depersonalize solicitation and focus on group-centered benefits.
The quality of mutually beneficial relationships was dependent on a director’s ability to advocate
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and manage one’s program in a context that would appeal to the broader school community. For
example, if students were going out of state to compete in a band festival, the director would
have to convince (a) all faculty that students would make up all work missed, (b) the parents that
the competition would benefit their child and (c) administrations that expenses and risks incurred
would be worth the investment. Managing a program using social identity theory would entail
challenges such as heavy workload, lack of resources, time management issues and lack of
administrative assistance (Conn, 2013). Administrators should encourage and reward efficient
reward such actions? Directors have multiple roles and communicative entities (Kerres, 2013).
Communicating to all the various stakeholder entities would require distributed leadership
Managing through distributed leadership would build director social capital that “goes
beyond individual control and management bureaucracy” (Bush, 2014, p. 601). Bush (2014)
would argue that directors should gather social capital to empower program support through
increased advocacy in numbers. One could posit that if bureaucracies opposed a director, they
would also oppose program advocates. Corrigan (2013) noted that “the social construction of
leadership [was] a social process and learned behavior” (p. 66). The social construction of
distributed leadership would require directors to examine human potential (Corrigan, 2013).
Potential of students, parents, staff and faculty would require short-term strategies and long-term
goals (Corrigan, 2013). Changes in student and parent participation could fluctuate
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The management challenge for directors would be to discern short-term and long-term
goals and who shares in accountability. Edgar et al. (2014) would argue that the director would
be ultimately responsible for any management decisions within the program. Distributed
distributed posts. However, Corrigan (2013) noted that adding levels of accountability could
demoralize willing participants and deter further participation. Building social capital while
Managing a program efficiently and effectively would involve creating an environment where
ideas, creativity and innovation could flourish (Minkler, 2014). Minkler (2014) would argue that
authentic leadership without motivation, inspiration and charisma would not implement desired
transformational leadership was necessary to build social capital that could enact change
(Minkler, 2014). Managerial challenges for directors would entail (a) knowing one’s school
culture, (b) being an authentic, transformational leader, (c) forming short-term and long-term
mutually beneficial relationships, (d) using distributed leadership appropriately and efficiently
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McDonald et al. (2010) attested that organizations must “adopt strategies aimed at
building viable, sustainable organizations in order to continue to pursue their social mission” (p.
346). Instrumental music programs should balance fundraising efforts with vision (Edgar et al.,
2014; McDonald et al., 2010). As band programs prospered and sought greater competitive
outlets, increased funds may have been required to compete at higher levels. Higher levels of
planning (McDonald et al., 2010). Strategic planning should involve minimal reliance on
(2010). Instrumental music programs should remain relevant to sustain competitive efforts
(Edgar et al., 2014; McDonald et al., 2010). Multiple innovative strategies could be
implemented for program growth and sustainability (McDonald et al., 2010). Innovative
Schmidt (2012) argued that in order to balance autonomy and accountability, directors
must “be able to engage with policy talk, provide re-conceptualization of community, and
participative and critical” (p. 222). Perhaps Schmidt (2012) was suggesting a multiple
stakeholder holder approach to communication similar to Jegers and Wellens (2014). Jegers and
Wellens (2012) argued that a multiple stakeholder approach to communication would provide a
better picture of reality. Objective data, reports, and observations alone would provide a myopic
view of a program’s needs according to Barrett (2012). Multiple perspectives were required for
holistic communication according to Barrett (2012); however, Edgar et al. (2014) noted the
importance of expert-led director intervention and reflection. How could one gather multiple
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perspectives yet lead effectively without over-stepping authority while maintaining autonomy?
Jegers and Wellens (2014) recommended gathering a sense of the overall issues to address
sustainability obstacles.
Discovering and acknowledging what all stakeholders valued would promote buy-in and
encourage support (Jegers & Wellens, 2014). “Individuals [had] a right to be involved in
decisions that [affected] their daily lives” (Jegers & Wellens, 2014, p. 226). Decision-making
processes should be transparent according to Liket and Maas (2015). Program design and
implementation should include relevant input from all stakeholders (Liket & Maas, 2015).
While researchers conveyed the importance of gathering input from multiple stakeholder
perspectives, Fisher and Hedgecoth (2014) argued that the director should ultimately decide
which information was relevant when advocating for one’s program. Directors advocating for
program sustainability should consider multiple perspectives to illuminate expectations (Liket &
Maas, 2015). Expectations required standards for benchmarking (Liket & Maas, 2015). Without
benchmarked standards, a director could not accurately address sustainability concerns. Faulk et
al. (2015) suggested using a performance assessment approach to benchmark standards. Faulk et
al.’s (2015) suggestion diverged from Barrett’s (2012) who considered objective data limiting.
Gathering performance assessments and other objective data could provide concrete reputation
building blocks (Faulk et al., 2015). More objective data collected would build a program’s
reputation. Documented positive reputation building would serve as a tool for director and
program advocacy.
McKoy (2018) stated that “music programs continue[d] to conform to the status
quo…and [did] not reflect interests and musical goals of the students” (p. 4). Though
researchers conveyed the importance of holistic decision-making, Koskela and Schuyler (2016)
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emphasized the importance of being present. Being present was considered being mindfully
aware of the people directly affected by director decisions; the students (Koskela & Schuyler,
2016). Directors should have a “capacity to observe and find new points of view” if ensemble
members were to remain and thrive (Koskela & Schuyler, 2016, p. 56). Ensemble members that
remained and thrived promoted program sustainability (Koskela & Schuyler, 2016). Program
and meaningful retention efforts could be inefficient and counterproductive (Koskela &
Schuyler, 2016).
One could argue that increasing recruitment would statistically improve the chances for
retention. For example, if a program typically lost ten out of one hundred members every year or
ten percent then ninety would return. If a director recruited two hundred and lost ten percent one
hundred eighty members would return thus increasing participation and retention statistically.
However, Jaskyte (2013) warned that larger numbers could affect program quality if quantity of
members was prioritized. Jaskyte (2013) found that program size was not an indicator of
members, who have grown and matured musically within the program would promote
sustainability through improved performance and musicianship (Edgar et al., 2014; Jaskyte,
2013). One could assume that without students, there would not be a program. Likewise,
without retention of quality students, a program would not be able to sustain quality.
Perhaps, researchers were implying that sustainability and relevancy were intertwined.
Director mindfulness should prioritize the physical, emotional and intellectual presence of
ensemble members according to Koskela and Schuyler (2016). Mindfulness of such presence
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communicate with stakeholders as recommended by Jegers and Wellens (2014) and build
reputational support as suggested by Faulk et al. (2015). One could question whether
sustainability could be paralleled with growth. Could programs sustain success while
instrumental music program maintained a wind ensemble of fifty members, a jazz ensemble of
twenty, and a marching band of one hundred without considering additional ensemble expansion,
would a program be able to improve competitive level and musicianship? Would a program be
sustainable and thrive without expansion mindfulness? Future research should explore those
possibilities.
Director Sustainability
Director sustainability could be considered from two perspectives; job security and
success sustainability. Job security depended on a director’s ability to advocate for one’s self as
well as one’s profession and program (Fischer & Hedgecoth, 2014). Fischer and Hedgecoth
(2014) noted that “the notion of music education advocacy [was] a continuous effort” (p. 57).
Directors must remain relevant through professional development opportunities (Edgar et al.,
2014). Relevant and meaningful professional development could require directors to reflect on
one’s experiences (Kallio, 2015). According to Kallio (2015) directors should journal
experiences for later reflection and analysis. Doing so would allow directors to relay learning
experiences through storytelling (Kallio, 2015). The process of experiential storytelling could
invite problem-finding and initiate problem-solving (Kallio, 2015). Barrett (2012) noted that
(p. 4). Job security depended on a director’s ability to problem-solve the “ill-defined…
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ambiguous… subjective… and complex” (Barrett, 2012, p. 4). Moreover, documented problem-
One could assume that doing one’s job in addition to advocating for its existence and
importance would become mentally and emotionally exhausting. One could also assume that
leaving one’s program would impact job security. Sustainability regarding job security
considered directors’ individual choices to remain with an existing program. Duckworth and
Robertson-Kraft (2014) found “true grit” to be a determining factor for retention of directors (p.
1). “True grit… [was defined] as perseverance and passion for long-term goals…sustained
p. 4-5). Perhaps Duckworth and Robertson-Kraft (2014) implied that director sustainability
relied on one’s intrinsic motivation. Bottery et al. (2012) emphasized the importance of
(Bottery et al., 2012). Mismatched personalities among directors and colleagues or staff could
challenge sustainability. Directors should examine mutually beneficial skill sets as well as
“embrace the concept of personality” (Bottery et al., 2012, p. 229). One could interpret true grit,
However, Angeline (2014) noted that directors should understand “the role motivation play[ed]
in seeking out methods for individual enhancement” (p. 50). Introspection and reflection were
found to increase a director’s effectiveness thus increasing a director’s desire to remain (Bottery
et al., 2012).
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professional development (Edgar et al., 2014). Edgar et al. (2014) found that directors who
“[had] control over their own learning [were] more likely to accept and retain new teaching
practices” (p. 6). Opportunity to pursue improvement and excellence was a significant factor for
sustaining and improving successful outcomes (Angeline, 2014; Edgar et al., 2014). Broad
applicability balanced with relatability was important for sustainability according to Kosempel
and Wilson (2016). Balancing applicability with relatability required trial and error experiential
knowledge (Benn & Metcalf, 2013). Reflective practices such as journaling experiential
knowledge could provide a framework for aligning preparation with implementation (Evart et al.,
One could question whether success and sustainability were only possible to the extent
that director initiatives were implemented. How would directors be able to sustain program
success if initiatives were not implemented and the program remained at the status quo? Future
research should explore correlations among director led implementations, initiatives and
outcomes. Gathering such data could provide institutions with useful information for
professional development curricula. Angeline (2014) argued that successful director voices
sustaining the status quo. For example, administrators might determine that if a program was
successful there was not a need for developmental improvement. Therefore, professional
development for experienced directors was often not approved or approved at the expense of the
director (Angeline, 2014). Sustaining successful directorship under those circumstances could
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developmental support.
“Successorship [was] intended to identify and develop current talent” (Furtek, 2012, p.
processes and activities to fill leadership roles in the future” (p. 59). Shifting paradigms through
successorship required directors to possess “vision and the ability to build positive and trusting
relationships with all stakeholders” (Morrison, 2013, p. 418). Positive, trusting relationships
could ensure smooth succession of student leaders and directors (Hannah et al., 2013; Hernandez
et al., 2014). Distributed leadership among students and colleagues permitted continuance of
vision and mission goals (Bush, 2014; Cummins & O’Boyle, 2014). Identifying and developing
talent for succession could be considered from two angles; student succession and director
succession. Successorship for sustainability will be examined through student and director
lenses regarding (a) distributed leadership, (b) director trust, (c) student leader trust, (d)
stakeholder trust, (e) student succession planning for sustainability and (f) director succession
proactively build social capital (Bush, 2012). According to Cummins and O’Boyle (2014)
building social capital was “leading through others” (p. 27). Inspiring leadership through others
was found to be more influential than intrinsic leadership qualities (Cummins & O’Boyle, 2014).
Authentic group commitment from directors energized ensembles with a “sense of purpose and
direction” (Cummins & O’Boyle, 2014, p. 32). Ensembles and extended stakeholders who
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sensed authentic commitment from directors were more likely to accept distributed
responsibilities (Bush, 2014; Furtek, 2012). However, Corrigan (2013) warned against a “core
Directors would need to know ensemble members, student leaders, staff and other
stakeholders. Moreover, directors would need to know interpersonal relationships among all
parties involved to effectively choose succession transition catalysts. For example, directors
might choose student leaders that exhibited excellent musicianship. The next step would be to
ensure that those student leaders would be followed by others and remain focused on the vision
and goals of the program. Likewise, colleagues and staff would need to be transitioned into
directors would enter an ensemble with a strong foundation of distributed leadership in place.
Distributed leadership geared towards smooth successorship transitioning required trust as the
Director trust. Students, parents, staff and other stakeholders should trust that a director
was a competent educator and musician (Gillis, 2011). However, one could posit that trust
competence, therefore eliciting trust (Gillis, 2011). Building trust required proficiency in
administrative tasks (Gillis, 2011). According to Gillis (2011), “only through development of
basic administrative skills [could] [directors] become effective contributors to the musical
growth of their students” (p. 35). One could assume that students and school communities would
want a competent director. How would one know a director was competent unless one was able
to properly evaluate the director? Hernandez et al. (2014) contended there were three
dimensions to cultivating follower trust; “personal, relational and contextual” (p. 1868).
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Personal trust enlisted integrity, care for others and strong moral character (Northfield,
2014). Connecting with students, parents and other stakeholders on a personal level through
integrity, care and character would build lasting foundations of trust. Those foundations of trust
could translate into continuance of a director’s vision after succession. Therefore, continuance
Relational trust pertained to working relationships among students, staff and other
stakeholders (Hernandez et al., 2014). Successful succession would require directors to know
personalities, which ones worked well together and which ones did not. According to Kerres
(2013) being a great director had “nothing to do with how well you conduct[ed]. It [had] a lot to
do with how well you [understood] how to work with people” (p. 32). Knowing which staff and
faculty worked well together could build proactive followership for the director. Effectively
assembling team support would enable smooth successorship and remain vision-focused beyond
(Hernandez et al., 2014, p. 1868). Situational focus on succession would require effective
partnerships at the local, regional and beyond levels according to Hallam (2011). Local, regional
and other performance venues required strategic planning to sustain program participation during
and after director succession (Hallam, 2011). Maintaining performance standards and
competitive venues required continual advocacy (Austin, 2017). Breaks or lulls in tradition
could threaten program sustainability (Austin, 2017). Maintaining strong relationships using
contextual leadership would establish foundations of trust for incoming directors. For example,
directors leaving a school or program that kept strong relationships and detailed program
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information could pass that information on to the incoming director. Students and other
stakeholders would see that a director had vested interest in the success and sustainability of the
program. Therefore, students and stakeholders would be more likely to trust an incoming
director equipped to maintain program success at the onset of directorship (Austin, 2017;
Montemayor, 2014).
Student leader trust. Thies (2013) encouraged the use of student leaders in band
programs to improve rehearsal efficiency. However, Burk and Olsen (2014) warned that
exceptional skill competency did not necessarily induce leadership qualities. Cultivating student
leaders required “structured reflection…and applying theory to practice while guiding deep
thinking skills” (Burk & Olsen, 2014, p. 79). Student leaders were considered an extension of
the director (Brewer, 2009). Directors should establish an environment of mutual trust and
learning between themselves and student leaders (Bush, 2011). Transposing student musicians
into leadership roles was a process that required healthy relationships among group members
(Shieh, 2008). Utilizing students in leadership capacities required trust among one’s peers
(Hannah et al., 2013). Hannah et al. (2013) found that affect-based trust provided a “stronger
sense of mutual obligation” (p. 1161). “Affect-based trust represent[ed] an emotional investment
through which newcomers develop[ed] relationships that [were] of potentially better quality”
(Hannah et al., 2013, p. 1161). Quality relationships could be built through a mentoring process
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Stakeholder trust. Jorgensen (2010) noted that directors should have power with others
not over others. Collaboration with stakeholders was necessary to build trust and ensure
program sustainability during and after a director’s succession (Jorgensen, 2010). Trust-building
collaboration prepared stakeholders for change such as curriculum reform, budget changes and
director succession (Barrett, 2012). Barrett (2012) urged the use of multiple perspectives to
reflect on interrelationships and complex challenges. Stakeholders were more likely to trust
practices, constituents, choice of leaders, responses to changes and challenges, and mapped them
p. 7). Perhaps Barrett (2012) was suggesting that well-informed stakeholders would be more
trusting of a director’s plans during succession. One could posit that a planned succession would
be better than no plan at all. However, one could not automatically assume that an incoming
director would immediately adopt the former director’s plan. Therefore, stakeholder trust and
buy-in would be needed to bridge the gap during director succession to ensure a smooth
transition.
Student succession planning for sustainability. Student leaders played a large role in
succession planning to maintain sense of purpose and direction (Cummins & O’Boyle, 2014).
Phillips (2016) conveyed that student leaders were necessary for a high-quality music
environment and that “great music programs always have great leaders” (p. 40). Capitalizing on
in-house student leadership would “improve the musical environment for the entire community
[and] increase the number of students involved” (Phillips, 2016, p. 40). Successorship of student
leaders required strategic and comprehensive planning to sustain a program’s vision after student
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was a cumulative and ongoing process according to Northfield (2014). Reputable directors
should be included in hiring processes to promote program vision (Northfield, 2014). However,
Benn and Metcalf (2013) posited trial and error considerations. One could assume that an
incoming director would not immediately pick up where the former director left off. Therefore,
new directors would have a learning curve through trial and error. Navigating an incoming
director through the trials and errors should include a mentoring period (Levy-Gazenfrantz &
Shapira-Lishchinsky, 2015).
2015). Perhaps Levy-Gazenfrantz & Shapira-Lishchinsky (2015) were suggesting that after
directors and administrations agreed on an incoming director, the former director should work
alongside the present director. For example, a retiring director might mentor the new director a
few weeks while the new director becomes acclimated. That might prove difficult for directors
that may be moving to a different school. Scheduling conflicts may pose significant challenges
for mentoring to take place. One course of action might be for a one-year transition period.
succession and program sustainability may prove worth the investment in two directors (Koskela
& Schuyler, 2016; McDonald et al., 2010). Decision-makers would need to evaluate and balance
Koskela and Schuyler (2016) implored holistic and big-picture perspectives for a
balanced, sustainable program. McDonald et al. (2010) agreed, adding that programs should
“adopt…strategies aimed at greater sustainability” (p. 353). Maintaining stability amidst director
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succession could reduce the overwhelming nature of new directors to a program (Evarts et al.,
2015). Incoming directors and ensemble members would be “better equipped to engage in
collaborative learning, collective action and the development of key sustainability practices”
(Evarts et al., 2015, p. 700). Director succession planning for sustainability would be needed for
Programs, schools and communities changed and evolved over time (Koskela &
Schuyler, 2016). Poorly established reputations could challenge forward progress under new
directorship (Faulk et al., 2015). Adapting to the ebb and flow of incoming and outgoing
students to a program posed challenges to sustainability regarding (a) student culture, (b) school
Reputation challenges. Reputations built on trust were vital for success and
sustainability of a program (Faulk et al., 2015). Frequent turnover rates, dismissal of resource
requests and oppressive work environments due to micro-management could breed a reputation
of non-trust within program communities (Christensen et al., 2012; Eacott, 2010; Faulk et al.,
2015). For example, students and parents may be less trusting of an incoming director if the last
couple of directors left within one or two years. Program communities may not see time, effort
and volunteerism as a worthwhile investment in a director who was likely to leave in one or two
years. Administrators who consistently denied requests for improved music program equipment
could diminish hope and reduce participant and volunteer motivation (Austin, 2017). Challenges
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Establishing such relationships would require learning, acknowledging and adapting to culture
Student culture challenges. Fernandez (2011) noted that culture went beyond race and
ethnicity. Being mindful of student cultures meant awareness of “eating rituals, personal space,
conflict resolution, eye contact, greetings, tone of voice and many other factors” (Fernandez,
2011, p. 16). Personalities, priorities and personal responsibilities among students shifted with
culture changes (Koskela & Schuyler, 2016). Challenging culture changes among students could
affect sustainability if directors did not embrace and reflect on those changes (Bottery et al.,
2012). For example, students might lose interest in learning music theory in a traditional sense.
Learning from books or blackboards may not be relevant or particularly interesting. However,
subject matter may not have been the issue but rather delivery. Directors would need to update
challenging without administrative support. Even if directors were aware of the necessary means
for culture adaptation, directors would need to be prepared for sustainable curriculum reform
amidst those adaptations (Barrett, 2012). Preparation would require administrative supported
professional development (Austin, 2017). However, researchers argued that perseverance and
intrinsic motivation could overcome lack of administrative support (Carlisle, 2013; Duckworth &
Robertson-Kraft, 2014).
Knowing student cultures and the challenges therein required reflective cyclical processes
(Zysberg, 2013). Challenges could include students being academically overwhelmed, lack of
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school/life/program balance (Zysberg, 2013). Chikoko et al. (2013) noted that a director’s
responsibility regarding student culture was to shape “structures and cultures of the school in
response to the school community” (p. S147). Gathering a holistic picture of a school’s culture
could help directors better navigate cultural shifts in student cultures and formulate adaptations
School culture challenges. Culture changes induced paradigm shifts within schools
socio-economic needs often used top-down administrative approaches (Morrison, 2013). Top-
down approaches were often disconnected from school culture, not realistic and difficult to
School size challenges. One could posit that success breeds success. Successful schools
would therefore attract more students. At some point, saturation would occur causing
Jaskyte (2013) noted that increased numbers of students to a school would provide a larger pool
of talent from which to choose from. However, Benn and Metcalf (2013) warned that larger
numbers would increase human capital complexities. Gathering human capital could be
considered understanding school culture according to Benn and Metcalf (2013). Sustainability
of a music program would require directors to effectively increase school culture awareness on a
larger scale while still adapting to individual needs (McDonald et al., 2010). Individual needs
may constitute similar challenges, such as socio-economic challenges, yet on a larger scale
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resources and funding support compared to affluent districts (Chikoko et al., 2013). Chikoko et
al. (2013) suggested using in-house talent and pooling of resources to address socio-economic
challenges. For example, teachers or parents may be able to offer skills or services that might
otherwise come out of a limited program budget. According to Caniels and Rietzschiel (2013)
directors should “look at the specific tasks that are required [for the program] and stimulate
debate and discussion around the nature and dynamics of organizational creativity under
constraints” (p. 101). A clear picture of present and anticipated needs should be relayed by the
director’s ability to effectively relay program needs and match those needs with in-house
capabilities and volunteerism (Caniels & Rietzschiel, 2013; McDonald et al., 2010).
Other school culture challenges. Chikoko et al. (2013) implored the use of instructional
leadership in challenging school contexts. Teachers directly involved with music program
students should lead culture adaptation initiatives according to Chikoko et al. (2013). For
example, teachers could collaborate with directors to discuss changing culture trends regarding
ensemble members. Math or English teachers could show directors technologies or delivery
methods that were successful at reaching most students. Directors, who often felt isolated could
become part of the larger school community through such collaborative processes (Fischer &
Hedgecoth, 2014; Jorgensen, 2010). However, Caniels and Rietzschiel (2013) warned that
increased workloads, time constraints, mental and emotional pressures could prohibit such
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Specialization challenges. Hall (2010) contended that music education was “rich in
leadership content and allow[ed] flexibility in meeting students’ individualized learning needs”
(p. 108). Moreover, music education could be used as an alternative pedagogy to enhance
learning outcomes (Hall, 2010). Increased awareness of music educations benefits was realized
by many school systems; however, support did not necessarily match expectations for
specialization (Groulx, 2016; Jorgensen, 2010). Jorgensen (2010) attested that “cultural
change what [they] do…and discover other ways of thinking, doing and being that [met] the
needs of…students in today’s world” (p. 22). Meeting the needs of students in today’s world
ensemble choices.
Special education. The number of special education students increased steadily and
significantly over the last 20 years (Van Weelden & Whipple, 2014). Music educators were
pressured to accommodate inclusion initiatives (Van Weelden & Whipple, 2014). However,
music educators were often not included in IEP meetings and given little to no training (Van
Weelden & Whipple, 2014). Moreover, music educators were offered little to no involvement
and given no outlet for input yet were held under the same inclusion expectations as core subject
educators (Van Weelden & Whipple, 2014). Groulx (2016) noted that incoming directors felt
grossly unprepared for dealing with special education requirements for inclusion. Creative
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music program could require additional ensemble choices, such as percussion ensembles, jazz
bands or chamber ensembles with creative instrumentation adapted to special needs (Van
Weelden & Whipple, 2014; West, 2014). Directors who showed willingness to adapt and grow
ensembles to accommodate the specialized needs of students could garner additional support and
increase advocacy endeavors (Fischer & Hedgecoth, 2014). Sustainability of a program could
reside in a director’s ability to accommodate a wide range of specialized needs to obtain overall
increased program support and success. However, director willingness should be matched by
administrative, financial and professional development support (Christensen et al., 2012; Fischer
& Hedgecoth, 2014). Students, parents and communities calling for increased or greater
diversity of ensembles would require continued advocacy according to Fischer and Hedgecoth
(2014).
Challenges for directors would be to address an “application gap” (Conger, 2013, p. 81).
Directors would need to show school communities that extended ensembles had applicability to
“skill-building and feedback interventions in the classroom” (Conger, 2013, p. 81). Feedback
frameworks would provide a lens for administrations and school communities to assess progress
and benefits of extended ensembles (Morrison, 2013). Challenges for directors would be to
sustain continued advocacy through collective stakeholder engagement using frequent and
planning to build social capital (Minkler, 2014). Odegaard (2016) noted that “many areas
throughout the United States suffer[ed] from teacher shortages [and that] educator retention
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[was] the key to sustainability of music education” (p. 6). Moreover, retaining successful
directors was a product of building social capital through emotional intelligence (Doe et al.,
capital (Minkler, 2014). Building social capital linked successful endeavors with program
sustainability by attracting committed group leaders (Cummins & O’Boyle, 2014). Attracting
leadership within a program would integrate shared ideas, problem-solving, provide motivation
and boost morale (Bond, 2012). Sustainability of a program required relaying success to entities
beyond ensemble members. Garnering community support was crucial for sustaining a
program’s vision (Chacon et al., 2013). Strategic planning to build social capital and
(d) inclusion and equity and (e) innovation” according to Odegaard (2016).
program’s purpose to offer support. Odegaard (2016) implored the use of community
collaboration. One could question the feasibility of community collaboration. How could a
director collaborate with an entire community? Who might be receptive? Which demographics
of a community might be more receptive than others? Perhaps Odegaard (2016) was referring to
Regardless of which community group was involved, long-term community engagement should
et al. (2013, p. 298). Accomplishing those ideals required empowerment through stewardship
(Odegaard, (2016).
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spirit of accountability and a culture of giving … time, talents and resources” (Odegaard, 2016,
p. 5). Successful stewardship would depend on a director’s ability to know what ensemble
members and stakeholders valued (Jegers & Wellens, 2014). Understanding values of members
and stakeholders could greatly improve retention efforts, thus improving success and
sustainability (Jegers & Wellens, 2014). Worthiness of participant and volunteer time, talents
and resources would require comprehensive feedback and frequent communication (Hallam,
2011).
students and stakeholders through performance (Odegaard, 2016). Performances that connected
to communities would form comprehensive bonds. Bonding through performances could include
diversity of repertoire to increase potential supporters. For example, bands could play cultural
program from other countries, however, students’ extended communities may be large.
Performing music from a diversity of genres may appeal to a broader range of audiences such as
the elderly, teenagers and baby-boomer generations. Comprehensive social capital building for
success and sustainability of a program would involve directors knowing students as well as
Inclusion and equity. Inclusion and equity considerations could go beyond cultural and
Fischer and Hedgecoth (2014) attested that music content had not changed over the past 100
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and socially changed over the years (Fisher & Hedgecoth, 2014). Success and sustainability of a
program should involve connected, dynamic and adaptive systems (Benn & Metcalf, 2013).
Successful adaptations required expert-led instruction and collaboration according to Edgar et al.
(2014). Expert-led collaboration could inform directors which inclusion methods were
successful through trial and error (Benn & Metcalf, 2013; Edgar et al., 2014).
“handling of and attention to teaching and learning processes” (p. 407). Perhaps inclusion and
equity were a matter of knowing who should be included and what an equity benchmark was.
For example, how could a director know that a particular group was marginalized?
Marginalized, by definition would imply that particular groups were not as noticeable. How
could a director notice the un-noticed? Success and sustainability of a program could depend on
a director’s ability to notice the un-noticed. Doing so would require innovative approaches,
Innovation. Building social capital enlisted innovation to enhance “music teaching and
association program management through combining effective and dynamic practices with
proven strategies in the context of our changing global community” (Odegaard, 2016, p. 5).
Boerner and Gebert (2012) suggested building diverse teams to increase innovative
effectiveness. Innovation could be considered from several angles such as innovative problem-
solving, fundraising, lesson planning, program restructuring, recruiting or other matters (Gillis,
2011). Gillis (2011) contended that many such innovations could be done simultaneously. A
director’s multiple roles could require them to simultaneously restructure a program while
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plan to support desired student conduct, and the performance goal of the ensemble” (p. 36).
Forming, planning and implementing innovative changes required emotional intelligence (Doe et
factors in sustaining and improving the quality and performance of an [ensemble]” (Parrish,
2015, p. 821). Effective directorship required emotional intelligence to link leadership with an
ensemble’s needs and goals (Kumar, 2014). According to Doe et al. (2015), “emotional
intelligence [was] usually assessed on four dimensions: (a) self-awareness, (b) self-management,
Self-awareness. Kerres (2013) attested that great directors were aware of one’s own
authentic approach (Kerres, 2013). Director self-awareness entailed more than cognizance of
musicianship competence. Directors also needed to balance awareness of one’s multiple roles
when decision-making (Gillis, 2011; Kerres, 2013). Connecting research trends, current
pedagogy and connections between self and ensemble required emotional intelligence to link
ideals with purpose (Gillis, 2011; Leonard et al., 2012). Success and sustainability of an
ensemble would depend on a director’s self-awareness and one’s ability to reflect and improve
based on those reflections. Self-awareness through reflection and feedback could provide
Self-management. Biggs et al. (2010) contended that directors struggled with motivation
and management. Self and program management were linked yet autonomous. Directors needed
to focus on self, individual skills and management of time in relation to ensemble needs (Biggs
et al., 2010). For example, directors may need to work on improving one’s own instrument
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demonstration skills. Directors may need to practice to properly demonstrate a musical passage
rehearsals with limited down-time may require additional time for assessing, reflecting and
adapting rehearsal techniques. Improving such skills might require professional development
and program management. White-Smith (2012) found that teacher development correlated with
[ensemble] and the experience of the [ensemble’s] success and failures as one’s own”
(Deichmann & Stam, 2015, p. 205). Deichmann and Stam (2015) found that high performance
expectations were indicative of successful ensembles. However, one could posit that a director
could only know standards were high if directors were socially aware of the ensemble’s current
level and potential of musicianship. How could a director plan rehearsal according to perceived
potential to create high enough standards to illicit improved performance? Social-awareness for
improved performance would enlist directors to “see their work as an entity separate from
themselves that [was] susceptible to judgement and criticism; [directors] must be willing to
discard their ideas and start anew when necessary” (Bradley et al., 2010, p. 94). For example,
directors may think that an ensemble should be able to easily sight-read a piece of music. A
socially aware director would sense the boredom or frustration. Moreover, directors would need
to create an environment where students could voice opinions or concerns about repertoire
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choices (Bradley et al., 2010). Directors “must…be willing to undergo criticism and
Community and administrative support were crucial to the success of a program (White-Smith,
2012). Moreover, Kosempel and Wilson (2016) noted that sustainability of a program resided in
a director’s social awareness of knowing “what or who need[ed] to change in order to ensure
continuity” and why (p. 44). Directors who were socially aware of community needs could
better frame complex issues and develop sustainable solutions (Evarts et al., 2015). Developing
sustainable solutions based on social awareness would require relationship management among
were found to improve long-term sustainability (McDonald et al., 2010). Bottery et al. (2012)
partnerships would be crucial to the success and sustainability of a program (Bottery et al.,
2012). Core values and vision would need to be aligned among potential supporters (Bottery et
al., 2012). Aligning relationships required “holistic leadership grounded in wider perspectives”
(Koskela & Schuyler, 2016, p. 54). Wider perspectives constituted awareness of external
mindset be present among sufficient numbers of people” (p. 55). Enlisting a ‘sufficient number
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Forming and sustaining social capital required trust to properly manage relationships (Boies et
al., 2015). Trust, regarding relationship management, could be direct or indirect (Boies et al.,
2015). Direct trust constituted one-on-one personal relationships (Boies et al., 2015). Indirect
trust related to how directors interacted or treated team members (Boies et al., 2015). Boies et al.
(2015) found that “leadership intervention, which may guide leaders in using behaviors most
relevant to [a] situation, [was] important in team building efforts” (p. 1091). One could interpret
Successful programs would depend on the sustainability of team building efforts and properly
managing those relationships through emotional intelligence and trust (Kosempel & Wilson,
2016).
instrumental music program was explored with the following questions: What factors contributed
to a program’s diminished quality? How have successful directors sustained a program’s quality
and overall success. Investigating the answers to those questions could fill the gaps in research
and lead to further studies benefitting the broader instrumental music education field. The
following questions guided the research and formed the foundation for interview questions.
RQ1. What are the lived experiences of high school band directors from a successfully
RQ2. How did experienced high school band directors perceive instrumental music
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descriptive, survey and exploratory methods on the phenomena were explored. Studies that used
survey methods such as Dodson’s (2014) gathered experiential knowledge, however, there were
finite, predetermined categories in search of quantifiable data. Survey methods, even descriptive
survey methods limited the potential for depth of discovery and breadth of knowledge (Intxausti
et al., 2016). Descriptive, open-ended survey methods could offer more detailed information yet
may not be representative of a larger population (Dodson, 2014; Evarts et al., 2015). First-hand
knowledge was gathered in order to form original categories and decipher thematic data. The
focus of the present study was on deeper understanding of a specific phenomenon and population
purposeful sampling… and document[ation]” would provide “strategic themes” and surface an
“emergent design” (p. 65). Deriving themes and constructing an analysis design from
West, 2014). Incorporating selected interview transcripts allows the reader to interpret and
compare researcher analyses of participant responses (West, 2014). Open-ended survey methods
permitted authentic knowledge from which original thematic data could be formed (Acklin et al.,
2014). However, researchers found that interviews permitted participants to speak freely and
relay concerns that might not have been covered by a conventional survey seeking the same
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Angeline (2014) and Edgar et al. (2014) contended that experienced music educator
perspectives were largely underrepresented. Several researchers echoed Angeline’s (2014) and
Edgar et al.’s sentiment (Austin, 2017; Colwell, 2011; Fischer & Hedgecoth, 2014). Therefore,
various methods of gathering data from experiential perspectives were explored. In-depth
interviews were found to be the most beneficial at gathering rich, thick description on the
Summary
Literature was explored regarding the study problem concerning lack of program
sustainability. The purpose of this literature review was to discover which methods would best
illuminate lived experiences of high school band directors who sustained instrumental music
program success. In-depth interviews from purposive sampling was found to contain the most
detailed information among reviewed literature (Moustakas, 1994). The aim of the literature
review was to explore existing research on director perspectives and broad-based content
The frameworks guiding the literature review were sustainable leadership theory and a
The goal of the literature review was to discover data for a successful and sustainable
sustainability practices.
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music program was explored through literature using the following guiding questions: (a) How
did researchers capture and analyze lived experiences of successfully sustained organizations?
(b) How did prior studies gather perceptions of success and sustainability? (c) What factors
instrumental music programs specifically sustained quality and overall success? This literature
review was significant because organizational/program success was directly linked to effective
leadership (Acklin et al., 2014; Keres, 2013; Semones, 2013). Study methodology involved
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The problem addressed in this study was that unsustainable instrumental music programs
had substantial negative impacts (Austin, 2017). Specifically, lack of program sustainability
could incur significant loss of teacher or student motivation, student participation, community
involvement, trust in administration, and financial investment in human capital (Austin, 2017;
Hancock, 2016). The purpose of this qualitative phenomenological study was to discover the
lived experiences of high school band directors who sustained instrumental music program
success. Two questions guided the research: RQ1. What are the lived experiences of high
school band directors from a successfully sustained instrumental music program? RQ2. How
did experienced high school band directors perceive instrumental music program success and
sustainability? Research methodology involved experienced and successful high school band
director perspectives on program sustainability using interviews as the main source for data
collection. The goal in conducting this qualitative phenomenological study was to discover data
that institutions could use to better prepare future directors for a successful and sustainable
career.
Qualitative phenomenological research methods were used in this study. Qualitative data
were derived from interviews centered on the phenomenon of sustained instrumental music
program success. The study problem was addressed through interviews of high school band
directors meeting the criterion to understand perspectives on the phenomenon from the ensemble
leader; the director (Angeline, 2014; Edgard et al., 2014; Gillis, 2011). The study purpose was
achieved using interviews to garner deeper understanding of the phenomenon from those who
lived it in hopes of learning how to cultivate similar outcomes. Guiding research questions
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regarding lived experiences and perceptions of sustained instrumental music program success
were explored using qualitative interview methods. The following research questions guided the
RQ1. What are the lived experiences of high school band directors from a successfully
RQ2. How did experienced high school band directors perceive instrumental music
using qualitative phenomenological research the optimum method for this study (Creswell, 2014;
Leedy & Ormrod, 2010; Moustakas, 1994). A quantitative study method did not permit an
appropriate platform for band director voices to be heard (Edgar et al., 2014). Director voices
would be limited to the choices provided in a survey method (Cai & Ding, 2017). Subsequent
studies could use these research findings to design a survey for distribution to a larger sample
and population. However; mixed methodology such as open-ended responses would be needed
to fill gaps in research calling for the voices of band directors to be heard (Angeline, 2014;
Conway, 2012; Eros, 2012). Quantitative methods could be used to analyze correlations among
thematic data. However; gathering primary source rich descriptions obtained deeper
The target population for this study was high school band directors from the Lehigh
Valley region of Pennsylvania with 10 or more years of experience and three or more years of
sustained program success. Target population formed the purposive sampling design for
participant selection criterion. Sampling method included identifying programs that met the
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criterion for success then examining director qualifications within that program. The Lehigh
Valley is shared among 7 counties containing a total of 145 high schools (U.S. Census Bureau,
2012). The purposive sampling frame continued to Allentown, Bethlehem and Easton
surrounding areas and suburbs. Allentown, Bethlehem and Easton are the main cities central to
the Lehigh Valley. Initial regional searches for participants began with the Allentown,
Bethlehem and Easton area school districts. Among those cities, there are 27 high schools; 12
County and state-wide expanded searches were warranted to gather ideal participants.
All school types such as public, private, charter, religious and magnet were considered for
participant inclusion. The goal was to find 10 qualified participants with successful programs.
More than 20 potential candidates meeting the criterion were found. Saturation was reached by
examining music programs at all 145 high schools within the Lehigh Valley region. Priority of
inclusion was based on best criterion qualification. The most experienced and successful
directors were the ideal participants. However, limited response was obtained from recruiting
efforts. Location was not a factor for exclusion. Expanded search parameters were required to
obtain participatory ideal candidates. Five ideal candidates were found by expanding search
parameters to include New York and New Jersey. A highly qualified, retired band director with
Eros (2012) and West (2014). The expert reviewer examined potential candidate qualifications
Band directors instructing beyond 10 years were deemed to have passed “the survival
years” (Eros, 2012, p. 22). Therefore, 10 or more years at the same program were the
experienced criterion. Relevant characteristics of experienced band directors included but were
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not limited to (a) one or more successful ensembles, (b) one or more different types of successful
ensembles such as jazz, marching or pep bands, and (c) forms of recognition and awards other
than competitions.
Success criterion was based upon local, regional and state contest ratings, awards and
receiving top ensemble performance marks for three or more consecutive years (Acklin, 2014;
Edgar, 2014). The researcher took under consideration that not all bands competed yet may have
received awards and recognition at the national, state or local levels for excellence. The same
criterion of three consecutive years was used to select participants regarding non-competitive
recognition. Each state and competition venue had unique classifications describing top
performance (Bandmasters, 2018). The highest classification for ensemble excellence was used
to select the ideal pool of participants in addition to non-competitive awards and recognition
The target population within the Lehigh Valley region of Pennsylvania was appropriate
given the diversity of socio-economic factors and demographics. The Pennsylvania Budget and
Policy Center 2012 census indicated the diversity within the Lehigh Valley region of
Pennsylvania. Free or reduced lunch statistics ranged from Allentown school district 85%,
Bethlehem 49.9%, Easton 43.6% to city suburbs such as New Hope-Solebury 4.4%. The Lehigh
Valley of Pennsylvania encompassed very impoverished school districts to very affluent school
The sample size, N=5, was appropriate given the need for expert experiential knowledge
(Conway, 2012; Eros, 2012; West, 2014). Similar studies ranged from N=2 (West, 2014) to N=7
(Conway, 2012). Obtaining expert experiential knowledge through interviews was the most
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effective way to gather rich data on the phenomenon of sustained instrumental music program
success (Benn & Metcalf, 2013). Thematic data analysis, combined with transcript excerpts was
an appropriate and effective way to synthesize data in a holistic way (Collier & Rosch, 2016).
Materials/Instrumentation
phenomenological data. Interviews were audio recorded using Voice Record Pro ©, an iPad
application, transcribed using Rev.com © transcription service and verified by participants for
accuracy through email. Northcentral University’s Institutional Review Board (IRB) approved
instrumentation (see Appendix: B: IRB approval letter). Interviews enabled rich description of
the phenomena and permitted greater depth of understanding (Collier & Rosch, 2016; Conway,
2012; West, 2014). Similar studies used open-ended survey questions; however, the categories
for thematic analysis were pre-determined (Cai & Ding, 2017; West, 2014). The goal in using an
interview protocol was to discover authentic data and generate categories from that data (see
interviews where first-hand knowledge and lived experiences were relayed (Conway, 2012, p.
65). Verbatim transcript excerpts included with research offered authentic lived experiences
permitting the reader to better evaluate the researcher’s analysis (West, 2014). Transcribed
interviews offered greater reliability of data collection (Conway, 2012). Participant verification
Study Procedures
Approval from NCU’s Institutional Review Board (IRB) was obtained prior to
conducting interviews and gathering data (see Appendix B: IRB approval letter). Minimal risk
was involved using interview protocol. Anonymity of participants was adhered to in accordance
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with IRB regulations using pseudonyms for participants, general qualifications information and
substituting identifiable information with pronouns or general terms. All data were securely
stored on the researcher’s personal computer and thumb drive to which only the researcher had
access to.
program required recruitment of expert band directors to interview. Interviews were an effective
way to gather primary source data (Leedy & Ormrod, 2010). Recruitment of participants
involved (a) narrowing qualified participants to 10 ideal candidates, (b) choosing the five best
from that list for study inclusion pending expert reviewer approval, (c) sending recruitment
letters with study procedures and intent to five ideal expert reviewer approved participants and
(d) pending interest, sending additional recruitment letters to obtain a total of five expert
reviewer approved participants. Once interest in participation was confirmed, informed consent
protocol. Observing a director’s classroom environment could enable directors to point out
environmental factors, equipment or technology that contributed to the success and sustainability
of their program (Acklin et al., 2014; Dye et al., 2013). Descriptions of the classroom,
equipment and other resources could also promote a more descriptive account of the
phenomenon (Cai & Ding, 2017). However, the researcher considered that ideal participants
may be retired. Although directors currently teaching were preferred, the focus remained on
ideal candidates currently teaching or retired, their experiences and perceptions of overall
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After the informed consent document was signed and returned, an email was sent to the
participant to determine an appropriate interview time and place. Interview protocol and
questions were sent to participants in advance for review, clarifications or questions (see
Appendix A: Interview Protocol). Participants received the researcher’s NCU e-mail and phone
An email was sent confirming necessary conditions for interview protocol. Conditions included:
(a) a suitable time and place with minimal distractions, (b) a table to place recording equipment
near an outlet and (c) two chairs. An outline of study procedures was also sent via email. The
Participants were asked to find a two-hour block of time for the interview. The two hours
included time for set-up, sound check, interview, and take down of recording equipment. Upon
entering the room, the researcher greeted the participant, introduced themselves and thanked
participant for their time and sharing of their experience and expertise. Recording equipment
was set up first. The researcher asked the director to take his or her seat and conducted a few
sound-checks to make sure the equipment was in working order and placement of the
microphone was sufficient. Once sound and equipment checks were adequately completed, the
The interview protocol began with a review of the informed consent and reassurance of
ethical and confidentiality protocols. Participants were reminded that they may forego the
interview and stop the interview at any time. The bulleted list of research steps, sent via email
prior to conducting the interview, was reviewed. The participant could ask questions at that
time. Once the participant confirmed they had a clear picture of the research proceedings, the
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Approval from NCU’s Institutional Review Board (IRB) was obtained prior to data
collection and analysis (see Appendix B: IRB approval letter). Minimal risk was involved
during the data collection process. Anonymity of participants was adhered to in accordance with
IRB regulations using pseudonyms for participants when labeling audio recordings and
transcriptions files. All data were securely stored on the researcher’s personal computer and
The role of the researcher was to ask participants questions that promoted focused
attention on how the director’s program became and remained successful and how they
perceived success and sustainability. Interviews were the primary source of data collection.
Interviews answered RQ1 by gathering lived experiences of band directors from a successfully
sustained program. Doing so addressed the study problem associated with unsustainable
programs, by focusing on successful outcomes with a goal to inform, learn and cultivate similar
results. The study purpose was achieved using an interview protocol to gather perceptions and
answered RQ2 regarding how directors perceive success and sustainability. Interviews of
experienced band directors answered research calls for experienced music educator perspectives
Interviews took place at a mutually agreed upon location conducive to interview protocol.
Interviews were audio recorded using Voice Record Pro © iPad application and transcribed using
Rev.com© emailed verbatim transcripts to the researcher’s NCU email. Transcriptions were
downloaded and saved as a Word© document for editing purposes. Transcriptions were
reviewed alongside audio recordings and edited accordingly to assure accuracy. Edited,
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completed transcriptions were sent via email to participants to review for accuracy. Opportunity
was given to add, modify or amend transcriptions. Participants were given a two-week
requested amendments to edited transcriptions. Participants were asked to sign and date
transcriptions affirming validity. Once the approved transcription was returned, the researcher
Initial analysis was data-driven according to the research questions (Collier & Rosch,
2016). Collective data analysis was guided by the research questions, interview questions,
theoretical and conceptual frameworks. Textual analysis required manual inspection by the
researcher. After initial analysis of all participant transcripts, the researcher determined that a
data mining program would not accurately portray data context. For example, when participants
spoke of parental involvement, some participants regarded parental involvement as vital whereas
others deemed parental involvement as a nuisance. Therefore, manual analysis of data was
required to obtain proper contextual applicability. Manual analysis involved extracting words
and phrases that answered interview questions (Conway, 2012). Words and phrases directly
related to interview questions generated priori categories. Data were also examined for emergent
categories that were not aligned with the interview questions yet directly pertained to sustained
program success. Data saturation was achieved by including all data pertaining to the
organize categorical data according to words and phrases extracted from transcripts. Each
participant was analyzed and coded separately then common threads among participants were
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data context. For example, directors relayed practices that promoted success and sustainability
and factors that could affect a program positively or negatively depending on relationships
accommodate factors that affected a program verses directly conveyed positive practices. The
researcher triangulated the analyzing process according to priori and emergent categories with
each individual participant and among all five participants collectively. Redundancies were
eliminated, and the data were streamlined for comprehensive discussion of findings.
Assumptions
qualitative phenomenological research study. The first assumption was that band directors
meeting the study criterion had a formal education/ degree in music education. The second
assumption was that sustainable, successful programs were positively favored by directors. The
final assumption was that all participants would be trustworthy and honestly answer questions.
participants.
Limitations
Potential weaknesses that may have affected the study included: (a) limited number of
participants, N=5, (b) limited region for population selection, and (c) non-observance of actual
teaching. The limited number of participants enabled deeper understanding feasibility through
in-depth interviews. The weakness of numbers was mitigated by the depth of data obtained by
fewer individuals (West, 2014). Limitations to initial selection from one region was mitigated by
the diversity of schools and socio-economic factors within that region. Non-observance of
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teaching was based on the logic that the researcher could not hear the voice of the director and
gather their perspective while they were instructing. Therefore, non-observance of teaching was
Retired participants posed a possible weakness regarding lack of current directing roles.
That weakness was mitigated by choosing retired directors who have done so within the last five
years. Furthermore, gathering retired directors’ extensive years of experience at the same
program was decidedly more beneficial than a current director with less experience. While
current directors may have had at least 10 years of experience in the same program, retired
directors who taught for 20 or more years offered valuable insight regarding long-term
sustainability (Angeline, 2014). Every effort was made to form diverse participants regarding
school type and ensemble. However; the priority for selection was the most experienced and
successful directors. This limitation was mitigated by examining a diverse region for participant
selection. Diversity of the five participants’ school types included one Catholic (private), two
Threats to transferability of data could result if the participant centered all program success on
themselves rather than discussing the program. The researcher mitigated this limitation by
keeping interviews focused on the director’s interrelationships within and surrounding the
program.
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Delimitations
Sustainable leadership theory was the framework guiding the research. In order to
understand sustainability leadership, data were gathered from leaders or directors in this context,
who sustained successful programs (Angeline, 2014; Benn & Metcalf, 2013; Evarts et al., 2015).
The main delimitations of this study were the participant criteria which included (a) instrumental
music directors, (b) high school level educators of instrumental music, (c) 10 or more years of
experience and (d) at least three consecutive years of awards or recognitions of excellence during
one’s tenure.
The rationale behind choosing instrumental music was two-fold, variety of ensembles and
competitive ensembles. Instrumental music included but was not limited to (a) bands, (b) wind
ensembles, (c) jazz bands, (d) marching bands and (e) other instrumental ensembles such as pep-
bands. Bands such as marching bands competed more frequently than jazz or wind ensembles
that often competed annually (Acklin et al., 2014; Semones, 2013). Objective analysis of
participant qualifications. Confidentiality procedures and the expert reviewer’s role will be
High school level director rationale was that high school level ensembles were more
visible in the community, drew more attention to their programs and competed more often than
junior high or elementary level students (Phillips, 2016). Large crowds at sporting events or
parades enabled exposure to high school ensembles like marching bands or pep-bands. The
same size crowds and variety of audiences of high school ensembles did not engage similar
exposure to elementary bands. Credibility was also enhanced by choosing high school level
directors in that more advanced and challenging music required a higher level of musicianship
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and expertise from a director (Gillis, 2011; Kerres, 2013). For example; a director who won
awards for a 6th grade band performing “Hot Cross Buns” would not seem as impressive as a
director whose high school wind ensemble received awards for performing Igor Stravinsky’s
“Rite of Spring”. Therefore, reliability and credibility were strengthened by gathering data from
researchers to be a stage beyond novice and past the “survival years” (Eros, 2012, p.22).
Therefore, industry standard for experience equaling 10 years or more offered credibility to
perspectives from experienced high school directors whose ensembles received awards and
recognitions for excellence. Other delimitation considerations included the limited region of the
Lehigh Valley of Pennsylvania. The rationale for choosing this region was due to (a)
accessibility, (b) feasibility of study completion and (c) expert reviewer connections to review
Ethical Assurances
Review Board (IRB) prior to data collection December 17, 2018 (see Appendix B: IRB approval
letter). This qualitative phenomenological study involved participation and data collection from
human subjects. Research involving human subjects required ethical assurances of anonymity
and confidentiality for IRB compliance. Therefore, pseudonyms were used in this study when
referring to participants to protect anonymity. Participants were given the option to forego the
interview and stop the interview process at any time in accordance with the Belmont Report
(1979) respect for persons principle. Minimal risks were explained to participants in advance
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through informed consent documents sent via email. Study procedures and risks were reviewed
with participants at the time of the interview where participants were given another opportunity
to ask questions, seek clarifications and forego the interview process at any time without penalty,
harm or repercussions in accordance with the beneficence principle of the Belmont Report
(1979). Prior to conducting interviews, the researcher reviewed study procedures and how the
findings of the study would be used, accessed and possibly distributed in accordance with the
Criterion for experience and sustained program success was referred to in general terms
experience at school and school demographic information could make identification of directors
or programs possible. The researcher and expert reviewer were the only ones who knew the
directors, awards and schools in which they taught. This knowledge was for expert reviewer
approval of participant selection meeting the criterion only. Minimal descriptions of schools
were relayed since participant selection was from a limited region. Though school types and size
could be important to understand the success of a program, the researcher’s role was to focus this
The researcher and expert reviewer signed confidentiality agreements in compliance with
IRB requirements (see Appendix B: IRB approval letter). The researcher and expert reviewer
build rapport and enable an open and trusting interview protocol. The role of the researcher was
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Summary
successful instrumental music directors. The purpose of this study was to discover how directors
perceived success in an instrumental music program and how that success and sustainability
were made possible by gathering lived experiences from directors of successfully sustained
programs. Interview transcriptions were analyzed, categorized, and discussed using sustainable
leadership theory as a guiding theoretical framework. Data were examined independently then
among collective data findings. A conceptual framework was used to organize and prioritize
findings. The aim of this research was to discover factors that affected the success and
sustainability of a high school instrumental music program. The goal of this research was to
address the study problem by filling gaps in research on the phenomenon from primary director
perspectives.
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Chapter 4: Findings
school band director perspectives on sustainability for a successful instrumental music program.
Qualitative phenomenological research was the optimum method for gathering lived experiences
of band directors centered on the phenomenon of sustained program success (Creswell, 2014;
Leedy & Ormrod, 2010; Moustakas, 1994). Qualitative data were derived from five interviews
of directors meeting the study criterion. Understanding the interrelationships associated with
band directors and their programs required gathering experiential knowledge (Evarts et al.,
of sustained program success (Hancock, 2016; Kerres, 2013; West, 2014). Band directors’ lived
experiences, centered on the purpose, were examined using the following questions to guide
inquiry.
RQ1. What are the lived experiences of high school band directors from a successfully
RQ2. How did experienced high school band directors perceive instrumental music
Interview questions used to prompt director discussions of lived experiences can be found
in the Appendices (see Appendix A: Interview Protocol). The first phase of findings will include
noted. Results will be presented in the second phase according to RQ1 and RQ2. Results will
begin with an overview of demographic information and participant qualifications (see List of
Tables). Categories answering RQ1 and RQ2 will follow participant information. Generation of
categories and formation of subcategories will be noted. Emergent categories indirectly related
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to interview questions, yet directly related to the phenomenon will be addressed. All data
pertaining to the phenomenon of sustained program success will be included in the data analysis.
All categorical data presented in tables will be explained (see Appendices C-P for categorical
data tables). The third phase, evaluation of the findings, will include a discussion of significant
findings relative to scholarly literature where applicable. A summary of key points will conclude
the findings.
The theoretical framework of sustainable leadership will be used to focus the evaluation
of findings (Kosempel & Wilson, 2016). The conceptual framework of understanding what
worked well in hopes of cultivating similar outcomes, will be used to organize the discussion
(Cai & Ding, 2017; Fischer & Hedgecoth, 2014). The combination of a theoretical and
conceptual framework was the most ideal for focusing on sustainability leadership while
examining the relationship between success and sustainability from directors who achieved it
(Biggs et al., 2010; Eros, 2012). Therefore, a combination of the theoretical and conceptual
Validity of data was evidenced by expert reviewer approval of final participant inclusion.
Participant qualifications were triangulated among researcher discovered data, expert reviewer
approval and participant validation of found qualifications. Reliability of data was evidenced
through use of verbatim transcripts. Conway (2012) affirmed that transcribed interviews
provided greater reliability of data. The researcher reviewed transcripts while listening to audio
recordings to ensure accuracy. Transcripts were edited accordingly by the researcher. Edited
transcripts were sent to participants via email for review and approval. Conway (2012) and West
(2014) affirmed that validity to transcribed interviews was enhanced with participant verification
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of transcriptions. Participants were given opportunity to amend, add or remove data from
experience and credentials. Authentic, first-hand experiential knowledge from experts in the
field affirmed credibility (Collier & Rosch, 2016; Conway, 2012; West, 2014). Transferability
of data was evidenced by keeping interviews focused on RQ1 and RQ2. Gathering experiential
perspectives on a given phenomenon could be transferred and applied to other disciplines within
the music education field (Acklin et al., 2014; Angeline, 2014). Dependability of data was
evidenced through expert reviewer approval of participant qualifications and the use of verbatim
transcripts (Conway, 2012). Dependability was enhanced by having research-based criterion for
success and sustainability as the benchmark for participant selection (Acklin et al., 2014; Eros,
2012). Study methodology of audio recorded interviews with verbatim transcripts, allows the
Moustakas (1994) contended that a researcher’s subjective experiences could influence one’s
research including subjects under inquiry. Therefore, an expert reviewer was used to reduce
researcher bias in participant selection and ensure that the most ideal candidates were selected.
Coding participant names to protect anonymity and substituting or omitting any identifiable
information ensured ethical practices in accordance with IRB regulations (see Appendix B: IRB
Factors that impacted data analysis included using all data found relating to the
phenomenon of sustained program success and all analysis done by the researcher. Data were
solely analyzed, extracted, organized and categorized by the researcher. Repeat analysis of
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complete transcripts may indicate different results. However, repeat analysis of findings derived
from researcher categorization should produce similar results. Other factors impacting data
pronouns. Where identifiable information was relayed in transcripts, the researcher substituted
phenomenological approach” (p. 122). Therefore, the researcher substituted in subject matter in
order to contextualize a statement. For example, a participant may have said ‘They need to be
supportive, not micromanage us’. After reviewing a transcript, the researcher substituted
pronouns to add context. The sentence would read ‘[The parents] need to be supportive, not
micromanage [the program]’. Booth et al. (2008) noted that “data you take from a source have
invariably been shaped by that source… [and that data should be] …put in a form that serves the
source’s end” (p. 134). Therefore, context was added to generalized statements to enable proper
Results
circumstances; one private school in an urban district, two public schools in an urban district and
two public schools in a suburban district. Four male directors and one female director
participated. Names of schools, exact years of service at a school, awards and recognitions were
ethical guidelines and Belmont Report (1979) principles (see Appendix B: IRB Approval Letter)
(Creswell, 2014). Including such information would make identification possible. Therefore,
general demographic and experiential data were included (see List of Tables).
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Table 1
Participant Demographics and Qualifications Overview
Demographics and Experience (see List of Tables). Demographics were divided into the
subcategories School type and FRL. The School type statistics indicated the following: Mr.
Crimson, public suburban; Ms. Barbara, public/urban; Mr. Scott, public/urban; Mr. Celic,
private/urban; and Mr. Lyons, public/suburban. FRL indicated the following: Mr. Crimson
51%, Ms. Barbara 43.6%, Mr. Scott 55.21%, Mr. Celic 85% and Mr. Lyons 17.57%.
All participants’ programs were recognized at the local, regional, state and national
levels. Experience was divided into the subcategories: Total years experience, Local
recognition, State recognition, Regional recognition and National recognition (see List of
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Tables). Total years experience for participants were: Mr. Crimson 32, Ms. Barbara 33, Mr.
Categorical data. Lived experiences of high school band directors were gathered
through interviews in this qualitative phenomenological study. RQ1 was answered by gathering
lived experiences from directors of a successfully sustained instrumental music program. RQ2
was answered by focusing directors’ lived experiences on the phenomenon of sustained program
success. Categories were generated organically as data were analyzed, first individually
according to the interview questions (IQs) then collectively (see Appendix A: Interview
Protocol). Collective data analysis of all five participant transcripts indicated data directly and
indirectly related to the interview questions. Data directly answering IQs was used to generate
priori categories. All data on the phenomenon of sustained program success was to be included.
Therefore, data indirectly addressing IQs, yet directly related to the phenomenon generated
emergent categories. The generation of categories and formation of subcategories and the steps
involved will be explained within the results. The following results were organized according to
categorical data answering RQ1 then RQ2 followed by emergent categories answering both RQ1
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Table 2
Research Questions, Categories, Subcategories and Emergent Categories
Research Questions
Categories
Subcategories
RQ1
Former director inspirational characteristics
Earned/demonstrated over time Work-ethic related
Personality related Other/Multiple applicability
Ideal Program
Student related Scheduling related Administration related
Group/private lessons related Staff related Other/Multiple applicability
Comprehensive music program Parents related
related
RQ2
Definitions of success
Student related External recognition Other/Multiple applicability
Awards related
Directors’ sustained success attributes
Work-ethic related Student related attributes Other/Multiple applicability
Attributes related to Personal Attributes/actions
relationships
Sustained program success factors
Miscellaneous student related Community related Faculty related
(Non-leadership roles related) Parents related Staff related
Student leadership roles related Administration related Other/Multiple applicability
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Research Question 1. What are the lived experiences of high school band directors from a
examined according to actions and results over long periods of time. McDonald et al. (2010)
attested that a leader’s relationships must be examined in order to understand one’s impacts on
director’s journey, from one’s inspiration for chosen profession, to one’s sustained involvement
and success. Doing so affirmed Koskela and Schuyler’s (2016) assertion that gainful insight into
more former directors. The category Former Director Inspirational Characteristics was
generated to organize band directors’ inspirations for chosen vocation based on one’s lived
experiences (see Appendix C: Former director inspirational characteristics). RQ1 was answered
by gathering lived experiences from directors regarding the inspiring characteristics of their
former directors. The category Former Director Inspirational Characteristics contained the
following subcategories: (a) Earned/Demonstrated Over Time, (b) Personality Related, (c)
Collective data were examined for common threads. A common thread among the data
indicated inspiring characteristics that were earned over time, thus forming the subcategory,
Mr. Crimson described what inspired him the most about his former director: “The motivation
was in the knowledge, and part of that knowledge was the fact that even though he was a trumpet
player, he was able to play every instrument very well” (personal communication, January 12,
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2019). The subcategory Earned/Demonstrated Over Time contained the following words and
every instrument well, smart, demonstrated on multiple instruments, excellent musician and
multiple talents.
Personality characteristics required delineation from those of work-ethic thus forming the
While Mr. Crimson’s data indicated that knowledge and proper musicianship exemplified were
primary inspirational factors, Ms. Barbara’s inspiration stemmed from an emotional connection.
A successful teacher needs both… [passion and compassion]. Compassion … means that
we learn from our failures … when we have somebody … who … helps us through …
mistakes … knows exactly how to recover their students … so that a child can then start
again and move it forward. I feel that one can have passion, but if one doesn't have
15, 2019).
The subcategory Personality Related contained the following words and phrases: motivating,
dedicated, enthusiasm, inspired good practice habits, inspired hard work, knew how to inspire a
Work-ethic characteristics required delineation from those of personality thus forming the
Mr. Crimson described his former director’s work-ethic evidenced daily during rehearsals:
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The qualities that I saw in [my former director] were dedication. He was very structured.
He loved what he was doing and loved the students that he was doing it with. He
demanded their best. The other thing that goes along with it was that he really knew his
The subcategory Work-ethic Related contained the following words and phrases: demanding,
pushed us, structured, perfectionist, set high standards of success, vision was perfection, goal-
oriented, high yet realistic standards, never let anything slide, relentless in pursuit of perfection
and challenging.
All data pertaining to the category Former Director Inspirational Characteristics was to
be included. The subcategory Other/Multiple Applicability was formed to accommodate data not
characteristics). Admiration of skills and personality encompassed Mr. Scott’s description of his
[My former director was] very charismatic, very demanding, definitely got you to see
what he envisioned the whole program to be. Just was a great person. Sometimes, I
misinterpreted as just being maybe angry, and volatile, if you will, but that's not really the
case. He was more a perfectionist on two legs, just really looking for the best from
everybody at all times, and a tremendous guy [and] a lifelong friend (personal
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The subcategory Other/Multiple Applicability contained the following words and phrases:
listening, loved the students, loved what he was doing, connections, mentor, could see what he
envisioned, mutual respect, enjoyable literature, appealed to the audience, broad experience,
overall program was enjoyable, wide variety of music and worked with guest conductors.
Ideal Program. RQ1 was answered by gathering data on what an ideal program would
be based on one’s collective lived experiences. The researcher wanted to capture a future picture
contained single phrases yet were allotted a designated subcategory. That was done to show
convergence of data among other categories. The researcher aimed to highlight the convergence
of related data as well as the divergence among related subject matter. The category generated
was Ideal Program (see Appendix D: Ideal program). Mr. Crimson’s ideal program would have
I just want 100 kids that really want to be there, and I want parents there to support them.
I want whoever's in my band to be in the band. I would rather have less people but
quality people that want to be there and learn and work rather than just have large
Equality and accessibility for all encompassed Ms. Barbara’s ideal program:
for all students, … ample time to teach, … lessons schedule…grouped by ability … and
… [be allowed] … creative scheduling. I wanted to leave the program better than what I
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A comprehensive feeder program geared towards a love for the program was Mr. Scott’s ideal
program:
[My ideal program would be to have] every student…study privately with a positive,
right influence kind of person. I…would assemble a group of individuals who I think
could instruct the band on a day to day basis, beyond myself… It could be a combination
of student leaders and adult leaders [with the] ability to break out into sectionals…[I’d
have a] group of colleagues, be it student level or adult level, to do that, to take on that
charge to bring that aspect together (personal communication, February 19, 2019).
Well-trained students and every student studying privately was Mr. Celic’s ideal program vision:
Every kid would get private lessons, at a good studio…Private instruction for every
student in the band would be my dream group…I would love to make that happen…[If
that happened] I wouldn’t … have to teach fingerings and rhythms and even tone quality
and playing in tune. I’d be … able to take kids who had learned all those basic
techniques from private instructors, and … spend more time on ensemble techniques like
blend and balance and group intonation and playing together, following a conductor, and
Mr. Lyons envisioned bands according to ability level and all students studying privately:
[My ideal program would have] … all the students…studying privately, …concert bands
on several different levels … a select wind ensemble … a band in the middle for
everybody else, … two band directors, …a separate jazz instructor and ... a separate
music teacher [floating] within the district (personal communication, January 18, 2019).
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Subcategories derived from Ideal Program included: (a) Student Related, (b) Group/Private
Lessons Related, (c) Comprehensive Music Program Related, (d) Scheduling Related, (e) Staff
Related, (f) Parents Related, (g) Administration Related and (h) Other/Multiple Applicability.
The subcategory Student Related was formed from ideal program data related to students
(see Appendix D: Ideal program). The subcategory Student Related contained the following
words and phrases: students trusting in me, students doing what I want to do, dedicated students,
equality for all students, qualified students and adult leaders to instruct band beyond director,
student lead sectionals, student and adult colleagues working on marching, band according to
The subcategory Group/Private Lessons Related was formed from ideal program data
Group/Private Lessons Related contained the following words and phrases: students studying
privately, administration would understand the importance of group and private lessons, every
kid studying privately, all students privately trained, every kid would get private lessons at a
The subcategory Comprehensive Music Program Related was formed from ideal program
data related to comprehensive music programs (see Appendix D: Ideal program). The
subcategory Comprehensive Music Program Related contained the following words and phrases:
comprehensive music program, music history, jazz and arranging and music theory all three
levels.
The subcategory Scheduling Related was formed from ideal program data related to
scheduling (see Appendix D: Ideal program). The subcategory Scheduling Related contained the
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The subcategory Staff Related was formed from ideal program data related to staff (see
Appendix D: Ideal program). The subcategory Staff Related contained the following words and
phrases: dedicated staff, two band directors, separate district jazz instructor, head marching band
director with other music teachers assisting, indoor color guard with dedicated instructors, indoor
percussion with dedicated instructors and qualified assistant to float around ensembles during
rehearsals.
The subcategory Parents Related was formed from ideal program data related to parents
(see Appendix D: Ideal program). The subcategory Parents Related contained the following
The subcategory Administration Related was formed from ideal program data related to
All data pertaining to the category Ideal Program was to be included. The subcategory
Other/Multiple Applicability was formed from ideal program data not assigned to other
contained the following words and phrases: heart and soul, make incredible music together,
every student would enter at a level 3 or higher and have as many kids as possible.
Research Question 2. How did experienced high school band directors perceive instrumental
Lived experiences of high school band directors were gathered through interviews. RQ1
was answered by gathering lived experiences of directors meeting the study criterion. RQ2 was
needed to focus directors’ lived experiences on their perceptions of the phenomenon; sustained
program success. Focusing directors’ lived experiences on a specific phenomenon was needed
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for proper phenomenological research (Creswell, 2014). Directors related success to one’s
individual competence as a director and to one’s program. Directors also sought clarification of
success definition and offered their own definitions. Therefore, three categories were generated;
Definitions of Success, Directors Sustained Success Attributes and Sustained Program Success
Factors.
success. Although existing research defined success based on awards and recognition, no
directors defined success as such in this study (Acklin et al., 2014; Biggs et al., 2010).
Therefore, the category Definitions of Success was generated (see Appendix E: Definitions of
success). Success for Mr. Crimson encompassed how students felt in their hearts as members of
the program:
Success is the student feeling good in their heart, … good about themselves, knowing that
they're on the right track, … that there's improvement… that it takes a team to be not only
your individual best, but a team of people that all care about [the program] that… they
are part of a bigger picture. Success is when students take the experiences …they had in
the [program] out to the real world and [find] success…happiness and love. Do your best
in whatever place you come in, as long as you're doing your best, that's okay (personal
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Students making connections in life using music as a conduit indicated success according to Ms.
Barbara:
Success is about the connections you make with people. As a music educator…our
giving them the love of sustainability of music, the arts and what it can do for them as an
Mr. Scott did not base success on competitive results. Success for Mr. Scott was buy-in and
realization of the program’s vision and appreciating small steps towards improvement:
competition or … that. We're just the opposite. We have never stressed winning, not one
of us. What it comes down to is, are you going to do your best at all times? As you
create that vision and it's shared, and you have a buy-in from your students and your
parents, then, that leads to success. I think, to me, success is the sustainability of a
program. If you can take the kid who's never picked up a baritone before, and get him to
play, maybe not every note, but 70% of the notes, and in a couple of years he is playing,
or she, 95% of the notes and growing as a musician, that's a heck of a lot. I think it's
more rewarding than having a trophy sitting in the cabinets. If you've given your best
and you fail, you still succeeded because you've given the best that you can do to get that
Mr. Celic indicated resentment towards the competitive aspect of instrumental music and that
success was about a personal connection between the director and the ensemble:
I don't define [success] by trophies because those are awarded by other people, other
people that have nothing to do with your program. Other people that never spent one
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minute in your band room with those kids. How do they know what success is? [Success
is when] the real connection takes place … not in a concert hall. It's in the band room. In
rehearsal. When it's just you and the kids. No audience. No parents. Nobody else. Just
you and the kids making beautiful music and communicating (personal communication,
February 8, 2019).
Students sustaining music in their life indicated success according to Mr. Lyons:
The ultimate sign of success is when students keep playing. The future of bands is not
the music majors. It's going to be just people … still playing, and … working with other
people [because]…there's still that common thread of [being] part of something bigger
than yourself. You're part of an ensemble. We're not here to make you professional
musicians. We just want you to keep learning about music and have music in your life,
Definitions of Success was divided into subcategories: (a) Student Related, (b) Awards Related,
Words and phrases directly referring to students, when directors defined success, required
assignation. Therefore, the subcategory Student Related was formed (see Appendix E:
Definitions of success). The subcategory of Student Related contained the following words and
phrases: students working hard and doing their best, students keeping music in their lives beyond
the program, students glad to be in the program, kids growing socially, kids growing musically,
more kids involved, exposing our kids to life, life-long success for kids, doing your best at all
times, kids knowing I care, kids knowing I love them, developing kids that care, having then love
and respect of my students, when students return to show gratitude for my advice and students
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The subcategory of Awards Related was warranted due to participant consensus that
success was not related to awards. Therefore, the subcategory Awards Related was formed (see
following words and phrases: not about winning, didn’t mean first place, not defined by trophies
of success related to communities, institutions or other such entities not directly involved with a
contained the following words and phrases: performing well in the community, representing
community with pride, a program that continues to benefit school community and recognition
Other/Multiple Applicability contained the following words and phrases: positive aura, a shared
understanding of the vision, sustainability, the realization that the program will continue and
perceptions of success and sustainability attributed to one’s personal success and sustainability in
the field of instrumental music education. Upon reviewing collective data, a distinction was
warranted between director attributes and program attributes. Directors’ sustained success
attributes were considered characteristics or practices that reflected directly and solely on a
director. Therefore, the category Directors Sustained Success Attributes was generated (see
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children was important to Ms. Barbara: “Connect[ing] to that child [means understanding]
…their cultures, their economic stance, their religious stance [and] who they are as people. We
can't put people in a box. So my success is because I wanted to know that about them” (personal
communication, January 15, 2019). Directors Sustained Success Attributes was divided into
subcategories (a) Work-ethic Related, (b) Attributes Related to Relationships, (c) Student Related
director’s work-ethic was directed towards. For example, directors conveyed work-ethic related
data pertaining to their own individual work-ethic as well as student related work-ethic. Work-
ethic related data within the category Directors Sustained Success Attributes referred directly to
a director’s individual work-ethic. Therefore, the subcategory of Work-ethic Related was formed
(see Appendix F: Director’s sustained success attributes). Ms. Barbara implored the act of going
outside the band room and performing duties in an effort to connect with the students:
You can't have everything just handed to you your first year of teaching. Goodness
gracious, you've got to do lunch duty. You have to do bus duty. You've got to … hear
the craziness and smell the lunchroom. … I recruited many kids in that lunchroom
The subcategory of Work-ethic Related contained the following words and phrases: dedication,
hard work, determination, critiquing myself, never content, pushing oneself, demanding the best,
continued learning, took responsibilities of the job seriously, didn’t bring personal problems to
work, compartmentalized personal from professional life, never being home, continued to
change, have a success plan, set my own goals, always found ways to work things out, gave
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everything I have, prepared, standard of perfection, good at logistics and planning, never
organized.
needed among student, personal and other relationships. Therefore, Attributes Related to
Relationships was formed to accommodate data not accounted for in the other subcategories of
Student Related Attributes and Personal Attributes/Actions (see Appendix F: Director’s sustained
success attributes). Having a good relationship with the athletic director was encouraged by Mr.
Lyons:
Talk to the athletic director. Rather than picking up the phone, I'll walk over to the other
end of the building, which is a long walk. I'll walk over there and just, ‘Hey, how's it
going’? I want to be part of their thing too, and not just this faceless guy who's screaming
Proactively cultivating vison buy-in was Mr. Crimson’s approach to relationship building with
parents:
The very first year that I had a vision of not only teaching concert band and jazz band,
but to start a marching band from scratch, we had a meeting with the parents. I
remember like it was yesterday, but it was outside under a tree. I had this grand vision of
‘how would you like to have a competitive marching band’? There were startled faces,
but no faces that were withdrawn as to this can't happen… Deep down inside of me I had
bigger visions, but … I wanted to give it in spoon sizes to the parents and show them if
we could do this, then we could do something else, and then we could do something else.
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I involved the parents in many aspects of the band (personal communication, January 12,
2019).
The subcategory of Attributes Related to Relationships contained the following words and
phrases: family support, sought experts in the field, observing and learning from other programs,
many years in the same community, planted my feet in the community, gave my time to the
community, good rapport with the boosters, treated other programs with the utmost respect, good
relationship with choral directors, established sustainability and trust, spouse understood my
passion for the vocation, attended every booster meeting, district supported the vision over the
talking, good relationship with athletic director, good relationship with principal and assistant,
good relationship with football coach, an integral relationship with assistant director, spouse
understands how I feel about music and good interpersonal skills on multiple levels.
Director success directly related to students was warranted in order to delineate that data
from other relationships. Therefore, the subcategory Student Related Attributes was formed to
highlight directors’ sustained success attributed to students (see Appendix F: Director’s sustained
success attributes). Ms. Barbara reflected on her commitment to students that contributed to her
success:
I always made a pact to myself and my high school students … that we all have bad
days…When [I] walk in the door and … turn that doorknob, everything stays in that
doorknob, and I am now your teacher, and I am 100 percent yours (personal
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The subcategory of Student Related Attributes contained the following words and phrases:
walking amongst the students, honesty with students, was a positive role-model, help others to be
successful, conversations with the kids, sitting down with kids informally, realize where students
come from (incoming skill level), adapt teaching style to what works, never be afraid to be
benchmarked challenges against my own musicianship, earned life-long respect from students,
made bets with students and followed through if I lost and let students know when they’ve
attributes and actions. Doing so accounted for data that was not directly determined as work-
ethic related. Therefore, the subcategory Personal Attributes/Actions was formed (see Appendix
F: Director’s sustained success attributes). Mr. Scott encouraged accountability: “You need to
be accountable for yourself, be it good or bad, and own it” (personal communication, February
19, 2019). Loving one’s job promoted sustainability according to Mr. Lyons: “I think you can't
do anything this long without loving doing it. [Being a band director] is the one thing I really
love doing” (personal communication, January 18, 2019). Keeping personal problems out of the
classroom was essential according to Ms. Barbara: “I despise teachers who talk about [their
the following words and phrases: knowledgeable, passion, love what I’m doing, love the
students, love people, have excitement, enthusiasm, character, commitment, reflecting, core
values, acknowledging mistakes, love to teach, music is my passion, passion and compassion,
knew the value of a large program, small successes, took care of myself physically, next
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approach?, next time?, do better?, honest and real, saw the bigger vision, accountability, I love
being a teacher, love what I do, lead by example, walk the talk, know what I’m doing and
structured life.
All data pertaining to a director’s sustained success was to be included. Therefore, the
subcategory Other/Multiple Applicability was formed to account for data not represented in other
following words and phrases: God, hometown, mistakes helped me learn, experience/years of
perceptions on sustained program success. The category Sustained Program Success Factors
was generated to accommodate data directly pertaining to sustained program success (see
Appendix G: Sustained program success factors). Sustained Program Success Factors was
divided into subcategories: (a) Miscellaneous Student Related, (b) Student Leadership Roles
Related, (c) Community Related, (d) Parents Related, (e) Administration Related, (f) Faculty
Data within the category Sustained Program Success Factors contained significant
amounts of data related to students. Two categories accounted for student related program
success; Miscellaneous Student Related and Student Leadership Roles Related. The subcategory
Miscellaneous Student Related accounted for student related data not pertaining to student
leadership roles (see Appendix G: Sustained program success factors). Band attracted intelligent
students which promoted successful programs according to Mr. Scott: “There are so many
academically advanced kids in the band. It's amazing. If you have a problem in geometry, I
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guarantee, the number one geometry person is in the band” (personal communication, February
19, 2019). The subcategory Miscellaneous Student Related contained the following words and
phrases: provides life-long experiences, vison buy-in from students, recruitment through program
excitement, we help others and work as a team, having students that want to be in the program,
continuation of pushing, students know director cares, students believe in director, group
dependence on one another, delegate, democracy, team working together, kids trusted director,
after school programs, effective classroom management, honest and open relationship between
director and students, students hold director accountable, students hold themselves accountable,
students are encouraged to find their ‘best’, kids set goals for section and themselves, smart kids,
kids know they’re valued, auditions for placement, open-door policy, students knew director was
devoted, kids were proud to be in the program, kids felt accepted by other school students,
prepared kids for next year before summer vacation, band took director seriously, time was set
aside to talk with just the seniors, almost all drummers had private lessons, student partnership,
getting student input, reach a lot of students, program appealed to many students, high
percentage of school students in the program, utilize students’ academic and technology skills,
accommodate students that want to be in multiple ensembles, band is family for students,
everyone’s welcome, something for everyone, home away from home and sense of family and
safety.
consensus on the importance of student leadership for program success and sustainability.
Therefore, the subcategory Student Leadership Roles Related was formed (see Appendix G:
Sustained program success factors). Mr. Crimson encouraged the use of mentoring: “[Having
older students mentor younger ones] kept them in the program longer because they were in the
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moment of teaching and helping students become what they saw was successful” (personal
communication, January 12, 2019). Seniors were identified specifically by Mr. Celic as key
I [told] my seniors … if you want a successful year that you want to remember for the
rest of your life, you've got to convince the new underclassmen that they have to work
hard. The best way to do that is through leadership and leading through example. I
would lay that on them, very thick and very heavy” (personal communication, February
8, 2019).
The subcategory Student Leadership Roles Related contained the following words and phrases:
students found purpose through leadership roles, older students taking on responsibilities, older
students mentoring younger ones, student leaders getting involved and staying involved, section
leaders, mentoring, upper classmen mentoring younger students, student leadership, band
council, leadership training, students able to assist director with many tasks, using in-house
student talents, student leading by example, seniors responsible for success or failure of program,
upper classmen set goals for the ones behind them, leadership teams and student officers.
Data related to community involvement required delineation from Parents Related due to
Therefore, the subcategory Community Related was formed (see Appendix G: Sustained program
success factors). Having a program that the faculty and community were proud of promoted
teamwork according to Ms. Barbara: “[Faculty] saw how hard I worked and what great honor it
brought to the community, and that it made them better too, because they're part of the
community, and we just worked as a great team” (personal communication, January 15, 2019).
Being visible, present and involved in a community was important for trust building according to
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Ms. Barbara: “You have to be in the community. You have to walk the walk. You have to go
into that neighborhood. You have to because you must build trust, and the only way you're
gonna build trust in today's world is to be with them” (personal communication, January 15,
2019). The subcategory Community Related contained the following words and phrases: having
a program that best represented the band, heritage, trust of the community, admiration of the
community, community support, support of school community, support beyond band community
All data pertaining to Sustained Program Success Factors that related to parental
involvement was to be included. Therefore, the subcategory Parents Related was formed (see
Appendix G: Sustained program success factors). Mr. Celic noted that Catholic schools relied
heavily on financial support from parents: “[The parents] gave so much to my program because
the school couldn't” (personal communication, February 8, 2019). Contagious excitement and
enthusiasm for the program from Mr. Crimson encouraged parental support:
too big for [the parents] to want to say no to… I could get the kids to do whatever we
needed to have them do as long as I had their parent's support (personal communication,
The subcategory Parents Related contained the following words and phrases: vision buy-in from
parents, strong parental support, met parents halfway, enthusiastic parent group, continued
parental involvement, collective decision making with executive committee, veteran parents
mentoring new parents, strong parent booster group, parental involvement, parent officers, one
on one time with parents, volunteerism, parental support, dedicated parents, parents never said
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All data pertaining to Sustained Program Success Factors that related to administrative
involvement was to be included. Therefore, the subcategory Administration Related was formed
(see Appendix G: Sustained program success factors). The subcategory Administration Related
contained the following words and phrases: superintendents proud of the program, meet in the
middle, supportive principal, helpful principal, accessible principal, visible principal, district
support, good administrators and marching band required for all members.
All data pertaining to Sustained Program Success Factors that related to faculty
involvement was to be included. Therefore, the subcategory Faculty Related was formed (see
Appendix G: Sustained program success factors). Success according to Ms. Barbara was
because “[faculty] never talked down about the program” (personal communication, January 15,
2019). The subcategory Faculty Related contained the following words and phrases: faculty
support, faculty talked positively about the program, athletic director/coaches support, school-
wide program support, integrated with faculty, competent teachers and face-to-face
Only one participant provided data on staff support for Sustained Program Success
Factors. However, all data pertaining to Sustained Program Success Factors that related to staff
involvement was to be included. Therefore, the subcategory Staff Related was formed (see
Appendix G: Sustained program success factors). Mr. Crimson relayed the importance of
finding staff that were a good fit for the program and its needs:
I needed to find the right person to be with students… because I wanted to give them the
best. The best is caring individuals that ‘know their stuff’ and that are striving to make
the kids the best they can be (personal communication, January 12, 2019).
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The subcategory Staff Related contained the following words and phrases: vison buy-in from
staff, listening to staff, met staff halfway and excellent staff that were a good fit for the program.
success factors). Mr. Celic conveyed that sometimes just one student’s dedication could make a
difference:
You always get those special kids who will do whatever it takes to make the band
director happy … the first day of band camp and had everything memorized, you know,
you just wanna hug 'em and say ‘Thank you for being alive, you have made my day!’
Mr. Lyons added that providing a safe space for that one child could make a big difference in
their life:
I love it when I see that student walk in [the band room] … and … think… This kid
needs to be here. I'm happy to … provide that place for that student … because maybe
they don't fit in someplace else (personal communication, January 18, 2019).
The subcategory Other/Multiple Applicability contained the following words and phrases: never
connections with people, alumni support, ‘our program’ mentality, follow-through, positive
throughout the state, total program, consistency, collective vision, goal building, all inclusive,
demanding program, flexible, structured, organized, routine process, high retention, organization
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gathering director perceptions on program success and sustainability. Data were allotted to the
category and subcategories within Sustained Program Success Factors. When seeking
perceptions of sustained program success factors, participants relayed significant amounts of data
included: (a) Student Related, (b) Parents Related, (c) Administration Related, (d) Community
delineation from other factors. Therefore, the subcategory Student Related was formed (see
schedules were challenging according to Mr. Scott: “Asking a student to practice, even half an
hour a day, can be asking a lot” (personal communication, February 19, 2019). Mr. Lyons
applauded the opportunities offered to students, however, added that the multitude of choices
posed challenges for the program: “Kids have other choices they can make, and you can't fault
the program when they don't choose us. Academics are much more demanding now” (personal
communication, January 18, 2019). The subcategory Student Related contained the following
words and phrases: student buy-in, student leadership capabilities, incoming students’
musicianship levels, keeping juniors and seniors in the band, practicing, musicianship level of
kids entering program is unknown, school atmosphere towards band program, opposition to
marching band requirement, student input, kids want to belong somewhere, hypersensitivity,
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musicianship.
delineation from other factors. Therefore, the subcategory Parents Related was formed (see
involved parents were essential for a successful program, however, Mr. Crimson warned: “Never
… let your parents run the program” (personal communication, January 12, 2019). Ms. Barbara
added: “You … have to educate the parent as to what the kid really wants” (personal
communication, January 15, 2019). Mr. Celic conveyed a parental support environment where
parents were an extension of the director: “My band parents were behind me a hundred percent”
(personal communication, February 8, 2019). The subcategory Parents Related contained the
following words and phrases: parents, trust in parents, worried parents about time commitment,
rapport with boosters, creating a community of teamwork with parents, parental support, parents
that micromanage, parental roles in the organization and relying on parents financially.
delineation from other factors. Therefore, the subcategory Administration Related was formed
don't think the school district understands the immensity of the program, and the support that
truly it needs beyond just to a director and assistant director” (personal communication, February
19, 2019). Advocating for one’s program to administration posed primary challenges for Mr.
Crimson: “The district was number one to convince because they had to give me the things that
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would help make my program successful” (personal communication, January 12, 2019). Lack of
It's always bothered me when … administrators say to me, ‘The kids just need to be
having fun’. Well, no, sometimes it's not fun. Sometimes, it's just a lot of hard work,
blood, sweat, and tears, and you don't want to be here. That's not fun. Maybe what
[administrators] were really talking about, and … didn't even realize … is the kids want
The subcategory Administration Related contained the following words and phrases:
coordinating a shared vision with school district, every band member was required to be in
marching band, lack of vision from school district and lack of centralized authority to make
things happen.
delineation from other factors. Therefore, the subcategory Community Related was formed (see
happy with the existing program which made making any changes difficult for Mr. Scott:
[Communities expect] that you'll be this large, and you'll be this good,… and it just kind
of become the norm…That's great, but it doesn't do a whole lot for you, and it doesn't do
a whole lot for the program. It's great that people admire that and you have that
community support, but I don't think it's the most important part of [success] (personal
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The subcategory Community Related contained the following words and phrases: community
expectations, public marching band performances were not representative of total program and
Data pertaining to staff that challenged sustainable program success required delineation
from other factors. Therefore, the subcategory Staff Related was formed (see Appendix H:
included. Data not designated to other subcategories required assignation. Therefore, the
affecting sustained program success). Having spousal and family support for one’s profession
was important, particularly for longevity of one’s career as a director according to Ms. Barbara:
“If you are married, that spouse needs to understand what this means to you, that it's not a
job…This job is very hard on your spouse” (personal communication, January 15, 2019). Short
term gains were feasible, however, Mr. Scott attested that long-term support was more
challenging: “When you have a program that finds success very quickly…everybody jumps on
board … to support [the program]. But it's not long term. That concerns me, because long term
success, I think, is crucial for a program” (personal communication, February 19, 2019). The
subcategory Other/Multiple Applicability contained the following words and phrases: director
responsibility for everything, obtaining needed equipment, no limit on time commitment for
director, director spousal understanding of program dedication, finances, long-term success, and
coordinating between principal, kids, parents, other teachers and other band directors in the area.
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Challenges out of a director’s control. All participants answered that they had control
and influence within their programs and did not feel powerless when asked directly (see IQ6 in
Appendix A: Interview Protocol). However, throughout the interview process, data were
discovered which indicated powerlessness and lack of control. Clear delineation was warranted
to differentiate challenges within and out of a director’s control. Therefore, the category
director’s control (see Appendix I: Challenges out of a director’s control). Subcategories found
in Challenges Out of a Director’s Control included: (a) Student Related, (b) Scheduling Related,
(c) Comprehensive Program Related, (d) Mandates Related, (e) Parents Related, (f) Staff
related, (g) Community Related, (h) Administration Related, (i) Budget Related and (j)
Other/Multiple Applicability.
director’s control related to students (see Appendix I: Challenges out of a director’s control).
Mr. Lyons conveyed the frustration of resistance for arts integration into standard curriculum:
There just aren't enough hours in the day for [students] to [take advantage of multiple
course offerings] and take band. The whole STEM thing, it's like we're fighting that. We
keep saying, ‘Well, it should be STEAM. [Arts] should be in there,’ but we're not
The subcategory Student Related contained the following words and phrases: remedial needs of
the students, incoming students’ musicianship levels, students getting recruited for sports/other
environment from middle school to high school, everything is new to the students, attrition
between 9th and 10th grade due to increased options, multiple course offerings, many elective
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choices, required remediation courses, home pressures, private lessons are not a priority among
the many student pressures, academic pressures, students pulled in too many directions and high
director’s control related to scheduling (see Appendix I: Challenges out of a director’s control).
Mr. Lyons conveyed the difficulties of changing schedules to accommodate the needs of a music
program: “If I want to change the schedule or anything like that, then that's an act of Congress to
get that through” (personal communication, January 18, 2019). The subcategory Scheduling
Related contained the following words and phrases: scheduling, living life by a bell schedule,
tailor teaching according to bell schedule and pulling students out of class for small group
lessons.
Challenges out of a director’s control). Mr. Lyons called for comprehensive leadership:
qualified music teacher, music supervisor, not another administrator who just oversees
…, but somebody who actually knows something about music and how things should be
18, 2019).
Mr. Scott voiced his frustration with unknown incoming musicianship levels:
creating art…known as music. But high school is so about teaching the technique, …
dynamics, and … phrasing, but … it's all very mechanical. … I think … if [incoming
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students] were all at least at a base level three…you [would] really see [the program] take
off and then, really be ... much further, and … more artistic in everything they did
The subcategory Comprehensive Program Related contained the following words and phrases:
director’s control related to governmental or other such mandates (see Appendix I: Challenges
accommodating remedial needs had ripple effects that affected the arts. When students required
remediation, Ms. Barbara felt powerless when music was one of the first subjects a child would
be removed from for allotted remedial instruction: “I felt powerless when No Child Left Behind
came” (personal communication, January 15, 2019). As school safety climates changed, so too
Thirty years ago, we could walk out the door and there could be a full rehearsal going on.
We had some really stellar student leaders, who on their own, organized the rehearsal.
We could necessarily stay to be part of it, but we knew they were going to carry through
with what had to be. Then, you get the new mandate that says, ‘Well, you can't have kids
in the room. You walk out of the room; the kids all have to leave. You have to lock the
The subcategory Mandates Related contained the following words and phrases: No Child Left
Behind, state mandates, students not allowed to work in groups or practice on their own and
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director’s control related to parents (see Appendix I: Challenges out of a director’s control).
Changing family dynamics posed challenges out of a director’s control according to Mr. Scott:
“It's that element of support and interaction, and family that's culturally, I think, just
disappeared” (personal communication, February 19, 2019). The subcategory Parents Related
contained the following words and phrases: families financial priorities changing, changing
The subcategory Staff Related was formed to accommodate challenges out of a director’s
control related to staff (see Appendix I: Challenges out of a director’s control). Lack of staff
imposed significant pressure on Ms. Barbara: “In charting of my course [for the program], it was
me, me, and me, because that's all I had” (personal communication, January 15, 2019). The
subcategory Staff Related contained the following phrases: only one director, hiring additional
director’s control related to community (see Appendix I: Challenges out of a director’s control).
Changes in housing developments and community complaints about outdoor marching band
Our school was situated in a place that had housing going up all over the place. No
matter how I convinced the district that these housing projects came up after the band had
been practicing for years in the parking lot…I was powerless in the fact that they actually
moved our practice site to a different school, which was a lot worse situation, or a harder
situation to teach and being away from our home base (personal communication, January
12, 2019).
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The subcategory Community Related contained the following phrases: public complaints about
control). Cultures and student situations would change, yet, Mr. Scott’s administrators
situations drastically changing” (personal communication, February 19, 2019). Mr. Lyons
If I can't … do private lessons and if [administrations are] not going to let me make …
changes to the schedule …, then we're going to have what we have… A lot of times
administrations are… happy with what we have (personal communication, January 18,
2019).
The subcategory Administration Related contained the following phrases: administrative reality
director’s control related to budgetary concerns (see Appendix I: Challenges out of a director’s
control). Ms. Barbara noted that directors could not control the cost of instruments, music and
supplies: “Instrumental music is the second most expensive entity in [our] school system, other
than sport” (personal communication, January 15, 2019). The subcategory Budget Related
contained the following phrases: allotted budget, program expenses, changing economy and lack
of teaching resources.
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out of a director’s control not assigned to previous categories (see Appendix I: Challenges out of
a director’s control). Directors could not control supporters actions or reactions according to Mr.
Crimson: “The hard part of teaching was [being] drawn away from students [to] deal with …
parents who were questioning my motives … how I ran things…my teaching methods, and staff
questioning students’ behaviors” (personal communication, January 12, 2019). The subcategory
Other/Multiple Applicability contained the following words and phrases: moving practice site to
a different school, being away from our home base, copyright permissions, dealing with pre-
existing teachers, snow days and how band grades counted towards a student’s cumulative
average.
the most important piece of a program, that if missing, would compromise the strength and
integrity of the ensemble causing it to crumble (see IQ5 in Appendix A: Interview Protocol).
success. All participants perceived the relationship between success and sustainability as
synonymous. Delineation was required to differentiate keystones from the forces that affected
keystones. Therefore, the category Keystone to Sustained Program Success was generated (see
of all things program related was the keystone to Mr. Crimson’s program:
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The keystone to our sustained success is knowledge of what I’m teaching…If I don't
know what I'm doing, I shouldn't be there and I shouldn't be recruiting people to join
something [if] I don't even know what I'm doing... I need to know everything…before I
Belief in Ms. Barbara and her vision was the keystone to her program’s success: “If my students
didn't believe in my vision and my way of teaching, I might as well just leave, because my kids
knew what was important to me and they supported that” (personal communication, January 15,
The keystone to this program is the director and the vision that they have for the program.
I mean that in its entirety. The vision they have for the students, for each student
individually, for the parents, the organization, for the goals of both organizations, the
band and the parent's organization. I think … the keystone is definitely whoever the
director is, and their ability to pull it all together to make it work (Mr. Scott, personal
[Setting aside time to talk with seniors] is important to sustainability because that lays the
success of every program directly on your seniors every year for them to pass down to the
Band directors were seen as the glue that holds a program together according to Mr. Lyons:
We're the one common element that holds everything together…We're dealing with the
students. We're dealing with the parents. We're dealing with the school. We're dealing
with the community, and we've got to … pull all that together. If we're not there, the
…[program’s] not going to come together (personal communication, January 18, 2019).
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The category Keystone to Sustained Program Success contained the following words and
phrases: knowledgeable director, students, the director’s vision for the program, seniors, student
Forces affecting keystone. The researcher did not differentiate between forces affecting
a program positively or negatively. For example, some participants viewed parental involvement
as positive whereas others viewed parents as a nuisance. Forces, either positive or negative that
affected the keystone of a program required inclusion. Therefore, the category Forces Affecting
Keystone was generated (see Appendix K: Forces affecting keystone). The category Forces
Affecting Keystone contained the following words and phrases: trust in one’s knowledge, trust in
staff’s knowledge, student believing in vision, students believing in director’s way of teaching,
school first philosophy, tradition, No Child Left Behind, parents, student buy-in, music, school,
community, administration, ability to pull all entities involved together to make the program
work, underclassmen, student leaders getting out of hand, peer pressure, students, faculty,
Emergent Categories
RQ1 and RQ2 were answered by gathering perceptions of success and sustainability that
evolved over the course of one’s lived experiences. Participants were given the opportunity to
offer perceptions on the phenomenon of sustained program success not directly asked using
interview questions (see IQ8, IQ9 in Appendix A: Interview Protocol). Data directly answering
IQs generated the priori categories. All data on the phenomenon of sustained program success
was to be included. Common threads among the collective categorical data were examined,
analyzed and allocated to the priori categories where applicable. Emergent categories were
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generated from data indirectly addressing IQs, yet directly related to the phenomenon. Emergent
provide data on pressures that strengthened the keystone to one’s program. However,
participants did not directly answer the question as it pertained to the keystone identified (see
pressures that strengthened one’s program. Delineation was required to differentiate keystones
from the forces that affected keystones and the pressures that strengthened programs. Therefore,
the category Pressures that Strengthen Sustained Program Success was generated (see Appendix
L: Pressures that strengthen sustained program success). Challenging repertoire and drills
strengthened Mr. Crimson’s program: “[The program] had to be challenging, and it had to take
the kids to the next level of pushing themselves to do what we thought would be the best
educational experience … for the kids” (personal communication, January 12, 2019). Ms.
Barbara viewed failure as a strengthening force: “When we fail to phrase, when we fail to play in
tune, when we fail to hear the pyramid of the sound … and … work … through that failure,
that…push[es] the team to success [and]…rais[es] the bar” (personal communication, January
15, 2019). The judgmental and competitive nature of surrounding schools strengthened Mr.
Scott’s program:
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I think the pressures that have strengthened [the program] in particular is from my fellow
school districts, who make comments, which come back…they don't know [how hard it is
to run our program] .... It's that external lack of appreciation, lack of collegial support,
lack of the realization that the kids here work just as hard as the kids at [the other
schools] …and that makes the program even stronger (personal communication, February
19, 2019).
Pressure to pursue constant improvement strengthened Mr. Celic’s program: “Part of a band
director's job [is] to pressure his kids into getting better, to never let them think they have
reached the pinnacle. Always demand, always ask for more. Give me a foot and I'll ask for a
Mr. Lyons program: “If you're not holding up your end of the deal, you're letting everybody else
down. You're not letting me down. It's not my band. It's your band” (personal communication,
January 18, 2019). The category Pressures that Strengthen Sustained Program Success
contained the following words and phrases: challenging programs, challenging repertoire,
showing budget is well spent as evidenced by awards, winning and success, competitive
program, raising the bar, failure, group dependence on one another, leadership, learning new
things, practicing, program scheduling, creating a new normal, culture, pride, tradition, jealousy
collegial support and appreciation from fellow school districts prompted band members to look
for all support from within program, director was relentless for underclassmen to perform and fill
the shoes of seniors, moral support and leadership from seniors, seniors responsible for success
or failure of program, positive peer pressure, student leadership, students don’t want to let their
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friends down, students relying on each other as part of a family, director’s personal dedication to
gathering philosophies and advice that evolved over the course of one’s lived experiences.
Participants were given the opportunity to offer perceptions on the phenomenon of sustained
program success not directly asked through interview questions (see IQ8, IQ9 in Appendix A:
Interview Protocol). The open opportunity produced results related to philosophies and advice.
Some directors’ philosophies were also conveyed as advice. The data were combined to permit
the reader to decide if the data were practical advice or one’s philosophy. Philosophies and
advice were found throughout the collective data. Data pertaining to philosophies and advice
required categorization. That was done to differentiate directors’ practices for sustainable
program success from personal philosophies/advice. An emergent category not directly related
Philosophies/Advice were: (a) Planning and Preparation Related, (b) Personal Development, (c)
Significant amounts of data related to planning and preparation were found. Therefore,
the subcategory Planning and Preparation Related was formed (see Appendix M: Director’s
“You're gonna fail, you're gonna make mistakes. It's what you do next” (personal
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You don't need to know all fingerings, … you don't need to know how to exactly play
piano for everything, but you better be able to think on your feet, … because as much as
you're going with the plan, that plan changes faster than ... a band is an animal, and that
The subcategory Planning and Preparation Related contained the following words and phrases:
surround yourself with experts, study other programs, establish priorities, know your stuff,
evaluate yourself first, be organized, be prepared, continually develop vision, practice what you
preach, practice at home in front of a mirror, learn every day, always end rehearsal on a positive
note, have a success plan for yourself, consistency is a reflection of the support system, be good
at logistics and planning, assign hours of rehearsal for every piece of music, religiously stick to
your rehearsal schedule, plan your rehearsal time, know how much rehearsal time is needed until
concert, be willing to put in extra time, make a time commitment to the program, have a routine
process, be organized, have your program structured, know where everything is, know how
everything’s going to happen, check calendar for conflicts, work proactively, anticipate, think
ahead, be aware of the precedents set and assess your preparation before assessing the students’
faults.
Significant amounts of data related to the personal development of a director were found.
Therefore, the subcategory Personal Development was formed (see Appendix M: Director’s
“Everybody’s standards should be perfection. If you aren't shooting for perfection, well my God,
what goal is really worth achieving under that” (personal communication, February 8, 2019)?
Surrounding oneself with experts was a philosophy applicable to life in general as well as the
program according to Mr. Crimson: “Go out into the real world and see exactly what makes a
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good program or a great program tick. Surround yourself with experts” (personal
communication, January 12, 2019). Family support for a balanced life was noted by Mr. Lyons:
“You've got to have somebody at home telling you when enough is enough…because it'll make
you crazy if you let it … It'll … take as much as you're willing to give it and add more” (personal
communication, January 18, 2019). Ms. Barbara noted that staying healthy and exemplifying a
I don't drink and I don't smoke… I didn't believe in that… [Staying healthy] was
important. I always took care of myself first in that way. I think that's important…You
can't be telling kids not to do things and then they see your name in the paper…and that
wears on the whole community…Being a positive role model [means] taking care of my
body, realizing whether you agree with it or not that your image is important and you
The subcategory Personal Development contained the following words and phrases: see the good
in everyone, keep enthusiasm going, maintain excitement, be patient, check your ego at the door,
be kind to yourself, take care of your body and health, your image is important, be yourself and
commit to it, be honest and real, be authentic, pick yourself up, own it, be devoted and give it
your all, solve problems on your own, be human, be flexible, have your life structured and check
Significant amounts of data related to students were found. Therefore, the subcategory
Student Related was formed (see Appendix M: Director’s professional philosophies/advice). Mr.
Crimson’s philosophy encompassed contagious enthusiasm for the program: “Get the students
excited about coming in and wanting to keep the program going” (personal communication,
January 12, 2019). Conveying the human element of teaching, not just the technical was
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conveyed by Mr. Lyons: “Students need to know that you're human, and you want to see them
succeed” (personal communication, January 18, 2019). Mr. Celic conveyed a general philosophy
that helped ground him while motivating him towards continued success:
No matter how good or bad you are [as a director], ten percent of the kids are always
going to love you, and ten percent of the kids … are … always going to hate … whatever
you do. So, once I found that out to be true, I forgot about the ten percent that hate me. I
forgot about the ten percent who loved me, and I started looking at that eighty percent in
the middle. … I figured in order to be successful, I wonder how many of those eighty
percent I can get to stop thinking about lunch when they walk into my band room. That
The subcategory Student Related contained the following words and phrases: give everyone a
chance to succeed, don’t categorize students, don’t limit students, don’t let student limit
themselves, understand where students come from, have a straight conversation with students
about their future choices, let the kids know they’re valued, let the kids know when they do
better, talk to students as they are coming in the room, hold students accountable, be aware of
students’ mental states, make allowances for high school teams and understand what your kids
Significant amounts of data related to rapport were found. Therefore, the subcategory
You’re never gonna have success or respect if you don’t plant your feet [in your
community]. You have to be in the community. You have to walk the walk. You have
to go into that neighborhood. You have to because you must build trust, and the only
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way you're gonna build trust in today's world is to be with them (personal
Football coach and band director can be two of the best allies out there. …You just have
to have relationships with people, and not keep yourself in the band room as a hermit
thinking …somehow, it's ... going to happen. It's not. You have to be able to reach out
and have that support from everybody, but the kind of support where you can have open
Establishing an accepting and welcoming environment was Mr. Lyons’ philosophy towards
building rapport: “I always feel like we should put the Statue of Liberty right outside the door
here. It's like…Come one, come all. We'll take you” (personal communication, January 18,
2019). The subcategory Rapport Related contained the following words and phrases: understand
human nature, respect each other’s differences, develop good rapport with boosters, get along
with other music colleagues, have a good relationship with the principal and assistant principals,
have a good relationship with the athletic director, have a good relationship with the football
coach, have integral relationship with the assistant director, build a program that the community
supports, maintain connections, help others be successful, be sociable with other people in your
All data that conveyed philosophies or advice was to be included. Therefore, the
subcategory Other/Multiple Applicability was formed to accommodate data not assigned to other
conveyed that having an ample budget and desired resources was not enough to sustain a
program:
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I think you can have the budget, and if you don't have the other things in place, it doesn't
matter. You can have all the horns in the world sitting out there, but if the students aren't
The subcategory Other/Multiple Applicability contained the following words and phrases:
winning is not everything, do your best at all times, rules have grey areas, school first, honor
your profession, the program won’t take care of itself, have someone play devil’s advocate, build
a program that supports itself, go at it again, find a way to make it work, responsibility for
sustainability, work out the bugs as you go, know how to work within your school system,
follow proper chain of command, size is not everything and quality is important.
was found among all participants’ data. Significant amounts of data indicated administration
was divided into two subcategories; Prior to Meeting and During Discussion.
practices). Ms. Barbara considered the larger needs of the school when making requests:
“Under[stand] that sometimes money need[s] to go different places than [the program]”
(personal communication, January 15, 2019). Mr. Scott encouraged knowing reasons for
requests and preparing for disagreements: “If you disagreed with [administrators], you better
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have a good reason why. Otherwise, you weren't going to ... [get] along well (personal
communication, February 19, 2019). The subcategory Prior to Meeting contained the following
words and phrases: use administration as sounding board, have a plan, approach district before
parents, come with multiple solutions, come with a detailed proposal, know when not to ask,
don’t be afraid to have a conversation, request support-don’t demand, have all your ducks in a
row, have a plan well figured out, anticipate answers/problems/resistance, hold-off when
When participants provided data on communicating with administrative entities, the data
I respect my bosses, but I'm not afraid to have a conversation with them… I refuse to be
disrespectful to either of them, but I do know, we can disagree, but in the end, they're the
boss. Okay, I can say, ‘Yeah, I'm not real happy with that, but you know what? I
understand where you're coming from, and I get it’. I think that's what has given me the
opportunity to be a little bit more, given more free rank than some others (personal
The subcategory During Discussion contained the following words and phrases: adapt, have
equal respect, use common sense, be a team player, compromise, find middle ground, be
creative, remember that they’re the boss, respect your bosses, think on your feet, be collegial,
state reasons for requests’ importance, seek admins understanding of importance, find a way to
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Role of the parents. Data related to parental roles was found throughout the transcripts.
Therefore, the category Role of the Parents was generated (see Appendix O: Role of the parents).
The category Role of the Parents was divided into four subcategories; (a) Director Related, (b)
Data of parental roles directly impacting directors required delineation from other related
relationships. Therefore, the subcategory Director Related was formed (see Appendix O: Role
of the parents). Ms. Barbara conveyed her role as a team member among parents “I was just a
human wanting the best for their child, just as they want the best for their child, and create that
Director Related contained the following words and phrases: buy-in to vision, support program
in achieving vision goals, trust in director’s vision, understand director’s philosophy, share in the
Data of parental roles directly impacting fellow parents required delineation from other
related relationships. Therefore, the subcategory Parent to Parent Related was formed (see
Appendix O: Role of the parents). The subcategory Parent to Parent Related contained the
following words and phrases: mentoring new parents, team members and support each other.
Data of parental roles directly impacting program support required delineation from other
related relationships. Therefore, the subcategory Support Related was formed (see Appendix O:
Role of the parents). Financial support from parents was essential for Mr. Celic’s program: “I
could not have run my program financially without [the parents]” (personal communication,
February 8, 2019). The subcategory Support Related contained the following words and phrases:
supporting role, fundraising, supportive, raise funds, support the group not just their child,
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All data pertaining to parental roles was to be included. Data not accounted for in other
subcategories required assignation. Therefore, the subcategory Other was formed (see Appendix
O: Role of the parents). Mr. Lyons noted appreciation for proactive parental support, however,
You need to know how to work within your school, your system…[Parents] come in, and
maybe there's something that they felt needed to happen, and they were ready to organize
parents and go march on the school board. It's like, do not do that in this school district.
That is not going to get you what you want. We need to go through the chain of
The subcategory Other contained the following words and phrases: understand program’s
heritage, not decision makers, not policy makers, understand their role, consider longer range
majority consensus on the importance of group/private lessons for sustainable success, the
category Support of Small Group/Private Lessons for Sustained Program Success was generated
(see Appendix P: Support of small group/private lessons for sustained program success).
Inability to provide lessons to ensemble members hampered Ms. Barbara’s program’s potential:
With us [directors] not being able to give…lessons, you worked your butt off in ensemble
time to get [the students] to the level…you knew they should be at…Administration
[needs] to understand and respect and support that lessons are just as important to these
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Having student leaders lead sectionals during school and students receiving private instruction
Knowing that every child [could] have that opportunity [for private lessons] would be
immense. [Private lessons] gives [students] the opportunity to improve [themselves], and
then, improve others, just a cascading effect…[If students were given the opportunity to
independently lead sectionals] …they would realize the immensity of the importance that
they've been given and realize that they're not just being taken for granted. …Whatever
[section leaders] do is going to affect everybody that they’re with. …It would build, not
just an academic side to the music, …, but it would build the familial side, and that in
itself … helps to grow and becomes a [force] in the organization, that … is almost
Higher grades of music and improved musicianship could be nourished if all students studied
[Having all students study privately] would allow me to … do a higher grade of music,
…focus on interpreting the music, getting the kids to blend, and make musical
presentations that would bring the house down, without having to spend so much time on
February 8, 2019).
The category Support of Small Group/Private Lessons for Sustained Program Success contained
the following words and phrases: enables director time to improve ensemble performance level,
provides students opportunities for self-improvement, value students and their leadership
capabilities, allows ensembles to perform higher grade of music, frees director to work on
musicality not just technique, enables ensemble to focus on conveying a composer’s vision for
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the music and computers will never be a valid substitute for real one-on-one instruction with a
person.
McDonald et al. (2010) asserted that relationships must be examined to fully understand
developmental impacts. Participants were asked how former directors impacted their own
sustainability in the instrumental music education field. Doing so affirmed Koskela and
Schuyler’s (2016) theory that gainful insight into sustainability practices could be obtained by
promoting sustainability, were those earned over time. Demonstrating competence, knowledge,
and musicianship were key to inspiring and motivating students. Those findings aligned with
Wis (2002) who encouraged directors to continuously examine one’s beliefs, philosophies,
Regardless of how a former director inspired a future director, all directors had a
common task of getting students to achieve a goal. Grunewald and Salleh (2013) noted that
“there is influence involved in leadership; that is, the leader must be able to convince members
of the group to follow his or her lead toward a common goal” (p. 11). Former director
inspirational personality characteristics converged with Shieh (2008) who noted that directors
Significant findings of note for an ideal program were support for group/private lessons
and comprehensive music programs. Achieving such ideal programs would involve
communication and trust between the director and extended program communities. Thies (2013)
noted that “…band is grounded in the tradition of public performance and creating school spirit,
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band programs depend on student involvement, public support and administrative priorities” (p.
2).
Success was relative to one’s definition of success. Directors’ definitions of success were
linked to students sustaining music in their lives. Acklin et al. (2014) affirmed those findings by
Those findings diverged from existing research which defined success according competitive
results (Biggs et al., 2010). Directors’ definitions of success differed yet agreed that contest
Director sustainability in the field was due to one’s individual work-ethic and ability to
positively maintain interrelationships. Conger (2013) concurred noting that “few researchers
today actually examine leadership from a sociological lens” (p. 79). Personality inspired a
director’s sustainability in the field while exemplified work-ethic promoted one’s sustained
success. Personality characteristics and exemplified work-ethic were essential for sustained
program success according to Prieto (2013). Work-ethic related findings converged with Fischer
and Hedgecoth’s (2014) theory that work-ethic was linked to sustainable success.
Sustained program success went beyond directors that included interrelationships within
a program. Those findings affirmed Hernandez et al.’s (2014) notion that “relationships
determine how … a leader’s perceived personal credibility and competence…can affect follower
trust” (p. 1873). Collaboration among extended entities was found to affect sustained program
success. Buteau et al. (2014) affirmed those findings and noted ongoing program challenges
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Furtek (2012) contended that successorship was the keystone to building organizational
sustainability. However, directors did not relay successorship considerations when speaking of
knowledge, all entities buying in to a director’s vision, having seniors and student leaders bear
the responsibility for the success of a program and the director as the key that holds a program
together. Managing the integrity of what one considered a program’s keystone was found to be
commensurate with long-term planning initiatives. Though Jegers and Wellens (2014) promoted
long-term planning initiatives for organizational sustainability, directors in this study considered
long-term planning incoming freshman through seniors or four-year increments. Faulk et al.
(2015) might argue that four-year incremental planning was not sufficient enough to build a
reputation and establish trust with program entities. Fisher (2010) would argue that as long as
responsibilities for keystones were clearly presented and understood by all parties, the timeline
with administration. Morrison (2013) affirmed study findings regarding director challenges
associated with administration communication. Furthermore, Bush and Glover (2014) noted the
Those findings converged with Schmidt’s (2012) account that “teachers…have little control over
their own fate [and that] leadership is a notion more comprehensive and complex than
management, and directly attached to how we construct our own notions of professionalism” (p.
222). Professionalism encompassed knowing who to talk to, how to approach them and more
importantly, when to approach and make requests. Knowing proper chain of command, how and
when to communicate was learned through trial and error from years of experience. Popa (2012)
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affirmed those findings and stated that “leadership…qualities need to be developed, knowledge
needs to be acquired and most of all, experience needs to be accumulated” (p. 123).
Obtaining clear cut roles for parents within a program was found to be commensurate
with program support or hindrance. Due to the nature of a program, changes affected families,
not just the students. Morrison (2013) affirmed the need for collaboration with parents for a
successful program adding that “there is a significant difference between leadership and
management [and that]…change must be holistic, systemic and dynamic and utilize a
Student leadership roles, such as leading sectionals and small group instruction, were
found to significantly impact the sustainable success of a program and students’ lives in general.
Utilizing in house talent for more than musical benefits was echoed by Boies et al. (2015) who
stated: “Inspirational motivation and intellectual stimulation leadership behaviors may serve to
create a more open and accepting group climate where members are free to put forth new ideas
and speak freely” (p. 1090). There was director consensus that overall musicianship and level of
repertoire would be enhanced by student lead sectionals, small group and private lessons. Shieh
(2008) affirmed those findings adding that student led small group instruction with professional
cultures and environment within that program. Those findings affirmed Fernandez (2011) who
noted that organizational cultures were unique, evolved and changed over time and that effective
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significant challenges to program sustainability. Karalar and Unsar (2013) affirmed those
challenges adding that director “leadership is about effecting, motivating and enabling
…individuals to contribute to [a program’s] success and efficiency” (p. 47). Perhaps Austin
(2017) would consider such relationship building challenges as advocacy endeavors. Asking and
answering parents’ questions and parents trying to manage a director presented unique
challenges. Cleveland-Innes and Orr (2015) noted that “the leader is less important than the
questions she or he asks” (p. 237). Challenges associated with realizing ideal programs,
converged with research indicating that directors and their programs were not adequately
challenges out of a director’s control. Odegaard (2016) affirmed that challenges related to
students went beyond directors’ capabilities which included cultural and environmental factors.
Pressures on students such as family and financial circumstances, multiple course offerings and
high academic standards were often out of a director’s control. Carey and Lebler (2012)
literate…and adapt readily to change” (p. 315). Directors were faced with the difficult choice of
advocating for one’s program or what was in the best interest of a particular child’s future
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Summary
The purpose of this research was achieved by investigating experienced high school band
problem was addressed by finding factors that affected instrumental music programs’
sustainability and success. RQ1 was answered by interviewing directors meeting the study
criterion. RQ2 was answered by focusing interviews on the phenomenon of sustained program
success. Sustainable leadership, used as the theoretical framework, focused the data collection
on directors as leaders of the program. The conceptual framework focused data analysis on the
program. Interrelationships among directors and extended entities significantly affected the
could influence sustainability practices either positively or negatively depending on the culture
of trust and cooperation established. The same inspiring characteristics of former directors
manifested in the participants creating a cyclical effect of sustained success practices. Although
current research trends on successful programs were based on awards and recognition, no
participants defined success as such in this study (Acklin, 2014; Biggs et al., 2010). Success
from directors’ perspectives was based primarily on students sustaining music for life.
Director’s sustained success was influenced by one’s work-ethic and ability to form and maintain
trusting relationships. Student leaders were found to significantly affect sustained program
success. Challenges to sustained program success concerned the relationships among the
answered that they had a substantial amount of control and did not feel powerless, there were
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several challenges out of a director’s control regarding students’ personal lives, administration,
and scheduling.
participant. Some challenges to sustained program success were found to be pressures that
through failure. Directors’ visions for an ideal program were related to trusting and supportive
relationships among students, staff, parents and administration. Significant findings of note for
an ideal program were support for group/private lessons and comprehensive music programs.
proper mindfulness and awareness during meetings. The roles of parents significantly affected
program sustainability. Group lessons during school and private lessons out of school were
findings indicated that in order to understand the sustainable success of a program, one must
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unsustainable instrumental music programs had substantial negative impacts affecting students,
schools and extended communities (Austin, 2017; Hancock, 2016). Sustainable leadership
theory was adopted to examine the problem from program leader perspectives (Kosempel &
Wilson, 2016). Gaps in research remained linking band program sustainability of excellence
with how such accomplishments were made possible (Acklin et al., 2014; Edgar et al., 2014).
The study problem was addressed by gathering expert experiential perspectives on the
phenomenon of sustained program success from the program leader, the director (Angeline,
2014; Edgard et al., 2014; Gillis, 2011). A conceptual framework addressed the problem by
cultivating similar outcomes (Cai & Ding, 2017; Fischer & Hedgecoth, 2014).
The purpose of this qualitative phenomenological study was to discover the lived
experiences of high school band directors who sustained instrumental music program success.
Qualitative phenomenological research methods were used in this study. Qualitative data were
derived from interviews centered on the phenomenon of sustained instrumental music program
success from directors who achieved it. The following research questions guided the research
process.
RQ1. What are the lived experiences of high school band directors from a successfully
RQ2. How did experienced high school band directors perceive instrumental music
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discover common threads among the data to generate categories (see Appendices C-P). Several
categories were needed to accommodate the complex interrelationships found that affected a
program’s sustainable success. Interrelationships among directors and extended entities were
found to significantly affect the sustainable success of a program. Overall findings indicated that
in order to understand the sustainable success of a program, one must understand the
interrelationships associated within that program. Sustainable program success was dependent
upon a director’s ability to positively cultivate, build, nourish and maintain those relationships.
Limitations to this study were the limited number of participants (N=5), limited diversity
among participants and non-observance of teaching. The limited number of participants was
mitigated by depth of data obtained from expert experiential knowledge (West, 2014). Diversity
limitations were reduced by obtaining one female and four males, one private school in an urban
district, two public schools in an urban district and two public schools in a suburban district.
Directors’ years of experience in the field of music education ranged from 29 to 47 years (see
based on one’s experiential knowledge throughout one’s journey towards chosen profession.
Implications will be discussed as they relate to RQ1 and RQ2. RQ1 and RQ2 will be
used to organize discussion of concluding results relative to scholarly literature, the study
problem, purpose and frameworks. Recommendations for future practice will be discussed.
Applicability of the findings will be noted. Based on the findings, recommendations for future
logical steps. This chapter will conclude with a summary of the study, its importance and how it
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addressed the problem and accomplished the purpose. Final thoughts for academic institutions
Implications
Implications will be discussed relative to RQ1 and RQ2 followed by emergent categories
addressing both RQ1 and RQ2. RQ1 and RQ2 will be used to organize discussion of concluding
results relative to scholarly literature, the study problem, purpose and frameworks.
RQ1. What are the lived experiences of high school band directors from a
comprehensive picture of a director’s journey, from their inspiration for chosen profession, to
their sustained involvement and program’s success. Doing so addressed gaps in research, from
directors’ lived experiences, that connected one’s sustainability in the field with how that
sustainability was possible (Acklin et al., 2014; Edgar et al., 2014). Gathering lived experiences
from directors addressed the study problem of unsustainable programs associated with director
administrative support and program reductions or expurgation (Austin, 2017; Carlsson et al.,
2014; Conway, 2012; Hancock, 2016). The purpose of the study was achieved by gathering
experiential knowledge regarding factors that affected one’s sustained involvement in the field
and subsequent program sustainability. The sustainable leadership theory framework was used
to focus on lived experiences of high school band directors from a successfully sustained
instrumental music program (Kosempel & Wilson, 2016). The conceptual framework was used
to focus those lived experiences on factors that affected one’s sustained involvement in the field
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Director sustainability in the field was due to respect earned over time. Demonstrations
of competence, knowledge, talent capabilities and musicianship from former directors inspired
one’s continued involvement in music. Those findings aligned with Biggs et al.’s (2010)
findings that successful directors “motivate students, … maintain high musical standards, …
display a high level of musicianship, … and [are] knowledgeable of subject matter materials” (p.
377). Furthermore, Gavin (2012) found that “the school music teacher surfaced as being an
incredibly important figure in students’ lives [and who students] …hoped to emulate…in every
Discovering directors’ inspirations and motivations for sustaining music in their lives
addressed the study problem associated with lack of motivation and participation rendering a
program unsustainable (Carlsson et al., 2014). Angeline (2014) noted that “music teachers
the profession” (p. 53). Knowing why directors chose the profession achieved the purpose of the
involvement. Sustainable leadership theory was used as the framework to discover what
characteristics of director leadership influenced one’s decision to choose the profession and
sustain music in one’s life. The conceptual framework of understanding positive outcomes in
order to cultivate similar outcomes, was used to focus analysis on the phenomenon of sustained
program success. Obtaining lived experiences of a director’s initial inspiration for chosen
profession highlighted the beginning of a director’s journey towards one’s sustained success.
Directors noted that programs were not adequately supported to achieve ideal programs.
Lack of comprehensive music programs, unknown incoming musicianship levels and lack of
support and scheduling for private/group lessons were found to impede ideal program
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realization. Duckworth and Robertson-Kraft (2014) noted that ‘true grit’ could overcome
challenges. However, some challenges to achieving an ideal program were found to be out of a
director’s control regardless of one’s ‘true grit’. Pressures on students, changing family
dynamics and cultural environments were found to significantly impact a program and were out
significantly impact the path towards an ideal program. Gray (2012) attested that “relationships
are central to thriving and the oxygen of life” (p. 28). Benn and Metcalf (2013) noted that
complex adaptive systems and must use leadership to be adaptive to the demands of those
systems” (p. 378). Perhaps Benn and Metcalf (2013) were suggesting that directors carve a path
towards an ideal program by adapting to the needs of a program’s complexity. One could posit
that a program’s needs towards idealism may not align with the overall needs of program
supporters. Perhaps achieving an ideal program would involve charting the ideal path using a
program’s community needs to build the foundation. Ideal programs were found to be
unachievable in a school environment satisfied with the status quo. Striving towards an ideal
program was found to be possible if directors successfully established relationships and garnered
RQ2. How did experienced high school band directors perceive instrumental music
program success and sustainability? RQ2 was answered by gathering director perceptions of
instrumental music program success and sustainability. Doing so addressed gaps in research,
from directors’ perspectives that connected sustainability of program success with how that was
possible (Acklin et al., 2014; Angeline, 2014; Baumgartner & Silvey, 2016). Gathering director
perspectives on the phenomenon of sustained program success, addressed the study problem of
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support, parental support and lack of administrative support resulting in program reductions or
expurgation (Austin, 2017; Carlsson et al., 2014; Conway, 2012; Hancock, 2016). The purpose
of the study was achieved by gathering director perspectives on factors that affected sustainable
program success. The sustainable leadership theory framework was used to focus on lived
experiences of high school band directors from a successfully sustained instrumental music
program (Kosempel & Wilson, 2016). The conceptual framework was used to focus those lived
experiences on factors that affected sustained program success from directors who achieved it
Students sustaining music in their lives dominated directors’ perceptions of success and
what success meant to them. Contest results did not play a prominent role in one’s definition of
success. However, having a successful program did contribute to increased program support.
Instrumental music programs possessed unique capabilities to develop leadership and promote
student success in other areas of life (Leshnower, 2008). Directors noted that students who
excelled in instrumental music also excelled in other activities. Fischer and Hedgecoth (2014)
noted that directors who showed “support for music students’ nonmusical endeavors…will most
likely find themselves the recipient of others’ appreciation and support” (p. 57).
Director sustainability in the field was due to one’s individual work-ethic and ability to
purporting that success or failure as a leader was due to one’s capacity for “self-awareness, self-
management, social-awareness and relationship management” (Doe et al., 2015, p. 105). Gillis
(2011) differed by attesting that “only through the development of basic administrative skills can
educators become efficient contributors to the musical growth of their students” (p. 35). One
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could question whether a director would argue that communication or having administrative
skills were unimportant. However, sustained program success was found to be directly linked to
positive communicative outcomes. Personality traits garnering student trust, and actions
A director’s authentic personality and open-door policy for communication was found to
promote sustained program success. Lidh (2013) concurred noting: “Perhaps the most important
aspects of communication are openness and honesty” (p. 253). Hallam (2011) noted the
importance of building partnerships and that “trust is…a key concept in effective partnerships”
(p. 161). However, Jegers and Wellens (2014) noted that although partnerships were important,
leaders or directors in this context, were ultimately held accountable for decision-making. Trust
of the students was found to be enhanced by students feeling that they had a voice in decision-
making. Trust between directors and students and students among each other was found to affect
program sustainability and success. Trust was earned through students believing in a director
A director’s passion for music was found to promote program success and sustainability.
(2014) reinforced the importance of the director as role model. Passion, combined with
positively exemplified work-ethic, significantly affected students sustaining music in their lives.
Organizational leadership literature noted that volunteers and other program supporters were
more likely to remain committed when efforts “related to self-acceptance, autonomy, … purpose
in life and personal growth” (Chacon et al., 2013, p. 298). Perhaps Chacon et al. (2013) was
suggesting that in order to obtain needed support from program communities, directors would
need to connect support with purpose. Study findings converged with Cummins and O’Boyle
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(2014) who noted; “highly committed group leaders were more influential than leaders
displaying intrinsic leader skills” (p. 31). A director’s self-motivation and individual work-ethic
alone were not sufficient enough for long-term program support and sustainability (Cummins &
communities, administration and parents promoted program support and successful efforts.
Program success and sustainability were affected by a director’s ability to successfully navigate
challenging relationships.
promoted sustained program success. Trust was a key component to building those positive
relationships. Trust was gained through authentic and caring leadership of the director.
According to Christensen et al. (2012) an organization’s “power dynamics are sharply affected
by how the teachers perceive the dominant culture” (p. 77). Perhaps Christensen et al. (2012)
would suggest that directors were responsible for establishing a dominant culture as one of trust.
Hallam (2011) affirmed the importance of garnering faculty trust; “The support and
encouragement of school staff help drive a project and related activities…and raise the profile of
the project and…the levels of progress being achieved” (p. 165). Furthermore, Hallam
contended that “teachers’ involvement offers the opportunity to share skills and knowledge and
provides possibilities for the continuity of similar projects” (p. 165). Directors proactively
building and maintaining positive relationships was found to reduce feelings of isolation. Those
findings directly addressed the study problem associated with director attrition due to feeling
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Leading by example, in and out of the band room setting was found to significantly
administrators and faculty needed to know that their support was an investment and that funds
were well spent. According to Jorgensen (2010), “needs of our students…relate to all of the
other interested parties to this education: parents, guardians, extended family members,
administrators, colleagues, politicians, those who hold the educational purse strings, and
members of the public who are interested in music education as a part of the wider cultural
education” (p. 22). Perhaps Jorgensen (2010) was implying that directors must advocate, or
rather defend one’s program to all extended entities. The importance of director exemplified
advocacy was echoed by Phillips (2016) who noted; “Great music programs always have great
leaders. Teachers who put students first and are constantly trying to improve the musical
environment for the entire community increase the number of students involved” (p. 40). One
could question whether successfully doing so with all entities involved was a utopian ideal.
Gathering support through advocacy efforts was found to be feasible yet challenging.
Challenges for new directors could involve “experienc[ing] a sense of vulnerability and
uncertainty as they seek to learn the culture of the organization and their roles in relation to other
members, and to establish themselves as valued members” (Hannah et al., 2013, p. 1148).
Program sustainability, from Hannah et al.’s (2013) perspective, suggested establishing oneself
understood and agreed to by all parties was found to improve sustainability efforts. Directors
conveyed that parents were often not aware of the complex issues and responsibilities entailed in
depending on a director’s ability to garner vision buy-in and trust. Chacon et al. (2013) noted it
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connection with their work” (p. 300). Directors noted that even if students bought-in to a
program’s vision, the parents needed to be convinced for the vision to come to full fruition.
Those findings affirmed Phillips (2016) who noted that successful programs required “a clear
recruiting strategy that entices students and parents to participate” (p. 40). Directors with a
Discovering communication factors that affected program success and sustainability addressed
the study problem by gathering data related to directors’ lived experiences related to
communication challenges impacting program sustainability. The purpose of the study was
sustained program. The sustainability leadership framework was used to focus analysis on
communication from directors’ perspectives. The conceptual framework was used to focus
several factors obstructing program success and sustainability were found to be out of one’s
control. Specifically, changing student cultures and expectations, financial burdens, micro-
managing parents, administrative lack of program realities and student scheduling were found to
present significant challenges to program sustainability. Thies (2013) affirmed those challenges
challenging in the current state of educational prioritization” (p. 2). Gathering director
perspectives on successful outcomes, despite challenging contexts further addressed the problem
of this study regarding unsustainable programs. Chikoko et al. (2013) attested that “instructional
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leadership practices that work in challenging school contexts… should be examined …and
understood in order to overcome challenges in the future” (p. S137). The conceptual framework
used in this study directly aligned with Chikoko et al.’s (2013) sentiment.
all entities buying in to a director’s vision, having seniors and student leaders bear the
responsibility for the success of a program and the director as the key that holds a program
together. Managing the integrity of what one considered a program’s keystone was found to be
incoming freshman through graduating seniors. Grunewald and Salleh (2013) posited that
“organizations need both strong leadership and strong management for optimal effectiveness” (p.
13). Managing one’s relationships was found to be synonymous with managing one’s program.
Perhaps, long-term success was more a matter of management than leadership according to
Emergent categories answering RQ1 and RQ2. Pressures found to strengthen program
sustainability were uniquely attributed to the cultures and environment within that program.
positive peer pressure as members of a team in an ensemble. Schmidt (2012) affirmed the effect
of peer pressure towards group goals; “Compelling vision empowers others to excel…to which
individuals and organizations are bonded together by common commitment” (p. 225). Popa
(2012) warned that leadership positions did not necessarily equate with leadership skills.
“[Leadership] qualities need to be developed, knowledge needs to be acquired and most of all,
experience needs to be accumulated” (Popa, 2012, p. 123). Upperclassmen were often placed in
leadership positions. Morrison (2013) would argue that placing upperclassmen in leadership
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positions could harm the group rather than help them. According to Morrison (2013), once a
student assumed a leadership position, their social hierarchy changed and could negatively affect
one’s sustainability in the program. Conger (2013) combatted social hierarchy challenges by
noting “many of our leadership constructs fail to identify leadership as a process that is a) highly
contingent, b) multi-directional, and c) only sometimes heroic in nature” (p. 80). Perhaps
Conger was suggesting that directors design leader selection processes contingent upon group
input and agreement. Group accountability was found to be a motivating pressure. One could
it was the responsibility of the director to create such an environment. Prieto (2013) argued that
“you can’t motivate anybody. The best you can do is create a climate for motivation” (p. 210).
Director philosophies and advice were found throughout the data collection and analysis
process. Planning and preparation and personal development dominated directors’ philosophies
and advice. Sustainable program success was linked to one’s ability to plan and prepare
efficiently. Long-term goals and vision were important for sustainability. Being mindful of
future programs and preparing for program sustainability amidst graduations and normal attrition
rates was echoed by Montemayor (2014) who found that “rehearsal effectiveness and ensemble
performance quality [was]…related to…students’ long-term music skill development” (p. 44).
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with administration. Knowing how to communicate and when to approach impacted request
approvals. Being mindful of a district’s needs, not just the program’s was found to be an
important consideration when making requests for one’s program. Evarts et al. (2015) noted that
“leaders need a new understanding of complex issues and new approaches to sustainable
leadership” (p. 692). Moreover, that directors must “develop…capabilities and competencies to
improvise, adapt, innovate and be creative… [in order to] …problem-solve” (Evarts et al., 2015,
p. 693). Problem-solving entailed knowing proper chain of command, and how and when to
communicate. Conway (2012) noted that institutions did little to prepare future directors “for
understanding the macro and micro-political landscapes of schools” (p. 72). Political landscapes
involved multiple entities. Parents and administrators were primary entities whose support could
make or break a program. Administrators were noted as being out of touch with the realities of
what a successful program needed. Conway (2012) reiterated that administrations “know very
little about how best to provide support for music teachers throughout their careers” (p. 74).
There was participant consensus that effective communication for problem-solving was learned
through trial and error from years of experience. One could question whether such
communication practices could be taught and/or learned. Perhaps the error part of trial and error
Obtaining clear cut roles for parents enhanced sustainability efforts. Parental support was
depending on the level of trust established with the director. Earning parental trust and
establishing parental roles as team members supporting a director’s vision was found to
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significantly promote program success and sustainability. Those findings were surprising given
that the majority of undergraduate instruction emphasized conducting and pedagogy techniques
(Baumgartner & Silvey, 2016; Biggs et al., 2010). Not one director mentioned conducting
pedagogy nor specific instructional techniques were mentioned in any interviews. Directors
conveyed that knowledge and competence were important factors. However, knowledge of
people and competence regarding relationship building was found to be more valuable for a
Addressing student needs, regarding leadership roles was needed if directors’ visions for
an ideal program were to reach fruition. Student leadership roles were found to significantly
impact the sustainable success of a program and students’ lives in general. Specifically, student
leaders leading sectionals and small group instruction. Those findings converged with Hruska
(2011) who noted; “Student leadership is…the hidden motivational gem in…education that can
intrinsically motivate some students to strive for higher levels of personal and academic
achievement” (p. 7). Furthermore, Boies et al. (2015) attested that student leaders who inspired
and motivated others through exemplified musicianship and intellect “create[d] a more open and
accepting group climate where members [were] free to put forth new ideas and speak freely” (p.
1090). Student leaders working in tandem with peers in an ‘open and accepting group climate’
was viewed positively by the participants. However, Ford and Ihrke (2016) warned against
creating a group-think mentality. Ford and Ihrke (2016) contended that working through
conflicts offered the greatest opportunities for growth and improvement. Instrumental music
uniquely addressed dissonance according to Epstein and Makowski (2012); “Music would not
speak if it were devoid of dissonance” (p. 294). One could posit the same to be true of
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communication from student leaders to their peers. Progress may only be achieved by working
Finding that student leaders were important for a successful program was anticipated.
However, discovering the level of student leader importance and the difficulty in utilizing in
house talents was unexpected. Specifically, school policies prohibited student leaders from
working independently with peers. Furthermore, that students were not able to practice
independently at school without certified instructors present. District policies and budget
restrictions hindered student leaders’ potential. Although directors conveyed that such an
environment was not conducive towards musicianship improvement, a director’s passion for
music was found to circumvent district and budget restrictions. Directors’ philosophies and core
values were absorbed by the group, even if not explicitly stated by the director. Translating
one’s love of music and passion for the vocation was equally important. Directors sought
student leaders who were extensions of that love and passion. Student leaders’ embodiment of a
director’s passion for music was found to be vital for program success and sustainability.
Increasing numbers and having the program accessible to all was positively viewed by all
participants. Increasing numbers was viewed as an opportunity for more students to take on
leadership roles.
Guidance, direction and supervision were needed even when tasks were delegated to
student leaders. Directors needed to guide, direct and supervise student leaders to reduce hubris
and embody humility according to Larsson et al. (2014). Larsson et al. (2014) noted: “Leaders
who overestimate their abilities have been found to have the lowest level of leader effectiveness”
(p. 98). Those findings converged with Guenter et al. (2017) who contended that effective
leadership required plasticity and balancing student leader accountability with the needs of the
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ensemble and one’s peers within. Eacott (2010) diverged slightly, adding that directors were
ultimately held responsible for the actions of their followers; student leaders included. One
could question whether directors could supervise all student leaders at all times if instruction
student leaders. Building trust between student leaders and their peers was a “social process and
learned behavior” according to Corrigan (2013). Directors would need to establish the social
process and teach desired behaviors of student leaders for delegation to be successful (Corrigan,
and trust established by the director and embodied by the students, student leaders, parents,
curricular and instructional methods (Dodson, 2014; Draves, 2013; Eros, 2012). Directors were
unprepared at the beginning of their career for creating a successfully sustained program. The
most important skills for a successful sustainable program and career were learned through trial
and error over years of experience. Factors related to communication were found to be essential
for a successfully sustained program. Future practice should incorporate found effective
communication practices into undergraduate curriculum and professional development for future
regarding requests. Data found in this study could provide band directors with meaningful
professional development geared towards success and sustainability (Bottery et al., 2012).
Directors could use the findings in this research to advocate for one’s program, specifically the
needs for student lead instruction, comprehensive music programs and group/private lessons.
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Considering that rapport significantly affected program success and sustainability, future
research should examine the phenomenon of sustained program success from various
perspectives. Ideal programs from director perspectives could be compared to parental, faculty
and administration perspectives. Ideal program, program success and sustainability data found in
this study could be used to design a Likert style descriptive survey. The survey could be used as
the basis for future perception assessment research on the phenomenon of sustained program
success. The same Likert style descriptive survey method could be used to determine role
perceptions. Future research could use the data found in this study regarding parental, faculty
and administrative roles to design a mixed-method study. Descriptive qualitative data could be
used to determine role perceptions. Likert scale data could then be analyzed quantitatively to
determine correlations among the data. Directors would be able to see how closely one’s desired
roles aligned with each party. For example, a director may convey that the parents’ primary role
is to be supportive and assist when asked. Parents may convey that their primary role is to guide
the director in making the best decisions for their children. Directors equipped with such
knowledge could better prepare for teambuilding with parents. Compromises and teamwork
could be enhanced through knowing where each party stands regarding one’s role in the
organization. The same theory for teamwork could be applied to faculty and administration.
Boies et al. (2015) affirmed the benefits of teamwork noting that communication and trust
among all parties enhanced team performance and creativity. Identifying roles of extended
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Next Steps. The next steps for researchers would be to improve upon this study by
creating a Likert type survey based on the categories formed for distribution to a larger
population (Rhine, 2015). Higher educational institutions could use the data from this study to
design more pertinent, applicable, useful and meaningful curricula for future band directors as
recommended by Burk and Olsen (2014). Since no participants defined success according to
awards and contest ratings, the next step would be to replicate this study using the collective
Necessary skills for a sustainable program were learned through years of experience
according to the participants in this study. One could question whether such experiential
learning could be achieved through instructional methods. Leonard et al. (2012) contended that
“certain aspects of emotional intelligence can in fact be taught” (p. 26). Could institutions teach
what was learned through trial and error experiences? There are leadership, management, public
speaking and communicating with difficult people seminars and workshops available through
various organizations. Institutions could use existing workshops as a framework for designing
director specific professional development. Future band directors, equipped with preparation
geared towards success and sustainability, would enable programs to flourish and inspire the
Conclusions
The research problem was addressed by gathering experiential knowledge from expert
band directors. The purpose of this research was achieved by gathering expert band director
perspectives on factors that affected program success and sustainability. Discovering factors that
affected the success and sustainability of band programs was significant in providing a
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development of band directors (Edgar et al., 2014). Using sustainable leadership theory to focus
on the lived experiences of successful directors provided meaningful data on the beginning of a
director’s journey to one’s sustained involvement (Kosempel & Wilson, 2014; Kerres, 2013).
Effective communication with all program entities was found to significantly promote
sustainability from those who achieved it (Fischer & Hedgecoth, 2014). Knowledge and
Previous research on successful band directors was based on awards and contest ratings
(Biggs et al., 2010; Edgar et al., 2014). Not one director in this study defined nor considered
success based on awards or contest ratings. That discovery was significant in understanding
director motivations for program success and sustainability. This study was important because
band director voices were heard, thus filling research gaps and calls for expert director
perspectives (Angeline, 2014). Furthermore, discovering how directors defined success and
factors that affected program success and sustainability provided valuable information for future
directors to learn from, improve and emulate. Ideal programs could become a reality if future
band directors, institutions, administrations and parents knew how important a sustainable music
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Appendices
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216
Interviewer:
Hello, my name is Maryann Capone-Raschilla. Thank you for your time and sharing your
experiences and expertise regarding the success and sustainability of your band program. It is an
honor and a privilege to learn how your program’s success and sustainability were made
possible. I will begin with a few sound and equipment checks to make sure everything is in
proper working order. Then I will review the research procedures and ethical assurances with
you so you may ask questions or seek clarification if needed. The interview will begin once all
procedures have been reviewed. After the interview has been transcribed, I will send you the
transcripts via email to confirm accuracy within two weeks after our interview. You may include
additional comments or amendments to transcripts via email. You will have two weeks to return
approved/amended transcripts. I will send you a copy of the completed dissertation once
completed and approved if requested. The purpose of this research and these following
questions are designed to understand your mind as a director of a successfully sustained
instrumental music program.
Questions on Success
1. I am assuming that you had at some point a formidable director or teacher who inspired
you to choose this vocation.
a. Please describe the characteristics of that director/teacher and which of those
characteristics resonate with the success of your program and why?
2. You were chosen as a participant based on the sustained success of your program. Why
do you think your program was successful?
3. I would like you to paint a picture for me. Let’s start with a pyramid. I would like you to
describe your program support system in layers. The bottom of the pyramid would
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represent what you have the most of but is the least important since it is at the bottom.
The top on the other hand represents what you have the least of and is most important.
a. What would you put at the bottom and why?
b. What would you put at the top and why?
c. What are the factors in the middle and how do they effect the top and bottom of
the pyramid?
Questions on Sustainability
4. How do you view the relationship between success and sustainability of your program?
a. Can you have one without the other? Why or Why not?
5. Imagine that your program is an arch made of stones, with each stone representing the
entities involved in a program such as students, parents, funding etc. Which stone would
be the “keystone”, that without that very important piece, the strength and integrity of the
ensemble would crumble? What or who is your “keystone” and why?
a. I am assuming that your students did not walk in on day one and sound as good as
they do at the end of the year. So over time they have become stronger, much like
an arch does with added pressure. Imagine again your ensemble as and arch.
i. What pressures have strengthened it and how?
6. How much control or influence do/did you have regarding the sustainability of your
program?
a. How has this control or influence changed over the years?
b. Are there certain factors relating to the sustainability of your program that you
feel you are powerless to correct, improve or change? If so, why?
7. Describe your ideal program, your dream program.
a. Now imagine you have a magic baton. If you could give a cue and get exactly
what you need to realize that dream, who or what would you point the baton at
and why?
Closing Remarks
I have asked you some deep questions and gathered some visual representations to
understand your mind as a director and find out what contributed or affected the success and
sustainability of an instrumental music program.
8. Is there anything you would like to add at this time before I ask the final question?
Final Question
9. How do/did you do what you do for as long as you have done it?
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Congratulations from the NCU IRB. Best wishes as you conduct your research!
Respectfully,
Northcentral University Institutional Review Board
Email: [email protected]
2488 Historic Decatur Rd., Suite 100, San Diego, CA 92106 USA www.ncu.edu
· p: 928-541-8014 · f: 928-515-5519
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Subcategories
Earned/ • Knowledgeable • Combination of attributes
demonstrated • Wealth of knowledge • Proved himself
over time • Outstanding musician • Excellent musician
• Smart • Multiple talents
• Earned respect through • Played every instrument well
knowledge • Demonstrated on multiple
• Competent instruments
• Wealth of resources
Personality • Motivating • Empowering
related • Dedicated • Passion
• Enthusiasm • Compassion
• Inspired good practice habits • Instilled sense of pride and
• Inspired hard work accomplishment
• Knew how to inspire a group • Inspiring
• Enthusiasm • Charismatic
• Excitement • Relaxed
• Motivating • Fun-loving
Work-ethic • Demanding • Demanding
related • Pushed us • High yet realistic standards
• Structured • Never let anything slide
• Demanding • Relentless in pursuit of
• Perfectionist perfection
• Set high standards of success • Challenging
• Vision was perfection • Goal oriented
Other/multiple • Listening • Enjoyable literature
applicability • Loved the students • Appealed to the audience
• Loved what he was doing • Broad Experience
• Connections • Overall program was
• Mentor enjoyable
• Could see what he envisioned • Wide variety of music
• Mutual respect • Worked with guest
conductors
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Ideal Program
Subcategories
Student related • Students trusting in me • Bands according to ability
• Students doing what I want levels
to do • Select wind ensemble
• Dedicated students
• Equality for all students
Group/private • Administration would • All students privately trained
lessons related understand the importance of • Every kid would get private
group and private lessons lessons at a good studio
• Every kid studying privately • Students studying privately
• All students studying
privately
Comprehensive • Music history • Music theory all three levels.
music program • Jazz and arranging • Comprehensive music program
related
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Definitions of Success
Subcategories
Student related • Students working hard and doing • Kids growing musically
their best • Kids knowing I love them
• Students keeping music in their • Students keep playing for
lives beyond the program life
• Kids growing socially • Doing your best at all times
• Kids knowing I care • More kids involved
• Students growing socially • Developing kids that care
• Students glad to be in program • Life-long success for kids
When students return to show • Having the love and respect
gratitude for my advice of my students
• Exposing our kids to life
Awards related • Not about winning • Not defined by trophies
• Did not mean first place • Not defined by awards
• Not about winning
External • Performing well in the • A program that continues to
recognition community benefit school community
• Representing community with • A program that continues to
pride benefit school community
• Recognition from institutions on
how well trained my students are
going into their programs
Other/multiple • Positive aura • Sustainability
applicability • A shared understanding of the • The realization that the
vision program will continue
• Program made a lasting impact
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Staff related • Vision buy-in from staff • Excellent staff that were a good
• Listening to staff fit for the program
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Support of Small • Enables director time to improve • Value students and their
Group/Private ensemble performance level leadership capabilities
Lessons for • Provides students opportunities • Frees director to work on
Sustained for self-improvement musicality not just technique
Program Success • Allows ensembles to perform • Enables ensemble to focus on
higher grade of music conveying a composer’s vision
• Computers will never be a valid for the music
substitute for real one-on-one
instruction with a person
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