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thesis entitled
THE MOTIVATION TECHNIQUES
OF AN
EXEMPLARY , ORCHESTRA TEACHER:
A CASE STUDY

presented by

JENNIFER MARIE PARKER

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THE MOTIVATION TECHNIQUES OF AN EXEMPLARY ORCHESTRA TEACHER
A CASE STUDY

By

Jennifer Marie Parker

A THESIS
Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF MUSIC EDUCATION

Department of Music
2001

ABSTRACT

THE MOTIVATION TECHNIQUES OF AN EXEMPLARY ORCHESTRA TEACHER:
A CASE STUDY

By

Jennifer Marie Parker

The purpose of this study was to examine the motivation techniques of one
exemplary orchestra teacher. Specifically, the research questions were: ( 1) How does
the exemplary teacher’s choice of literature affect the motivation of his students? (2)
How does his use of competition in the classroom affect the motivation of his students?
(3) What kinds of feedback does he provide to his students? (4) How does he use class
time in order to motivate his students? and (5) How does he make each of his students
feel valued and respected in and out of the classroom?

A qualitative case study research design was used to document the teacher’s
interactions with his seventh-grade orchestra students. Data sources included: a) an
audio-taped initial interview with the teacher, b) video-taped individual and group
student interviews, c) video-taped classroom observations, and d) a personal journal,
which the researcher used to record informal conversations and notable occurrences.

The results of the study suggested that the exemplary teacher’s unique personality
and genuine care for his students are the underlying formula for his success in motivating
his seventh grade orchestra students. Noteworthy elements of his teaching were his lack
of competition in the classroom in order to avoid student comparison, his sense of humor,
and his ability to make his students feel valued and respected in and out of the classroom.
Implications for music teaching and research are included in the Conclusions and

Recommendations chapter.

ACKNOWLEDGMENTS

Completing this masters thesis was not a solitary endeavor, rather, this thesis was
accomplished due to the assistance, dedication, encouragement, influence, self-sacrifice,
and support of many persons, to whom I wish to express my heartfelt gratitude.

First and foremost, I am grateful for a supportive and loving family who have
encomaged me throughout my pursuit to become a music educator. Words cannot
express my gratitude for the love and support that I received from my husband Jon
throughout the last three years. My parents, Leonard and Sue Ruggles, have sacrificed
countless hours and given generously in order to insure that I received the best music
education possible. My brothers, Brent and J efi', have endured concerts and hours of
practicing with great patience and only a minimal amount of complaining. I love you all
very much!

Second, I would like to thank Dan Long for graciously allowing me to enter his
classroom and delve into his teaching with interviews and observations. He welcomed
me wholeheartedly and made my project enjoyable and educational. He has given me
several invaluable tools that I know will be used throughout my teaching career. I would
also like to express my appreciation to Dan Long’s seventh grade students who
participated in this study. Their honesty and candidness provided me with great support
for my research.

Third, I would like to thank my advisor and mentor, Dr. Judy Palac, who has
encouraged and supported me from the moment I entered Michigan State University. I
am grateful for the many discussions we had and for her part in helping me to become a
more effective music educator.

Fourth, I would like to express my appreciation to the members of my thesis
committee, Dr. Colleen Conway and Dr. Anna Harwell Celenza. Dr. Conway sacrificed

her own time to read and critique several revisions, and I am grateful for the extra advice

iii

and guidance that she gave. I enjoyed immensely every class I took with Dr. Celenza
She is an extremely talented teacher, and I am appreciative of her role in my music
education

Finally and most imwrtantly, I would like to thank my Creator, Who is the most
perfect Creator of music and without Whom I would not have any of the talents and
abilities that I do. He is my one true source of strength and without Him, I can do
nothing.

iv

TABLE OF CONTENTS

CHAPTER 1
INTRODUCTION ................................................................................................................ 1
Purpose ..................................................................................................................... 2
Research Questions .................................................................................................. 3
Theoretical Orientation and Personal Perspective ................................................... 3
CHAPTER 2
LITERATURE REVIEW ..................................................................................................... 5
Successful Music Programs ..................................................................................... 5
Motivation in the Music Classroom ......................................................................... 8
CHAPTER 3
METHODOLOGY ............................................................................................................. 14
Participants ............................................................................................................. 14
Exemplary Teacher .................................................................................... 14
Seventh Grade Students ............................................................................. 15
Access to the Participants ...................................................................................... 16
Research Site .......................................................................................................... 16
Pilot Study .............................................................................................................. 16
Data Collection Procedures ................................................................................... 17
Initial Interview .......................................................................................... 17
Classroom Observations ............................................................................ 18
Student Interviews (Group and Individual) ............................................... 18
Personal Journal ......................................................................................... 19
Validity/Trustworthiness ........................................................................................ 19
Data Collection Triangulation ................................................................... 19
Member Check ........................................................................................... 19
CHAPTER 4
ANALYSIS ........................................................................................................................ 21
CHAPTER 5
RESULTS AND DISCUSSION ......................................................................................... 23
Choice of Literature ............................................................................................... 24
Competition in the Classroom ............................................................................... 26
Feedback Provided to the Students ........................................................................ 28
Use of Classroom Time ......................................................................................... 31
Making the Students Feel Valued and Respected .................................................. 32
Additional Findings ................................................................................................ 34
CHAPTER 6
CONCLUSIONS AND RECOMMENDATIONS ............................................................. 37
Personal Growth ..................................................................................................... 37

Transferability ........................................................................................................ 38

Implications for Teachers ...................................................................................... 39

Suggestions for Teaching and Further Research .................................................... 39
REFERENCES ................................................................................................................... 41
APPENDICES

A. Example Interview Questions for Dan Long .................................................... 44

B. Example Interview Questions for Seventh Grade Students ............................. 45

C. Consent Form for Dan Long ............................................................................. 46

D. Consent Form for Parents and Students ........................................................... 47

CHAEIERJ.
INTRODUCTION

The topic of motivation has become of primary interest to music educators in the
past twenty years. In view of research that shows that students lose interest as they
mature (Asmus, 1986), music teachers want to know what will keep their students’
interest and how to help them develop into competent musicians. The ability to motivate
the students in a musical ensemble and aid them in achieving success is a goal most
exemplary music teachers have attained They have discovered the key to bringing out
the best in their students.

Motivation is the ability to provide incentives and motives for sustaining an
activity. Because every person is motivated differently, a teacher “needs to assess each
[student’s] motivation and goals, and [should] adapt the teaching strategy accordingly”
(Parsons, 1983, p. 37). Different theories of motivation have been pr0posed by several
different authors.

Weiner’s (1972) Attribution Theory stated that motivation and achievement are
influenced by students’ beliefs about the causes of successes and failures in certain tasks.
There are four attributions associated with this theory—two internal and two external.
The internal attributions are ability and effort, and the external are task difficulty and
luck This theory has generated several studies in music through which researchers have
sought to understand to what students attribute their success and failures (Asmus, 1985,
1986; Legette, 1998; Ames & Archer, 1988; Medway & Lowe, 1980).

The step-path theory (Raynor, 1982, 1983) states that motivation can be viewed in
termsofearly, middle, andlatestagesasapersongoesthroughaseriesofstepsin
reaching a certain goal. Each stage is necessary and determines how a person is

motivated to accomplish his or her goals.

Understanding how students are motivated helps teachers to stimulate interest in
the classroom activities that will enable the students to achieve the goals of the
curriculum (Ames & Ames, 1985; Reeve, 1996; Brophy, 1998). Music educators have
added to the research by conducting studies concerning the motivation of music students
and the factors that influence them to achieve musically (Sandene, 1997; Asmus, 1985,
1986; Legette, 1998).

Students place value on the activities in which they participate. They determine
the value of each activity based on their perceptions. The reasons students give for
participating in an activity reflect their interests and motives for continuing (Parsons,
1983; Raynor, 1983).

The research Asmus (1985, 1986) conducted concerning the Attribution Theory
and students’ beliefs about the causes for success and failure shows that students attribute
success and failure in music to the internal attributions of Weiner’s (1972) theory of
ability and effort Austin and Vispoel (1992) researched the topic of motivation by
investigating the effects of failure attribution feedback (ability, efi'ort, strategy) and
classroom goal structure (competitive, individualistic-standards, individualistic-progress)
on motivation response and decision making.

Exemplary teachers are those who have received recognition for their
accomplishments in the classroom. Studies have been conducted that involved the
investigation of successful music programs and teachers (Kerley, 1995; Iida, 1991; King,
1998). Mudrick (1997) and Sandene (1997) went even finther in their investigation of
successful programs to look specifically at the motivational techniques utilized within the
programs.

Bums:

The purpose of this research was to examine the motivational techniques of an
exemplary orchestra director. Specifically, I conducted a case study examining E. Daniel
Long and his interaction with his seventh—grade orchestra class.

2

Kamchflrestions

After completing a pilot study (see chapter 3) in April and May of 2000, I
compiled my research questions. They were: (1) How does the exemplary teacher’s
choice of literature affect the motivation of his students? (2) How does his use of
competition in the classroom afi'ect the motivation of his students? (3) What kinds of
feedback does he provide to his students? (4) How does he distribute class time in order
to motivate his students? and (5) How does he make each of his students feel valued and
respected in and out ofthe classroom?

 

This study uses qualitative methods of investigation. Merriam (1988) places
importance on the theoretical orientation of the researcher as an integral part of
qualitative research She states that “how the investigator views the world affects the
entire research process—from conceptualizing a problem, to collecting and analyzing
data, to interpreting the findings” (p.53). Stake (1995) explains that interpretation is the
foremost characteristic of qualitative study and that the results are not really “findings”,
but “assertions” made by the researcher (p. 42). He continues, “Given intense interaction
of the researcher with persons in the field and elsewhere, given a constructivist
orientation to knowledge, given the attention to participant intentionality and sense of
self, however descriptive the report, the researcher ultimately comes to ofi‘er a personal
view” (p. 42). My experiences as an orchestra professional influenced my interpretations
and subsequent assertions regarding the phenomenal observed.

From the time I began to study the violin at age eight, I received private
instruction. However, the schools I attended did not have orchestra programs. In order
to receive experience in that area, I participated in three different orchestras (depending
on my age) sponsored by the Flint School of Performing Arts (FSPA). Everyone who
wished to participate in these orchestras was required to audition and had to be studying
privately. Because I never participated in a public school orchestra program, I bring no

3

preconceived notions from a student’s perspective to this research about the manner in
which an orchestra program should be directed

My tmdergraduate studies took place at a small liberal arts college in rural New
York My music education consisted of becoming certified to teach any music in grades
K-12. It gave me a broad overview of teaching music in a school program, with specific
emphasis on teaching strings and orchestra. Afier I graduated, I moved to North Carolina
where I taught grades 6-8 orchestra and chorus in an inner city middle school for two
years. My experience there gave me the desire to learn how to more effectively motivate
my students. I was frustrated throughout those two years because I found it diffith to
motivate my students to want to learn music. It helped me to recognize that motivational
skills are a necessity for my teaching to be truly effective.

I chose to pmsue a graduate degree in music education in order to learn more
about motivating students and becoming a more effective teacher. Throughout the two
years it took for me to complete my degree, I taught in three difi‘erent schools on a
part-time basis. Those experiences helped me to apply what I was learning in the
classroom to my teaching and allowed me to work with three very different groups of
students who had varying backgrormds and with whom I needed to utilize different
motivational tools.

The topic of research in motivation is so significant in the field of music
education that the Music Educators National Conference included motivation in its
publication of the Handbook of Research on Music Teaching and Learning (1992).
Thomas (1983) wrote an entire chapter on motivation research in music education. She
makes several recommendations for further research in motivation and suggests that “it
seems crucial that the relationship between students’ achievement and teachers’ practices
be explo ” (p.428).

CHARTERZ
LITERATURE REVIEW

The review of literature most relevant to my study is categorized into two main
strands: (1) studies that focused on the examination of successful music programs and
teachers and (2) studies that emphasized motivation in music classrooms.

SnmssflrlMusichograms

The description of successful high school band programs was the focus of Iida’s
(1991) research The purpose ofthis quantitative study was to identify the characteristics
which may afi’ect the success of high school band performance. The research questions
were: (1) What are the characteristics of a successful high school band program? and (2)
In what ways and to what extent do characteristics of less successful programs differ
from those of successful programs?

Five high school bandprogrmns were chosenashaving anoutstandingrecordof
musical excellence in festivals, parades, and field shows ever a seven year period They
comprised Group A. Five other high schools were identified as having moderately
successful band programs. They were called Group B. This was a descriptive study of
instrumental music programs at the high school level. Characteristics of highly
successful groups were identified and became the variables to be examined.

Students and teachers from all ten schools were interviewed by the researcher
using the same procedures. Interviews were conducted with a questionnaire with 12
members from each of the five buds in Group A and 12 members from each of the five
bands inGroupB. The teachers fromthetenschoolswere also given aquestionnaire
with open-ended questions. The comparisons were statistically analyzed to provide the
results.

The questionnaire for the students included questions about why they were
participating in music and what they thought about their teachers and the music

programs. Questions for the teachers asked about their musical background and to what
they owed their success as music teachers.

This study formd that the teacher was the single most influential factor
contributing to the success of the program. Some of the characteristics of the teacher that
contributed to the successful band program were: (1) a personality which was fiiendly
toward students, including a sense of humor and a caring attitude, (2) the ability to build
and maintain a positive attitude with the students, including having motivational and
inspirational skills, (3) the ability to maintain a strong and fair sense of discipline, (4)
having a strong musical backgrmmd, and (5) having an organized system of teaching and
having the confidence to use the system

Kerley (1995) examined the decision-making processes, the leadership styles and
behaviors, and the musicality of two master choral music teachers. This dual case study
explored the relationship of personal and professional qualities to the success of two
teachers of elementary-aged children’s choirs. This qualitative study examined three
stages of the decision-making process: preactive planning; interactive, spontaneous
planning; and evaluative, reflective planning.

Three questions guided the researcher’s approach to the two ease studies: (1) In
what ways does this teacher’s musicality contribute to her choral success? (2) In what
way does this musician’s ability to teach effectively contribute to her success? and (3) In
what way does this teacher’s personality and her ability to relate to children contribute to
her choral success?

Data collection included audio-taped pro-observational focused interviews with
the two teachers, pro-rehearsal interviews and written and/or verbal choral rehearsal
plans, video-taped rehearsals, the researcher’s field notes based on rehearsal
observations, and stimulated recall interviews. The data were analyzed to determine

common as well as idiosyncratic themes that emerged in the two case studies.

Kerley found that the teachers’ success was due to the teachers’ high level of
musicality, the musicians’ ability to utilize efl‘ective teaching strategies, and the teachers’
ability to relate to children in a positive manner. Kerley (1995) particularly emphasized
the teaching strategies that she found to be the most effective: (a) employing diverse and
innovative teaching techniques while considering the individual needs of all students, (b)
preparing a rehearsal plan that suggests she has a preconceived idea regarding precisely
what she wishes to accomplish in each choral selection, (c) sensing when and how to
react to musical and behavioral stimuli, (d) making split-second decisions regarding
student behavior and determining whether or not to react to a particular behavior, and (e)
engaging in reflective analysis of rehearsals in order to determine which teaching
strategies worked effectively and which ones did not

Kerley’s (1995) in-depth investigation into two exemplary teachers’ choral work
was rich with. description and evaluation of the effective strategies used by the two
teachers. She suggests further study of difi‘erent teachers’ strategies in other programs.

King (1998) described a 10—month natmalistic study ofa band teacher who has
gained an international reputation as an exemplary music educator in a single setting for
morethan25 years. “Thepurposeofthis singlecase studywastoexamine,throughthe
use of participant observation, ethnographic interview, and artifact collection, a rich,
thick description of the personal and professional qualities of a well-respected music
educatorinthehopethatwemaybetterunderstandwhatitmeanstobe anexemplary
music educator” (p.57).

The study delineates the background, education, and teaching career of David I.
Dunnet, a band director in Victoria, British Columbia, Canada The article does not go
into detail about the methodology or procedure. Four major themes emerged as a result
of this study: (1) excellent command of high level verbal and non-verbal communication
skills are essential to becoming an exemplary teacher, (2) routines and organization

provide the fiamework for artistry in teaching, (3) humor is essential for exemplary
teaching, and (4) a quality environment is conducive to quality teaching and learning.

King (1998) suggested the need for furthercase studies to “gain in-depth analysis
of the realm of exemplary teachers” (p.70). The Kerley (1995) and King (1998) studies
provided an excellent framework in which to place my own case study of one exemplary
teacher.

Asmus (1986) studied achievement motivation by examining students’ beliefs
about the causes of success and failure in music. He based his research on Weiner’s
(1972) Attribution Theory in order to better understand the motivational elements in the
reasons students cite for why some people are successful in music and others are not.
The Attribution Theory cites four causal categories that represent the majority of reasons
students give for success and failure: ability, task difficulty, luck, and effort.

The subjects in the Asmus (1986) study were 589 students enrolled in music
courses in grades 4 through 12. The music courses included instrumental, vocal, and
general music subject areas. Eight difi‘erent public schools were represented The
students received a form that was designed in an open-ended format. The subjects were
to state five reasons why some students do well in music and five reasons why some do
notdosowellinmusic. 'I'hreejudgesweretrainedtocategorizeeachstatement
according to the four keywords: ability, task difficulty, luck, and effort.

The music students attributed the causes of success or failtne in music to internal
reasons (ability and effort) approximately 80% of the time. Females tended to provide
more internal reasons than males. The older students tended to attribute success or
failure more to ability, while the younger students attributed it more to efi‘ort. Because of
this, Asmus (1986) suggests that teachers recognize that the older students get, the less
likely they are to put forth the effort to achieve proficiency in music. He emphasizes a

need for further research concerning the teacher’s influence on student motivation and
their attributions for success and failure.

Austin and Vispoel (1992) examined the motivation of music students by
investigating the efi‘ects of failtne attribution feedback (ability, efi‘ort, strategy) and
classroom goal structure (competitive, individualistic-standards, individualistic-progress)
on motivational response and decision making. This quantitative study focused on 107
instrumental music students in grades 5-8. The students were randomly assigned to one
of nine treatment conditions and presented with a scenario describing the failure
experience of a fictional band student named “Bil ”.

The students were given different contest award criteria for “Bill”. The contest
was presented in three different ways: “Special performance awards will be given to...(1)
the three students who receive the highest scores at the contest” (competitive); (2) “...all
students who receive a score of 20 points or more at the contest”
(individualistic-standards); or “...all students who improve their performance score by
five points or more at the contest” (individualistic-progress) (p. 9). In all conditions,
“Bill” failed to achieve the goal of receiving a reward

Following the situational description, the students were given a questionnaire that
was prefaced with the heading, “Below are statements about ‘Bill’, his feelings and his
future behavior” (p. 10). Students placed their responses into seven categories: (a) Future
Performance, (b) Future Effort, (c) Future Strategy Use, (d) Future Risk Taking, (e)
Future Support, (0 Attribution Feedback Afi‘ect, and (g) Goal Failure Afl‘ect.

On average students believed “Bill” would perform better, try harder, use more
effective strategies, and receive support from the teacher and other students in the future.
The results of this study indicate that students who attribute failure to strategies or effort,
rather than ability, anticipate significantly greater improvements in future performance,
future effort, and future strategies. These findings suggest that music students would

respond more constructively to failure if instructors emphasized strategic effort more and
ability estimates less.

Austin and Vispoel ( 1992) found that although commtitive classroom
arrangements may work to boost music interest or performance in the short term, it may
actually undermine music teachers’ long-term efforts to produce musicians who are
appreciative consumers of music. The authors suggest further research to determine
whether competition promotes or hinders music learning. This study influenced my
interest in studying competition and its effect on student motivation

Sandene (1997) conducted a study in which he gathered information on variables
associated with motivation in instrumental music over the period of one school year.
This was a quantitative study focusing on middle school woodwind, brass, and
percussion students in grades 5-8. The purpose of his study was to investigate
associations between student backgrounds, selected individual difference variables,
selected classroom practices, and student levels of motivation in instrumental
classrooms.

Sandene ( 1997) addressed five primary research questions: (1)15 there a
relationship between students’ task and ego goals for participation in instrumental music
classes, students’ attributions for success or failure in music classes, students’
self-esteem in instrumental music, students’ perceptions of the teacher’s goals and
students’ levels of motivation for instrumental music? (2) What factors are associated
with changes in motivation in instrumental music classes during one year of instruction?
(3) What practices of classroom organimtion and instruction are associated with high
levels of motivation? (4) What variables related to student motivation can predict student
dropout in instrumental music study? and (5) What is the relationship between positive
feedback during classroom instruction and variables related to student motivation?

The programs of five experienced instrumental music teachers teaching in three
schools in the Midwest were chosen for this study. The schools were selected to include

10

diverse student populations, methods of program organization, and school settings. 672
students participated in the study. The researcher videotaped eight classrooms
throughout the year, student questionnaires were distributed to the students, and the
teachers were interviewed once during the school year.

Five different scales were used to measure the students’ self-esteem levels, their
attributions for success or failure in instrumental music, their classroom task goal
perceptions, their personal task goal orientation, and their motivation in the instrumental
music classroom. The students also provided information about their socioeconomic
status and their musical demographic information

The teachers were asked to supply the researcher with a rating of the motivational
level of each student enrolled in their classes. The teachers’ verbal statements and
behaviors were noted during the researcher’s observations and classified as either
positive or negative feedback All student questionnaire and teacher feedback data were
coded and entered into a data file. All statistical analyses were then computed.

Sandene (1997) found that teacher behaviors had a great influence upon the
development of student perceptions, self-esteem, and motivation for learning.
Classrooms high in student motivation tended to have authority structures that allowed
the students some degree of authority and choice without being entirely permissive.
Motivated classrooms were those in which the teacher’s expectations were neither too
high nor too low, and those in which the teacher placed less emphasis on difi‘erentiation
among students by ability.

Most students tended to attribute internal reasons (efi'ort, ability, afi‘ect) for
success or failure in music as more important than external attributions (background,
environment). Classrooms in which there were more rules, competition, and in which
students perceived ego goals as being more prominent tended to have relatively larger
percentages of non-motivated students.

11

diverse student populations, methods of program organization, and school settings. 672
students participated in the study. The researcher videotaped eight classrooms
throughout the year, student questionnaires were distributed to the students, and the
teachers were interviewed once during the school year.

Five different scales were used to measure the students’ self-esteem levels, their
attributions for success or failure in instrumental music, their classroom task goal
perceptions, their personal task goal orientation, and their motivation in the instrumental
music classroom. The students also provided information about their socio-economic
status and their musical demographic information

The teachers were asked to supply the researcher with a rating of the motivational
level of each student enrolled in their classes. The teachers’ verbal statements and
behaviors were noted during the researcher’s observations and classified as either
positive or negative feedback All student questionnaire and teacher feedback data were
coded and entered into a data file. All statistical analyses were then computed.

Sandene (1997) fatmd that teacher behaviors had a great influence upon the
development of student perceptions, self—esteem, and motivation for learning.
Classrooms high in student motivation tended to have authority structures that allowed
the students some degree of authority and choice without being entirely permissive.
Motivated classrooms were those in which the teacher’s expectations were neither too
high nor too low, and those in which the teacher placed less emphasis on differentiation
among students by ability.

Most students tended to attribute internal reasons (efi'ort, ability, afl'ect) for
success or failure in music as more important than external attributions (background,
environment). Classrooms in which there were more rules, competition, and in which
students perceived ego goals as being more prominent tended to have relatively larger
percentages of non-motivated students.

11

Sandene (1997) recommended that “qualitative research in the area of motivation
could yield especially illuminating information for the design of classroom environments,
classroom activities, and methods of organizing programs” (p. 185).

Mudrick (1997) studied student motivation in four successful high school choral
programs. This was a qualitative study that investigated and identified specific factors
that influenced student motivation in four successful choral programs in south central
Pennsylvania. The researcher identified: (1) the extent to which each director’s criteria
for repertoire selection motivated students, (2) teaching goals and effective teaching
sldlls demonstrated by each director, and (3) actions of each director that motivated
students to rehearse effectively and perform on a high level.

The four successful choral programs were chosen on the basis of their being
featured performers at Pennsylvania Music Educators Association In-Service
' Conferences within the past five years. The researcher utilized persistent field '
observations, ethnographic interviews, and unobtrusive clues in order to collect his data
He noted rehearsal procedures and techniques, teacher effectiveness, student reactions
and behaviors, and general characteristics of the setting After having established
informal rapport with students to determine a potential pool of interview candidates,
Mudrick (1997) selected forty specific student informants who he speculated would
provide him with rich, credible information He also interviewed each of the four high
school choral directors. The interviews were audiotaped and transcribed The content of
the interviews was compared to observation notes regularly throughout the data
collection process.

Based on his research questions, the content of the interviews consisted of
open-ended, yet direct conversations in which Mudrick sought to identify characteristics
of directors and students in each program, acknowledge specific factors of motivation,
and elicit opinions about repertoire selection-as espoused by the directors and as
perceived by the students.

12

Mudrick (1997) found that students were motivated by dedicated, rigorous,
energetic, and charismatic leadership exhibited by their director. Students were
motivated by honest, appropriate assessment from their director and by integrating their
director’s rules and values. Learning challenging and eclectic repertoire highly
motivated the students in the successful programs. Above all, students were motivated
by their director’s sense of humor and genuine sense of concern for them.

Mudrick’s (1997) examination of student motivation was valuable in helping me
design my research His research questions and results aided me in determining the
specific areas which I would focus on concerning motivation

While Kerley (1995), King (1998), and Iida (1991) provided me a research
context in which to place my study, Asmus (1986), Austin and Vispoel (1992), Sandene
(1997), and Mudrick (1997) provided me with the specific focus of motivational
techniques of an exemplary teacher. Since I found no case studies on an exemplary

orchestra teacher, my study will provide insight into that area of music instruction.

l3

W
METHODOLOGY

“A qualitative case study is an intensive, holistic description and analysis of a
single instance, phenomenon, or social unit” (Merriam, 1998, p. 27). As Stake (1995)
suggests, a case study provides thorough detail of one situation, which gives a clear and
detailed description of that particular situation Examining the complexities of
motivation in a classroom requires the researcher to explore all of the factors involved in
a teacher’s motivational skills. Data sources included a formal interview with Dan Long,
observations of his teaching, and interviews with his students.

Merriam (1998) describes this type of study as being phenomenological and
descriptive in design. “The focus would be on the essence or structure of an experience
(phenomenon)”(p. 15). By choosing one exemplary teacher in order to research his
methods of motivation, I focused on describing one phenomenon-the exemplary teacher
in his unique surrormdings. The teacher was studied in his surroundings with his
students, and I researched them in the light of what happened right then, in that time and
that space. Secondly, this is a descriptive case study in design. Merriam (1998) explains
that it provides a detailed account of the phenomenon under study.

E . .
Exemplary 21mm, E. Daniel Long agreed to be the primary participant in this study.
He is a nationally-recognized orchestra teacher who has been teaching at Slauson Middle
School in Ann Arbor, Michigan for 34 years. He received degrees from Chadron State
College, Nebraska and the University of Colorado. Long has been the president of the
Michigan American String Teachers Association He was named the Michigan School
Band and Orchestra Association Teacher of the Year in 1989, and he received the
Chadron State College Distinguished Service Award in 1994. In 1997, Long was given
the American String Teachers Association Elizabeth AH. Green School Educator Award
(Wilson, 2000). His bands and orchestras have performed at the prestigious Midwest

14

Band and Orchestra Clinic in Chicago, Illinois. In addition to his many awards
throughout his career, he has been extremely successful with his retention rate of students
in the orchestra program

Dan Long teaches grades five through eight at the elementary and middle school.
He teaches the brass and woodwind instruments in addition to the string instruments at
the fifth grade level. During the fall, Dan teaches the string instrmnents only at the
middle school level. During the spring semester, he adds winds, brass, and percussion
instruments once a week in order to have a symphonic orchestra.
WW I chose his seventh grade orchestra class in particular because
the students at that stage in their development are difficult to motivate (Asmus, 1986). It
is also at this point that several students determine whether or not they want to continue
in the orchestra program at their school. From my own experience as a teacher, I formd
the seventh graders to be the most challenging to motivate because playing their
instrument was no longer a novelty, and they hadn’t decided how much they truly
enjoyed participating in an orchestra class. “It is interesting that the shift between
effort-related and ability-related attributions occurs during the sixth and seventh grades.
These are grades when teachers often have trouble keeping students involved in music”
(Asmus, 1986, p.275).

Because it is a particularly difficult age to motivate, I have chosen to focus on
Dan’s techniques with his seventh grade orchestra Dan averages 45 students in the
seventh grade string orchestra According to him, he only loses an average of five
orchestra students between the sixth and seventh grades. In order to obtain their
perspective on Dan’s teaching, I interviewed ten students (representing violin, viola,
cello, and bass) about their attitudes toward orchestra class and their feelings of success

or failure in orchestra

15

AccessjatheEarticinams

Prior to data collection at Slauson, I received approval for my research from
Michigan State University’s Committee on Research Involving Human Subjects in June
2000. I also received consent from the Ann Arbor Public Schools’ Research Services in
February 2001.

W

Slauson Middle School is situated in an urban setting and the students come from
a variety of backgrounds. Slauson is the second oldest middle school in the city.
Although it is an urban setting, Ann Arbor is home to the University of Michigan and has
a higher cost of living than many other cities in Michigan. Students at Slauson represent
all types of economic backgrounds. An average of 30% of Dan’s students take private
lessons, and an average of 60% own their own instruments.

BilaLStudy

ThepilotstudybeganinApril 2000 whenImetDanandconductedaninitial
interview with him. The questions I asked him were about his views on motivating his
students, both intrinsically and extrinsically. I asked him which students he felt were the
most diflicult to motivate and some of the strategies he would use to foster motivation in
those students. I asked him about his choice of literature, his use of competition and his
means of assessment concerning his ability to motivate his students.

After the initial interview, I observed and video-taped Dan teaching his
seventh-grade orchestra six times over the course of a month Those observations
allowedme to develop emergent themes in his teaching that I knew I would want to
explore further. During one of those observations, Dan put me on “the hot seat”, as he
calls it. He had me sit in the conductor’s chair and answer questions about myself and
my research from his seventh-grade students. They were encouraged by Mr. Long to ask
thought-provoking questions that would distinguish them as well-developed musicians.

16

After the classroom observations, I asked Dan to choose ten students from the
five sections of the orchestra for me to interview on an individual basis. Each interview
consisted of just myself and one student I video-taped the students’ responses. I asked
the students questions about their musical backgrormd and about their orchestra class
with Mr. Long. I asked them what they thought of their orchestra class and the reasons
for their responses. I asked them what they thought about Mr. Long’s teaching and
whether or not they thought they were making progress under him.

The initial interview with Dan, the classroom observations, and the individual
student interviews that I conducted during the pilot study helped me to determine the
research questions I would ask and the data collection procedures that would assist me in
answering those questions with the greatest amount of accuracy.

The pilot study did not include interviewing the students in a group setting. The
individual student interviews that I did in the pilot study were somewhat awkward
because the students didn’t know me and seemed guarded in their responses. Based on
that experience, I chose to conduct two group interviews of five students each prior to
conducting the individual interviews.

Merriam (1998) states that pilot studies are essential to trying out the data
collection procedures. “Not only do you get some practice in interviewing, you also
learn..which questions yield useless data, and which questions, suggested by your
reSpondents, you should have thought to include in the first place (pp. 75-76).” As a
novice researcher, the pilot study helped me to improve upon my data collection
procedures.

MW
InitiaLIntemm. Data collection began with an initial interview in January 2001 with
Dan Long. The questions derived from the pilot study. My research questions provided
the foundation on which my questions were formed (See Appendix A for the interview
questions.)

17

Dan siyed a consent form (see Appendix C) agreeing to participate in this
research with the understanding that his responses and teaching would be video or
audio-recorded The interview was audio-recorded on a Sony TCM-ZODV
Cassette-corder. After the interview, I transcribed all interview dialogue.
W. After the initial interview, I observed and video-recorded Dan
teaching his seventh grade orchestra five times. These observations occurred in March
and April 2001. These observations allowed me to compare Dan’s answers in his
interview to his actual teaching habits. It also provided me the opportunity to observe
other aspects of his teaching that might have remained unmentioned in the interview. I
noted motivational techniques utilized throughout the course of the lessons. The
observations were video-recorded on various VHS cameras.
WWW Dan chose the students by selecting
representatives from each section in the seventh-grade orchestra with varying seating
placements in those sections In March 2001, I asked the students the same questions in
the group interviews as I did in the individual interviews to see if the students would
respond the same in a group setting as they did in the individual interview. The questions
that I asked the students were based on the five research questions mentioned earlier. My
goal was to obtain the students’ perspective on Dan’s ability to motivate and the
techniques he uses in motivating his students. (See Appendix B for the student
questions.)

All of the students involved, as well as their parents or guardians, signed consent
forms (see Appendix D) agreeing to participate in this research with the understanding
that the interviews would be video-recorded. The interviews were video-recorded on
various VHS cameras.

By video-recording the student interviews, I could note facial expressions and
level of enthusiasm that the students might have expressed-both of which represented
clearly the attitudes and opinions of the students.

18

The two group interviews were conducted in March 2001. I observed Dan’s class
two more times before conducting the individual student interviews, which occurred
during the end of March and the beginning of April 2001.

W Throughout the time I collected the data, I kept a personal journal in
which I kept record of significant events and conversations. When something stood out
as being of particular interest and importance to my research, I documented it in my
personaljournaL This allowedmetohaveaclearerpictm'easlwentbackandanalyzed
the data

I! l' l' I l .

Establishing validity/trustworthiness is very important to the qualitative
researcher. Two methods I used to ensure that was through triangulation and member
checks. Throughout the data collection process, I assessed carefully the effectiveness of
' my methods and questions to guarantee that the procedure provided validity for this
research. Firestone (1987) describes the qualitative researcher’s goal by stating that
validity is attained when “the qualitative study provides the reader with a description in
enough detail to show that the author’s conclusion ‘makes sense’” (p. 19).
WW Triangulation refers to the use of multiple methods of
collecting data to insure that the data is accurate and valid Methodological triangulation
combines the dissimilar methods such as interviews, observations, and physical evidence
to study the same rmit (Merriam, 1988). When those devices produce congruent results,
the study gains validity. I used four separate procedures for data collection: an
individual interview with Dan Long, observations of the seventh-grade orchestra, and
group and individual interviews with members of his seventhagrade orchestra
MembeLCheck One of the methods I utilized in order to ensure validity/trustworthiness
was to give Dan Long the opporttmity to do a member check on the interview I
transcribed I gave him a copy ofthe transcription along with a copy ofthe research
questions. I asked him to check to see that his answers were stated accurately. I also

19

asked him to refer to the research questions to determine if they were accurately covered
in the interview.

Lincoln and Guba (1985) recommend member checks as a valuable step in the
analysis process to insure validity of the study. “The member check can serve as a useful
purpose in addition to that of commenting on data already collected: it can help the
evaluator to confirm the existence of categories implied by the original data set but that
had not yet emerged” (p.316). Dan read my transcript of his initial interview and agreed

that his responses were accurately recorded

20

CHAEIERA
ANALYSIS

I began transcribing the interviews during the data collection process. Because
Dan Long was the primary subject of this research, his responses will be explored first,
and his students’ responses and the classroom observations will serve to substantiate his
responses. I chose to begin with my initial interview with Dan Long because he was the
main source of data, and I would look at the other data to either support or contradict
Dan’s responses.

I transcribed verbatim my initial interview with Dan Long After he reviewed the
transcript, I coded his responses based on the five research questions. I took five colored
pencils and assigned a color for each research question The reason I chose to code
according to the research questions was because they were developed after my pilot
study, and the questions in the interview coincided with the research questions. If a
response answered a certain research question, I underlined it with the corresponding
color. Occasionally, there were responses that received more than one color because it
related to more than one research question.

I reviewed the videotapes from the group and student interviews. I did not
transcribe these interviews word-for-word because they were not my primary source of
data collection. However, I did record exact quotes from the students as they applied to
my research questions. Again, I used the same color coding system that I used for the
initial interview and coded the students’ quotes according to their relevance to the
research questions. As I analyzed the data, I compared the student interviews with Dan’s
interview and found the categories to be the same.

I compared the students’ responses in the group interviews to their responses in
the individual interviews to determine if the students were consistent in their responses
between the two interviews. I discovered that they were consistent from one interview to

21

the next. The students’ responses did not change when they were interviewed
individually as opposed to being interviewed with their peers.

I reviewed the classroom observations from my videotapes and took notes about
what I observed In accordance with my color coding system, I underlined noteworthy
events and quotes with the colors corresponding to the research questions.

Finally, I took into account the notes I made in my personal journal throughout
the data collection to provide more validity and trustworthiness to the data analysis. For
example, I recorded in my journal informal conversations with Dan Long that I later used
to help validate my formal data collection.

Through the analyzing process, I noted some interesting trends in the responses
that both Dan and his students gave. The absence of competition emerged as being a
distinguishing characteristic in Dan’s classroom. Most teachers of performing
instruments that I have observed utilize competition in order to encourage practice and to
foster motivation in their students. However, Dan Long’s response to competition in the
classroom was that it creates bad feelings among the students and makes some students
feel less valued than the ones who won the better chairs.

Other emergent themes that I noticed in the analysis process was the efl‘ectiveness

of Dan’s humor in motivating his students and his ability to make every student feel
valuedandrespectedbyhim. Bothoftheseareaswereevidentinmyinterviews with

Dan Long and his students, as well as my observations of Dan in his classroom.

22

CHAEIEBJ.
RESULTS AND DISCUSSION

Merriam (1998) addresses the issue of transferability/generalizability in relation
to case study research. The question arises whether or not it is possible to generalize
from a single case. Because each case is unique and involves so many different factors, it
might seem impossible to provide transferability to other teaching situations. However,
Erickson (1986) states that generalimble knowledge provides “concrete universals
arrived at by studying a specific case in great detail and then comparing it with other
cases studied in equally great detail” (p. 130). Erickson continues this example in regard
to teaching:

When we see a particular instance of a teacher teaching, some aspects of
what occurs are absolutely generic, that is, they apply cross-culturally and across
hwnan history to all teaching situations. this would be true despite tremendous
variation in those situations...Each instance of a classroom is seen as its own
unique system, which nonetheless displays universal properties of teaching [ p.
130].

As I describe the findings of my research, I will provide discussion on each of the
five research questions separately. In doing so, I will explain how generalizability and
transferability can be provided for this research. The responses from the teacher and his
students overlapped among some of the questions, but I will categorize them as
specifically as possrble.

The research questions of this study were: ( 1) How does Dan Long’s choice of
literature affect the motivation of his students? (2) How does he use competition in
motivating his students? (3) What kinds of feedback does he provide to his students? (4)
How does he use class time in order to motivate his students? (5) How does he make
each of his students feel valued and respected in and out of the classroom?

23

Because Dan Long was the primary subject of this research, his responses will be
explored first, and his students’ responses and the classroom observations will serve to
substantiate his responses.

:1 . El .

When asked what role the choice of repertoire has in the motivation of his
students, Dan responded enthusiastically, “Everything! Everything!” He. compared the
choice of literature to that of diet:

We know that we have to eat this, this, this, and this because it 's good for
us, but, at the same time, we also know there is dessert at the other end Students
want to play the pieces of music they know from movies or shows...they love
to do that. And, at the same time, you have to give them what ’s good for them.
The composers they don ’t necessarily brow or are familiar with.

Dan explains that when it comes to playing the less-familiar pieces from the past, it is the
teacher’s responsibility to present the music in an exciting way.
Sometimes we just have to bite the bullet and say, “We ’re going to play
Brahms or Beethoven or Bach...because it ’s important for you to learn t . ”
Ourjob is to have, to some degree, a balance of the music that we believe is good
for them. A lot of it has to do with the way you present it. If you just pass out a
piece of music and say, “All right, here we go, first measw'e. ” You have lost all
kinds of opportunities of hooking the kids on the music you want to work on.
Because you ’re approaching it from a note standpoint, rather than from a music
standpoint. And if you pass out music and say, “012, Mr. Rossini! Oh, just wait
until you hear this music! Does anyone know anything about Rossini? " Nobody
responds. “Arnione brow anything about the story of William Tell? " A student
responds, “Oh, that ’s the guy who shot the apple of someone ’3 head! " And then
one thing leads to another. All of a sudden, kids are going to start to know

something about the music. You have to lead them into directions they haven ’t

24

gone by what you ask and how you present the music. Rather than F # ’s and

down hows, you start talking about operas. All of a sudden, kids start connecting

all kinds of stufi' that is within the world that has to do with music.

When I asked the students about Mr. Long’s choice of music, they reflected
mostly on the level of difficulty of the pieces.

Anna (viola): “We move at the pace we should be moving at right now.
The pieces that we play... we have to work to be able to play them. ”

Pouya (violin): “I like a lot of the songs we play. He picks out music so
we can learn something new, but it ’s not too hard and not too easy. We always
have to learn things to be able to play it. ”

Michael (violin): “The songs are exciting. He has a big variety. We did
ajazz piece, sad ones, and an Irish Dance song. ”

Pierce (violin): “We shoot farther ahead than we can actually do, but
when it comes to the performance, we can do it. ”

Brian (cello): “I like the enthusiastic pieces. He tries to challenge us, but
not beyond our capabilities. He brows us—he ’s been doing this for so many
years—he brows what music to pick. "

The statements made by the other students were similar to the above, commenting
on either the difficulty level of the pieces or the variety of songs they played throughout
the school year.

The literature Dan Long chooses to perform throughout the year seems to be a
major factor in the motivation of his students. They were enthusiastic in their responses
about the music they performed. They expressed pride in the concerts they had
performed under the direction of Mr. Long and commented that the pieces were an
important reason for the success of their concerts

This implies that teachers who are most effective at motivating their students
choose literature that is at the right level of difficulty for the students’ stage of

25

development and that provides a variety in programmrng' that will make learning more
interesting. This idea is supported in the studies by Kerley (1995), Sandene (1997), and
Mudrick (1997).
C . . . l :1

One of the most distinguishing characteristics [Refer to in Chapter 4.] in Dan
Long’s classroom is his view of competition In almost every instrumental music
classroom that I have known, competition has been a central motivator that the teacher
would have used to motivate his or her students. However, when I asked Dan Long,
“What is your opinion on the use of competition in the orchestra classroom?”, his
response was not typical of most instrumental music teachers:

No competition. I am the most uncompetitive person in the world I have

no challenges, no downvthe-lines, no try-outs, nothing! I think competition is a

bunch of “foof”, and you can quote me on that! [Laughs] I want the kids. to play

well because they want to play well, not because, “I might lose my chair. ”
Dan continued by explaining his method of deciding where the students sit in orchestra
He tells the violins at the beginning of the year that he needs eight first violins and eight
second violins. He explains the type of music that the first violins will be required to
play (i.e., third position). He then tells all sections that the students in the first stand of
each section will be in a leadership role in the orchestra in which they will be called upon
to play alone more ofien than others to demonstrate the music. He does not label one
person as the best and another as the worst. At the beginning of the year, the students
choose where they will sit in the section. As the year progresses, Dan moves the students
arormd to give each the opportrmity to sit in various parts of the section. As he explains,
“Everyone knows who is the best in the section. Nobody has to label the child and say,
‘You are the worst-you have to sit in this chair.”’

During an informal conversation with Dan, I asked him if he had always been so
rmcompetitive in his classroom. He explained to me that when he first began teaching,

26

he was a competition-oriented teacher. He said he took his band to the Rose Bowl and
worked to have the best uniforms and the best band in the parade. However, afier a few
years of being so highly competitive, he gave his students a questionnaire asking them
about their experiences in band He said that not one of his students had anything to say
about music. Instead, they talked about their trips and uniforms. Dan decided then and
there that it was more important for his students to learn to love and appreciate music
than it was to have the best band in the nation.

From an observational standpoint, I can concur with the fact that Dan’s classroom
now revolves around the teaching and learning of music (focus on the process), rather
than on the sorting of students by skill level (focus on the product). And it is obvious that
Dan’s number one goal is for his students to leave his classroom with a respect and
appreciation for music and their abilities to participate in making wonderful music.

When I asked the students about Mr. Long’s method ofseating and the lack of
competition, they confirmed the fact that competition was not necessary because
everyone lmew everyone else’s ability. I asked them if competition would make them
practice more or help them as an orchestra. The responses I received were that some
might practice more if they wanted first chairs, but in general, the tone of responses from
the students was that competition would lower the students’ self-esteem and make
orchestra less enjoyable.

EJ. (violin): “I think most everyone agrees with where they ’re seated I
wouldn ’t like orchestra as much if we had competition because we ’d have to sit
apart from [our] friends. ”

Pierce (violin): “I like not having competition because I can enjoy the
mwic better, and I don ’t have to worry about beating someone else. "

Some of the students who currently sit near the front of their section said competition
might help them practice more, but they did not think they would enjoy the music as

much

27

My findings in this area were surprising to me. Dan’s complete lack of
competition in his classroom made me skeptical at first. However, the students were so
obviously content not to compete against each other, that I realized it was highly
motivating for them not to have to be compared with one another. Seventh graders are
already insecure because of the stage in their social and physical developments, and it
only seems logical that they would be more motivated to play well on their instruments
when they don’t have the pressure of being labeled “better” or “worse” than the other
students.

There is little research on the efi‘ects of competition on music student motivation.
However, based on the majority of music classrooms that I have observed, it seems to be
the norm for most music teachers to use chair auditions to get their students to practice.
Thomas (1992) suggests that “we still need to ask what effect such practices [competitive
structrn'es] have on the very yormg, the shy, the talented but insecure, the ordinary, the
less aggressive, or otherwise ‘noncompetitive’ student” (p 431).

The research conducted by Asmus (1986) confirms that students in the middle
school years are the most likely to drop out of music classes because they are insecure
about their abilities and often become frustrated.

WW

Dan’s response concerning the feedback he offers his students had to do with the
way he views his role in the classroom. He talked to me about his ultimate goal of
“teaching myself out of a job”. He explained what he meant was that the students would
be so internally motivated to learn that his job would become much easier. “Students
should come to the point where they come into the classroom, sit down, and play the
music because they want to do it, because it’s from the heart, because it’s on the printed
page, and because they want to connect the two together.”

This principle applies to the issue of classroom management in Dan’s classroom.
Iaskedhimaboutastudentwhomightactupinclassandwhathis responsewouldbe.

28

This just happened last week. The student was in the back of the
classroom causing some problems, and the kids around him were saying,
“SHHH! Be quiet! " I didn ’t get involved! The students were solving the
problem themselves. It came from within the class, and not fi'om me!

Because the students wanted to get to the music-it was distracting them! It was

an example of my being removed fi'om the classroom, teaching myself out of a

job. And I smile to myself: “Oh, yes! It 's beginning to happen! "

In one of my classroom observations, I noted some particular feedback Dan
provided for his students. He told the class, “You just played 57 measures of a piece
you’ve never seen before. Why could you do that? Because you are getting better at
music reading.” In the same class, he asked the students how they could make a section
sound more like bagpipes. A student responded by saying they could try screeching. Dan
laughed and said, “Screechingl We don’t want to screech!” But, he was very
light-hearted about the student’s response and all the students laughed together.

Iwantedto find outfromthe studentswhatMr. Longsaidtothem inthe
classroom that helped them want to become better musicians. They provided me with
some excellent answers about the kinds of feedback that Mr. Long provides in the
classroom.

Bizzy (viola): “He makes you want to be a better player. He’s so
determined to make you love your instrument that you just want to be better. We
want to practice because he tells us we ’11 like our instruments better 5‘ we can
play the music. If someone ’s frustrated he ’11 say, ‘Go home and bake cookies
with your stand partner, so you can practice with them to make it better. ’ ”

Pouya (violin): “He ’s always enthusiastic. He’s always trying to get you
to do better. He brows when you need a lot more practice. If we do nress up, he
won ’t yell at us. He ’11 just say, “Your bowing was real good Maybe you need to

work on the notes. ’ ”

29

Pierce (violin): “He can relate to you, and he puts everything in diflererrt
ways. He tells stories, and he uses emotions to get his point across. ”

EJ. (violin): “He makes you guess what you 're doing wrong. "

Brian (cello): “If we do something wrong, he doesn ’t get on our case
about it. He just says, ‘No wrong notes! ’ He has a way to keep you practicing,
but not in a way to make you hate it more. He gives you lots of compliments if
you do well. ”

The videotapes of the student interviews demonstrated facial expressions and
examples of what Dan does in his classroom that cannot adequately be described in
words alone. Some students demonstrated how he got the whole class dancing in order
to understand a rhythmic pattern, and other students impersonated Mr. Long singing in
order to make a point. There is no question, according to his students, that Dan Long
loves music and wants his students to love it just as much as he does.

One of the central themes of Dan’s teaching has to do with his sense of humor.
He uses humor to correct a problem in a creative way. For example, one student told me
that she was caught by Mr. Long for chewing guru (“No Gum” is a well-established rule
in their orchestra class). Rather than telling her to throw away her gum, he simply said to
the class, “I smell something kind of minty.” Another student related that he would tell
someone they were chewing too quickly. Although gum-chewing is not directly related
to the teaching and learning of music, it is an example of Dan’s creative attempt to help
the students to learn while keeping their self-esteem intact

My observations support previous research that hmnor is a vital element in
student motivation (King, 1998; Sandene, 1997; and Mudrick ,1997). Dan’s ability to use
hrnnor in providing feedback to his students keeps them comfortable with him and helps
them want to accomplish his classroom goals.

In addition to his humor, Dan’s expertise in providing creative kinds of feedback
was noted by the students as helping them want to be better musicians. Whether his

30

feedback was having the students guess what the mistake was or simply using body
language, the students were always attentive to what Mr. Long expected of them.
Ilsenfclassmomlime

Both Dan and his students spoke with me about Dan’s use of classroom time in
order to teach the students music. The main theme that ran throughout the interviews
was that Dan uses the music as a tool to teach a concept. Very rarely does he play a
piece fiom beginning to end (especially when first introducing a piece).

I noticed throughout the classroom observations that Dan had a tremendous
ability to begin with one idea and then let it grow until the students in the classroom were
able to grasp the concept. Even when he worked with only one section at a time, he often
found a way to make it significant to the other students in the orchestra One example of
this was a class in which Dan was teaching the students about arpeggios. He began the
class by playing some chords on the piano. He then explained that arpeggios are the
notes of a chord played separately. Next, Dan played an arpeggio on a violin and asked
the students to figrn'e out the notes on their instruments. After the students successfully
played the arpeggio, he brought their attention to a section in one of their pieces where
arpeggios are played He started with the violins who began the section with arpeggios,
and then he added the other sections of the orchestra who eventually continued the .
arpeggio section.

One particular use of class time to make note of is Dan’s invitation of visitors into
his classroom. One of my classroom observations featured two violin performance
students from the University of Michigan. They prepared duets for the students to listen
to, and they and Dan asked the students questions about what they heard and about the
composers of the pieces. During my interviews with students, they mentioned the people
who have played for them and commented that it made them want to work harder at their
instruments in order to be able to play like the visitors they heard.

31

In my observations, the vast majority of class time was spent focusing specifically
on making music. However, I also observed a class in which Dan spent the majority of
the class focusing on a non-musical discussion about drugs (I will discuss this
conversation in greater detail below). When talking with me about the discussion alter
the class, Dan explained to me that music is the subject he teaches, but it is more
important for him to help the students to learn how to play a significant, positive role in
the world around them.

Every part of the classroom time has a specific purpose for Dan Whether it be
learning a new warm-up exercise, meeting a visitor, or having a discussion on drugs,
every activity is intended to allow the students to grow both as musicians and as
individuals. Dan Long is not one to let a “teachable moment” pass. He will take every
opportunity he has to give his students the type of music education he believes they
deserve.

The research of Kerley (1995), Mudrick (1997), and King (1998) substantiates the
importance of the teacher using the classroom time wisely and effectively. Those studies
demonstrated that the students were more likely to enjoy their music class when the
teachers came to the class prepared and with a plan for the goals to be accomplished
during the class period

 

Dan’s number one response regarding the motivational tools he uses in his
teaching was that ofmaking his students feel valued and respected in and out ofhis
classroom. Any casual observer would note how he looks each of his students in the eye
and gives him or her his complete attention. Dan’s own words say it best:

Positive reinforcement. Positive feedback. A non-threatening
environment. Building a bridge that allows the child to be comfortable enough
that they can do their best. Making students feel important in the group, no
matter where they sit. Making sure that I look at them as individuals, and not as

32

musicians. Making sure that I take the time to ask kids ' opinions. Making

sure that I involve them in every way possible...so that they feel that they are part

of the group, in a way that they are contributing individually to the success of the

program. You must look at a student as not somebody who comes in and sits
down in your class and becomes a musician: they are that person. Teach the
person. Teach the person.
Dan’s students gave several examples of his making them feel valued and respected

Lauren (violin): “If I couldn’t get a part, I would not be afiar‘d to go to
him after class and ask for help because he ’s willing to take time outside of class
to help someone. He ’s really accepting. ”

EJ. (violin): “He ’s more like a fiiend than a teacher because he tells us
stories in class and talks to us after schoo .. ”

James (bass): “1 like that Mr. Long is very interactive, and he ’s someone
you can talk to when you have a problem with the music. ”

During my final classroom observation, I became a firsthand witness to Dan
Long’s respect for his students as important people who deserved to be acknowledged for
their contributions to the classroom. Dan began the class by teaching arpeggios that were
featured in one of their pieces. After the students accomplished Dan’s musical goal, he
sat down on his stool and talked to them about that morning’s announcements. It was
revealed that some seventh grade students had been caught having drugs in their
possession on the school property. Dan began by saying that he was shocked by what he
had heard that morning He then asked certain people how they felt about the
annormcement This began a discussion that lasted for the remaining thirty minutes of
class time. Dan allowed the students to share their thoughts and suggestions concerning
the problem

Dan’s willingness to spend orchestra time to discuss a drug problem in the school
demonstrated his priorities of respecting them as people. I witnessed a caring teacher

33

who allowed his students to discuss a very disturbing topic in a safe, trusting
environment In establishing that environment, he creates an atmosphere in which his
students are motivated to learn.

Teachers who work to know and respect their students as individuals have
students who are more motivated to learn (Kerley, 1995; Mudrick, 1997; King, 1998).

Throughout the cornse of my research, additional findings emerged that I feel are
necessary to discuss. Based on a pilot study in Dan Long’s classroom, the five research
questions that I chose to focus upon were five areas I perceived initially as being
frmdamental to Dan’s success in motivating his students. However, near the end of my
initial interview with Dan, he brought up and emphasized the importance of longevity in
one school system as an essential ingredient in motivating his students.

Sometimes the motivational stuff can be built into yore-job. And by that I
mean, when you ’ve been in a spot as long as I ’ve been here, 34 years, you have
students coming in who you had their parents as students. There is already a
built-in factor that the motivational success rate is much, much higher simply
because the child comes in and says, “Mr. Long, you had my mom or my dad ”
Well, that can only happen if you stay in a spot long enough to let it happen. So,
the motivational input and factor of success is, oh, much, much, much better.

In addition, Dan commented on his longevity and its impact on the community over the
years.

When you ’re in a spot as long as I have been here, people come. People
come and visit and observe, and [the students] see this. And kids come back fi'om
years ago and say, “I ’m playing in this orchestra. I’m doing this, I ’m doing
that... " And students, sitting in your classroom, are seeing this in and out star?“
and it rubs oflon them. They see that and say, “Wow! Here are kids who were

34

here ‘X’ number of years ago, and they really liked it and boy, I guess I better

buckle down and start doing things too! ” It ’s an expected thing. It ’s built in!

It was obvious throughout my interviews and observations that Dan’s longevity
does indeed contribute to the motivation of his students. However, any teacher’s
longevity is only as effective as the foundation on which his or her teaching is laid
Dan’s motivational and teaching skills are that foundation.

Another important motivational tool that was not addressed in my research
questions has to do with Dan’s sense of humor. Every interaction that I had with Dan
and his students reflected his ability to make someone laugh. He has a smile that lights
up the room, and he can find humor in almost any situation In Wilson’s (2000) article
featuring an interview with Dan Long, Shirley Strohm Mullins says of him: “He could
probably have been a successful comedian, but his humor is gentle, tasteful, and appeals
to yormg and old alike” (p.14). Iida (1991) and King (1998) both found a sense of humor
to be an essential ingredient to a positive interaction with students.

Dan Long’s unique personality and genuine care for his students are the
ingredients of the underlying formula for his success in motivating his students. The
results of this study show that many different elements combine to contribute to the
motivation of his seventh grade orchestra class. Dan’s choice of repertoire, his lack of
competition in the classroom, the feedback he provides to his students, his use of class
time, and his ability to make each of his students feel valued in and out of the classroom
work together to provide a motivating atmosphere in which his students come to class
anticipating the learning of music.

Among the research questions, the one concerning Dan’s opinion of competition
in the classroom stands out to me as a researcher as one of the most noteworthy. This
observation agrees with Sandene’s (1997) findings in which he found that students were
more motivated in the classroom where teachers placed less emphasis on differentiation

among students.

35

Dan Long simply does not think that competition will help his students to be more
motivated The students agreed that the lack of competition allowed them to focus more
clearly on the music without having bad feelings toward another person based on the
comparison of ability.

The other theme in this study is Dan’s genuine effort to help each of his students
feel valued and respected by him. He looks each of his students directly in the eye and
gives them his undivided attention, sending them the message that what they have to say
is important and he is listening. Every student that I interviewed told me they could go to
him for any reason, in and out of the classroom, and knew that he would help them in any
way he could.

36

CHAEIEM
CONCLUSIONS AND RECOMMENDATIONS

The purpose of this research was to examine the motivational techniques of an
exemplary orchestra director. The research questions were: (I) How does the exemplary
teacher’s choice of literature affect the motivation of his students? (2) How does his use
of competition in the classroom affect the motivation of his students? (3) What kinds of
feedback does he provide to his students? (4) How does he distribute class time in order
to motivate his students? and (5) How does he make each of his students feel valued and
respected in and out of the classroom?

W

Jordan (1989) says that “case studies should become the central educational
design in both undergraduate and graduate music education programs. The minimum
requirement for the granting of a masters degree in music education should be the
completion of case study in the candidate’s discipline. Such a procedure would then
begin to provide each institution and the emerging profession at large with a lmowledge
base for teaching others how to teach” (p.58).

Basedonmyownexperiencewiththisparticularcasestudy,Ihavetoagreewith
Jordan that case study is an invaluable way to learn from teachers who have achieved
success in their classrooms. My lack of experience was what prompted me to research an
experienced and successful orchestra teacher. In examining his methods of motivation, I
was able to glean tremendous ideas about motivating middle school orchestra students.

As a new teacher, I felt as if I had to start fiom the very beginning and discover by
myself how to become an efi‘ective teacher. However, case study research has shown me
that new and inexperienced teachers can learn from experienced teachers and become
more effective teachers more quickly as they learn from others’ mistakes, rather than just

their own.

37

I knew motivation was an area I needed to improve upon as an inexperienced
teacher. Therefore, I approached this thesis with the goal in mind of learning from a
successful orchestra teacher the ways in which he motivates his students. Now that I
have completed my research, I have received some essential tools that I believe will
improve my ability to motivate my students musically.

Of the five research areas I examined (choice of repertoire, use of competition,
kinds of feedback, use of classroom time, and making the students feel valued and
respected), each one held significance in helping me to become a more effective teacher.
But, most especially, the areas of competition and making the students feel valued and
respected were the most meaningful for me.

As a student, competition always bothered me and did little to motivate me
except to make me practice out of fear of embarrassment. Afier seeing Dan Long
successfully motivate his students without the use of competition, I am willing to explore
those methods in my own middle school orchestra classroom.

Dan Long also helped me to understand that producing excellent musicians
should not be my only goal as a teacher. In seeing the students as rmique individuals, I
will be adding so much more to their edueation than if I merely see them as students
trying to perform perfect music. That is not to say that my musical standards will be
lowered; rather, it means that the music product will not be the end, rather the music
learning process will be the focus of my teaching

I E l '1'

As implied earlier in this study, music teachers may interpret these conclusions in
connection with their own experiences in their particular settings. These conclusions
may encourage music teachers to examine their own personal motivational efi‘ectiveness
with greater scrutiny. In addition, these conclusions may encourage music teachers to
develop motivational strategies that are in closer harmony with their students’ needs.

38

Music teachers in all settings may transfer the conclusions from this study into their own
situations to improve student motivation.
I l' . E I i

It would be impossible for any other teacher than Dan Long to duplicate
everything that he does in his classroom to motivate his students. However, teachers can
use Dan’s example as a catalyst in their own classrooms to motivate their students.

Teachers at the middle school level might find that de-emphasis on competition
during that developmental stage might provide greater confidence and motivation for
their students. Thomas (1992) notes that competition forces the students to be labeled as
“winners” or “losers”; therefore, causing the students’ achievements to be negatively
interdependent.

Teachers could also make an effort to interact with their students in a more
personal way. Just as Dan Long makes every effort to see his students as people who are
coming to him to learn music, teachers should strive to look beyond the subject they are
teaching in order to see the students’ individual needs for value and respect.

Dan Long’s sense of humor was a significant factor in the motivation of his
students. King (1998) and Sandene (1997) recommend that teachers use humor in order
to more effectively relate to their students. As stated previously, by approaching a
situation fiom a humorous or lighthearted perspective, teachers could creatively provide
feedback to their students that research has suggested to be more effective in motivating
students.

S . E I l . l E l E l

Exemplary teachers earn their reputation over several years of practicing
excellent teaching Further case study research of exemplary teachers may provide
less-experienced teachers examples of those who have already achieved success in their
field from which to learn Other exemplary teachers in different areas of music could be

39

explored A few of the possibilities could include case studies of high school orchestra
teachers, middle school choral directors, and general music teachers.

In addition to case studies, other methodological designs could be utilized in
examining how the teachers in those arenas of music education use competition in their
classrooms and what kinds of feedback they provide for their students. The teachers’ use
of humor and their use of class time could be other areas of focus. Survey designs and
experimentation could provide students with opportunities to gather more generalizable
information about competition in the music classroom and the other motivational

techniques used by their director.

The words of Dan Long himself provide the best summary of my research

concerning his ability to motivate his students:

. Ifyouareenthusiasticmwhatyoudo,thisrubsofi‘onstudents. Makemrethatasenseof
humor, humanness, and care for every child is at the forefront of each decision...Afier you have

builtabridgeofu'ustwithsmdents,theywillacceptyourhelpand support. Ifymareenthusiastic

in your love for being a music teacher, students will enjoy learning fi'om you (Wilson, 2000, p.15).

40

REFERENCES

Arnes, C. & Ames, R. (EdS-)- (1985). ResearchnnMQtiyationanducanonJhe
ClaserQmMilieu, 2nd ed Orlando, FL: Academic Press.

Ames, C. & Archer, J. (1988). Achievement goals in the classroom: Students’ learning

strategies and motivation processes. WW3),
260-267.

Asmus, E. (1985). Sixth graders’ achievement motivation. Their views of success and

failure in music WmfithefiaunciLforResmhjnMnsicEdncation. no
85, 1- 13.

Asmus, E. (1986). Student beliefs about the cause of success and failure in music. A

study of achievement motivation lmunalnffieseatchinMusicEducafimis.
262-278.

Austin, J. R. ,& Vispoel, W. P. (1992). Motivation after failure in school music
performance classes: The facilitative efl‘ects of strategy attributions. Bulletingf
thermciLforBescarchinMusicEducatim no 111 1-23

Brophy, J. (1988). MotixatinaSmdemsmleam Boston: McGraw-Hill.

Erickson, F. ( 1986). Qualitative methods in research on teaching. In M.C. Whittrock

(Ed), Handbookgflkeseamhgnleaching, 3rd ed. (pp.328-375). New York:
Macmillan.

Firestone, W. A. ( 1987). Meaning in method: The rhetoric of quantitative and qualitative
research. W7), 16-21

Guba, E.G., & Lincoln, Y.S. (1981). Won. San Francisco: Jossey-Bass
Publishers.

Iida, G. Y. (1991). Selected clmracteristics of successful high school band programs.
(Doctoral Dissertation, University of Southern California, 1991). Dissertation

AhmmtemanQnaLfiflOiiA) 2335

Jordan, J. M (1989). The case study. The nature, description, and implications for
research designs in music education. WW
5 1-60.

Kerley, MA. (1995). An investigation of the decision-making processes, the leadership
style and behavior, and the musicality of two master teachers of elementary-aged

41

children’s choirs. (Doctoral Dissertation, University of Alberta, Canada, 1995).
WI 1A), 4359

King, G. (1998). Exemplary music educator. A case study. W
ResearchinMusicEducation. no 137 57-72

Legette, R. M. (1998). Causal beliefs of public school students about success and failure
in music. WWW” 102- 111

Lincoln, Y.S., & Guba, BE. (1985). Manualisnclnqm (lst ed). Beverly Hills:
SAGE Publications, Inc.

Medway, F., & Lowe, C. (1980). Causal beliefs for performance by crossage tutors and
tutees. AmericanEducationalResearchlonmalJfl” 377-387

Merriam, SB (1988). .. .- -
Francisco: Jossey-Bass Publishers.

 

Merriam,S.B. (1998). O ._ ' _
San Francisco. J ossey-Bass Publishers.

 

Mudrick, AW. (1997). Student motivation in four successful high school choral
programs in South Central Pennsylvania. A qualitative study. (Doctoral

Dissertation, Temple University 1997) DissertationAbsmlnteman'anaL
5300161), 3869

Parsons, J. E. (1983). Children’s motivation to study music. In W

"011.010 IIII 11004 It}, garrzu «IIWUIIlIoi

mm (pp. 31-39). Reston, VA: Music Educators National Conference.

Raynor, 1.0-, & Entin, EE- (EdS-) (1982) MonmgmflareeLSmunandAgma
Washington, DC: Hemisphere.

Raynor, J. O. (1983). Step-path theory and the motivation for achievement. In AnnArhgx

(pp. 17-21). Reston, VA: Music Educators
National Conference.

 

Reeve,J.(1996). u ' :
Allyn&Bacon.

 

Sandene, B. A (1997). An investigation of variables related to student motivation in
instrumental music. (Doctoral Dissertation, University of Michigan, 1997).

WWW 10A) 3870

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Stake, RE. (1995). W. Thousand Oaks, CA: SAGE

Publications, Inc.

Thomas, N.G. (1992). Motivation. In R Colwell (Ed) WW9
Ieachingandleamina (pp.425-436). New York: Macmillan.

Weincr, B. (1972). MW Chicagor
Rand McNally College Publishing Co.

Wilson, K (2000). The gentle style of Daniel Long An interview with a veteran
Michigan teacher. W 12-15.

43

APPENDIX A

E l I . : . E II I
1. I am a student in your seventh grade orchestra, and I am frustrated with my level of
ability in comparison to the other students. What would you say to me or recommend for
me to do?
2. There are two types of motivation-c-intrinsic and extrinsic. What types of extrinsic
motivation do you use in your seventh grade orchestra? What ways do you initiate
intrinsic motivation for your students?
3. What role do you think the choice of repertoire has on the motivation of your
students?
4. What do you consider when choosing the repertoire?
5. What role do you think classroom management skills has on the motivation of your
students?

6. What is your opinion on the use of competition in the orchestra classroom?

 

9999’!"

 

How long have you been studying orchestra with Mr. Long?

How much longer do you see yourself in orchestra?

What made you want to join orchestra?

What do you like about your orchestra class? What don’t you like?
Do you think Mr., Long is a good teacher? Why or why not?

Does Mr. Long encourage you to become a better musician?

7. Explain to me Mr. Long’s method of determining seating in orchestra

45

APPENDIX C

Consentionnforflanlnna
Dear Mr. Long:

My name is Jennifer Parker, and I am currently working on my masters degree in music
education at Michigan State University. As part of the requirements for the degree, I am
conducting research for my masters thesis. The focus of the thesis will be to study the
motivational techniques of an exemplary orchestra teacher. Based on recommendations,
your experience, and your many recognitions, I feel you would be an ideal teacher to
study. Specifieally, 1 would like to study your work with the seventh grade orchestra.
My purpose for this research is to provide practical applications to the classroom for
myself and other teachers. The majority of the data I will collect will be interviews and
observations of you and your students in the classroom.

With your consent, I will document your teaching by video recording five seventh grade
orchestra classes. I will begin with an initial interview with you that would take up to an
hour to complete. The interview will be audio recorded After the interview, I will
observe approximately five classes. In addition, ten of your seventh grade students will
be selected to be interviewed concerning their opinions about your teaching. This
process will also be video recorded The entire student interview will take between
10-15 minutes to complete. Your privacy will be protected to the maximum extent of the
law. The interviews and classroom observations will only be observed by myself. Please
understand that you have every right to refuse to participate. Ifyou choose to participate,
you may refuse to answer any of the questions asked of you.

If you have any questions or concerns regarding this study, you may contact me at (517)
351-8326. You may also contact the chairperson of the International Review Board,
David E. Wright, PhD. at (517) 355-2180.

Thank you for your cooperation,

Jennifer Parker

 

I have read the above procedures, and I give my consent to participate in this study. I am
aware that I will be video and audio recorded in the process.

 

Signature

46

APPENDIX D
ConsentEonnflLBatemsandfinrdems

Dear Parent or Guardian:

My name is Jennifer Parker, and I am currently working on my masters degree in music
education at Michigan State University. As part of the requirements for the degree, I am
conducting research for my masters thesis. I have chosen to study the motivational
techniques of an exemplary orchestra teacher in the classroom. Mr. E. Daniel Long has
agreed to allow me to study his teaching at Slauson Middle School. The majority of the
data I will collect will be interviews of Mr. Long and his students.

I will document his teaching by video recording five seventh grade orchestra classes. In
addition, ten of his seventh grade students will be selected to be interviewed concerning
their opinions about his teaching. This process will also be video recorded. The entire
student interview will take between 10-15 minutes to complete. Because your child may
be in either recording, I need to receive both your and your child’s consent to video
record your child Your child’s participation is strictly voluntary. He or she may choose
to answer all, part, or none of the questions. Your child’s privacy will be protected to the
maximum extent of the law. The interviews and observations will only be observed by
myself. If you choose not to give consent for your child’s participation, I will position
the camera so it will not include your child in the picture during classroom observations.

Ifyou have any questions or concerns regarding this study, you may contact me at (517)
351-8326. You may also contact the chairperson of the International Review Board,
David E. Wright, PhD. at (517) 355-2180.

Thank you for your cooperation,

Jennifer Parker

 

I have read the above procedures, and I give my consent for my child,
4 to participate in this study. I give permission for my child to be
video recorded

 

Please check the area(s) in which you are willing to have your child participate:
The classroom observations
The student interview

 

Signature of Parent or Guardian

I have read the above procedures, and I give my consent to participate in this study. I am
aware that I will be video recorded in the process.

 

Student’s Signature

47

     
  

 
 

HG

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9

 

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