RTRL.31: Role Stress in the Professional Life of the School Music Teacher (Scheib, 2003)

Source:

Scheib, J. W. (2003). Role stress in the professional life of the school music teacher: A collective case study. Journal of Research in Music Education, 51(2), 124-136.

What did the researcher want to know?

How and to what extent do music teachers experience role stress?

What did the researcher do?

Scheib conducted a collective case study of all four of the music teachers at one midwestern US high school. He observed them over the course of six months, interviewed each teacher twice, and collected a variety of documents, such as their job descriptions and concert programs. Scheib analyzed the data in relation to six previously-identified stressors from existing research on occupational stress:

  • Role ambiguity: when it’s not entirely clear what your job is.
  • Role conflict: when different people’s expectations of you contradict each other.
  • Role overload: when you have so much to do that you can’t do any of it well.
  • Underutilization of skills: when you have skills that you don’t get to use.
  • Resource inadequacy: when you don’t have what you need to do your job.
  • Nonparticipation: when you don’t have a say over what your job is.

What did the researcher find?

The four teachers didn’t experience a lot of role ambiguity or non-participation. Since these teachers each had several years of experience, they knew what their roles in the program were and had plenty of say over what they did.

The teachers experienced role conflict in several ways. One of the most important was that the roles of parent and spouse sometimes conflicted with their music teaching roles. There were conflicts within the music teacher role, too, as there are many different and competing roles that music teachers fill. Building a strong performance program and helping students become well-rounded musicians can feel like contradictory goals, but both seem important. There are also many administrative responsibilities that might conflict with other roles.

Underutilization of skills is sometimes called “role underload,” and it might seem like a person couldn’t have role overload and role underload at the same time. However, these teachers experienced both. The sheer number of different and often conflicting responsibilities led to role overload; these teachers just had too much to do. The underload came from having to do things that weren’t music-related and seemed like they should be done by someone else. Fund-raising, preparing spaces for rehearsal and performance, and managing schedules were some of the causes of role underload. One of the teachers felt like his role overload caused underutilization of skills; he didn’t have time to plan well, so couldn’t use his musical skills as effectively as he would like.

Surprisingly, the teachers in this study felt like they had adequate resources in the traditional sense. Scheib wrote that “they realize and accept the limitations of funding that comes with working in a publicly financed system” (p. 133). Instead, these teachers’ resource inadequacy came in the form of staff and students. They had big ideas about how their programs could grow but not always enough teachers in the department or students in the classes to make it work. Class scheduling was one of the main problems for getting students in classes.

What does this mean for my classroom?

Music teacher stress comes from many different places. Using the theory of role dynamics, music teachers can understand their stress in terms of some of the stressors studied here. Once you start to understand where your stress is coming from, you might be able to do something about it!

Scheib had some good advice in his article; here are a few helpful thoughts:

  1. “The subjects report that they themselves are to blame for any tension or stress they endure, since they are the sole determiners of the expectations and roles of their position” (p. 135). If you are stressed about something, then think about why you’re doing it. Is it the best thing for your students? Does someone important expect it of you? Maybe it’s stressful ultimately because it doesn’t need to be done, or at least not the way you’re trying to do it.
  2. “Often, stress comes from the incongruence of the teacher’s expectations and beliefs versus what the system allows… Teachers need to understand that each music program is, to some extent, confined by the system that surrounds it” (p. 135). Every school has different students, teachers, schedules, budgets and other resources. Trying to push beyond what’s possible is not a sign of dedication and strength; it’s a stressor that could hurt your program in the long run. That doesn’t mean you shouldn’t push at all, it just means to be smart about what, how, and who you push.
  3. “Communication is the best weapon in the battle of incompatible role expectations” (p. 135). If different people expect different things from you, get them in the same room and talk it out. You’re only one person and there are only so many hours in the day, so you have to figure out how to prioritize some things and let others go.

* This guest post was authored by Seth A. Taft, PhD Candidate in music education at the University of Colorado Boulder.

RTRL.14: Intersections of Music Making and Teaching (Pellegrino, 2014)

Source:

Pellegrino, K. (2014). Examining the intersections of music making and teaching for four string teachers. Journal of Research in Music Education, 62(2), 128-147.

What did the researcher want to know?

How do teachers’ past and present music-making relate to their current teaching?

What did the researcher do?

Pellegrino used a phenomenological case study design to examine the lived experiences of four full-time public school strings teachers. Data included background surveys, multiple interviews with each teacher, videos of the teachers making music in their classrooms, and a focus group interview that included music making. 

What did the researcher find?

NOTE: For the sake of brevity, I will focus on two of Pellegrino’s findings in this post. Members of the National Association for Music Education can find and read the full article by logging in with their email address and password at https://nafme.org/nafme-research/journal-research-music-education/.

Teachers’ past experiences with music-making influenced their current beliefs about students. Specifically, they believed that what they found interesting or rewarding about music-making would apply to their students as well. For example, one teacher assumed that “the classical musician’s ‘mentality’” would attract his students because it had attracted him. A different teacher enjoyed practicing and worked to instill that value in her students. Another teacher found the recognition received from playing well to be rewarding and assumed his students would want the same.

Teachers’ current music-making nurtured their artistic selves and kept them feeling revitalized as music teachers, and they felt it enabled them to inspire their students as well. Continuing to make music also helped teachers maintain their playing skills so they could model for students, allowed them to reflect on and solve pedagogical issues, and provided an opportunity to remember what it is like to be a music learner, which facilitated compassion toward their students.

What does this mean for my classroom?

There are many benefits for teachers to engage in their own music-making, both inside and outside the classroom. By continuing to make music, you can maintain an ability to model and teach skills, and remembering what it feels like to learn (and struggle!) can enable you to better relate to your students. Just as important, making music can help you stay inspired, fulfilled, and excited about music.

However, teachers should be aware of the tendency to assume that what they find interesting or valuable about music-making will also be the same for their students. Teachers should remain conscious that their students may have different experiences and thus may be motivated in different ways.