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Forming relationships: investigating social capital in a low socio-economic school music program

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Forming relationships: investigating social capital in a low socio-economic school music program

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FORMING RELATIONSHIPS:
INVESTIGATING SOCIAL CAPITAL IN A
LOW SOCIO-ECONOMIC SCHOOL MUSIC PROGRAM

Elizabeth Suzanne Palmer

A dissertation
Submitted in partial fulfillment of the
Requirements for the degree of

Doctor of Musical Arts
(MUSIC EDUCATION)

University of Southern California
August 2017

Advisory Committee:
Dr. Beatriz Ilari, Chair
Dr. Susan Helfter
Dr. Peter Webster

ii
Dedication

To my band family –
Thank you for loving me.

Before you leave the band room for the last time,
stop and take a look around for just one moment.
These four walls have seen you at your worst and at your best.
They have seen the person you were when you walked in for the first time,
and now have seen the person you are.

And when you turn back around and walk through those halls for the last time,
Know that those walls are silently weeping, and maybe you are too-
Because you both have realized that in order to go somewhere in life,
You must leave home.

-The Silent Saxophone Player

iii
Memoriam

I am my ancestors’ wildest dream.

Berry Palmer, Sr.,
Margret Dickens Palmer
Anzella Johnson Carmona Mitchell
Ernest Lloyd Mitchell

I hope I have made you proud.

Rest in Peace

Shahim Lamont Body
February 20, 1991 – June 6, 2017

Your Oxon Hill High School Band Family loves and misses you.
iv
Acknowledgements
My heart is incredibly full with gratitude and love. I give thanks and praise to God for
His grace, mercy, and faithfulness to me. He has protected me, kept me, and made this journey
possible. And most importantly, He loves me every day. Trust in the Lord with all thine heart;
and lean not unto thine own understanding. In all thy ways acknowledge Him, and He shall
direct thy paths (Proverbs 3: 5-6).
When we’re born our parents spend months upon months holding us and carrying us in
their arms, because we don’t have the ability to walk on our own. In a relatively short period
time, if we have use of our legs, we learn how to walk on our own. I imagine that watching your
child take their first steps is a joyous moment. My parents, Berry and Helen Palmer, Jr. have
been watching me walk for a long time, and have done a remarkable job trying to make sure my
path was clear of debris. Lao Tzu said, “A journey of a thousand miles begins with one step.”
Thank you for teaching me how to walk, so that I can run towards my destiny.
No one could ask for a better aunt than my Aunt Linda. She reminds me every day of
what goodness and kindness looks like. Her generosity of spirit is unmatched. She taught me
how to be an aunt. To my sister, Emily, and nephew, Isaiah, words fail to express what you
mean to me. To my Grand-PopPop, Rudolph Gonzalez Carmona, Jr., I love you every day.
I have been blessed to work with amazing faculty at the University of Southern
California. To my advisor and mentor, Dr. Beatriz Ilari. I am sincerely grateful for your
mentorship over the past few years. I am appreciative of the time, energy, patience, and
guidance you have given me. Dr. Susan Helfter, your thoughtful engagement and insights have
been awe-inspiring. Dr. Peter Webster, I appreciate your thoughtful feedback and your sense of
humor. Professor Kenneth Foster, thank you for giving me the tools to build my dream.
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Professor Vincent Womack, it was a pleasure to visit your classes and to watch you teach. Each
of you has challenged me and has poured so much into me. I have learned a great deal about
teaching and learning from each of you. I hope I can be as good of a teacher to my students, as
you have been to me.
This academic and career journey has led me to many places, and I have met many
amazing people. Andrew “Sig” Buchanan, Jamescha Jones, Jamal Hailey, Melvin A. Whitehead,
Aishah Hargett, Nicole Murphy, Annie Hubbard, and Dr. Brian Johnson. You all have become
my family. I am grateful for your friendship and support over these many years.
My classmates enhanced my time at USC Thornton significantly. Kathleen Janert, Jake
Vogel, Richard Perez, Huei-Yuan Pan, Tina Huynh, Yoo-Ji Hwang, Eun Cho, Matthew Cotton,
Alissa Chitwood, Jihae Lim, Drs. Chrissie D’Alexander, Lisa Crawford, and Scott Burstein; each
one of you amazes me. You inspire me to read and think more deeply. As iron sharpens iron, so
a friend sharpens a friend (Proverbs 27:17). I cannot wait to see what the future holds for us!
My experience at USC would have been incomplete without the amazing people in
Residential Education and Disability Services. Not only did these two offices give me valuable
work experience, but they gave me an opportunity to meet students that I would not have met.
Rocio Diaz, Anita Vazifdar, Dr. Markeith Royster, Peter Huu Tran, Sally Behpoornia, Andy Ng,
Kristine Joy Bacani, DJ Payton, Gaby Perez, and Sheva Miran, thank you for the late night boba
runs, trips to the mall and movie theater, and for exploring Los Angeles with me. To Timothy
Bethune and Dr. Emily Sandoval, thank you for helping me cultivate my leadership skills and
style.
A very special thank you to the participants in my study. Your willingness to open
yourselves to up to me and to share your truth is greatly appreciated. I hope that the Bailey
vi
Heights Instrumental Music Program continues to grow and accomplish amazing things. You all
helped me remember why I loved my band family so much.

At times our own light goes out and is rekindled by a spark from another person. Each of us has
cause to think with deep gratitude of those who have lighted the flame within us.
–Albert Schweitzer

vii
TABLE OF CONTENTS

Dedication ...................................................................................................................................... ii
Memoriam .................................................................................................................................... iii
Acknowledgements ...................................................................................................................... iv
List of Tables ................................................................................................................................. x
List of Figures ............................................................................................................................... xi
Abstract ........................................................................................................................................ xii
Chapter One: Introduction .......................................................................................................... 1
Purpose of the Study ........................................................................................................... 4
Research Questions ............................................................................................................. 4
Need for Study .................................................................................................................... 5
Study Design ....................................................................................................................... 6
Assumptions and Initial Limitations for Design ................................................................. 7
Abbreviations and Definitions ............................................................................................ 8
Overview of Chapters ....................................................................................................... 10

Chapter Two: Review of Literature .......................................................................................... 12
Contributions from Organizational Theories .................................................................... 12
Addressing the How .............................................................................................. 13
Addressing the Why .............................................................................................. 17
Pierre Bourdieu’s Theory of Practice ............................................................................... 18
Social Capital .................................................................................................................... 20
Defining social capital .......................................................................................... 20
Building social capital ................................................................................ 22
Types of social capital ............................................................................... 24
Social Capital in Schools .................................................................................................. 26
Social capital of teachers ...................................................................................... 27
Social capital of parents ........................................................................................ 29
Social capital of students ...................................................................................... 31
Social Interactions and Social Networks .......................................................................... 33
Summary of Chapter ......................................................................................................... 36

Chapter Three: Method and Methodology ............................................................................... 39
Multiple Case Study .......................................................................................................... 39
Ethical Considerations ...................................................................................................... 41
Research Setting ................................................................................................................ 42
Prince George’s County Public Schools (PGCPS) ............................................... 42
Site selection criteria .................................................................................. 44
Music in PGCPS ........................................................................................ 44
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Site and Participant Selection ........................................................................................... 45
Description of Participants ................................................................................................ 46
Bailey Heights Instrumental Music Program (BHIMP) ...................................... 49
Data Collection ................................................................................................................. 49
Stage 1 ................................................................................................................... 50
Stage 2 ................................................................................................................... 51
Stage 3 ................................................................................................................... 52
Data Analysis .................................................................................................................... 53
Data Validation ................................................................................................................. 55
Summary of Chapter ......................................................................................................... 56

Chapter Four: Observations of the Setting and Participants ................................................. 58
Discovering Bailey Heights: Observations ....................................................................... 58
First impressions ................................................................................................... 58
The Winter Concert ............................................................................................... 61
BHHS Instrumental Boosters Association Meeting ......................................................... 62
BHHS Band and Orchestra Cluster Concert ..................................................................... 65
Participant Voices ............................................................................................................. 68
Mr. Eric Moore ..................................................................................................... 68
James and Joan ...................................................................................................... 72
Michael and Irene Baker ....................................................................................... 75
Artifacts ............................................................................................................................. 78
Summary of Chapter ......................................................................................................... 79

Chapter Five: Findings: Themes and Subthemes .................................................................... 80
Bonding, Bridging, and Linking in BHIMP ..................................................................... 81
Bonding ................................................................................................................. 81
Dysfunctional bonds .................................................................................. 82
Bridging ................................................................................................................ 83
Building bridges ......................................................................................... 84
Linking .................................................................................................................. 85
Indicators of Social Capital ............................................................................................... 86
Themes and subthemes ......................................................................................... 86
Mutual support and reciprocity ............................................................................. 86
Mentoring .................................................................................................. 87
Holistic buy-in .......................................................................................... 88
Developing relationships .......................................................................... 89
Obligation ................................................................................................. 90
Cooperation ........................................................................................................... 90
Commitment to goals ................................................................................ 91
Networks and connections .................................................................................... 91
Synergy ..................................................................................................... 92
Reputation ............................................................................................................. 93
Trust ...................................................................................................................... 93
Presence of Cultural and Economic Capital ..................................................................... 94
Cultural and economic capital indicators at BHIMP ............................................ 94
ix
Exchange of information ........................................................................... 95
Developing ideas of success ..................................................................... 96
Increased skills and competencies ............................................................ 97
Mentoring .................................................................................................. 97
Repertoire .................................................................................................. 98
Summary of Chapter ......................................................................................................... 98

Chapter Six: Summary and Conclusions .................................................................................. 99
Summary of Findings Relevant to the Research Questions ............................................ 100
Question One ...................................................................................................... 100
Question Two ...................................................................................................... 102
Question Three .................................................................................................... 103
Question Four ...................................................................................................... 104
Study Limitations ............................................................................................................ 105
Implications for Future Practice ...................................................................................... 107
Purpose driven engagement ................................................................................ 107
Organizational structure ...................................................................................... 108
Student leadership ............................................................................................... 109
Change in culture ................................................................................................ 110
Implications for Future Research .................................................................................... 112
Closing Thoughts ........................................................................................................................ 113
References .................................................................................................................................. 115
Appendices ................................................................................................................................. 128
Appendix A – Initial Interview Protocol ........................................................................ 128
Appendix B – USC Institution Review Board Approval ............................................... 130
Appendix C – PGCPS Department of Testing, Research, and Evaluation Approval ..... 132
Appendix D – Information Sheet for Non-Medical Research ........................................ 134
Appendix E – Youth Assent for Non-Medical Research ................................................ 137
Appendix F – Parent Participant Consent for Non-Medical Research ........................... 142
Appendix G – Initial Coding Tree .................................................................................. 146
Appendix H – Artifacts ................................................................................................... 147

x
List of Tables
Table 1 .......................................................................................................................................... 43
Table 2 .......................................................................................................................................... 46
Table 3 .......................................................................................................................................... 48

xi
List of Figures
Figure 1 ......................................................................................................................................... 54
Figure 2 ......................................................................................................................................... 81
Figure 3 ......................................................................................................................................... 86
Figure 4 ......................................................................................................................................... 95
Figure 5 ....................................................................................................................................... 147
Figure 6 ....................................................................................................................................... 147
Figure 7 ....................................................................................................................................... 148
Figure 8 ....................................................................................................................................... 149
Figure 9 ....................................................................................................................................... 150
Figure 10 ..................................................................................................................................... 151
Figure 11 ..................................................................................................................................... 152
Figure 12 ..................................................................................................................................... 153

xii
Abstract
Social interactions and networks shape our ways of being in the modern world. Through
our interactions in groups we learn social cues and behaviors, and unspoken rules. We also gain
social resources that help us form lasting relationships. Music performance ensembles are
credited with creating strong bonds, which translate into having a sense of family. Social capital
is the social resources accumulated and exchanged between members of groups. The social
capital of schools, teachers, and parents has been investigated, yet there is very little research that
has investigated the social capital that exists between students, particularly students in school-
based music programs.
This qualitative, multiple case study investigated social capital within a low socio-
economic school music program. The study takes place in Prince George’s County, Maryland, a
suburb of Washington, D.C. The time span for data collection took 14-weeks and included three
stages of data collection. Stage one included participatory and non-participatory observations,
field note writing, and artifact collection. Stage two contained interviews with two students, two
parents, and one band director. They spoke candidly about the relationships they have cultivated
within the music program. During stage two, participatory and non-participatory observations
continued. Lastly, stage three contained data validation via triangulation and member checking.
The findings revealed indicators of social capital, along with links to cultural and
economic capital. Additionally, the study exposed threats to social resources and their negative
impact on the music program. Implications for music teaching and learning and music research
were included, including the need for purpose-driven engagement, leadership, organizational
structure, and culture changes.
Keywords: social capital, Bourdieu, band, social networks, social interactions
1
Chapter One: Introduction
For nearly 30 years I have participated in choirs and bands, in and out of schools. As I
reflect upon my experiences in these ensembles, I remember the rehearsals, performances, and
work with band and choir-mates on various projects including fundraisers, equipment
management, and other activities; but I most fondly remember the time I spent with my friends
socially. Upon further reflection on my social interactions, I began to realize that, within my
social circle, we held each other accountable to each other, the music, and the ensemble. This
experience is not unique to me; conversations with new friends with music ensemble experience
reveal a band, orchestra, or choir “family.” The idea of family propelled me to think more
closely about the lived experiences of students, parents, and teacher(s) associated with school
music performance ensembles.
This study examines a facet of the musical “family”: the relationships. While I believe
that my experience of having a band or choir “family” is not an isolated phenomenon, I do not
believe that everyone’s experience will be like my own. There are multiple truths, and that
knowledge and experience are socially constructed. I hope to illuminate someone else’s
experience of band family through a constructionist epistemological positioning.
The performing and visual arts community is unique within both K-12 and higher
education institutions. As educators examine pedagogies and best practices, peer learning
through social engagement continues to aid students in developing and demonstrating knowledge
(Vygotsky, 1978; Crawford, 1996). American music education provides researchers with
examples of learning that takes place individually and within social groups. These examples
include: one-on-one private lessons with teacher and student or student-to-student; small
ensembles such as duets, trios, quartets; large ensembles such as choirs, bands, orchestras; and
2
sectionals (i.e., members of the same voice or instrument family working separately from a
larger group). This research seeks to explore the social interactions and networks between
student musicians, their ensemble director, and parents within a school-based music performance
ensemble through the lens of social capital.
For over a century social scientists such as Karl Marx (1975) and Max Weber (1921)
have examined society through groups, social interactions and networks. Researchers are
interested in the social interactions between actors and the development of social networks
within a group and how those social networks expand and connect to outside communities.
Social interactions shape our understanding and ways of functioning in the world. Through
experiences in social situations, we become more knowledgeable in the world; learning how the
world works, and in this case organizations, and by extension, how music performance
ensembles work. Social networks are comprised of individual actors within a social setting or
organization. The study of social networks gives researchers the opportunity to examine the
relationships between actors in social spaces, the relationships between the actors within
networks, and the relationship of actors to the outside world. The performance ensemble is a
social network unto itself and the musicians and director(s) are actors within this specific social
network (Turley, 2001).
Social scientists and organizational theorists have studied organizational networks and
how actors interact with each other within specific contexts (Mayo, 1933). Understanding the
performance ensemble as a social network allows sociological and organizational theories to be
readily applied. Through the application of sociological and organizational theories to
performance ensembles, music educators can gain a better understanding of how student
performers interact with each other in a specific musical context. This may possibly lead to the
3
improvement of students’ music learning and social experiences, and the enhancement of school
music programs. Examining the music performance ensemble through the lens of organizational
theory offers insights into the nature of social interactions and networks between individuals.
This includes a deeper understanding of social capital (Bourdieu, 1977), or the social resources
and networks of individuals within a group, and how relationships formed in the group help
support the organization (Calhoun, 2011). Examining social capital within a secondary music
performance ensemble can illuminate best practices within the ensemble’s unique contexts,
inform teaching and learning methodology via social, cultural, or educational perspectives, as
well as bolster social connections and support between the ensemble and outside community.
In a broad sense, Bourdieu’s (1977) Theory of Practice proposed that capital is the
accumulation of resources in social, cultural, and economic domains. The accumulation of social
resources in the form of trust, relationships, networks, reputation can be exchanged for tangible
or intangible goods and services. For example, an individual with a great deal of social capital
unto himself or herself may be able to receive goodwill or good-faith favors from colleagues or
institutional bodies (Hanifan, 1916). In the same way, an organization can develop social capital
and make transactions for the benefit of members in the organization, the organization itself, or
for those outside of the core organization. Therefore, social capital can be developed by
individuals within a group and be extended outward to individuals or organizations outside of the
core group.
From a social constructivist position, knowledge is actively constructed, and truth or
truths are subjective and contextual (Egbert & Sanden, 2014). Through this lens, Vygotsky’s
(1978) Social Development Theory posited that one’s knowledge is shaped by past experiences,
contexts, and social situations. Indicators of social capital are therefore “subjective,
4
contextualized, and [based on] personal experiences” of those within social groups, where their
existence is “multilayered” based on their own position within social groups (Egbert, et al, 2104,
pp. 34-35). The individual’s connections within a sociocultural context are paramount, as
learning occurs twice, within the individual and through social interactions (Vygotsky, 1978;
Crawford, 1996). The social constructivist perspective allows one to explore Bourdieu’s (1977,
1986) concept of capital in social settings.
Purpose of the Study
Through this study I hope to have identified and shed light on the social structures and
networks that exist within and outside of the performance ensemble. The information uncovered
may help researchers and practitioners become aware of the social structures within their
particular ensembles, providing contextual lenses for understanding the organization. Becoming
aware of the social structures within an organization affords practitioners the opportunity to
authentically facilitate social dynamics within and outside of the ensembles they lead.
Researchers, in turn, will be able to explore a font of rich data typically reserved for community
music groups and other non-music organizations.
Research Questions
To investigate the central phenomena of social capital in a performance ensemble, I
sought to answer the following questions:
1. How do students, the teacher, parents and/or community members associated with the
performance ensemble experience the bonding, bridging, and linking of social capital?
2. Which indicators of social capital manifest within the performance ensemble?
3. What are the roles of the students, parents and/or community members, and the teacher in
developing the social capital of their ensemble?
5
4. How do issues of economic and cultural capital emerge from the investigation of social
capital in a performance ensemble?
Answers to these questions may be invaluable for practitioners—revealing information that will
help them build internally and externally supported (internally and externally) programs, while
fostering authentic music making experiences for their students. From the perspective of
performing arts advocacy, this research also highlighted some social benefits of music education,
for the individual and community.
Need for Study
The examination of social capital highlights the social resources present within social
interactions, social networks, and connections within a group of people and how those
connections allow the organization to thrive. An investigation of social capital in a secondary
music performance ensemble may inform educational practice by enhancing musical
achievement, bolster connections between the ensemble and the community, and illuminate best
practices for operating the ensemble within their unique context. While social capital research is
growing (Brimhall, 2014; Holtgrave, Norrick, Teufel, & Gilbert, 2014; Langston, 2011;
Lorensen, 2002; and Martinez & Ulanoff, 2013), there are gaps in our knowledge regarding
social capital of school music performance ensembles, particularly as it pertains to low socio-
economic communities. Investigating social capital of a secondary music performance ensemble
within a low socioeconomic school community will undoubtedly illuminate issues of cultural and
economic capital, as they are inextricably linked. The problem becomes understanding how
social capital manifests itself in a school-based performance ensemble, and by extension, how
cultural and economic capitals exist in these settings.

6
Langston (2011) discussed indicators of social capital within a community choir in
Tasmania, Australia. This work noted that social capital research typically focuses on
community in a broad demographic sense (Woolcock, 2001; Woolcock & Jones, 2007), with
little research being devoted to the manifestation of social capital in community music ensembles
(Langston, 2011). Adderley, Berz, and Kennedy (2003) presented data on the subcultures which
music students form within a larger school setting, along with the subcultures that are germane to
the student’s sense of self and personal growth. As a result of these subcultures, students
experienced close bonds, which are reflective of indicators of social capital such as trust,
reciprocity, and obligation.
As a practitioner, I believe that identifying social capital within an ensemble setting can
have a great impact on how students form social bonds and how those bonds impact the overall
objectives of the ensemble. As an example, if the Five Stages of Group Dynamics—forming,
storming, norming, performing, and adjourning (Tuckman, 1965; Tuckman & Jensen, 1977) are
explored, practitioners may have a better sense of how student relationships are impacting the
overall cohesion of the group. This may also lead to a further examination of the culture of
ensembles (Schein, 2004).
Study Design
To hear and understand the voices, thoughts, and feelings of participants, this dissertation
employs a qualitative multiple case study design (Creswell, 2010, 2013; Merriam, 2009; Yin,
2008) that is framed by an ethnographic posture (Wolcott, 1992). Data collection occurred in
three stages. Stage one included artifacts collection, participatory and non-participatory
observations (Creswell, 2010). Stage two consisted of ongoing participatory and non-
participatory observation, collecting artifacts, and semi-structured interviews. Lastly, Stage three
7
involved data validation via member checking and triangulation (Creswell & Miller, 2000). Data
were analyzed using Creswell’s (2013) Data Analysis Spiral.
Assumptions and Initial Limitations for Design
An assumption of this study is that students interact with each other and form personal
and working friendships. Due to the existence of feeder schools, some students have been
classmates since Kindergarten. In this light, students may have been participating in
performance ensembles together as early as fourth grade, when the school district begins pullout
programs for instrumental and vocal music. This suggests that there is a great opportunity for
positive and negative interactions to be illuminated within the research. A second, related
assumption of this study, is that participants have answered truthfully and to the best of their
abilities during the interviews and that individuals will not alter their behavior during
observations. As a result of students’ honest responses, a clear understanding of their friendships
and interactions can be attained.
This dissertation also had some limitations. One limitation of this study was the length of
time the lead teacher/director had been in charge of the music program. If a director has been
working at a school for an extended period of time, there may be a great deal of dependence on
the director by students and parents. This could be a deterrent to social development of parents
and students within the program. On the other hand, if the lead teacher/director is fairly new to
an existing program, there could be turmoil within the program as a result of the change in
leadership. Thus, an overarching limitation of the study is the potential of how participants view
the director and how this may impact the overall perceptions of the organization. This research
is further limited to current students and their parents; by not having had access to students who
have graduated or no longer participate in the program, my view of the case is somewhat limited.
8
Abbreviations and Definitions
BHHS – Bailey Heights High School
BHIMP – Bailey Heights Instrumental Music Program
PGCPS – Prince George’s County Public Schools
SLC – Student Leadership Council in the Bailey Height High School Instrumental Music
Program.
Free and Reduced Meals (FARM) Program – Free and reduced-price meals are made
available to students based on the income of the household. The United State Department of
Agriculture’s (USDA) National School Lunch Program (NSLP) sponsors the FARM program.
This program was established in 1946 under President Harry S. Truman’s National School Lunch
Act.
Culture – Patterns of shared basic assumptions that the group has learned as it solved its
problems of external adaptation and internal integration. Such pattern has worked well enough to
be considered valid and is taught to new members as the “correct” way to perceive, think, and
feel in relation to those problems (Schein, 2004).
Capital – The accumulation of transferable resources within a field. There are four well-
established forms of capital: cultural (i.e., education credentials, knowledge), economic (e.g.,
money, assets, property, and lifestyle), social (i.e., networks of influence or support, group
memberships, familial and social relationships), and symbolic (i.e., cultural or historic prestige)
(Bourdieu, 1977, 1986; Calhoun, 2011).
Cultural Capital – Knowledge of culture through visual and performing arts, local or
foreign norms/customs, and education. According to Bourdieu (1986), cultural capital exists in
three forms. These are defined as (1) industrialized: educational qualifications and certifications;
9
(2) objectified: goods such as musical instruments and artwork; and (3) embodied or “knowledge
and skills necessary to appreciate and understand cultural goods” (Kisida, Greene, & Bowen,
2014, p. 282). Cultural capital is often associated with upward social mobility.
Economic Capital – Economic capital allows goods to be exchanged for currency
(Bourdieu, 1986; Calhoun, 2011). Increases in industrialized and embodied cultural capital can
be leveraged to increase one’s economic capital.
Social Capital – Social resources such as trust, mutual support, reciprocity, and
cooperation accumulated within a given field (Bourdieu, 1986; Coleman, 1988; Calhoun, 2011).
Field – Bourdieu’s (1977) second theoretical construct from the Theory of Practice. The
field describes organizations and social activities with their own set of distinctive rules.
Performance ensembles are considered a field (Calhoun, 2011). The accumulation of resources
within a field allows individuals to “translate” resources into forms of capital.
Group Dynamics – Tuckman (1965) and Tuckman and Jensen (1977) identified five
stages of group dynamics, including: forming, storming, norming, performing, and adjourning.
These stages can take place at any time and with any group of people.
Habitus – The behaviors, dispositions and values formed over time that are socially
acceptable within a group. Behavioral and occupational expectations are learned and
subsequently define identities (Bourdieu, 1977; Calhoun, 2011).
Music Industry – Rather than consider this term as related to music and for-profit,
business enterprises, this is understood here as an umbrella term used to encompass activity that
takes place where music is the central medium. This includes teaching, learning, performing,
composing, and audience engagement (Beech, Broad, Cunliff, Duffy, & Gilmore, 2015).
10
Music Performance Ensembles – Refers to performance ensembles like band, choir,
and orchestra that often exist at the secondary grade levels (i.e., 7th – 12th grades) in a K-12
setting. These are typically highly structured settings that reflect a bureaucratic structure and
mechanistic system (Weber, 1921; Burns, et al., 1961).
Organizational Theory – The study of organizations as rational systems, with a focus on
the operations, functions, and behaviors of administrators and workers (Handel, 2003).
Social Development Theory – Theory associated with the work of Lev Vygotsky
(1978), positing that one’s knowledge is shaped by past experiences, contexts, and social
situations. According to this theory, learning occurs twice, within the individual and through
social situations.
Social Theory – Theories used to study social interactions and phenomena. Some
examples are Theory of Practice (Bourdieu, 1977) and Antipositivism (Weber, 1922).
Overview of Chapters
Chapter One laid out a general context for the problem to be studied, along with the
purpose and need for the study, research questions, assumptions and limitations, and
terminology. Chapter Two includes a literature review that places social capital within the
context of Bourdieu’s (1979) Theory of Practice, further exploring the concepts of habitus, field,
and capital. Also described in this chapter are earlier works on social capital in educational
contexts involving parents, teachers, school administrators, and students; in musical contexts,
mainly through studies of performance ensembles; the development social capital, and bonding,
bridging, and linking social capital (Putnam, 2000; Langston, 2011). Cultural and economic
capitals are treated to a lesser extent, given the focus of the present work on social capital. The
organizational theory of bureaucratic structures (Weber, 1922) is also addressed, offering an
11
overarching view of the inherent structures within a music performance ensemble. This was
done to provide a context for the circumstances under which social interactions take place, and
how social networks are formed. Chapter Three explores the qualitative methodology employed
for this dissertation, with further considerations of the study setting and data analysis. Chapter
Four presents detailed observations of the site and participants of the study and is designed to set
the stage for the presentation of and themes and subthemes that emerged to answer the research
questions. Chapter Five is devoted to the presentation of themes and subthemes. Lastly, Chapter
Six revisits the initial research questions, offering a summary of the study with conclusions and
implications for music teaching and learning.
12
Chapter Two: Review of Literature
In this chapter, literature on organizational theory, social capital theory, and social
networks and social interactions is presented. Each section provides the reader with a deeper
understanding of the central phenomena: social capital. The studies discussed here lay a
framework for examining the music performance ensemble through an organizational, theoretical
lens, as well as to examine social capital in school settings and its relevance to music
performance ensembles. Organizational theory is presented as the prominent and overarching
framework that precedes the discussion on social capital.
Contributions from Organizational Theories
The application of organizational theory to a music performance ensemble may seem a
bit odd or unnecessary. After all, organizational theory is rooted in the science of management
and human behavior, whereas music performance ensembles are rooted in both research and
practice concerning the production and reproduction of music. However, if the operations of a
performance ensemble are examined a bit further, it becomes evident that a music performance
ensemble is also an organization that functions within an artistic domain. Therefore,
organizational theories can be applied when examining the inner-workings of a musical
ensemble. Handel (2003) asserted that an organization is a “deliberately planned group” that has
specific goal(s), possesses a set of formal rules, and with clear delineations of authority, roles,
and responsibilities of participants” (p. 2). Handel (2003) further stated that organizations are
“generally designed to outlive the participation of the particular individuals who participate at
any one time” (p. 2). By these definitions, a school music performance ensemble fits Handel’s
criteria of an organization. Unsurprisingly, organizational theorists have become increasingly
interested in the music industry, as members within the field work across organizational
13
boundaries with other industries on a rather frequent basis (Beech, Broad, Cunliff, Duffy, &
Gilmore, 2015). In the specific context of a school setting, an example is when the music
department works with the theater department to launch a school production.
Organizational theories examine the overall function of an organization, in order to assess
its efficiency, or how well an organization uses its time and resources, and effectiveness, or how
well an organization reaches their goal (Handel, 2003). It is important to take into account
how—micro and macro level operations— and why—the overall values, goals, culture—an
organization functions. The how and the why deal exclusively with the people who make up the
organization and those outside of the organization who benefit from its work and product. In the
case of music performance ensembles, these may include performers, leaders (e.g., conductor,
program administrator, section leaders), and patrons including outside supporters and audience
members. Typically, in school music performance ensembles there is a handbook or guide
1
that
outlines the mission, vision, and/or goals, providing a clear focus and structure for the
organization. Within this document, both the how and the why are (or should be) addressed (see
Gilley, Morris, Waite, Coates, & Veliquette, 2010). The how and the why offer entry points for
the examination of social interactions between actors within the group, the social networks
within the group, and the extent to which the social networks extend outwards to individuals
outside of the core group. But to assess the structure of the organization we must first ask: how
does the organization, in this case the music performance ensemble, run?

1
Gilley, et al. (2010) discussed an organization’s charter having components, which includes the
organizations purpose, explaining why the organization exists and the overall organizational
strategy/structure. This is very similar to what a music performance ensemble in the secondary
school setting would use for their students. Typically, school-based classes and organizations do
not have charters, as the school district or the school itself establishes such programs.

14
Addressing the How. Organizational theories and models such as Weber’s (1922)
bureaucratic model are based on centralized decision-making, defined hierarchy, and divisions of
labor. Contingency theory (Burns & Stalker, 1961) is centered on the notion that organizations
can adapt to their unique circumstances; scientific management, or, the management of
organizations is based on experiments in work efficiency and productivity (Taylor, 1911), and
social theories like the Theory of Practice by Bourdieu (1977), can all be universally applied to
any organization. A thorough examination of these theories offers sociological insights into the
learning environment of a school music performance ensemble. The application of sociological
theories in music education research is also useful to investigate the inner-workings of
classrooms and performance ensembles. Wright’s (2010) chapter in Sociology and Music
Education provides theoretical grounding and support for examining issues of music education
through sociological lenses. Given their unique contexts, each classroom and ensemble can be
seen as a unique entity. Within this volume, Green (2010) argued for music education’s role in
the practice of reproducing musical conventions, more specifically how musicians interact with
one another to produce a musical product by means of composition, improvisation, and/or audio
reproduction of a musical score. Through this lens, the impact of race, ethnicity, and gender in
music ensembles can be furthered explored. Johansen (2010), in turn, positioned the field of
music education as a social system functioning at three system levels: interactions,
organizational, and societal systems. Examining the organizational structure of a music
performance ensemble provides context for understanding the social interactions taking place
within the music ensemble. In this way, we can examine social interactions and networks taking
place in school music performance ensembles.
15
Based on the author’s personal experiences
2
, performance ensembles often resemble a
bureaucratic system. In 1968, sociologist Max Weber argued that bureaucracies are governed by
a set of impersonal rules and procedures applied universally (Handel, 2003). One of the tacit
rules of a music performance ensemble, for example, is the assumption that musicians, including
students, amateurs, and professionals, will practice their parts outside of the ensemble and will
come to rehearsal prepared to work. Bureaucracies also employ technically qualified, full-time
experts assigned to unique areas in a logical division of labor. In the case of an ensemble, the
audition process determines who the “personnel” of the ensemble are or will be. The individual
musical part, in turn, determines what each musician’s duties are during a given composition.
Additionally, in a bureaucracy each member executes a specific function repeatedly and
according to pre-specified standards in service, to the larger collective goal. A bureaucracy is
often seen, then, as a “giant human machine” (Handel, 2003).
According to Burns and Stalker’s (1961) Contingency Theory, organizations are either
mechanistic or organic systems. Mechanistic systems are those with stable environments and
formal rules; duties are specialized and sharply defined and have hierarchical control, allowing
an efficient and predictable environment (Handel, 2003). By contrast, organic systems are
dynamic and uncertain; there is differentiation within tasks performed by individuals and control
is decentralized (Handel, 2003). Under these two definitions, music performance ensembles can
be seen as mechanistic systems. Centralized decision-making comes from the ensemble director
in terms of choice of repertoire, rehearsal schedules, etc. Formal rules include an established
rehearsal times, prompt attendance, and attire, among others. Sharply defined duties may

2
My personal experiences include participating in wind bands throughout secondary school,
through undergrad and graduate school. Additionally, I participated in choirs throughout this
time in a religious setting. My professional experience includes running ensembles at the
elementary and high school levels.
16
include assignments for set up and tear down of the rehearsals and performances, solo
preparation, and other predefined roles of section leaders or ensemble assistants in place.
The Humanistic Relations Theory and/or human resource management (Mayo, 1933), or
the idea that social groups formed within an organization adds a level of emotional connectivity,
which, in turn, raises worker loyalty, increasing productivity and worker satisfaction (Handel,
2003). According to Bruce and Nyland (2011):
Mayo and [the Human Resource School of management] central achievement was to
bring people’s social needs into the limelight and thereby increase their capacity for col-
laboration at work. Employees obtained identity, stability and satisfaction, making them
more willing to cooperate and contribute their efforts toward accomplishing
organizational goals (p. 385).
Mayo’s Human Relations Theory applied to the school music context acknowledged the social
and emotional needs of students, which may foster a greater connection to the ensemble,
prompting students to work harder to achieve their own musical goals as well as the goals of the
ensemble.
Similarly, Abraham Maslow’s (1943) Hierarchy of Needs connects to the Human
Relations Theory. While Maslow’s research dealt with the psychology of human motivation, he
noted that humans need feel a sense of safety in order to persist with achieving their goals.
Divided into five stages, Maslow posited that foundational needs are physiological (e.g., food
shelter) and safety (e.g., health and well-being) must be met in order for an individual to self-
actualize and reach his or her full potential. Based on this principle, if the foundational needs are
not met the individual will not be able to achieve the higher-order goals, and ultimately will not
self-actualize. The sense of belonging an individual feels is directly associated with their
17
interactions with other people, on both an individual, one-on-one basis, and within group
settings. Social support is necessary for individuals to persist in an activity.
In contrast to Maslow’s Hierarchy of Needs, the Japanese Organic Collectivist Model
focuses on the group and not the individual (Foster, 2002). In this model, self-worth is
connected to approval from the group. The collectivist model is suited for organizations that
may benefit from decentralized control/authority, informal rules, and upholds the ideals of
community (Handel, 2003). This is in contrast to bureaucratic models, which performance
ensembles resemble. In the Japanese Organic Collectivist Model, individual satisfaction is
derived from the success of the group (Foster, 2002). However, it is possible to have these two
models coexist in an understood paradox. The collectivist model can be used to create unity
across all performance ensembles in the secondary school, where the band, choir, and orchestra
programs execute shared goals to strengthen the music department as a whole. Shared goals can
create unity and sense of belonging, where belonging is a need that must be fulfilled in order for
an individual to self-actualize (Maslow, 1943). The aforementioned theories endorse the need
for exploring relationships within an organization setting, with the potential of positively
affecting the students in the program (Townsend, 2006).
Addressing the Why. Why does this organization, in this case a music performance
ensemble, exist? The answer to this question lies within the mission, vision, and/or goals
statement(s) of the organization. In a music performance ensemble, the purpose statements
describe how students fit into the music program and facilitate their continued engagement
(Armstrong & Armstrong, 1996; Northouse, 2003). Purpose statements not only define the
rationale for an organization’s existence, but often are the reason why individuals join the
organization and continue to take part year after year. Paradoxically, purpose statements are also
18
the reason why some individuals choose to no longer participate in an organization or never join
in.
When purpose statements are easily understood and attainable, individuals can see
themselves reflected in the organization; thus the organization becomes a part of their identity
(Corley, 2004). Purpose statements also establish the collective identity of the organization.
Therefore, identity is shared at individual and group levels, creating normative behaviors and
standards within the organization. Normative behaviors and standards can be defined as ways of
being and knowing within the organization. Further, these normed behaviors and standards
become a foundational element for the social interactions between individuals within the
organization, as well as for the social networks that develop. These foundational elements, in
turn, offer an entry point for discussing social capital or the accumulation of social resources in
the organization, and for discussing how social capital is leveraged in varying situations in the
lives of the members within the organization and in the organization itself.
Pierre Bourdieu’s Theory of Practice
Sociology allows individuals to critically examine interactions of the citizenry within
specific social contexts. French sociologist Pierre Bourdieu’s (1977) Theory of Practice
examined the dynamic interplay between social context and human agency. As a result of his
ethnographic work during the Algerian War of Independence (1954-1962), Bourdieu identified
three key theoretical constructs to explore human interactions in social contexts: habitus, field,
and capital. Habitus refers to lifestyle, tastes, values, dispositions, and expectations of a certain
group. The embodiment of social structures, habits form over time within particular social
circles. Essentially, habitus is the group of behaviors, dispositions, and values formed over time
that are socially acceptable within a group. Through habitus individuals become socialized.
19
Behavioral and occupational expectations are learned and subsequently define identities and
“how we exist in the world” (Calhoun, 2011, p. 378). Calhoun further asserted that, “habitus can
be formed in different ecologies – desert, forest, or city” (p. 378). Within these different
ecologies the habitus enables context for individuals to act in certain ways. In the ecology of the
music performance ensemble, musicians can perform together without consciously following a
set of prescribed rules, as these are internalized within each musician. Examples of internalized
rules include: the conventions associated with reading notation, knowledge of how one’s
instrument functions, watching the conductor, sitting in the appropriate section, and looking to
the section leader for instructions, among others.
Bourdieu’s second theoretical construct, field, described organizations and social
activities with their own set of distinctive rules; much like the aforementioned ecology. The
performance ensemble is its own field (Calhoun, 2011). The accumulation of resources within a
field allows individuals to “translate” resources into forms of capital. Bourdieu’s analysis of
capital allows individuals to move fluidly within a given field through the accumulation of
resources in a given field (Calhoun, 2011). For example, economic capital, cultural capital, and
social capital are dependent upon the amount of resources one has within a given field. It does
not function nor exist except in relation to a field (Bourdieu & Wacquant, 1992). According to
Calhoun, Bourdieu’s “analysis of the differences in forms of capital and dynamics of conversion
between them is one of the most original and important features of [his] theory” (pp. 379-380).
If the resources gained in the field are translated to the various forms of capital, then the
combined resources of those within a group can produce better outcomes for the entire group
(Calhoun, 2011; Coleman, 1988). In the secondary music performance ensemble, the combined
20
capital of all involved—teachers, students, parents, administration, and community—can
immensely benefit both the organization and the individuals who make up the group.
The examination of social capital within a group is central for one to understand how
networks and connections are made because social capital is dynamic and may change as social
interactions and networks evolve between actors within a field. In the school environment,
economic capital is determined by funding received from federal, state, and local governments,
along with Parent Teacher Student Associations (PTSAs), booster programs, and private donors.
Cultural capital is related to individual actors within the school’s ecosystem. External factors
outside of the school such as school location, disposition and attitudes of parents, further impact
the overall perception of the school’s cultural capital. Although social capital is the focus of this
study, it is important to note that social, economic, cultural, and symbolic forms of capital are
inextricably linked. That is, the economic and cultural capital an individual possess can have an
impact on their social capital and vice versa.
Social Capital
Social capital refers to the hierarchical, linear networks and connections within groups,
and how those connections extend outside of the group to the outside community (Langston,
2011). Examining social capital in secondary school music performance ensembles will
illuminate social networks and interactions within a performance-based school music program,
shedding light on the links between social, cultural, and economic capital. This knowledge is
crucial for informing practice and building what one might define as a “successful” program, in
music and beyond.
Defining social capital. Hanifan (1916) is credited with using the term social capital
first, however, it was Pierre Bourdieu (1977) who developed the theoretical construct
21
surrounding the term. According to Hanifan (1916), capital refers to “tangible substances [that
count most] in the daily lives of a people, namely, goodwill, fellowship, mutual sympathy and
social intercourse among a group of individuals and families who make up a social unit” (p.
130). Developing social capital improves “recreation, intellectual, moral and economic
conditions” and therefore must be present before effective work can take place” (p. 131).
Hanifan offered an example of how the development of social capital improved the quality of life
of a community in rural West Virginia. Hanifan’s narrative study recalled the story of Lloyd
Tustin, the district supervisor of Hundred, West Virginia. Mr. Tustin’s story detailed the social
habits and needs of the community, i.e., students and parents, and how assessments and
interventions were provided to holistically improve the community. The interventions included
agricultural fairs, teachers learning more about the home life of their students, school-wide
projects that involved the community, evening classes to combat adult illiteracy, and the
introduction of athletics. As a result of the interventions developed by Mr. Tustin, over time,
community members of Hundred, West Virginia were able to sustain the programs that improved
the community, and improving the overall quality of life.
Social capital also dictates how individuals interact with one another, inside and outside
of a group, while examining “relations between actors among actors” (Coleman, 1988, p. S98).
These interactions are not static, but are rather dynamic and change from day to day.
Acknowledging the roles and functions of each group member, the group can work more
efficiently and thrive, ultimately achieving successful outcomes. Regarding education, Coleman
(1988) discovered that students in parochial schools were less likely to drop out of high school
than their public high school counterparts due to social capital present in parochial schools.
Based on data from the National Center for Educational Statistics (NCES) High School and
22
Beyond (HS&B) (1980, 1982, 1984, 1986, and 1992) longitudinal study, Coleman (1988)
presented raw dropout rates of high school students within three school classifications: Public
School (PS), Private Catholic School (PCS), and Other Private School (OPS). The findings
revealed dropout rates were: 14.4% in PS, 3.4% in PCS, and 11.9% in OPS (see Table 2, p.
S115). HS&B surveyed 893 public schools, 84 Catholic schools, and 27 other private schools.
The location of the schools was not disclosed. It is also unclear which data set Coleman used to
obtain dropout rates. Coleman (1988) accounted for the lower dropout rate among Catholic
school attendees because of dual membership in the congregation and school itself. Not only did
parents and students attend Mass, but also their attendance was seen at school-related functions.
The social capital of this particular school community had a positive impact on student success.
Building social capital. Building social capital within an organization is essential for
strengthening capital within the entire group. Similar to Hanifan (1916) and Coleman (1988),
Wright’s (2013) brief literature review suggested that communal music making is a means for
developing social capital. Wright further extoled the benefits of social capital, and posited social
capital promotes better health, higher educational achievement, lowers crime rates, and increases
economic development. Social capital allows knowledge and resources to be shared, and make
communal efforts possible. When social capital is leveraged for the benefit of a group “the
outcome is greater than the aggregate of their individual efforts” (Nappi, 2014, p. 29). The
accumulation of social capital within a group becomes important for its work. Through the
development of social capital, participants gain trust within a group, learn how to work together,
become better problem solvers, and become linked to one another.
The construction of social capital is predicated on the following components:
incorporation of everyone within an organization, increased engagement, involvement of
23
members from the community, and celebration of the diversities within the organization
(Lorensen, 2002). In educational settings, it is through these four components that students,
teacher, and parents are empowered and more able to be fully engaged with each other and with
the organization. Engagement and inclusion of all persons within an organization are also
essential for sustaining the organization’s mission and/or vision, as well as achieving goals and
moving the organization forward. As participants are empowered, trust can be built, and social
and group dynamics can begin to take shape (Beames & Atencio, 2008). Or, as Ife (2002) stated,
“the more people who are active participants, the more ideals of community ownership and
inclusive process will be realized” (p. 219). Along the same lines, Flanagan and Faison’s (2001)
research on youth and civic engagement demonstrated that in order to earnestly engage youth
there must be safe spaces available for students to express themselves and have a stake in the
decision-making process; making connections between their personal interests and their
community, creating a sense of obligation; and sharing positive and negative aspects of history,
giving a holistic view of the past and present and creating buy-in for the future. While Flanagan
and Faison’s study dealt with politics, these suggestions are transferrable to educational settings
and to the music performance ensemble.
Regarding musical engagement, Wright (2012) and Burstein (2016) maintained that
music participation is a means for building social capital. Mithen (2006) added, “those who
make music together will mold their own minds and bodies into a shared emotional state, and
with that will come a loss of self-identity and a concomitant increase in the ability to cooperate
with others” (p. 215). If loss of self-identity is a by-product of music making, than a new shared
identity is the result of music-making and engagement. The transformation from “me” to “we” is
an important aspect of social connectivity and bonding (Wright, 2012). In the school music
24
setting, the development of social capital can be seen in peer mentoring, where trust can be
developed and students take ownership of their ensemble (e.g., Goodrich, 2007).
Types of social capital. There are five types of social capital that are frequently
identified in the literature: strong ties, bonding, weak ties, bridging (Jones, 2010), and linking
(Langston, 2011). Strong ties refer to characteristics that individuals share such as race, ethnic
background, or gender. Examples of strong ties include close friends, family members, and
long-time neighbors or coworkers. In terms of the school environment, strong ties may resemble
students who live in the same neighborhoods and have matriculated at the same schools over
time. A potential problem with strong ties is the propensity to become “cliquish,” thus being
unaccepting of outsiders, and therefore hindering growth (Jones, 2010). Ties that are too strong
can create a paralysis due to individuals in a group not being able to mobilize across community
boundaries (Granovetter, 1973).
According to Putnam (2000), bonding is “a kind of sociological super-glue holding
groups together” (p. 23). The sociological “super-glue” that Putnam (2000) is referring to serves
to bond families, friends, classmates, and performance mates (Langston, 2011). This super-glue
also helps expand “our narrower selves” by helping a person develop networks with people who
hold similar interests and have similar backgrounds (Langston, 2011; Putnam, 2000, p. 23).
Bonding is more likely to occur within smaller communities, much like a school performing
ensemble (Beames & Atencio, 2008)
3
. The bottom line here is that bonding is important for
creating cohesion within a group. Similar to strong ties, bonding social capital is present among
those with similar backgrounds; however, these relationships are not strictly bound by length of
time (Jones, 2010).

3
Beames & Atencio’s (2008) literature review discusses building social capital and implications
for outdoor education programs in Edinburgh, Scotland.
25
In contrast to strong ties, weak ties also exist between people of dissimilar backgrounds
and individuals, who may be connected in a variety of ways, through professional, recreation,
and other associations. While the term “weak ties” may suggest inherent drawbacks, however,
Granovetter (1973) suggested weak ties are beneficial. Granovetter suggested that “weakly tied
[individuals] are more likely to move in circles different from [their] own and will thus have
access to information different from that which we receive” (p. 1371). He later added that,
“weak ties are more likely to link members of different small groups that are strong ones, which
tend to be concentrated within particular groups” (p. 1376). In the school setting, weak ties
make it possible for students from different neighborhoods to make connections and forge
relationships with one another.
Bridging social capital brings dissimilar people together and allows persons outside the
group to have access to members in the group and the group itself. In this way, bridging social
capital is a “sociological WD-40” (Putnam, 2000, p. 23). According to Stolle, Soroka, and
Johnston (2008), the result of bridging social capital creates “cooperation and familiarity [that]
lead to the development of knowledge-based trust among dissimilar individuals, which in turn
fosters the development of a broader, more generalizable trust” (p. 60). This is particularly
important when bridging includes racial, ethnic, and/or religious diversities. Langston (2011)
argued that bridging is a form of “outward-looking” (p. 164). Music participation provides an
opportunity for the development of weak ties and bridging social capital, thus making it possible
for individuals to develop a shared identity and the ability to work as a team, furthering the
musical goals of an ensemble (Jones, 2010).
Lastly, “linking is a vertical link between the organizations, institutions, [and] those in
authority” (Langston, 2011, p. 164) with people in power. In the secondary school performance
26
ensemble, there could be a vertical relationship between the ensemble director and school
administration, the ensemble director and parent groups, the ensemble director and the
department chair and/or supervisor, and the ensemble director and civic leaders (e.g., ministers,
politicians, school board members) to name a few. Based on Langston’s (2011) qualitative study
of the Milton Community Choir in Tasmania, Australia, indicators of social capital are
manifested through participation, interaction and civic involvement, networks and connections,
families and friends, reciprocity and obligations, trust, norms and values, learning, and
membership of faith-based organizations. Langston (2011) reported how social capital within
the Milton Community Choir has increased. As the choir members engaged in and fulfilled civic
duties, the social capital attributed to the group increased, ensuring “longevity and resilience” (p.
179).
Social Capital in Schools
Investigating social capital in a school setting requires inquiry focused on teachers,
students, parents, and surrounding community. The success of K-12 schools depends on the
relationship between the school as a whole, parents, and the community at large. Further,
organizations within school settings like Parent Teacher Student Associations (PTSAs) and
booster clubs have a longstanding history of parental involvement, which benefit the school
community (Hidalgo, 2013). Hidalgo’s mixed-methods study within a K-8 school revealed that
respondents (n= 40; 10 teachers, 30 parents) had opportunities to meet via structured or
unstructured parent-teacher meetings, increased reciprocity. Parents and teachers perceived
these opportunities as mutually beneficial, with students benefitting from the new relationships
forged by their teacher and parents. These findings are aligned with the idea that the social
capital of the family in tandem with the social capital of the school and community can predict
27
lower dropout rates in high school (Coleman, 1988). This is particularly important as music
programs continually struggle with attrition in the K-12 setting (Ammerman & Wuttke, 2014;
Gamin, 2005; Kinney, 2010; Poliniak, 2012; Vasil, 2013).
Social capital of teachers. Leana (2011) studied school reform and greater teacher
accountability as the primary focus of the educational landscape in the United States. The focus
on human capital or, the experiences, certifications, and pedagogical skills of the teacher, in
addition to the outsourcing of educational consultants, has been seen as the means of improving
school sites. Leana asserted that while human capital has received more attention in school
reform, social capital is actually the missing link in school improvements. Through social
capital, teachers can draw on networks and connections with colleagues to learn how to
successfully overcome challenges in teaching and learning (Leana, 2011).
Pil and Leana's (2009) used a quantitative design to study human and social capital of
math teachers (n=1,013) in 239 4
th
and 5
th
grade math teams and their impact on student
achievement. Math teachers were surveyed regarding the following descriptions of human and
social capital: educational attainment, collective knowledge among the math team, frequency of
interaction between colleagues and administrators, closeness of colleagues, and the strength of
interactions. Findings indicated that linking social capital between teacher and administrator had
a positive impact on student achievement. The authors also found that bonding social capital
between teacher and colleagues was a significant indicator of student achievement. In the case
of music teachers, it may be difficult to develop social capital with colleagues within the school
setting, since many music teachers are isolated by being the sole music educator in the school,
and at times, the entire district.
28
According to Brimhall (2014), there are four characteristics of music teachers that may
effectively promote social capital. These include: positive rapport, knowledge of content area,
successful communication, and regular reflection (Brimhall, 2014). Characteristics such as these
may instill a sense of trust within the teacher, thus strengthening the relationship between teacher
and student, and positively affecting students within the music program. Brimhall (2014) further
stated that the teacher's knowledge of content area, music specifically, establishes norms that are
necessary for students to navigate music as an industry, as both vocational and social endeavors.
By demonstrating social and vocational norms, the teacher is sharing the social capital that he or
she has gained from their personal music industry experiences with their students. Not only are
students sharing norms with their peers; they are also learning norms of a much larger music
community. The third characteristic, communication, is necessary for social interactions between
the teacher and non-students such as parents, administrators, and community members, and the
development of social networks. Developing or sustaining a school music program/ensemble
takes work from students, parents, and school community. The teacher’s ability to effectively
communicate with non-music students supports the continued growth and development of the
program and is a mechanism of both bridging and linking social capitals. Examples of this can
be seen to the extent to which non-music students participate in concerts as audience members,
in fundraisers, and other activity. Again, the teacher becomes a model of how to work outside of
the school music program.
The fourth characteristic, regular reflection, is necessary because it allows the teacher to
ask questions about his or her own teaching and interactions with students. According to
Brimhall (2014), these questions will be reflective of the other three characteristics: Is a sense of
trust developing? Are students networking with other student groups? Are norms being learned?
29
Being reflective obligates the teacher to the overall wellbeing and development of his or her
students. This creates buy-in among students and contributes to their positive feelings about the
school music performance ensemble.
Clemmons (2006) studied rapport between student and teacher within four applied voice
studios. She concluded that positive rapport promotes relatedness and inspires an emotional
connection between student and teacher. Relatedness inspires motivation and self-confidence,
causing the student to believe he or she can be successful. Clemmons noted, “when students feel
their teacher trusts them, respects them, and is enthused about teaching them, it affects how they
feel about themselves” (2006, p. 209). To elaborate, a positive rapport facilitates a sense of trust
and mutual respect between teacher and student. This trust makes it possible for students to
confide in their teacher and/or solicit advice as needed. In the teacher-student relationship, the
teacher models trustworthiness, giving the student an example of what a trustworthy person
looks like and how to be trustworthy (Clemmons, 2006).
Social capital of parents. Inequity of social capital in low-income families versus
middle-class families can be seen in terms of parental participation in school activities. Lareau
(1987, 2011) investigated social class and cultural capital in Californian families with children
aged 10-12. Her work revealed that low-income families are less likely to attend parent-teacher
conferences, school performances, and volunteering in the classroom. Lareau suggested that
middle class and low-income families parent their children in different ways. She called these
concerted cultivation and accomplishment of natural growth, respectively. Interestingly, Lareau
revisited the study participants 10 years later and concluded that different parenting strategies
played a role in shaping their professional and future lives. This study centered specifically on
cultural capital in the forms of prestige and reputation. But its relevance here relates to the fact
30
that cultural capital impacts social capital, that is, the greater one’s prestige or reputation, the
larger their social networks and connections become.
Organizations such as a school’s Parent Teacher Association (PTA), Parent Teacher
Student Association (PTSA), or Booster Associations and/or Clubs are ways in which parents
can interact with teachers, administration, and other parents. According to Bolívar and
Chrispeels (2010), “low-income and non-English-speaking parents seem to benefit little from
conventional parent-teacher associations” thus creating a barrier for engagement and
participation (p. 6). Lareau’s (1987) study also found that low-income White families kept home
and school social circles separate. Corroborating this idea, Hildago (2013) stated that “middle to
upper-income school’s parents are able to network with one another in order to determine the
benefits and the resources that are available at the schools. Low-income parents often fail to
adequately access and benefit from school resources” (p. 5). Low-income families across the
board are less likely to be able to access resources and use them to benefit their students. This is
a direct result of low amounts of social capital or the inability to know how to use one’s
individual or collective resources.
Targeted interventions can help alleviate issues of low or no social capital and develop
social capital among individuals and groups of people. Bolívar and Chrispeels (2010) studied
the Parent School Partnership (PSP) leadership program sponsored by the Mexican American
Legal Defense and Education Fund (MALDEF). The leadership program consisted of 12 weekly
sessions that lasted for two hours. In the program, parents learned about the school system,
college requirements, financial aid, and parental rights and responsibilities. The study revealed
gains in social capital markers such as trust in groups, relational trust among participants, norms
and sanctions (i.e., normative participation), and information channels. Through this partnership
31
parents were also able to forge relationships with other parents, gain access to information from
people who were in the know, and effectively advocate for their student(s).
Social capital of students. Research on the social capital of students in scant. Through a
quantitative study, Stanton-Salazar and Dornbusch (1995) investigated social capital among
Mexican-origin students (N= 205) from 6 high schools in the San Francisco/San Jose areas of
California. The study included variables such as family socioeconomic status, English language
acquisition and bilingualism, and grade achievement and expectations, as indicators of acquired
social capital in the school setting. Despite some flaws in hypotheses and research design, the
results revealed that the amount of social capital a student possessed was related to his or her
cultural capital in the form of grades and achievement, and language competencies (i.e., being
monolingual or bilingual). Thus “opportunities for entering different social institutional contexts
and for forming relationships with people who control valued institutional resources” are not
equally present across all communities (1995, p. 116).
Kruse’s (2010) case study of Gabriella (pseudonym), a Chicana-American music
education major in a large Midwestern University utilized Prado’s (2009) social capital
framework for academic endeavors. Prado (2009) suggested that students’ educational
trajectories are based upon three forms of social capital. These included: ideational support (i.e.,
institutional support, norms and values); material support (i.e., tangible forms of support); and
bridging support (i.e., relationships with third party intervention). Kruse’s (2010) findings
revealed that despite her academic problems in high school and issues with cultural duality, the
relationship between Gabriella and her high school orchestra teacher was a profound one.
Gabriella’s academic success and pursuit of a college education is attributed to her relationship
with her orchestra director. This relationship was an example of bridging support, which is
32
categorized by networking, connecting, and receiving support from representatives within an
educational system (see Kruse, 2010; Prado, 2009).
Goodrich (2007) used ethnographic methods including formal interviews, informal
conversations, observations, and collection of artifacts in a mid-sized (i.e., approximately 1,800
students) Southeastern high school to investigate how peer mentoring works and peer mentoring
contributes to the success of a high school jazz ensemble. This site was selected based on the
recommendation of music education colleagues and the reputation of the band director and jazz
band. The study revealed the benefit of students working together and learning from each other,
in and outside of rehearsals. One benefit of the mentorship was a sense of trust established
between mentor and mentee, which reinforced norms within the jazz ensemble. Students would
often gather outside of school to practice transcribing jazz solos. Additionally, students believed
in a sense of reciprocity; when one student received help, the student would then go and share
what he or she had learned with peers.
Allsup (2003) examined the experiences of nine high school aged musicians. The
students were split into two composing and performing groups. Group 1 followed a non-
traditional, garage band approach to music making, while Group 2 followed a traditional
approach rooted in classical and jazz approaches. The benefit of the two mutual learning
communities was students took a democratic approach to music making, where everyone
participated equally and voices were heard. As a result of this experience, students were able to
exchange musical ideas and create new friendships.
Reid and Duke (2015) compared two peer groups, a group of piano students and a group
of saxophone students, in an Australian conservatory. The study aimed to create peer-learning
networks in an environment where very little peer-learning takes place. Findings revealed that
33
the piano cohort saw the benefits of peer-learning, but favored learning from their studio
teachers. According to the authors, “the student pianist placed a high value on their teachers'
knowledge and advice and suggested that advice from peers was nice, but not necessary” (p.
228). Conversely the saxophone cohort reported that peer-learning was valuable, making
support and inspiration possible. Reid and Duke noted the performance environment for both
cohorts is different- pianists often perform individually, whereas saxophonists have more
opportunities to perform in groups. Thus, there was more social interaction between the
saxophonist cohort, as they were able to casually interact with each other before and after
ensemble rehearsals.
Social Interactions and Social Networks
The word family is often used to describe the close-knit relationships among members of
a music performance ensemble (Stollak, Stollak, & Wasner, 1991; Stollak, Stollak, Meyers, &
Stollak, 1994). In the high school setting students are typically members of a music program for
approximately three to four years. During this time students interact with each other in, before
and after-school rehearsals or ensemble related activities. School music programs are often seen
as a safe-space that fosters growth and development of students. The school music performance
ensemble is a place where social interactions are facilitated and social networks are formed.
According to Adderley, Kennedy, and Berz (2003) the positive environment of the high school
music classroom is a reason for strong bonds among students. Fredrickson (1997) posited that
social contexts within the school music performance ensemble are equally important when
weighed against musical engagement.
In the Adderley, et al. (2003) study on subcultures in a high school music classroom,
student respondents stated that, “most of my friends actually have studied music in some way ...
34
they think that’s one of the main factors why we get along so well” (p. 201). Another student
remarked, “The band has a dating thing going on ... we spend so much time together ... so
romances form and all that stuff” (p. 201). The close-knit relationships reported in Adderley, et
al. (2003) indicated that music participation facilitates social interactions, which form social
networks. The study, which was conducted with 60 students, among them 20 band, 20 orchestra,
and 20 choir members from a large Northeastern high school, revealed that students interacted
with each other outside of school music activities by engaging in typical teenage activities, such
as eating meals together, going to the movies, and shopping, among others. The study also
showed that students interacted with multiple social networks at a given time. One respondent
actually indicated having classifications for friends, namely, friends who played sports, friends in
the band, friends who were a part of no school activity.
Similarly, Baker (2009) used a mixed methods study to survey freshman music majors at
10 Texas Universities (N= 443, aged 21 years and younger) regarding their continued enrollment
in music ensembles and scheduling conflicts in high school. Respondents reported that social
interactions (i.e., sense of community, friends) were the “second most important motivating
factor” (p. 15) in students’ decisions to persist and to enroll in multiple performance ensembles
in high school (Baker, 2009). The first factor was a sense of accomplishment and pride they felt
with their own musical abilities, coupled with the joy of playing their instrument. Scheduling
conflicts reported dealt with students having to choose between participation in band or choir,
the pressure to enroll in Advanced Placement (AP) courses, and enrolling in only one ensemble
at a time (Baker, 2009).
Hewitt and Allan (2012) surveyed 72 participants of two advanced ensembles school-
aged youth in Scotland. This quantitative study was used to discover the reasons students
35
participated in their respective ensembles. The results revealed that the development of social
skills and the opportunity to meet new people and friends were the most valued among
respondents (Hewitt & Allan, 2012). It is important to note that although social interactions
were valued, they were not the primary reasons for students’ continued participation in the
ensembles.
While the music classroom is usually viewed as a supportive environment (Adderley, et
al., 2003), there can still be students who are on the margins of the school music program.
Within the school music program there may be students who find it difficult to connect with
other students and/or teacher (Hourigan, 2009). Hourigan (2009) further stated that “invisible
students may include a new student (maybe even from another area or country), a student with
special needs, or a student who is awkward or shy. Because of this social discomfiture, students
risk falling into the void” (p. 35). This social discomfort impacts a student’s ability to form
lasting relationships with their peers. Poor self-image coupled with being on the margins of the
ensemble creates a negative association for student, as there is a relationship between self-
concept and group behavior (Hourigan, 2009).
From an educational theory perspective (e.g., Bandura, 1977; Vygotsky, 1978), social
interactions positively benefit students, by allowing them to learn from their peers through
modeled behaviors. Additionally, through social learning students become more open to
individuals who are different from them, thus helping to create an inclusive environment within
music classrooms (Jellison, Brown, & Draper, 2015). Interestingly, no studies that examined the
social resources available within secondary music programs were located at the time of writing.
This is what motivated the current study, which examined social capital in a music program and
36
the extent to which individuals associated with the program benefitted from the social resources
available.
Summary of Chapter
This chapter delved into the sociological aspects of the school music performance
ensemble through the lenses of organizational theory, Bourdieu’s Theory of Practice (1977),
social capital, and select aspects of social interactions and networks. Organizational theory
posits that performance ensembles and bureaucratic structure due being governed by impersonal
rules and procedures that are universally applied (Handel, 2003; Weber, 1921). Additionally,
school music performance ensembles are mechanistic systems, where there is centralized
decision-making, specialization, sharply defined duties, formal rules, and hierarchical control,
which create an efficient and predictable environment, essential for product-driven organizations
(Burns, et al., 1961; Handel, 2003).
Bourdieu’s Theory of Practice (1977) outlines social context and human interplay. In his
analysis, Bourdieu offered three important concepts: habitus, field, and capital. These concepts
define how individuals learn to exist in the world based on habits formed within specific contexts
and the resources one accumulates in that context. In the context of the school music
performance ensemble, music learning and performance is the habitus, with a prescribed set of
behaviors. The school music performance ensemble is the field with its own social activities and
rules. Each school music performance ensemble may be considered as a field unto itself. Capital
refers to the social, economic, or cultural resources accumulated in a field.
Social capital deals with the extent to how social interactions and networks are formed
within a field. Social capital resources are intangibles (i.e., goodwill, trust, sympathy) that help
individuals feel connected to a group (Hanifan, 1916). The five types of social capital, namely,
37
weak ties, bonding, strong ties, bridging, and linking are necessary for social capital to be created
among individuals with similarities and differences, extend to peers outside the core group, and
for to establish connections to vertical hierarchies.
Research points to the necessity for social capital as a means of fostering student
achievement (Coleman, 1988; Hidalgo, 2013). Music teachers develop social capital by
instilling a sense of trust in their abilities; encourages networking with non-music students; and
establishes norms within their program (Brimhall, 2014). Research also indicates that
socioeconomic status is likely to interfere with the development of social capital in parents, due
to home and school life often being kept separate (Lareau, 1987; Hidalgo, 2013). Thus, it is
suggested that parents often do not acquire the resources necessary to advocate for their students.
While there is little research that point to the development of social capital between students,
peer mentoring and learning has fostered a sense of trust and reciprocity, and established norms
within the school music ensemble (Goodrich, 2007).
School music ensembles may foster a positive learning environment that creates a sense
of “family” among the participants (Adderley, et al., 2003; Stollak, et al., 1991; Stollak, et al.,
1994). In this sense, musical experiences that occur in a performance ensemble are similar to
social experiences (Fredrickson, 1997). Unsurprisingly, social experiences and the opportunity to
make new friends are among the top reasons students persist in music, enroll in multiple
ensembles, and participate in music ensembles outside of school (Adderley, et al., 2003; Baker,
2009; and Hewitt & Allan, 2012). While the school music performance ensemble is often seen
as and positive social environment, students and teachers should also be aware of individuals
who are on the margins and how this may potentially impact them in negative ways (Hourigan,
38
2009). Researchers interested in social capital research have not yet examined social resources
present among students, parents, and ensemble director(s) within music performance ensembles.
Investigating social capital offers researchers and practitioners an entry point into the
relationships of students within school music performing ensembles. The investigation can shed
light on the extra-musical occurrences that may impact music making, thus impacting the overall
success of the music program. Through uncovering and understanding the social resources that
are present, practitioners and researchers can take an active role in developing social resources
that may be in short supply, while sustaining the social resources that are in abundance.

39
Chapter Three: Method and Methodology
Qualitative research brings the lived experiences of research participants to readers
(Bresler, 1996), bridging the gap between the theoretical and the real world. Researchers ask
questions, investigate the answers, and a well-documented story or stories emerge. According to
Creswell (2013), qualitative research might be organized into five designs, each with its own
unique characteristics, but also with overlap. The first two designs are narrative and
phenomenology, where narrative research explores the life of an individual and phenomenology
explores and seeks to “understand the essence of [an] experience” (p. 104). Grounded theory
design involves theory that is developed based on the data from the field and ethnographic design
sheds light on a group within a specific culture. Lastly, a case study design examines a specific
case or cases. In each of these designs the objective is to understand lived experiences, tell
stories, illuminate viewpoints of participants, and/or highlighting patterns of a group of people.
Prevalent in educational research and the social sciences (Barrett, 2014), qualitative research can
be an effective approach that presents multiple opportunities to ascertain participants’ thoughts
and feelings, and to investigate the impact and manifestation of social capital within the bounded
system of the school music performance ensemble. Participant voice can inform educational and
organizational discourses and practices at school sites and in other educational contexts
(Creswell, 2010).
Multiple Case Study Approach
The use of case study allows researchers to investigate phenomena typically by time and
location within a bounded system, that is, a case that has boundaries (Creswell, 2013; Merriam,
2009; Yin, 2008). For the purposes of this research, the school music performance ensemble was
considered to be a bounded system, and the individuals within the system were the cases to be
40
explored (Creswell, 2010). To delve further into the central phenomena, i.e., social capital, the
use of a multiple case study was necessary. A previous study (Palmer, 2015
4
– unpublished data)
focused on the voice of a single participant, offering one entry into social capital. This multiple
case study design provides the unique perspectives of participants—ensemble director(s) and
student musicians—within the school music ensemble, offering a more complete picture, as
opposed to the exploration of a singular case. Further, utilizing a multiple case study design
helped address the following research questions:
• How do students, teacher, parents and/or community members associated with the
performance ensemble experience the bonding, bridging, and linking categories of social
capital?
• Which indicators of social capital manifest within the ensemble?
• What are the roles of the students, parents and/or community members, and teacher in
developing the social capital of their ensemble?
• How do issues of economic and cultural capital emerge from the investigation of social
capital?
To gain an in-depth understanding of a case, different forms of data were collected
(Creswell, 2013, p. 98). To gather a clear and objective picture of the school site and its
participants, I immersed myself into the music program, adopting an ethnographic posture
(Wolcott, 1992), as a full ethnography was not possible. I utilized participant and non-
participant observations, semi-structured interviews (Appendix A, initial interview protocol),
collection of documents and artifacts in the form of letters to parents, letters to community

4
The previous study investigated the presence of social capital within a Title I K-12 school in
Los Angeles, CA. The director of the school’s music program served as the only participant.
The following indicators of social capital were revealed: trust, reciprocity, mutual support, and
holistic buy-in.
41
leaders, and concert programs; and an audio recorder to record interviews (Creswell, 2013).
Non-participant observations and engaged participation provided rich data, and I was able to
have a shared experience with research participants.
Ethical Considerations
This study was approved by two organizations: the University of Southern California
(USC) and the PGCPS Department of Testing, Research, and Evaluation (DTRE). The review
by USC’s Institutional Review Board (IRB) was rigorous to ensure that the rights of study
participants were protected. A brief description of the study, recruitment tools (flyers and
scripts), interview protocol, along with potential risks and benefits to participants were submitted
for review. University of Southern California’s IRB office granted approval in June 2016
(Appendix B). To conduct research with Bailey Heights High School
5
, the study had to be
approved by the local district’s Department of Testing, Research, and Evaluation. Therefore, a
separate application packet was submitted to this office. The application consisted in a copy of
the USC IRB approval letter, IRB approved recruitment materials, information sheet for faculty,
youth assent form, parent participant consent form, two letters of support from the USC
department chair and dissertation advisor, and approved dissertation proposal. Approval to
conduct research in Bailey Heights High School was granted in November 2016 (Appendix C).
The faculty information sheet, youth assent, and parent participant consent forms were approved
by USC’s IRB and DTRE (Appendices D, E, and F). As per DTRE guidelines, student
interviews were conducted in groups, during the instructional day on school grounds, and in a
semi-private area.

5
Name changed to protect anonymity.
42
Research Setting
This research took place in the Prince George’s County (PGC) Public School System in
Upper Marlboro, Maryland. Located just outside of Washington, D.C., Prince George’s County
(PGC), Maryland is one of the largest African-American majority counties in the United States.
According to the 2010 United States Census, PGC’s population is 909,535. Racially, PGC is
64.4% Black, 19.23% White, 14.94% Hispanic (Mexican, Cuban, Puerto Rican, Central
American, and South American), 4.07% Asian (Indian, Chinese, Filipino, Japanese, Korean,
Vietnamese, Other), 0.56% Native (American Indian, Alaska Native, Hawaiian Native, etc.),
8.51% One Race Other, and 3.17% Two or More Races (U.S. Census Bureau, QuickFacts:
Prince George’s County, Maryland, 2017). The 2000 United States Census data showed an
increase in population for all races except White, which showed a 7.81% decrease (U.S. Census
Bureau, American Fact Finder, 2017). Economically speaking, the median income in PCG is
$74,031 for African-American families, making it the wealthiest African-American majority
county in the United States. Additionally, five of the 10 communities featured in a January 2014
article listing the ten richest Black communities in America published by the Atlanta Black Star,
came from PGC.
Prince George’s County Public Schools (PGCPS). The Prince George’s Country
Public School (PCGPS) system is the 19
th
largest school system in the United States and consists
of 209 schools and educational centers (128 Elementary Schools, 24 Middle Schools, 29 High
Schools, 10 Special Schools and 10 Charter Schools). According to the Maryland State
Department of Education (n.d.), approximately 128,936 pre-k-12 students were enrolled in the
2015-2016 academic year. Table 1 show student enrollment in PGCPS by race in 2015-2016.

43
Table 1
PGCPS Student Enrollment Demographics by Race (2015-2016)
Race/Ethnicity Total Enrolled Total Population %
Am. Indian/AK Native 451 0.35
Asian 3,588 2.78
Black/African American 79,140 61.38
Hispanic/Latino 38,134 29.58
HI/Pacific Islander 272 0.21
White 5,445 4.22
Two or more races 1,906 1.48
Total: 128,936 100

In the 2015-2016 academic school year PGCPS had a graduation rate of 81.44%, slightly
below the national average of 82% in the 2013-2014 academic year (Public High School
Graduation Rates, 2016). The PGCPS graduation rate has increased steadily since 2013 (Prince
George’s County Report Card, 2017). Despite the apparent affluence of the African-American
community in PGC, there are 81 Title I schools in PGCPS (About Us – Title I, 2017). Title I
schools have high percentages of from low-income families. Low-income status is determined
by participation in the Free and Reduced Meal (FARM) program offered through the Department
of Education. Among the 81 Title I schools in PGCPS, 58 are elementary, nine are middle
school, three are K-8, one high school, and ten are non-public (private/parochial). Interestingly,
the amount of Title I high schools in PGCPS increased by one, when site selection began there
were no Title I schools. This prompted me to create criteria that the potential research site must
have approximately 70% of the school population participating in the FARM program. The
existence of Title I schools in PGCPS potentially creates social, socio-economic and cultural
gaps between teachers, students, and parents. Due to these perceived gaps, it is almost
impossible to disentangle cultural and economic capital from social capital of students, parents,
and teacher within a school community.
44
Site selection criteria. The proposed school site was a high school located in Prince
George’s County, Maryland. The criteria for site selection was two-fold: 1) the school had a
functioning instrumental or vocal music program; and 2) the school had at least 70% of students
participating in the Free and Reduced Meal (FARM) Program sponsored by the Department of
Agriculture. For the purpose of this study, the term “functioning” refers to a music program that
participated in the county’s annual music assessment festival in the spring semester of the
academic year. The ensemble’s assessment rating was not considered to be a pertinent criterion,
as selection based on assessment scores could be interpreted as selection based on “program
success.” Having a school site with a high FARM population was an important criterion, as it
may aid in filling gaps within music education research. Music education research that examines
participation often reflects students from middle- to upper class socio-economic backgrounds, as
students from underserved communities are less likely to participate (Elpus & Abril, 2011).
Research with a population from low socio-economic backgrounds helps give voice to a
community that is often left out of music education research. Due to these criteria, cultural and
economic capital were illuminated and the relationship between social, cultural, and economic
capital was further explored.
Music in PGCPS. Within the PGCPS system, all traditional elementary and middle,
academies, and high schools have music course offerings. These courses include general music,
elementary instrumental music and chorus (pullout programs), secondary performing ensembles
(middle and high school band, orchestra, and choir), piano and guitar classes, and music
technology courses. There are three K-8 Creative and Performing Arts (CPA) Academies and
two Visual and Performing Arts (VPA) High Schools. Neither of the CPAs or VPAs are Title I
schools as defined by PGCPS or the Department of Education. At the helm of the music
45
department are two music supervisors; one instrumental and one vocal/general. Through
personal interactions, I have learned that both supervisors are veteran teachers of PGCPS and are
PGCPS graduates.
Site and Participant Selection
Based on the site selection criteria and access, Bailey Heights High School
6
(BHHS) in
Riverdale, Maryland was chosen. The band director, Mr. Eric Moore
7
, has been a friend and
colleague since 2007; he became the band director at Bailey Heights in 2012. Through casual
conversation via social media, Mr. Moore became interested in participating in the research, and
offered his instrumental music program as a potential site. Permission to conduct research in
PGCPS was granted by the school district’s Department of Testing, Research, and Evaluation
(see appendix D). Interviews with students were conducted during the school day, in small
groups, and in a semi-private room on school property as per county guidelines.
Bailey Heights High School’s student population was 2,190 during the 2015-2016
academic year and approximately 72% of students participated in the FARM program.
According to Mr. Moore, BHHS has a large international community, with approximately 90
different countries represented at the school. Table 2 depicts student enrollment by race during
the 2015-2016 school year.

6
Name changed to protect anonymity.
7
Name changed to protect anonymity.
46
Table 2
Bailey Heights Student Enrollment Demographics by Race (2015-2016)
Race/Ethnicity Total Enrolled Total Population %
Am. Indian/AK Native 0 0
Asian 75 3.42
Black/African American 875 39.95
Hispanic/Latino 1,114 50.87
HI/Pacific Islander 18 0.82
White 79 3.62
Two or more races 29 1.32
Total: 2190 100

During the first two observations (Stage 1), Mr. Moore invited me to address students
regarding the opportunity to take part in the research project. The nature of the study was
explained to students along with the commitment required for participants. To be eligible to
participate in the study, students had to be between the ages of 13-19, had to be enrolled in an
ensemble class, and must have participated in the Bailey Heights Instrumental Music Program
(BHIMP) for at least one full academic year. Twenty-five students were interested in
participating in the study, however, only nine students met the inclusion criteria and were
eligible to participate. Finally, only two students returned signed Youth Assent forms (Appendix
E) and were interviewed. The recruitment for parent participants took place at the BHIMP
Booster Association meeting. Five parents expressed interest in participating, yet only two
returned consent forms. There were no exclusion criteria for parent participants. In total, five
participants took part in the study: one music director, two students, and two parents. To protect
the identity of all study participants, names were changed for pseudonyms.
Description of participants
Mr. Moore is the director of bands and orchestra at Bailey Heights High School (BHHS),
serving the school community since 2012. In addition to teaching, he is a working musician,
47
performing in various ensembles in the Washington, D.C.-Metropolitan area. He is a family
man, with a strong moral code. Mr. Moore also serves as executive director of the Bailey
Heights High School Instrumental Music Program Booster Association. James and Joan are
juniors at BHHS, who love music and want to pursue careers as professional musicians. They
both enjoy making music with their peers. James projects confidence and assertiveness, whereas
Joan is quieter and somewhat shy. Michael and Irene Baker are first year members of the Bailey
Heights Instrumental Boosters Association. Both Mr. and Mrs. Baker are friendly and family
oriented. While this is their first year being associated with the Bailey Heights Instrumental
Music Program, they appreciate the camaraderie and musical growth their daughter has
experienced. Table 3 includes a detailed description of all study participants.
48
Table 3
Descriptive Information of Participants
Name Role Age Grade Race/Ethnicity Number of
Interviews
Years with
BHHS
Musical
Background
Occupation
James G. Student,
officer in
BHHS Band
Program.
16 11
th
African
American,
Caribbean
(Dominican)
3 2 Instrumentalist:
French Horn
Student –
Sergeant-At-Arms
BHHS Band
Joan P. Student,
officer in
BHHS Band
Program.
16 11
th
African
American,
Hispanic (El
Salvadoran)
3 3 Instrumentalist:
Trumpet/French
Horn
Student –
Vice President
BHHS Band
Irene B. Parent, officer
in the BHHS
Instrumental
Boosters
Association
36 N/A African
American
2 1 High school choir,
flute (1 year)
Government
Contractor (14
years)

Secretary – Booster
Assoc.
Michael B. Parent, officer
in the BHHS
Instrumental
Boosters
Association
36 N/A African
American
2 1 Instrumentalist:
Trumpet, Clarinet,
and Saxophone
(Elementary and
Middle School)
Government
Contractor (10
years)

President –
Booster Assoc.
Eric M. Band
Director,
BHHS
44 N/A African
American
3 5 Instrumentalist:
Trumpet, Arranger
Teacher (20 years)
Executive Director
of Booster Assoc.

49
Bailey Heights Instrumental Music Program (BHIMP). The Bailey Heights
Instrumental Music Program (BHIMP) is an in-school music program with approximately 90
students enrolled in instrumental music classes. At the time of data collection, the BHIMP
offered three bands: basic, intermediate, and advanced bands, one orchestra for all levels, a
percussion ensemble, and a Hand Bell choir. The percussion ensemble served all the performing
groups in the school. The Hand Bell choir was a performing ensemble under the general music
curriculum, with changes to enrollment every semester. The performing ensembles meet on
alternating days (i.e., A days or B days) for approximately one hour. Afterschool rehearsals and
enrichment activities also took place. In addition to the in-school performance ensembles,
BHIMP also had a marching band, a jazz ensemble, and other small ensembles such as Brass
Choir, Woodwind Choir, and Percussion Ensemble.
The Student Leadership Council (SLC) is designed to address students concerns, create
programing and activity goals, and work with the parent booster association. At the time of the
study, the SLC had six officers: president, vice president, secretary, treasurer, sergeant-at-arms,
and librarian. The council served as a support for the BHIMP and met monthly with Mr. Moore.
The Bailey Heights Instrumental Music Boosters Association is an organization designed for
parents to support the BHIMP. There were four officers who helped support the organization:
president, vice president, secretary, and treasurer. Parents of students in the BHIMP held the
officer roles, and these positions were voluntary and unpaid.
Data Collection
Data collection followed a three-stage process that took place over a 14-week period
beginning in November 2016. The data collection process was adapted from an earlier case
study of social capital in a music program located in Los Angeles, California (Palmer, 2015).
50
The technology used in this process was an iPad Air and MacBook Pro for note taking, and the
Rev Recorder app on the iPad Air was used for recording the interviews.
Stage 1. Stage 1 consisted of participatory and non-participatory observations, writing
field notes, and collecting artifacts (Creswell, 2013; Yin, 2009). Non-participatory observations
provided an opportunity to witness student-to-student, student-to-teacher, and teacher-to-parent
interactions in a natural setting. Participatory observations helped to build a rapport with
students and parents, regardless of their choice to participate in the study. These observations
were essential and allowed students and parents to become comfortable with the researcher, who
was sharing their space. Both the participatory and non-participatory observations allowed me to
gain emic and etic perspectives (Sullivan, 2009). Rehearsal and performance schedules, flyers,
meeting agendas, and correspondences to students and parents were collected. These artifacts
allowed for an in depth understanding of the research site. Observations and field notes were
taken during school and after-school rehearsal, sectionals, performances, and parent booster
meetings. The observations were broad, focusing on several actors within the social space. The
rehearsals were teacher-led, with some flexibility given to students to prepare for rehearsal, as
needed (i.e., getting extra sheet music, oiling valves, making minor instrument repairs, etc.). Mr.
Moore did not micromanage students, but rather gave subtle reminders regarding the warm-up
process. Booster association meetings appeared to be very collaborative in nature. During
meetings booster officers and Mr. Moore would exchange ideas with very little feedback from
parent attendees or students. Mr. Moore served as the executive director of the booster
association. He and the booster association president kept the meeting flow smoothly. This
stage lasted approximately three weeks. By the end of Stage 1, I had a clear understanding of
how the BHIMP functioned, how students interacted with each other, how Mr. Moore interacted
51
with students, and how Mr. Moore, students, and parents interacted with each other. During this
time opportunities recruitment for students and parents emerged.
Stage 2. The second stage was comprised of ongoing observations and participant
interviews that took place over an eight-week period. The interviews were semi-structured and
protocol was derived based on the Stage 1 observations and an earlier study (Palmer, 2015).
Appendix A shows the initial interview prompts for each participant category. Each participant
took part in two to three interviews during this stage, where interviews lasted between 30 and 60
minutes and were audio recorded. Before the interview prompt was used, close-ended questions
were asked to find out more information about the participants that may not have come up during
the initial interview. Per PGCPS guidelines, student interviews had to be conducted in small
groups, during the school day, and in a semi-private room on school grounds. The student
interviews took place in the band room, Mr. Moore’s office or the instrument storage room.
While the setting was authentic, the live instruments in the background were also captured on the
audio recording. Audio playback was sometimes unintelligible. Mr. Moore’s interviews took
place after school in his office. Due to time of day, there were less live instruments in the
background. For the first parent interview, separate phone interviews were conducted to
accommodate participant schedules. A second and final parent interview took place in a local
sandwich shop a few miles away from Bailey Heights High School at a time that was convenient
to all involved.
The positive rapport cultivated in Stage 1 was essential to executing Stage 2, because the
relationship between interviewer and interviewee is a delicate balance between professional
distance and an intimate friendship. Seidman (2013) discusses an “I-Thou” relationship between
interviewers and interviewees. This relationship viewpoint gives person-hood to the
52
interviewees, alleviating the potential for seeing respondents as merely research subjects
(Seidman, 2013). Ideally, researchers should strive for a relationship that verges on “we”, yet
keeping “enough distance to allow the participant to fashion his or her responses as
independently as possible” (p. 98). This becomes important when considering the role of etic
(insider) and emic (outsider) perspectives in qualitative research.
After the first interview, subsequent interview prompts were derived from the recorded
interviews and observations. Interview questions touched on musical skills development,
funding and fundraising, participation, responsibilities of leadership, general impressions of
BHIMP and the booster association, ideas of success, building and maintaining relationship with
peers, enrichment opportunities, trust, and support structures. Interviews were transcribed using
a paid service (www.rev.com). I reviewed the interview transcripts to ensure accuracy.
Transcripts were then given to research participants for their review to ensure the accuracy of
their words and to clarify their answers when needed. A total of eight interviews took place, two
or three interviews per participant took place and lasted between 30 and 60 minutes (Table 3).
Per the Prince George’s County Public School’s Department of Testing Research and Evaluation
guidelines, interviews with students were in groups during the school day.
Stage 3. Occurring over a three-week period, Stage 3 included data validation alongside
ongoing observations, writing field notes, and artifact collection. Data validation occurred via
triangulation of multiple data streams across cases (Creswell & Miller, 2000) and member
checking (Creswell, 2013), where each participant was able to corroborate evidence presented in
multiple cases. Researchers are able to find major and minor themes, as well as check accuracy
of information by juxtaposing and comparing data yielded through observations, field notes, and
53
interviews. Participants, in turn, are able to ensure accuracy of data by triangulating data through
member checking as a second form of data validation (Creswell & Miller, 2000).
As noted, the three-stage data collection process included ongoing observations and field
notes, and collecting artifacts. This made it possible for rich data to be collected continuously,
contributing not only to the overall description of the research site and lived experiences of study
participants, but also to document the forward motion of the BHIMP. Research participants were
given a $20 Visa Gift Card after participating in a minimum of two interviews as a token of
appreciation. Field notes, interviews, and artifacts were then stored in a secured, password-
protected folder in a computer.
Data Analysis
Data analysis followed Creswell’s (2013) Data Analysis Spiral (see Figure 1). The first
step in the analysis of data consisted in creating a system to organize the collected data in the
form of interviews, observations, and artifacts. As noted, recorded interviews were transcribed
by a professional company, who returned transcriptions within approximately 36-hours. As I
waited for the transcriptions to be completed, I listened to the recorded interviews and took
notes.

54

Figure 1. Creswell’s Data Analysis Spiral (Creswell, 2013, pg. 183)
The second step included reading and memoing (Creswell, 2013). During this step, the
transcribed interviews and other artifacts such as parent letters, pictures, and posters were read
and re-read, so that I could become fully immersed in the details and information given by the
participants. Notes from the initial review of the audio transcript were merged with the memos.
Throughout the second step, all notes generated through the act of memoing helped inform the
interpretation of data. Research participants were provided with a copy of the transcript of their
interviews for review. After approximately 72 hours, I checked back in with participants to see
if there was anything they needed to clarify, change, or add to the transcript.
Step 3 in the data analysis process included coding the data. Gläser & Laudel (2013)
discussed two methods of coding: (1) coding derived solely from the data, and (2) coding based
on a theoretical framework. The first method is closely associated with grounded theory,
whereas the second method helps focus and contextualizes the codes derived from the data.
During this process data was coded using a pre-existing coding framework and theoretical lens
(Gläser & Laudel, 2013) based on an earlier study (Palmer, 2015), Putnam’s (2000) and
55
Langston’s (2011) indicators of social capital, along with notes generated from the reading and
memoing process that took place in step two. The final coding framework included bonding,
bridging, and linking, the three types of social capital, as well as indicators of social capital:
mutual support and reciprocity, cooperation, networks and connections, trust, and reputation.
While a pre-existing coding framework was used to identify social capital themes and
subthemes, cultural capital themes emerged from the data. Themes included: ideas of success,
exchange of information, increased skills and competencies, mentoring, and repertoire. Codes
were then chunked into varying sizes, from singular words to paragraphs, for subsequent
interpretation. Data were interpreted based on indicators of social capital, developing themes,
and potential threats or contradictions to social capital.
Lastly, the fourth step, visualizing and representing data, yielded an intricate web of
social capital indicators and contradictions, along with social capital indicators that were
developing. The initial coding tree (Appendix G) was developed based on data collected from
interviews, observations, and artifacts, and was later represented by two hierarchy graphics. The
links between social, cultural, and economic capitals were also represented as seen in Figure 4
(Chapter Five).
Data Validation
Data validation occurred in Stage 3 of the data collection process. Data validation is
necessary to confirm the credibility of the data (Creswell, 2010). Data validation occurred in
two separate ways, through triangulation (Creswell, 2013) and member checking (Creswell &
Miller, 2000). The triangulation process included uploading field notes, artifacts, and participant
interviews into ATLAS.ti version 1.5 (ATLAS.ti 8, 2017). All documents were reviewed and
coded. Codes were positioned in code tree (Appendix G), showing links between social,
56
cultural, and economic capital. The code tree also depicted indicators of the relationships
between different types of capital, possible causations, and contradictions. These relationships
were color coded for easier visualization.
The member checking process allowed participants to verify the descriptions of social
relationships, as well as verify themes that appropriately reflect participants’ experiences. The
semi-structured interview protocol made corroborating evidence possible, as follow-up questions
became instrumental in clarifying any looming questions resulting in a clearer picture. Members
across each case were used to corroborate or refute evidence. As an example, one of the parent
participants shared concerns and frustrations about the BHIMP. Mr. Moore was able to confirm
that parents do experience frustration. To corroborate evidence from Mr. Moore’s interviews,
the Instrumental Music Supervisor, Mr. Harold James
8
was also briefly interviewed. This
interview lasted approximately 10 minutes, providing additional background to the BHIMP and
confirming evidence of the enrollment issues taking place. Mr. James also provided insights into
student engagement and experiences based on his interactions with Bailey Heights students at
various music department events in the school district.
Summary of Chapter
This chapter discussed qualitative methods and methodologies, which were used in the
current study. The research settings, Prince George’s County, Prince George’s County Public
Schools, and Bailey Heights High School were described to provide readers with demographic
and economic contexts. The three-stage data collection process yielded an opportunity for
ongoing observations, field notes, face-to-face interviews and artifact collection, which were
necessary to gain insight of participants’ lived experiences. The data coding process followed

8
Name changed to protect anonymity.
57
Creswell’s (2013) Data Analysis Spiral, and two types of data validation took place,
triangulation and member checking (Creswell & Miller, 2000; Creswell, 2013). Through the use
of two types of data validation, both the perspectives of the researcher and participants create an
accurate account of each case and to ensure credibility.
58
Chapter Four: Observations of the Setting and Participants
This chapter offers personal accounts of the research site, followed by stories provided by
each of the five research participants during the interview, with the aim of giving readers a sense
of the Bailey Height High School Band Program and Boosters Association. These lived
experiences –my own and those of my study participants—are presented here in narrative form,
based on observations and interviews. The observations are discussed here in chronological
order and take place during Stages 1 and 2 of the data collection process. I believe that by
reporting the observations separate from the findings readers can get a sense of my time at Bailey
Heights. Discussion of the findings will take place in Chapter Five.
Discovering Bailey Heights: Observations
First impressions. I arrived at Bailey Heights on a cold December afternoon. A security
guard greeted me and directed me towards the main office to sign-in. It was a few moments
before the end of fourth period and the hallways were clear and quiet. As I walked down the
hallway to the band room, I noticed the exposed brick walls and low ceilings. Growing up in
Prince George’s County I had heard of heard of Bailey Heights High School, knew friends who
had graduated from the school in the early 2000’s, and had visited the high school for different
professional development sessions, but I had never been to the band room; this was my first visit.
The band room is located across from the gymnasium and weight room. The entrance to
the band room has double doors, and one side was propped open with a stool. I entered the room
and moved to my immediate left and put my bag down on a table. Mr. Moore was finishing the
music appreciation class and was handing back graded papers. Upon noticing my presence, he
greeted me and asked how I was doing. While taking off my bulky winter coat, I said, “I’m
good, and you?” With a smile Mr. Moore replied, “I’m hangin’ in there.”
59
The room is medium to large in size, large enough to accommodate approximately 50
band students. The room also has a low ceiling. The walls are a yellowish-beige color and are
covered with different event advertisements and band announcements. There are a few tables
and chairs to the immediate left next to a computer station that featured desktop Mac computers
and PC’s. By the computer station there was a student laying down on a black futon. I thought to
myself, “I wish there was a futon in the band room when I was in high school.” In the back of
the room are cello and string bass stands, xylophones, orchestra bells, and a vibraphone. As I
take note of my surroundings the bell rings to dismiss fourth period. Mr. Moore says “goodbye”
to the music appreciation students as they leave the room.
In the fifth period, students began to come into the room. (In a previous conversation,
Mr. Moore said fifth period on A Days was the Symphonic Band class.) The students came in
with a sense of purpose, walking toward their sections, putting their belongings down. Some
students socialized, while others put their instruments together and began warming-up. Mr.
Moore provided feedback to the student’s warming-up and encouraged the students who were
socializing to begin warming-up. A few minutes went by and Mr. Moore began the warm-up
sequence. I noticed that there were only 13 students in the ensemble; 2 flutes, 2 clarinets, 1 bass
clarinet, 1 tenor saxophone, 1 baritone saxophone, 2 trumpets, 1 French horn, 1 trombone, 1
euphonium, and 1 tuba. I wondered why the class was so small. During the warm-up Mr. Moore
said, “scales are the keys to your success.” Thinking the statement was a cleverly disguised pun,
I laughed on the inside.
About halfway through the class a female student walked in and sat in the trumpet
section. I remember thinking, “cool, another trumpet player. Now we can hear three-part
harmony in that section.” She said “hello” to the other two trumpet players, and sat quietly. Mr.
60
Moore addressed her and asked her where her instrument was; she said she left her trumpet at
home. The class continued on and the students continued to rehearse for their winter concert the
following week.
As Mr. Moore and his students rehearsed for the winter concert, I walked around the
room to become more familiar with my surroundings. Since there were no percussion students in
the class, I walked around the back of the room where percussion players would’ve been playing.
I walked to the far end of the room, and behind the trombone and euphonium player where a few
more computers and white drum kit were located. On the other side of the far right wall was the
instrument storage room. The room was large and also included one or two computers. A few
chairs and stands were in a cleared space in the center of the pale green floor. I could tell this
room doubled as a rehearsal space. Outside of the storage room was a narrow hallway that led to
Mr. Moore’s office. I walked in and took a look around. His office was a reflection of who he
is. On the wall there were several senior portraits of current students and alumni, a wooden
paddle inscribed with the name of his Greek-letter fraternity, a calendar to keep track of his
school and outside performance group obligations, and several instruments that he has bought
over the years.
I walked out of the office and down the narrow hallway, back to the main rehearsal space.
Mr. Moore introduced me to class and gave the class a brief introduction of who I am and why I
was joining them for the day. I walked to the podium and re-introduced myself. I was met with
a warm greeting from the students. I explained the study and mentioned that I was looking for
volunteers. I thanked the students for listening and Mr. Moore for sharing some of the class’s
time with me. I walked back to the table where I placed my belongings earlier, and nervously
waited for students to sign-up for the study and to take a consent form. A few minutes go by and
61
a young man with a French horn tucked under his arm came over to see me. He was about 5’8”
and had a caramel skin tone. His hair was long, black, thick, curly, and tied together in a messy
ponytail. He introduced himself, saying his name was James. James asked a few more questions
and I explained the consent form. He took the form and said that he would have the form with
him the next time he saw me. As James went back to his seat, the young woman who arrived
late to class came over to see me. We chatted briefly as and talked about the consent form. I
asked for her name, and she said, “I’m Joan.” I visited the band program over the next couple of
days. (Observation 1, field notes, December 8, 2016)
The Winter Concert. A week later I arrived to Bailey Heights at approximately 5:45
p.m. By now it was the second week in December, the sun set an hour ago, making the
temperature much colder than in my previous visit. I parked my car in the half-empty parking lot
in front of the school. When I got out of my car, I quickly ran to the main entrance in an attempt
to get out of cold air and fast winds. I opened the door to the main entrance and walked in.
Immediately I saw band and orchestra students in the hallway outside of the cafeteria where the
concert would be held. The students were wearing white button down dress shirts and black
slacks. Some students wore a black bow tie, while others wore a dark evergreen bow tie and
cummerbund set. A few young ladies from the orchestra performed Christmas carols inside the
cafeteria for the few parents and friends who were waiting for the concert to start.
I walked into the band room to see nearly 100 students talking and warming-up. A few
members of the beginner band were still working on a piece from their method book. I spent a
few minutes observing the students and Mr. Moore as they prepared for the main event. I
noticed a tenor saxophone player going over his part, having some trouble with a few measures.
I walked towards the student and asked him to play a few measures. We spent two or three
62
minutes clapping and counting the piece and playing through one of the more difficult passages.
The student said he felt better about the song. Noticing the time, I wished him good luck and
walked back to the cafeteria to find a seat.
I entered the cafeteria at 6:45 p.m. and noticed that there were still seats left to be filled.
The concert was going to start promptly at 7:00 p.m. I noticed several students walking in and
out of the cafeteria and standing along the back wall. As it became closer to the start of the
concert, more and more people began taking their seats. The concert started at 7:00 p.m. sharp.
The assistant principal for creative arts, Mrs. Williams
9
, welcomed the audience and made a few
opening remarks. The basic band entered the cafeteria and walked up the steps and onto the
stage. The students took their seats and Mr. Moore offered another greeting to the audience. Mr.
Moore encouraged the audience to take pictures and to email them to the band’s email account.
As the concert continued, I noticed that the audience is very chatty, even while students are
performing. I reminded myself that audience members may not attend formal concert settings
frequently and may be unaware of appropriate concert etiquette. The concert featured five
performing groups, Basic, Concert, and Symphonic Bands, Concert Choir, and Orchestra. The
Handbell Choir, also taught by Mr. Moore, was supposed to perform, but all of its members did
not show up to the concert. Overall the concert was well received, but in later conversations,
research participants shared their beliefs that the performance could have been better.
(Observation 4, field notes, December 13, 2016)
BHHS Instrumental Booster Association Meeting
The BHHS bands and orchestra are supported by a booster organization comprised of
parent volunteers. Music students and band student leaders attend meetings as well. I arrived a

9
Name changed to protect anonymity.
63
few minutes before the 7:00 p.m. meeting started. When I entered the band room, Mr. Moore
greeted me and gave me a copy of the agenda for the meeting. We chatted briefly while James
played Beethoven’s “Für Elise” on an electric keyboard on the opposite side of the room. I
scanned the room and notice two women sitting on one of the futons in the band room and one
middle-aged gentleman sitting in the chairs that were arranged for the meeting. Closer to 7:00
p.m. a few more adults entered the band room. The adults greeted each other and immediately
casually talked about a few agenda items. Based on their conversation, I assumed that the people
talking had a leadership role within the organization. (My assumption was confirmed throughout
the meeting.) As the meeting became closer to starting, Mr. Moore invited the two women who
were sitting on the futon, to join the rest of the meeting.
The meeting was called to order at 7:10 p.m. by the booster president, Mr. Michael
Baker. There were six parents and four students present; four of the six parents were officers
within the booster association. The meeting began with discussion of “old business.” Mr.
Moore shared the upcoming Solo & Ensemble Festival sponsored by the school district and
expressed the need for volunteers to provide support for students. Mr. Baker shared the progress
made on towards the organizations 501(c) 3 application, and the treasurer shared updates
regarding the bank account at a local credit union. Mr. Moore also reminded attendees of the
upcoming Cluster Concert the students were also preparing. (The Cluster Concert is an
opportunity for neighboring feeder schools to perform together.) Excitedly, Mr. Moore said that
he expected about 400 young musicians from 10 elementary and three middle-school band and
orchestra programs from neighboring schools. To raise funds, the students proposed the sale of
concessions, which the parents thought was an excellent idea.
64
As the meeting proceeded, Mr. Moore and the parents discussed an upcoming enrichment
event for the students. The Winter Clinic would feature several clinicians and guest conductors
for a two-day musical experience. Mr. Moore and the parents discussed how grant funding was
being used to support this activity and other enrichment experiences that were on the horizon.
The meeting appeared to feature commentary from the booster officers and Mr. Moore. The
other parents did not say much or ask many questions; rather they listened and took notes. James
contributed to the meeting, but the other students did not seem to be engaged, as they were
walking out at different points of the meeting. During the meeting, I was able to interact with the
group. There were a couple of times where Mr. Moore asked for my input regarding school
district policy. The information was well received. Towards the end of the meeting Mr. Moore
introduced me to the parents and invited me to talk about my study and recruit participants. I
believe my interactions with parents and contributions to the meeting, prompted parents to
become interested in participating in the study. (Observation 6, field notes, January 5, 2017)
The next booster meeting I attended happened about a month later. This meeting drew
the same number of attendees, but this time two officers were not in attendance, and two new
parents joined the meeting. James and three other band officers were also at the meeting. The
meeting was called to order at 7:20 p.m.; the start time was delayed as we waited for the
president of the booster association to arrive. While we waited, Mr. Moore took the opportunity
to make copies of the agenda and minutes from the previous meeting. In the meantime, James
and the other students continued to rehearse in the instrument storage room.
Mr. Moore and Mr. Baker provided updates to the group. The 501(c) 3 application was
still pending, a website domain name and hosting had been purchased, and the authorized
signatories had been established with the organization’s bank. Since the last meeting, BHHS
65
band and orchestra students participated in the school district’s Solo and Ensemble Festival. Mr.
Moore was pleased to announce that 13 performing groups received superior ratings. He noted
that James received a superior rating playing a grade four French horn solo. This is impressive
as James, who is a junior, joined band as a sophomore and only has one year of playing
experience. Mr. Moore spoke about the need for more parent volunteers at school and district-
wide events. The group exchanged ideas to strengthen parent communications, outreach, and
engagement. At this meeting the band’s officers were more engaged and made mention of
several fundraising events they would like to have with the support of the booster association.
The engagement at this meeting seemed to be higher than in the previous one; everyone
contributed to the meeting and had an opportunity to express their thoughts. This meeting also
revolved heavily on finances and fundraisers that would benefit the band program. The group
discussed band program expenses, how grant money was spent, and communication with
grantors. At the end of the meeting parents, booster officers, students, and Mr. Moore all seemed
pleased with how the meeting went. (Observation 9, field notes, February 2, 2017)
BHHS Band and Orchestra Cluster Concert
The Cluster Concert took place approximately eight weeks after the Winter Concert. I
arrived at Bailey High School at about 6:30 p.m., a half hour before the concert began. As I
walked to the band room, I saw parents and families in the hallway, wanting to catch one last
look at their children before the concert started. When I arrived to the band room, I found the
room full of elementary, middle and high school string students. I observed for a moment and
saw Mr. Moore from across the room; we exchanged a pleasant, yet inaudible greeting. Like any
conductor before a concert, he was focused on logistics, giving his students a few last-minute
instructions. As I stood near the doorway, I overheard elementary students chatting about who
66
was coming to the concert and who wasn't. Energy and excitement filled the room.
I left the band room and ran into a colleague and friend. She was one of 10 directors who
had students performing that evening. After a brief conversation, she was kind enough to direct
me toward the band students. I walked down the hallway heading towards the cafeteria, where I
heard the band students warming-up. I opened the cafeteria door, and there were hundreds of
students in black and white, warming-up or talking to their friends. I scanned the room and saw
James talking with classmates, while Joan and other student leaders helped one of the guest
directors.
The band directors instructed students to line up in the hallway, telling each section when
it was there time to leave. At the end of the line was the low brass section from the Baily High
Symphonic Band. On our way to the gym we chatted a little about their rating at the Solo &
Ensemble Festival the previous weekend. The tuba player was pleased that he received a special
compliment from one of the judges. As he told me the news, his smile was big and bright, and
his eyes sparkled. He was very proud of himself.
I continued chatting with the low brass section as we walked to the gym. As the students
entered the gym, I quickly noticed that the cluster concert was nearly at capacity! There were
hundreds of students dressed in black and white. They played five-note major scales or short
excerpts, while other students tried to get a sense of where they were. Parents, family, and
friends filled the bleachers. The gym was hot. Audience members used whatever they could
find to fan themselves. The adrenaline was high and everyone was excited. I scanned the room,
looking for a place to sit. Not seeing an available seat, I stood along the wall.
I scanned the gym again and hoped to find a seat. I finally saw an open seat in the top
row of the far left bleacher. I walked over, climbed the bleachers and sat next to a family with a
67
small child, who was excited to see her older sibling. From the top of the bleachers I had an
excellent view of the performance space. I observed the band students and quickly noticed
James and Joan chatting with friends and family who had come to support the event. While
some students talked to family, other students socialized among themselves and took selfies.
The concert began, and Mr. Moore instructed the orchestra students to play on open
strings to tune. The BHHS orchestra opened the concert; the elementary and middle school
students sit quietly behind them. The orchestra played the theme from Fairly Odd Parents, a
crowd pleaser. Band students and audience sung along. The elementary and middle school
strings players moved into position. The band students were very talkative, even the high school
students. The orchestra concluded their selections and exited the performance area. The band
students got ready to go on. Mr. Moore gave his students a few instructions, helping them get
seated.
Mr. Baker addressed the audience; he could barely be heard over the noise in the gym.
There were 25 Bailey Heights band students performing. Students from the Concert Band
performed with the Symphonic band. Several parents left after the orchestra performance. The
band opened with “ACB March” by John Edmondson. Despite a small number of performers,
the band gave a spirited performance. Two middle school bands joined Baily Heights on the
performance floor. There were about 125 middle school band students added to the 25 from
Bailey Heights. The combined sound was powerful. Following the middle school piece, the
elementary students joined the group. The group grew to nearly 200 students.
At the end of the concert Mrs. Williams, the assistant principal for creative arts, gave a
few closing remarks. The concert lasted 50 minutes from start to finish. One of the guest
conductors asks for parents to wait in the bleachers so band students may exit. As asked, I
68
waited to make my way down the bleachers. I saw Mr. Baker across the gym and walked over to
say “hello.” We chatted briefly and he showed me the new instrumental music department
website. He said he was up until 2 a.m. to make sure the website was ready by the cluster
concert. Mr. Moore walked towards us. Mr. Baker and Mr. Moore briefly discussed business. I
sensed some tension between the two. Mr. Moore left us to go finish breaking down the concert,
giving instructions to different groups of students. Mr. Baker mentioned that in that moment he
could not tell if Mr. Moore was intentionally disengaged from booster business or if his focus
was simply on the current task of the cluster concert. As more and more students went home, I
was able to talk briefly to Mr. Moore. We chatted about the concert, the impending snow, and
the instrumental music program’s upcoming schedule. (Observation 10, field notes, February 8,
2017)
Participant Voices
Mr. Eric Moore. I met Eric Moore for the first time in August 2007 during the back-to-
school meeting for instrumental music teachers in Prince George’s County. Since then we
developed a friendship and interact regularly on social media. Eric is 44-years-old, brown skin
tone, medium height with an athletic build. He is very fashionable, and can typically be seen
wearing a bow tie, suspenders, or a hat. Mr. Moore is a seasoned music educator with more than
20 years of experience at the K-12 and collegiate levels; however, Bailey Heights is his first high
school position. In addition to teaching, Eric performs regularly with various bands, orchestras,
and chamber groups in the Washington, D.C. area.
Eric is a 44-year-old African-American male, born in Washington, D.C. and raised in
Prince George’s County. He joined the Bailey Heights teaching staff in 2012, after 10 years
69
teaching in a middle school. We discussed his learning curve and adjustment to the high school
setting. In an initial interview held on January 3, 2017, he sai:
It's been a big learning experience for me changing from middle school [to high school].
Just learning how to operate in a new grade level. Learning how to approach the kids,
how to set rapport with the kids. It’s different when you're in middle school, so I kind of
had that down and I’m still learning how to deal with high school kids in a way that they
can understand me. It’s been an interesting ride. I’m enjoying the ride so far. It’s been,
like I said, it’s been a big learning curve for me.
As we talked further, Mr. Moore mentioned that the student body of Bailey Heights has
representation from approximately 90 countries throughout the world. He said his learning curve
also included “learning how to get music to these kids but I'm also learning about their cultures
and how ... Culturally, what's their take on playing music? Or not playing music in some of their
cases.” As we explored this further, we discussed the low enrollment in the extra-curricular
marching band. Due to differences in culture, Mr. Moore suggested that students who do not
come from the United States or Western countries might have trouble connecting to marching
band. He used the example of Latin American countries that do not play American Football,
citing the rationale for very little context for or connection marching band.
Mr. Moore believed in the power of positive energy and fostering good vibrations. When
asked how he addressed the subject of positivity and energy, he stated, “We talk about vibration.
We’re all- we were all put here [on Earth] to vibrate together.” This is a philosophy that he
passed on to his students, especially the members of the Student Leadership Council (SLC). To
continue fostering positive energy and good vibrations, Mr. Moore urged his students to take
advantage of the many different cultures represented at Bailey Heights.
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I think being here lends them a global perspective they might not get at some other school
[that] might be, 80, 90, 99% all one demographic. We don't get that here at all. So they
really kind of get an education on the world. I really, I push it inside of their brain to
make sure you get outside [their] little bubble. Go meet some other kids from some other
places. Ask them about what they do. Learn about what their religion is. Once you
leave here everybody tries to put up a wall to divide you up. (Interview 1, January 3,
2017)
Unity within the instrumental music program is huge for Mr. Moore.
As the conversation continued we discussed some of Mr. Moore’s frustrations with the
fluctuating enrollment of band and orchestra students. During the time Mr. Moore has worked at
Bailey Heights, the instrumental music program has experienced inconsistent enrollment in both
the band and orchestras. He offered:
I know they're frustrated and I'm frustrated by the amount of kids that they don't put into
[band]… Just because you expect to see… “I know I've prepared eight trumpets to be
in this class (symphonic band) and I had three until Jeremiah came. I had three… It
definitely impacts morale. (Interview 1, January 3, 2017)
We talked more about the impact that low enrollment has on an ensemble. The lack of
instrumentation presented a challenge because few intermediate to advance level band pieces
exist that can be effectively performed or realized with a 15-piece ensemble. At the time of our
initial interview, four students were not enrolled in the appropriate level band class. These
students were placed into Basic Band and use the class as an independent study to work on
literature for their appropriate skill level. When discussing the experience of the misplaced
students he said:
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You know, when you just play a nice chord, a nice triad, everybody be like, ‘Ohh.’ They
don't get that. And that dopamine rush, that’s heavy to beat. That's heavy to beat.
Playing on your own and then coming in every once in a while, coming in to the class
and playing with other kids, yeah you’re playing, but it’s not the same experience. So
that’s been frustrating for me.
Some of the students who are not enrolled in any band class try to participate, however, it
becomes difficult for students to participate as the skill level of the enrolled students increases.
Over the course of our interviews held on January 3, January 18, and January 25, 2017,
we also talked about parent involvement. Mr. Moore reported that parent involvement and
engagement was very low, and there were typically two to three parents that attended the
monthly meetings in addition to the booster officers. In addition to low turnout he also
mentioned the reluctance of some parents to support the musical endeavors of their children. In
recalling some of the conversations that he had had with parents during his time at Bailey
Heights, he stated:
I would say a lot of parents do not engage. In particular, parents [and] families that are
not from here [the United States], they just don't engage on what the kid has going on…
‘He’s in music class? Okay, that’s cool. Tell me when the concert is, I’ll take him to the
concert.’ They may not even stay for the concert. They may drop him off…
I try to encourage all the parents to come. ‘Come and support the kid, man. He worked so
hard for this music over, you know, last four months, whatever. You won’t even come
see your son play something? For an hour? 15 minutes? You can't give him that?’ That’s
been another point of frustration for me. That sometimes the parents just don't engage.
(Interview 2, January 18, 2017)
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He mentioned similar disengagement when he tried to speak to parents about student behavior
concerns. To engage parents from different cultures, he programmed music of different cultures.
Recently, the Bailey Heights instrumental music program was awarded two grants from
reputable music institutions. With a portion of the grant money, Mr. Moore hoped to create steel
pan and mariachi ensembles to help foster connections with students and families that were not
from the States.
Still, Mr. Moore continued to be optimistic about the future of the Bailey Heights
instrumental music program. During his time at Bailey Heights he has learned how to navigate
the ups and downs of the program. As the school district’s spring assessment festival became
closer, he decided to combine the concert and symphonic bands to create a festival band. The
festival band gave students from both groups an opportunity to give a performance with full
instrumentation. Also, the Booster Association and SLC came up with ideas to foster more
engagement among parents and families and fundraising initiatives to help sustain the
instrumental program. Mr. Moore had also noticed some growing engagement from the
administration. He noted that Mrs. Williams was new to the school, and that she had given more
support than assistant principals had done in the past. He hoped this level of support would help
with some of the enrollment issues the program was having. (Mr. Moore Interviews 1 and 2,
January 3 and 18, 2017; observations 6 and 9 January and February 2, 2017)
Joan and James. Joan and James are members of the Bailey Heights Symphonic Band
and are also members of the Student Leadership Council (SLC). During my first visit to Bailey
Heights, both Joan and James were eager to participate in the study; James was the first person to
sign-up and the first person to return the youth assent form. We met during the 5
th
period
symphonic band class; Mr. Moore let us use his office for the interview. Joan had soft and short
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curly hair, caramel skin tone, and was thin. The pair looked like they could be related, so much
so that their bandmates said that they were a part of the “triplet squad” because the pair along
with another bandmate who also had caramel skin tone and black curly hair, played the French
horn. Joan mentioned to me that she was on the basketball team at school. Both Joan and James
are 16 years old and were juniors at Bailey Heights. Joan had been in the band since her
freshman year, whereas James joined the band program his sophomore year.
In the first interview held on January 3, 2017 we got to know each other. James spoke
with confidence and freely expressed himself. On the other hand, Joan was more reserved and
takes her time when answering questions. We talked about their relationships within the band
program. Joan offered, “Many of us are really like family. We talk about a lot of stuff together.
Not even just band related; we’re really comfortable with each other.” James chimed in:
Last year, when I first joined the band, my relationship with everybody was actually
really good… Because there will be times where we’re in [the] band room and always
talk outside the band room because it would be more better, like being a family. This
year it’s even way more better because… There’s like a difference between a non-
musical person and a musical person. When you say something musical, then obviously
the person won’t get it but then you have that musical person that understands what
you're saying. (Interview 1, January 3, 2017)
I asked if the sense of family was felt across the entire instrumental music department, or if there
was a distinction to be made between a band family and an orchestra family. Joan and James
said that they were separate families, however, the two groups interact at department-wide
functions.
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As the conversation continued, James and Joan both expressed that they felt supported by
their bandmates and band family members. James said:
It's a warming support. You ask someone for help with music, they will help you
compared to something else. If I was to ask someone how to play a certain note or ‘how
do I play this?’ We would help each other. If it was like a sport of some sort or
something, it would be just ignored. (Interview 1, January 3, 2017)
Joan added, “Yeah I feel when others help and support me it betters me because I know that I can
trust this person.” While both Joan and James felt supported by their peers, they noted that they
didn’t always feel supported by parents within the band program or by the school’s
administration. James and Joan were sympathetic to the lack of parent support, citing familial
and career obligations, and freely admitting that their parents weren’t always available to attend
booster meetings or band performances. However, James believed that the Bailey Heights
administration didn’t care about the band program, to which Joan was unsure. I asked if either
one of them have extended invitations to administrators to attend in-school or outside
performances, and James said, “If they wanted to come support us, then they would have. That’s
how I see it.” Whereas, Joan stated, “I never really asked them. It just doesn’t come across my
mind really.”
James and Joan also shared their perceptions of being members of the SLC. Both
students discussed the necessity for setting good examples for their bandmates, being positive
role models, and motivating and supporting their bandmates. James recalled when the SLC went
to the concert band class to give a pep-talk before the school district’s Solo & Ensemble Festival.
He said, “the speech for solo and ensemble, we just told them to represent Bailey Heights. Aim
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for the one (superior rating), but if you can’t get the one that’s fine, as long as you go there and
represent Bailey Heights and kick ass.” (Interview 3, January 27, 2017)
Throughout our interviews held on January 3, January 18, and January 27, 2017, I learned
a lot of about James and Joan. Both students want the best for the Bailey Heights music
program. Joan worked to try and balance her band SLC responsibilities, musical growth, and her
membership in the school’s basketball team. James consistently worked to set a good example
through his musical skills. He saw himself as mentor and wanted to be looked up to because of
his leadership abilities and musical expertise.
Michael and Irene Baker. Michael and Irene’s initial interviews were separate.
Michael’s interview was January 23, 2017, and Irene’s interview was January 25, 2017. The pair
interviewed together on February 5, 2017 for the second interview. Michael and Irene were the
parents of a freshman percussionist named, Lonniece. The Bakers recalled the need to move
back to Prince George’s County and were looking for a high school with a great band program,
with a strong sense of pride. During the summer of 2016, Michael researched various band
programs and reached out to Mr. Moore. After an initial conversation with Mr. Moore, the
Bakers decided to rent a home within Bailey Height’s boundary line. Mr. Baker noted, “We
were looking for a band program with an exciting marching band, a pool of different ensembles,
and some presence in Prince George’s County.” (Michael Baker, Interview 1, January 23, 2017).
During Mrs. Baker’s interview on January 25, 2017 she mentioned that Bailey Heights was not
what they had initially expected, but they were pleased that Lonniece had a place to grow.
Both Michael and Irene are 36 years old and worked in separate agencies in the Federal
Government. The Bakers were a blended family; both Michael and Irene had children from
previous relationships and a toddler child together. In total, the Bakers had 4 children ranging in
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age from a year-and-a-half to 15-years-old. (Michael Baker, Interview 1, January 23, 2017)
Michael and Irene considered themselves to be very engaged parents, which lead them to the
initial booster meeting at the beginning of the 2016-2017 academic year. Michael recalled that
the turnout was very low, but consistent throughout the first several meetings. Irene mentioned
that she was not exactly sure what to expect, because she had never been involved in a booster
association before. Michael, on the other hand, was an athlete in high school and was familiar
with the nature of high school booster associations. Despite being first time members of the
booster association, Irene and Michael assumed officer roles within the organization. Michael is
the president and Irene is the secretary. (Michael Baker, Interview 1, January 23, 2017; Irene
Baker, Interview 1, January 25, 2017).
During the initial interview with both Michael and Irene, we discussed the relationships
among the booster association’s leadership. The officers shared a common bond, where they
wanted the instrumental music program to thrive and be successful. However, interactions
between officers were limited to the scope and responsibilities to their positions. As an example,
Michael had interacted with the treasurer outside of booster meetings, but only when it dealt with
treasurer specific tasks (e.g., setting up the bank account with a financial institution). Michael
and Irene have both mentioned the benefits of working together in this capacity. Irene said that
Michael’s role as president helped keep her accountable to her role as secretary. Outside of their
roles as officers, Irene and Michael had not yet interacted with other officers or parents in a
social manner, but both were open to the idea. While Irene did not have social relationships with
booster officers or parents, she had developed a rapport with students in the Bailey Heights band.
She recalled:
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I've taken students home, you know. Um, my son called one of them his best friend. My
7-year-old thinks that this teenage boy’s [his] best friend now but, um, yeah [chuckles]
and even at the [winter] concert some of them have my son, my little baby. They had
him in the back with them while they were watching the band. (Interview 1, January 25,
2017)
Regarding interactions with students, Michael mentioned that he would like to see more students
at the booster meetings, especially members of the Student Leadership Council (SLC). He
believes their presence at meetings can really help develop both groups.
I asked Michael and Irene about their relationship with Mr. Moore. Whereas Michael felt
a connection due to both of them having attended and graduated from Historically Black
Colleges/Universities (HBCU), Irene admitted that she did not have much of a relationship with
him. Michael and Mr. Moore have a closer working relationship due to Michael’s leadership
role in the booster association.
Irene and Michael expressed reluctance to ascend to leadership roles within the booster
organization, but agreed that it was necessary to step up. Michael said, “It seems like it was
necessary if [we] actually want to see some type of positive change.” Michael expressed that
Mr. Moore was overextended, which was why he was asking parents to take on leadership roles
within the booster association. Michael mentioned,
I think the main reason he is reaching out for parents to step up and become part of the
booster club is he really needed that help. I look at it as if I do my job and make sure that
the booster club is contributing, that will free him up to do his job and make the Bailey
Heights Instrumental Program shine. (Interview held on January 23, 2017)
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Michael and Irene’s involvement in the booster association had helped them both become
connected to Lonniece’s musical experience and making sure that parents had a voice. Michael
described his work in the booster association as a labor of love:
I do it for the kids. I do it for the school. I do it for Lonniece. It’s good, though. It’s one
of those things that you appreciate after you put the work into it and you see the results.
(Interview 1, January 23, 2017)
While a leadership role was not something Irene or Michael were looking for, Irene saw the
benefits of her involvement:
Now, I will tell you there is a sense of fulfillment when things get accomplished, like
seeing it through and seeing it out… We have this going on and now and watching him
[Michael] do this, and coming to fruition, there is a good sense of accomplishment. It’s
like pulling teeth a little bit at first but then the accomplishment is worth it. (Interview
held on February 5, 2017)
Michael and Irene were committed and engaged parents. Their commitment to Lonniece’s
growth and musical experience was sure to help fuel their engagement with the Bailey Heights
booster association.
Artifacts
In addition to observations and interviews, I collected artifacts from the program. These
included: minutes and agenda from the booster association meetings, program of the cluster
concert, pictures of the BHIMP band room and cluster concert, and the Student Leadership
Council (SLC) position descriptions (Appendix H). These artifacts offered a clearer picture of
the BHIMP.

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Summary of Chapter
This chapter described personal accounts of the research site and participant interactions.
Observations shared include: in-school rehearsals, Winter Concert, Cluster Concert, and Booster
Association meetings. In addition to observations, Mr. Moore, James, Joan, Michael Betts, and
Irene Betts were introduced.
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Chapter Five: Findings, Themes and Subthemes
This chapter documents themes and subthemes that emerged from observations and
participant interviews. To investigate the central phenomena of social capital, the following
research questions were asked:
• How do students, teacher, parents and/or community members associated with the
performance ensemble experience bonding, bridging, and linking categories of social
capital?
• Which indicators of social capital manifest within the ensemble?
• What are the roles of the students, parents and/or community members, and teacher in
developing the social capital of their ensemble?
• How do issues of cultural and economic capital emerge from the investigation of social
capital?
The collected data were coded using the coding framework established during an earlier
work (Palmer, 2015) and supported by Putnam’s (2000) and Langston’s (2011) types of social
capital: bonding, bridging, and linking (Figure 2). Through the exploration of social interactions
within the secondary music performance ensemble and booster association, themes and
subthemes emerged, pointing to the central phenomena of social capital (Figure 3). In addition
to themes related to social capital, cultural capital subthemes also emerged, with links to
economic capital (Figure 4). Aside from presenting themes and subthemes of social and cultural
capital, this chapter describes ways in which the markers of social and cultural capitals are
developing in the band program.

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Figure 2. Types of Social Capital. Demonstrates bonding, bridging, and linking social
capital in context. (Figure developed by author.)
Bonding, Bridging, and Linking in the Bailey Heights Instrumental Music Program
Bonding. Bonding is what Putnam (2000) called sociological “super-glue” that is not
bound by length of time or familial association. As stated previously, bonding is more likely to
occur within smaller community groups, like school music performance ensembles (Beames &
Atencio, 2008). Within the Bailey Heights Instrumental Music Program (BHIMP), bonding
occurred within student-to-student, student-to-teacher, and student-to-parent (no relation), and
parent-to-parent relationships. As an example, Irene Baker spoke of the relationships she had
cultivated with students, and how those relationships have extended downward to her younger
children. She noted how her 7-year-old son believes his best friend was one of the high school
students. Joan and James also experienced bonding social capital through the connections
established in the BHIMP, specifically the band. Joan’s bonding was manifested by
experiencing a sense of family within the band. James noted that as he moved from the
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Basic/Beginner Band class to the Symphonic Band, he felt closer to the band members,
specifically the students in the band class. He described the closeness as family and even said
Mr. Moore is like an “older brother.”
Mr. Moore experienced bonding by sharing small personal details with parents and
students. For example, Mr. Moore often used anecdotes from his life as a father to relate to
parents who were experiencing similar difficulties with their own children. Mr. and Mrs. Baker,
in turn, discussed their interest in the success of the BHIMP as a means of relating to other
booster parents. Mr. Baker noted: “We’re all still strangers… but we all have the common bond.
We want to see the program do well.” Success of the BHIMP had created a bond between the
parents who are actively working within the booster organization.
Dysfunctional bonds. While bonding existed within the BHIMP, there were instances
where they were clear dysfunctions. Joan and James mentioned their low tolerance for students
who they believe do not actively seek to improve their musical skills or who are disengaged from
the music program. Both James and Joan alluded to wanting those individuals to withdraw and
no longer participate in band. The conversation (interview 3, January 27, 2017) further revealed
that both James and Joan actually did not engage with students or sought to understand why a
student did not work as diligently to improve his or her musical skills, or why the student had
disengaged from the program.
Interviewer: Have you ever pulled anyone to the side to say, “Hey, this isn’t really cutting
it,” or “We really need you to be your best because the music depends on you?” Things
like that?
James: … I don’t think I have ever been in that situation.
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Interviewer: What about some of the people that you have talked about, you know,
cutting from the herd? Like, do you every just go to them and say, “Hey, what’s going
on?”… “This isn’t really working, how can this get better?” That sort of thing.
James: Yeah, we’ve never really asked that question to anybody.
(…)
Joan: But I think we should… (Interview 3, January 27, 2017)
Joan and James revealed that they did not feel it was their place or role to address these concerns
with bandmates. However, James believed that one-on-one communication could alleviate some
of the disengagement between him and some peers.
Mr. Moore witnessed the breakdown between student-to-student relationships. He
continues to coach the Student Leadership Council (SLC) through connecting with their fellow
classmates. Through our conversations, Mr. Moore noted that sometimes students are not able to
separate the person from the musician, therefore, peers are seen as instrumentalists, not as
individuals. Joan and James, admitted that their attitudes toward band members who were not
performing well or who had disengaged from the group, could potentially damage the sense of
family within the BHIMP, as confirmed by Mr. Moore’s assertion. However, Joan believed that
those individuals should still know that they are a part of the family within the band.
Bridging. Bridging in social capital allows individuals to make connections to people
outside of one’s organization. Putnam (2000) described this as “sociological WD-40” (pg. 23).
The marching band was a large social component within the BHIMP. Joan credited her
participation in the marching band during her freshman year with helping her meet members of
the Symphonic Band, while she was in Concert Band. During her sophomore year, marching
band was helpful with her meeting members of the Concert Band, while she was enrolled in
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Symphonic Band. In this case, the bridging occurred between two performance ensembles
within the same program. Without the marching band, it is unlikely that students from these
different ensembles would have been able to interact with each other on a regular basis. Though
the marching band served as a bridge between Concert and Symphonic Band members, this
opportunity is not extended to students enrolled in Basic Band, due to the skill level and requisite
knowledge needed to participate in the marching band.
Marching bands are often viewed as a school’s ambassadors to the community (Ferh,
2004; Robinson & Randall, 2008), as well as a source for providing students with a sense of
belonging (Isch, 1965). In this way, a marching band can also serve a bridge between music
programs, school community, and neighborhood. The marching band at BHIMP had
experienced a decline in enrollment over the past few seasons. Low enrollment had left James
unsure as to whether he will participate in marching band next year. As enrollment declined, the
opportunities for bridging between Concert and Symphonic band also lessened. Additionally,
Mr. and Mrs. Baker expressed disappointment in the lack of presence the marching band displays
(e.g., not participating in the county-wide showcase, no field show(s)). This disappointment is
what inspired them to attend their first booster association meeting.
Building bridges. The booster association served as bridge between the everyday
happenings of the band program and parents. As mentioned previously, the booster association
was very thin. The meetings typically had less than 10 parents, and most parents in attendance
held a leadership position. During the meeting, I observed how participants discussed ways in
which the booster organization can engage and better communicate with parents, in the hopes of
generating more support for band students, and support in the booster association. It was
interesting to note that, while the school had multiple cultures and countries represented within
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their community, multiculturalism and cultural norms were clearly absent from these
conversations.
Mr. Moore attributed the decline in marching band enrollment to the high amount of
international students in the school. In the past Mr. Moore required all Concert and Symphonic
band students to participate in the marching band in order to support the marching band’s
enrollment. As a consequence, many students decided to leave the band program altogether
because they did not want to participate in marching band. The lack of cultural relevance for
students was not enough to maintain their participation in the ensemble (Wright, 2012).
Regarding cultural representation, Mr. Moore hoped to establish a steel pan or mariachi
ensemble, in an effort to reach students who may not have a cultural connection to marching
band. Cultural relevance may, in fact, could have been an aid in building bridges in both the
BHIMP and the booster association.
Linking. Linking social capital is categorized by the relationships an organization’s
leader has to outside authorities (Langston, 2011). In this case, linking related to Mr. Moore’s
relationships with school administrators. Mr. Moore categorized his relationships with the
administration as positive, yet he has not always felt supported. As an example, while the
BHIMP’s enrollment fluctuated, the Symphonic Band saw a steady decrease in enrollment over
the last two years. Mr. Moore reached out to guidance counselors and administration for
assistance, but has not been able to find any solution. But Mr. Moore also believed that his
relationship with the administration was improving. According to him, the winter and cluster
concerts were the first time an administrator had been present at a concert within the last two or
three years. While he was happy that administrators were attending concerts, he would like to
see administrators attend the school district’s annual Spring Assessment Festival.
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Indicators of Social Capital

Figure 3. Indicators of Social Capital (Figure developed by author.)
Themes and subthemes. Through the central phenomena of social capital, themes and
subthemes emerged that were consistent with coding framework established by an earlier study
(Palmer, 2015). The coding framework made it possible to fully examine the indicators of social
capital, as well as, which portions of social capital were not present or are developing. The main
themes of social capital, as discussed earlier, are: mutual support and reciprocity, cooperation,
networks and connections, trust, obligation, and reputation (see Figure 3).
Mutual support and reciprocity. Generalized reciprocity is the “touchstone of social
capital” (Putnam, 2000, p. 134). Through reciprocating efforts and support, members of an
organization know that everyone is contributing their equal share of work to the whole
(Langston, 2011). Mutual support manifested itself within the program, creating a cycle of
support for all who were involved.
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Students in the BHIMP received support from their band director, peers, parents, and
school community. Students supported each other’s musical endeavors by filling and/or
assisting in playing opportunities. James recalled needing to fill an open spot in a trio at the last
minute. The sense of support was fostered through the feeling of family.
Mr. Moore supported the development of the students by creating leadership
opportunities for students to take ownership of the band program. He also supported students,
who were possibly experiencing distress, by offering them safe spaces in the band program.
During his third interview on January 27, 2017, Mr. Moore described a student whose parent had
a mental health issue, and recognized that “the only peace the student gets is here at school.
And, in particular, I think he gets peace in [the band] room.” He went on to say, “I encourage
him to do his best, whatever his best is. But, I allow him space to be who he is.”
Mr. and Mrs. Baker saw the booster program’s role as supporting the band program as a
whole. Mr. Baker recalled that he stepped-up and took a leadership role within the booster
association because he could tell Mr. Moore and the program needed more support. Mr. Baker
believed his role was to support the BHIMP through the booster association, helping the BHIMP
thrive and become successful. Peers outside of the BHIMP offered their time and resources via
attendance at concerts and participation in fundraisers. Band students returned the support by
attending events of other groups (e.g., basketball games, cultural clubs). Though James and Joan
have experienced support from non-band peers, this support was not always consistent. The pair
acknowledged that they did not support outside groups as often as they should.
Mentoring. James perceived himself as a leader. His personal story of starting in Basic
Band his sophomore year and rising to Symphonic Band, skipping Concert Band in his junior
year, has shaped his outlook. James was interested in mentoring other students who began in
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Basic Band and wanted to develop the skills needed to enroll in Symphonic Band the following
year. In our conversations, James spoke highly of Bernard, a recent graduate from the BHIMP,
who James saw as a mentor. For James, being a mentor meant setting an example, in the same
way that Bernard set an example for him. But he also wanted to be a mentor to solidify his
legacy within the BHIMP. Though James saw himself as a mentor, particularly wanting to
mentor students in Basic Band, during the second interview he admitted to forgetting “they
(basic band) exists until Mr. Moore says something.” These two sentiments are contradictions
that not only impacted mentorship, but also affected how James followed through with his ideas
of mentorship and wanting to set a positive example.
Mentorship was especially encouraged within the Student Leadership Council (SLC),
serving as a function of student leadership. Although mentorship was encouraged, mentoring
had not spread across the BHIMP in the way that Mr. Moore had envisioned. Students were
more inclined to participate in groups with their friends, rather than older and more experienced
musicians mentoring younger or novice instrumentalists. From Mrs. Baker’s perspective, she
was pleased that her daughter, Lonniece, had been able to look-up to the percussion section-
leader, a senior named Marlon. Through this level of mentoring, she noticed how Lonniece had
become more confident in her musical abilities and blossomed socially.
Holistic buy-in. Holistic buy-in, or, a universal sense that the organization has purpose,
value, and/or meaning is developing in the BHIMP. During the observation and interview
period, I witnessed students who spent time hanging-out in the band room after dismissal.
According to Mr. Moore, this was the first year that students have stayed after school daily
without having a band rehearsal. Students who stayed after school were practicing alone or with
other students and/or working on projects related to the instrumental music program. Student
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engagement with the program in this way demonstrated how the BHIMP was becoming a social
and music working space, separate from class.
Though buy-in was developing, lack of mutual support had deterred buy-in from some
students, causing some students to consider withdrawing from the program. James shared a story
of a student who was looking for support, but was unable to get the type of support that she
needed. When the student confided in James that she wanted to withdraw from band, James’
response was cold: He told the student, “I could care less.” James noted that he later reflected on
the exchange. The two were working towards rebuilding their relationship at the time of data
collection.
The BHIMP motto was P.R.I.D.E. – Persistence, Responsibility, Integrity, Discipline,
Excellence. The motto was displayed prominently in the band room, and on print material, like
brochures and concert programs. At the time of the interviews, Mr. Moore and I discussed that
PRIDE has not been reinforced consistently during the school year. In the conversation, Mr.
Moore acknowledged the need to revisit PRIDE, in an effort to have everyone on the same page
as the program approached assessment festival. Revisiting PRIDE can, indeed, promote buy-in,
while helping to shape the identity of the band program.
Developing relationships. The booster association provided parent participants with
opportunities to meet other parents and to work with students whom they would otherwise not
know. Mrs. Baker stressed that one of the significant functions of the booster association was to
help build camaraderie between participants. The low and inconsistent attendance rate at booster
meetings made developing relationships difficult. The close working relationships between
booster officers had assisted in developing relationships, but these relationships existed between
individuals whose responsibilities coincide. While Mr. and Mrs. Baker had not developed
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personal relationships with other officers outside of the booster association, they were open to
the possibility of forging these relationships.
As mentioned previously, Joan and James expressed a low tolerance for students who did
not actively work to improve their musical skills, and subsequently ignored them. Both students
admitted that they did not typically probe those students to find out what caused them to not
practice as much or to disengage from the program. Their unwillingness to engage with peers
can be viewed as a deterrent to mutual support and reciprocity, ultimately impacting social
capital.
Obligation. Obligation instills a sense of duty in participants (Langston, 2011). As an
indicator of social capital, obligation prompts members of a group to not disappoint each other.
Joan and James shared how their roles within SLC inspired them to want to set good examples
for other students in the band. From a musical perspective, James and Joan’s sense of obligation
to their classmates and the band program required adequate preparation for and presentation in
rehearsals. Their preparedness insured that they had done their part, ensuring the success of the
program. As parents, Mr. and Mrs. Baker’s sense of obligation derived from their commitment
to Lonniece, who was new to the band program. Through their participation in the booster
association, their obligation and commitment to the BHIMP had grown. Mr. Baker viewed his
membership and leadership in the booster association as an obligation, making sure the BHIMP
could thrive and be successful.
Cooperation. Cooperation is necessary to accomplish shared goals within any group
(Lukk & Veisson, 2007). Musically speaking, cooperation refers to a student’s ability to fulfill
his or her musical roles (e.g., learning individual parts, rehearsing as a section), for the benefit of
the ensemble. This level of cooperation is necessary to help the ensemble produce high quality
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performances, enhancing the musical experience of the students, and the listening enjoyment of
the audience. The BHIMP, along with the booster association, had planned and executed
different fundraisers during the school year. These fundraisers were joint efforts between the
SLC and the booster association. As the school year continued on, the SLC, booster association,
and Mr. Moore worked together to not only execute fundraisers, but to produce events for the
BHIMP such as concerts, and the winter clinic, which took place at the end of February.
Commitment to goals. Commitment to the goals of an organization is essential to
achieving successful outcomes. In this sense, there appeared to be a lack of commitment to
performance goals, which was a clear source of frustration for Mr. Moore, James, and Joan. For
James and Joan, the frustration came from classmates who appeared to not care about the band
program. These students were often late to rehearsals, unprepared, or missed performances. For
Mr. Moore, frustration came not only from the aforementioned examples, but also from SLC
members, whose focus was not always on the work of the band program. The lack of
commitment created difficulty for BHIMP as enrollment declined, and performance ensembles
lacked appropriate music personnel. While there were individuals who did not share the same
commitment to performance goals, there also were students who were committed to increasing
their performance skills.
Networks and connections. Relationships formed within an organization are an
indicator of social capital. Networks and connections can be formed inside or outside of a given
field (Calhoun, 2011; Langston, 2011), promoting harmony within an organization (Langston,
2011; Putnam, 2000). Students enjoyed a rich social life inside and outside of the band program.
Students participated in honors groups, casually hung out in the band room after school and
ordered food from the local Chinese food carryout, and spent time together engaging in extra-
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musical activities. In mid-January, upperclassmen in the band hosted an Advanced Placement
(AP) and International Baccalaureate (IB) information session for underclassmen band students
who may be interested in taking AP or IB courses the following year. Mr. Baker had the
opportunity to meet and develop relationships with students. Over time he had been able to
forge connections with the students, and even felt like he had taken on an “uncle role” with the
students.
To connect with band students Mr. Moore played trumpet or French horn with them. He
believed that a periodic performance on his primary instruments allowed his students to connect
with him as a musician, going beyond the typical teacher-student relationship. Over the past few
years, Mr. Moore actively engaged non-band students as well. He recalled seeing students who
occasionally peaked their heads into the band room to see what was happening inside. Over
time, he developed relationships with these students, finding out how they engaged with music or
what instruments (if any) they played. Some of these students have actually joined the band
program.
Synergy. Joan and James believed that their responsibility as SLC members was to work
towards having “good vibrations” within the band program. For them good vibrations were
facilitated through a positive atmosphere, raising the spirits of band members. Joan and James
shared an experience from one of the small ensemble rehearsals. The group was playing a
chorale and worked together to correct musical errors that were taking place. Once the errors
were fixed, the chorale was performed. Joan recalled, “We were in sync with each other. And it
was like magic. We fit together, like cogs.” Mr. Moore recalled a similar experience from the
previous year’s district assessment festival. “[We] played ‘American Barn Dance.’ And they
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loved that song… the kids really enjoyed it, and they felt the energy when they played it… They
really felt inspired and excited by what they were playing.”
Reputation. Mr. Moore’s reputation preceded him. When looking for a high school for
Lonniece, Mr. and Mrs. Baker researched various high school band programs. During the
search, Mr. Baker realized that Mr. Moore’s previous teaching assignment was at a middle
school where Mr. Baker’s mother and sister taught. Both Mr. Baker’s mother and sister were
able to give Mr. Moore a positive endorsement, thus helping Mr. Baker make the decision to
send Lonniece to Bailey Heights. The BHIMP’s reputation had grown in the larger outside
community. In the beginning of the 2016-2017 school year, BHIMP was awarded a Community
Impact grant from a prestigious music foundation.
Trust. According to Deitz (2000), social capital is “goodwill or mutual trust that accrues
from cooperative relations among two or more parties … Social capital does not reside in the
solitary confines of private ownership but among the collective hands of the communities that
[mold] it” (pp. 139-140). Trust might be considered as the lynchpin of social capital. For Mr.
Moore, trust with students had developed through taking an interest in both: their lives outside of
band and their families. According to Mr. Moore, trust with parents seemed to take longer to
develop. As students began to apply for college, parents relied more heavily on Mr. Moore’s
expertise regarding which schools to apply for and the college audition process. For James, trust
was developed through the perception of one’s musical abilities. He trusted his bandmates who
actively pursued musical excellence, and believed bandmates trusted him because of his musical
abilities. Also, he believed his bandmates trusted in his musical abilities to be able to prepare as
a trio and perform successfully.

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Presence of Cultural and Economic Capital
Cultural capital is associated with knowledge of culture (e.g., visual and performing arts,
local and foreign norms/customs) and education. The acquisition of cultural capital can be
leveraged to gain social upward mobility (Bourdieu, 1986). In this regard, culture refers to
education in the arts and related experiences (Calhoun, 2011). The acquisition of cultural capital
may positively impact an individual’s ability to be upwardly mobile (DiMaggio, 1982; Kisida,
Greene, & Bowen, 2014). According to Bourdieu (1986), cultural capital exists in three forms:
industrialized, educational qualifications and certifications; objectified, goods such as musical
instruments and artwork; and embodied, “knowledge and skills necessary to appreciate and
understand cultural goods” (Kisida, et al., 2014, p. 282). When embodied cultural capital is used
appropriately, additional institutional, objectified, and embodied cultural capital can be gained,
as well as additional social and economic capitals (Bourdieu, 1986; Kisida, et al., 2014).
Economic capital is less complex to understand, as it relates to goods that are exchanged
for currency. Economic capital impacts one’s ability to acquire cultural capitals. A flute is an
example of an objectified cultural capital. But without economic capital, a flute cannot be
acquired. As mentioned previously, when embodied cultural capital such as knowledge and
skills is increased, cultural capital could be leveraged, increasing earning potential, thus
increasing economic capital.
Cultural and economic capital indicators at BHIMP. The data collected further
revealed the following cultural capital indicators: exchange of information, ideas of excellence
and success, increased skills and competencies, mentoring, and repertoire (refer to Figure 4).
Mentoring is a shared indicator between social and cultural capitals. Economic capital impacts
the financial resources needed to secure additional clinicians, guest conductors, and the purchase
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of new repertoire, instruments, and operational supplies. In the case of BHIMP, economic
capital was essential for providing additional enrichment opportunities for students and
sustaining musical initiatives. The booster association was instrumental in allowing the BHIMP
to flexibility with spending economic resources, as school district policies can produce financial
and operational barriers for school programs. Concerning the development of economic capital,
James and Joan reported that their bandmates were more likely to participate in fundraisers
through assistance and contributions than in musical performances inside or outside of school.

Figure 4. Cultural Capital’s links to Social and Economic Capital. Mentoring is a shared
indicator within social and cultural capital. (Figure developed by author.)
Exchange of information. Mrs. Baker believed that participation in the booster
association was necessary, so that parents would become more involved, learn what was
happening in BHIMP, and share information with each other. The booster association served as
a forum for parents to learn new methods of communication and information transmission, to
learn how to establish a non-profit organization, and to learn how to work within the school
system as an associated organization. The booster association also served as a forum where both
parents and students could have discussions, and contribute to the overall betterment of the
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BHIMP. As mentioned previously, the upperclassmen hosted an AP/IB information session,
where they discussed AP/IB classes and teachers, with the hopes of providing information to
underclassmen prior to registration. While this example fell under social capital’s networks and
connections, this event also straddles cultural capital, as the information passed down to
underclassmen could be leveraged for their future success. Mr. Moore facilitated different
enrichment activities during the school year. One of the enrichment activities consisted of an
opportunity for students to speak with college band directors and receive information about local
colleges and universities, along with what to expect during the audition process. Information
like this can be invaluable, particularly for students who may come from disadvantaged
backgrounds or who are potential first generation college students (Bourdieu, 1986; DiMaggio,
1982).
Developing ideas of success. Joan and James discussed throughout their interviews the
importance of performing at one’s highest ability level and working hard to meet performance
expectations. Though performing at a high level was a priority for James and Joan, they reported
that there was no consensus as to what excellence or success meant to students within BHIMP.
Both James and Joan stated that a primary definition of success and excellence was not
necessary, and had not been addressed because a flexible definition meant that divergent
opinions are respected. While both welcomed flexibility, James recognized how the lack of a
uniform idea of success could negatively impact the band program as whole. Mr. Moore gauged
success by how the student’s musical skills progress over time, enjoyment, types of literature
students can play, and the ability to add new and different ensembles. Also, Mr. Moore was
interested in creating a “culture of success,” pointing towards a uniform idea of how to achieve
excellence and what success might look like in BHIMP. For Mr. and Mrs. Baker, ideas of
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excellence and success were not specific to the BHIMP, and they looked towards other band
programs in the area as a benchmark for success in BHIMP.
Increased skills and competencies. Gaining musical proficiency was clearly important
to James and Joan. Their proficiency was essential to experiencing success within the BHIMP,
as well as their future success as professional musicians. The BHIMP started to offer more small
ensemble experiences, providing additional opportunities for students to develop proficiency in
their performance area that extend beyond large ensemble performance. These increased
proficiencies included: musical independence, more characteristic tone, intonation, rhythmic
precision, and musicality. In addition to strengthening musical ability, student-led small
ensembles increases students’ decision-making capabilities and leadership skills, and promotes
group dynamics (Bayley, 2009). Aside from small ensembles, the BHIMP provided enrichment
opportunities throughout the year. The Winter Clinic featured clinicians and guest conductors
from around Maryland. The clinicians held positions in public and private K-12 institutions and
in colleges and universities. Such exposure to instrument specific specialists increased students’
knowledge of their instruments, and how to attain mastery.
Mentoring. Mentoring is an indicator that is shared by both social and cultural capital.
As noted, Mr. Moore believed that mentoring was a very important function of BHIMP. He
encouraged all his students to learn from and support their classmates in their musical growth.
The small ensembles served as an opportunity for older and more proficient students to mentor
younger students. As noted previously, this academic year was the first time students have
stayed after school. In addition to socializing, students performed in informal groups,
demonstrated musical skills, and provided instrument coaching to their peers. While this level of
mentorship took place to some extent, according to Mr. Moore, this type of mentoring usually
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takes place between students with similar ability levels, rather than novice performers being the
beneficiaries of mentorship.
Repertoire. Diverse musical repertoires are used in music education as a means to
expose students to musical forms, styles and genres, composers, and musical interpretation
(Legg, 2012). Music education is incorporating student-centered and culturally democratic,
(Graves, 2005), and informal learning and popular music pedagogies (Green, 2008; Jaffurs,
2006). Repertoire from the Western “Art” Music (WAM) canon can be seen as perpetuating
social stratification, because cultural capital is inherited from one’s social class, with WAM
being viewed as high-brow and exclusionary (Bourdieu, 1986; Sullivan, 2001). While WAM
may have a negative connotation, experiences with “traditional” repertoires for wind band or
orchestra help students develop the skills needed to acquire musical proficiency. Due to the
fluctuating enrollment of students in the band program, repertoire choices become more difficult
as student skill level increases and enrollment numbers decline. Declining enrollments further
limit the type of music student groups can perform due to a lack of instrumentalist personnel
required to perform intermediate to advanced level repertoire. In this regard, low enrollment
impacts industrialized cultural capital.
Summary of Chapter
This chapter described the bonding, bridging, and linking that took place in the Bailey
Heights Instrumental Music Program and the roles the participants played in developing,
cultivating, and sustaining social capital. Within this chapter the indicators of social capital, and
the ways in which social capital is dysfunctional or developing were presented. Contradictions
of social capital and indicators of cultural capital and their link to economic capital were also
addressed.
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Chapter Six: Summary and Conclusion
This study examined the presence of social capital within a secondary instrumental music
performance ensemble and uncovered indicators of cultural and economic capital.
Organizational theory was used as an access point to examine the individual actors within a
bureaucratic structure (Handel, 2003; Weber, 1922), in this case, the music performance
ensemble. Mayo’s (1933) humanistic relations theory, posited that social groups formed within
an organization create emotional connections, and subsequently boost productivity. Mayo’s
theory provided a connection to the importance of social resources within a product-driven
group, like a music performance ensemble.
Social capital highlights the social resources available within social interactions and
social networks between actors in a group (Bourdieu, 1977, 1986). The social resources within
the Bailey Heights Instrumental Music Program were examined to address the extent to which
the existing social resources benefitted individual actors and the group as a whole. The
examination also revealed which resources were lacking, and subsequently how individual actors
or the group are not benefitting. In addition to social resources, the presence of cultural and
economic resources was noted.
This chapter provides a reflection on the four guiding research questions, summarizing
the findings of the study. Next, the developing themes of social, cultural, and economic capital
are discussed, along with their links to low enrollment and participation as it relates to the Bailey
Heights Instrumental Music Program (BHIMP). Afterwards, I offer comments on the limitations
of this case study. Conclusions and implications for music education are outlined at the end of
the chapter.

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Summary of Findings Relevant to the Research Questions
Four questions guided the investigation of social capital within the Bailey Heights
Instrumental Music Program. The findings are summarized below.
Question One. How do students, teacher, parents and/or community members
associated with the performance ensemble experience bonding, bridging, and linking social
capital?
The notions of bonding, bridging, and linking have been used to describe the
relationships between actors within a group (Langston, 2011; Putnam, 2000). Students in
BHIMP formed strong bonds with each other, and these were solidified through musical practice
and participation within the ensemble. James and Joan spoke affectionately about their band
family, yet often forgetting “that Basic Band exists.” This points to the Symphonic, Concert, and
Basic Bands being smaller-insulated social ecosystems within the larger social ecosystem of
BHIMP (Calhoun, 2011). Parent participants did not directly report bonding within the booster
association, but rather shared a common bond, wanting to see BHIMP succeed, and subsequently
working towards that success. Membership from year to year was reported as inconsistent, and
each year the booster association was seemingly starting over. While bonding among parents
was not reported, Mrs. Baker had formed bonds with her daughter Lonniece’s friends in band.
James and Joan also mentioned forming relationships their bandmate’s parents. This suggests
that bonding between parents and students did not occur within the booster association or the
BHIMP, but rather happened tangentially to both organizations.
Bridging social capital has been defined as “a sociological WD-40,” (Putnam, 2000, p.
23) creating flexibility between people within social groups to the outside world. Joan and
James’ interviews pointed towards individual performing groups acting as miniature social
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groups that formed the larger social group within the BHIMP. At one time, the Marching Band
served as a literal bridge that connected the Concert and Symphonic Band members, who would
not otherwise have the opportunity to interact with each other. Marching Band enrollment had
decreased, lessening the amount of students who could unite the Concert and Symphonic Bands.
As BHIMP prepares for the school district’s Spring Assessment Festival, Mr. Moore auditioned
members of both Symphonic and Concert Bands to form the Festival Band. The Festival Band
created a new opportunity for bridging to occur. Basic Band and Orchestra were left out of the
opportunity for bridging. As students gain more opportunities to interact with each other across
ensemble lines, social skills can increase (Adderley, et al., 2003). Additionally, musical ability
and persistence may also increase as a product of increased social interactions (Baker, 2009;
Frederickson, 1997; Hewitt & Allan, 2012).
The booster association is a medium that bridges the gap between student’s in-school
musical experiences and parent involvement. Both parents and members of the Student
Leadership Committee, participated in booster association meetings. However, participation on
the student side was also inconsistent. As seen with the Marching Band, inconsistent
participation and low attendance in the booster association impacted bridging between the
student and parent groups.
According to Langston (2011), linking social capital connects organizations to outside
authority figures. In the case of school music programs, linking is most likely to occur between
the band director as the program representative and school administration, the school’s Parent
Teacher Student Association (PTSA). Mr. Moore’s link between school administrations had
strengthened over the years; however, the link has not improved student enrollment problems,
which stem from scheduling issues. Additionally, Mr. Moore experienced linking through his
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relationship with the district’s music supervisor, who provides support to Mr. Moore and the
BHIMP.
Evidence of bonding, bridging, and linking was present within the BHIMP. Bonding was
experienced between participants, whereas bridging was not, and in this case, linking exists
between the director and outside authority. Bridging social capital is impacted due to low
participation in social spaces, and lack of opportunity, but can be improved over time.
Question Two. Which indicators of social capital manifest within the ensemble?
The investigation of social capital within the Bailey Heights Instrumental Music Program
(BHIMP) not only illuminated the presence of social capital indicators, but also the development
and absence of indicators. Indicators of social capital include: mutual support and reciprocity,
cooperation, networks and connections, reputation, and trust (Langston, 2011; Putnam, 2000). In
addition to the indicators present, subthemes for mutual support and reciprocity, cooperation, and
networks and connections also emerged. James and Joan reported an overwhelming sense of
support from their peers, Mr. Moore, and the parents with whom they came into regular contact.
However, James and Joan did not feel supported by the school administration, despite the
presence of administrators in concerts and fundraising events.
The presence of cooperation, networks and connections, and trust positively impacted
BHIMP the participants. James and Joan were socially engaged and BHIMP and the booster
association are reaching their financial goals. Although the participants were benefitting from
the positive social resources, mentoring, holistic buy-in, and developing relationships are
impacted due to mutual support not being extended to all members of the band. Additionally,
performance goals were not being met, due to inconsistent student participation in concerts. This
points to a breakdown in cooperation, an indicator of social capital. The lack of cooperation
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makes it difficult for the BHIMP to operate effectively and efficiently, hindering the overall
musical experience.
James had built a reputation as a dedicated student and “superior” musician. His
reputation had made it possible for him to move freely in social spaces, and to be admired by
other bandmates. This reputation also made it possible for his bandmates to develop a trust in
him. While James’ bandmates trusted him, he did not have the same level of trust in the majority
of his bandmates. This is not surprising, considering the lack of commitment to performance
goals that impact participation. James’s reputation was leveraged into his overall
trustworthiness. Trust, viewed as the lynchpin of social capital (Deitz, 2000), makes all of the
other indicators possible. Trust between James and a large portion of the BHIMP was in short
supply and had eroded over a seemingly short period of time. The lack of trust had gotten in the
way of James interacting with quite a few members of BHIMP, leading to a lack of mutual
support and reciprocity extended to the whole, but was rather reserved for a select few. Mr.
Moore had gained the trust of his students, and James and Joan looked up to him, believing that
he had their best interests at heart. Trust between Mr. Moore and parents, in turn, took longer to
be established.
Question Three. What are the roles of the students, parents and/or community members,
and teacher in developing the social capital of their ensemble?
Social resources within social groups translate into social capital (Bourdieu, 1977, 1986).
Actors within social spaces can cultivate and benefit from those resources. As the head of the
BHIMP, Mr. Moore spent a great deal of time promoting mentorship, a subtheme of mutual
support and reciprocity. He believed that students could gain a great deal from one another
socially and musically. This sentiment is congruent with Goodrich’s (2007) study that found
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peer mentoring contributes to musical success. Mr. Moore also established trust between himself
and students, modeling trustworthiness (Clemmons, 2006; Brimhall, 2014). As noted earlier,
due to sporadic interactions with most parents, trust took longer to be established. Programming
that promoted cultural capital and the exchange of information (e.g., college nights) helped
establish a sense of trust between Mr. Moore and parents (Bolívar & Chrispeels, 2010).
Mr. and Mrs. Baker’s commitment to the goals of the booster organization helped to
develop cooperation between the parent group and the BHIMP. The genesis of their booster
association involvement centered on their need to support and advocate for their daughter,
Lonniece. Mr. Baker reported that trust was established early, as a necessity to accomplish the
goal of establishing an account with a financial institution.
James and Joan’s role as leaders in the SLC gave them a sense of obligation to the
BHIMP and their bandmates. Their obligation to be role models and mentors was the cause of
their support for their peers. Both students believed that the networks and connections they had
cultivated during their time in the BHIMP established their sense of band family. James’s
commitment to the BHIMP and his personal musical goals, has made him trustworthy to his
peers. Within each participant group, trust was the foundation upon which other social resources
were built (Deitz, 2000). Also, cultural resources, such as the exchange of information, helped
develop social resources.
Question Four. How do issues of cultural and economic capital emerge from the
investigation of social capital in a performance ensemble?
The investigation revealed some indicators of cultural and economic capital. According
to Bourdieu (1986), cultural resources include knowledge of art like music, visual arts, and
fashion, and educational certifications, whereas economic capital is currency exchanged for
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goods and services. Indicators of cultural capital include: ideas of success, the exchange of
information, increased skills and competencies, mentoring, and repertoire.
At Bailey Heights, students participated in various enrichment activities, where students
had the opportunity to learn from other directors and sectional coaches. Students, who
participated in enrichment activities outside of Bailey Heights, had the opportunity to meet and
learn from other students, bringing back new information to the school. The enrichment
activities that took place, in and out of school, helped increase the musical skills of participating
students. Importantly, the enrichment activities sponsored by BHIMP were not possible without
the economic capital raised by outside sources through fundraisers and grants. The booster
association was committed to raising monies in support of the BHIMP initiatives. Additionally,
the established bank account and obtained non-profit status sets the stage for financial
independence from Bailey Heights High School and the school district, which had its own rules
and regulations regarding procurement and financial oversight.
Study Limitations
A qualitative research approach made it possible for participants to share their
perspectives regarding their lived experiences (Creswell, 2013). This multiple case study using
tools of ethnography allowed for each participant group to be seen as a separate case in a
bounded system, permitting the interactions between each case to be seen clearly. While I still
believe that this research design was most appropriate for this study, limitations arose. As an
example, financial information was not considered within the demographic information.
Therefore, social capital in relationship to socioeconomic status was not examined, but was
rather generalized for the school site. Also, the inclusion criteria for participation restricted the
number of students who were able to participate in the study. Of the 25 potential participants,
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only nine met the inclusion criteria, and only two students returned their youth assent forms. If
the inclusion criteria had been less stringent, more students could have participated, adding
richness to the data. Another limitation was the length of time allotted for data collection, which
took place over 14 weeks, which is a relatively short period of time within the academic year.
Though my initial proposal allotted 12 to 16 weeks for the study, it became apparent that this
study should have taken place over a much longer period time, like a semester or even an entire
academic year.
Due to Prince George’s County Public School’s (PGCPS) policy, interviews with
students could only take place in groups; one-on-one interviews were not permitted. Group
interviews may not allow participants to respond freely, or to disagree with one another
(Smithson, 2000). Also, interviews had to be conducted during the school day. While the
interviews took place at the research site, interviews were bounded by the limitations of the
school bell. As an example, James needed to leave early to go to an after-school activity,
causing the interview to end early. The adult participants were interviewed individually, with the
exception of their second interview where Mr. and Mrs. Betts interviewed together.
Even if this project was a multiple case study, I am aware that the findings are reflective
of only five participants. Regarding student participants, both students participated in the same
in-school performance ensemble and were members of the SLC. Thus, the voice of students who
were in Orchestra, Percussion Ensemble, Basic and Concert Bands, was not present. Due to the
inconsistency of parent participation from year-to-year, during parent recruitment, only parents
new to the booster association were present at the time of the study. This excluded the voices of
parents who may have had more experience with the booster association and the BHIMP.
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Importantly, this study took place at a specific site. Therefore, results are not meant to be
generalized for schools with similar demographics. In the future, BHIMP should be revisited to
discover which social, cultural, and economic resources are still available, which resources have
grown, and which resources are still relatively under-developed. This study may also be
replicated at different schools within PGCPS, to examine the interplay between social, cultural,
and economic capital at schools with varying contexts, program size and offerings, designated
performing arts school, median income of school community, and the length of time the
conductor served at the school.
Implications for Future Practice
Examining social, cultural, and economic capital can prove to be very enlightening.
Music performance ensembles, particularly in high schools, are unique because they act as both
in-school curricular classes and as after-school extracurricular activities. Unlike core curricular
subjects, music performance ensembles often enlist parent booster organizations as a supporting
arm for the music program’s endeavors. The uniqueness of music performance ensembles in the
high school setting creates complexity and a need to make sense of such complexities. In the
case of BHIMP, the examination revealed issues of social and economic capital that negatively
impacted each other, mainly the lack of goals and definition(s) of success that could be easily
understood and executed by all members of the organization. Additionally, implications
regarding organizational structure, student leadership, and culture changes are offered:
Purpose driven engagement. Every organization must have at least one why question:
Why do we exist? For music educators the answer may be fairly obvious, as we have
individually created our own philosophies regarding the need for in-school music performance
ensembles. But for students and other stakeholders, the why may not be evident. When
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constructing a music program, the why must be understood. The presence of mission, vision, and
goal statements answers the question, Why does _______ music program exist? (Gilley, et al.,
2010)
Answering the why allows students and other stakeholders to know the importance of
their actions within the context of the organization. The why gives purpose to an organization,
and purpose allows individuals to make a personal connection with the organization, potentially
shaping one’s identity (Corley, 2004; Northouse, 2003). In the case of the studied BHIMP, the
goals for the program were not universally understood by all students, which contributed to a
general lack of commitment from both students and parents. Universal understandings of
success make it possible for students and parents to know if the goals of an organization have
been achieved.
Organizational structure. The usage of organizational theories as the theoretical lens
for this project allowed for a broader examination of how in-school music performance
ensembles operate, and ways improvements can be made for the benefit of the organization and
its personnel. As previously stated, establishing the why a program exists, makes room to
adequately deal with the how the organization operates. Through examining the how, policies
and procedures can be established, making organizations effective and efficient (Burns &
Stalker, 1961; Handel 2003). Given that it is not uncommon for high school music programs to
work with parent groups or a booster associations, establishing organizational structures allows
both parties to effectively work together.
Establishing an organizational structure also gives stability and direction to a program.
The structure may dictate whether a leadership team or officers exists or not; and how decisions
are made within the organization (Handel, 2003). As bureaucratic systems, performance
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ensembles have a very specific function and work as a “giant human machine.” An analogy with
the human body might be useful here. Within the human body, multiple systems like the
cardiovascular, respiratory, and nervous system were designed to carry out specific functions, yet
work in tandem to sustain life. In this way, the roles of individuals within performance
ensembles must be made clear, so that everyone can work together, sustaining the life of the
performance ensemble.
Student leadership. School activities afford students the opportunity to develop
leadership skills, which can assist them over the course of their lives (Villareal, 2016). Teaching
leadership may seem like an insurmountable task, yet is a necessity of organizations that utilize
student leaders. According to Northouse (2013), “leadership is the process whereby an
individual influences a group of individuals to achieve a common goal” (p. 5). Leaders within an
organization can help guide its members through achievement, and inspire accountability across
the organization. There are several leadership theories available (Northouse, 2003, 2013), yet
not all theories are compatible with the specific needs of student-lead organizations.
Villareal (2016) and Sorkin (2016) point to transformational leadership as the style best
suited for high school students. Transformational leadership focuses on the relationship between
leaders and followers (Northouse, 2013). Within the context of BHIMP, relationships between
students and SLC members lacked cohesion, creating tenuous relationships. Through the
transformational leadership model, both leaders and followers are elevated and work towards the
shared goals of the organization (Ji & Chaung, 2011). Armstrong and Armstrong (1996) capture
the essence of transformational leadership and state:
The transformational leader empowers others to act. He [or she] recognizes the potential
of the entire organization and freely grants or sanctions individuals the power to act in
110
concert with the group. What appears to be an abdication of power by the leader results
in a stronger unison effort (p. 24).
Transformational leadership’s focus on relationships is likely to help strengthen the social
resources within the music performance ensemble.
As mentioned previously, teaching leadership may prove to be difficult, but it is not an
impossible task. Resources such as Lautzenheiser’s (2006, 2010) leadership workbooks are
designed for high school musicians. Leadership courses can also be developed so to take into
account issues of culture and ethnicity. As an example, Pass and Campbell (2006) designed a
project based on the social studies curriculum in South Carolina, to discuss character traits of
Civil Rights leaders, mechanisms of change, and paths to self-discovery. Their article can be
used by teachers wishing to create a student leadership curriculum that best suits the unique
needs of their ensemble.
Change in culture. A lack of commitment to a program and individual performance
goals, low participation from parents, and social alienation point to the need for a change in
culture in programs such as the BHIMP. To change the culture of an organization, the function
of the program must be assessed. This includes an ample revision of the current organizational
agendas, goals, culture, and structures. Having a vision for the changed organization is essential.
An achievable, practical, and appealing vision shows students and parents how they fit into the
organization, empowering them to make positive changes within the group (Northouse, 2013).
An accessible vision also helps to alleviate the doubts and discomfort that change may bring
(Armstrong & Armstrong, 1996).
Schein (2004) wrote about the multi-step process that changes organizational culture.
These steps include: unfreezing, cognitive restructuring, and refreezing. Throughout these
111
processes, perceived failures are addressed and group norms re-established (Weick & Quinn,
1999; Schein, 2004). Through the process of culture change, a new group identity is created,
where goals, values, and common bonds are solidified. The Five Stages of Group Dynamics
described earlier (Tuckman, 1965; Tuckman & Jensen, 1977) can help to facilitate social
interactions and group processes within the renewed culture. On that note, Sheih (2008)
discussed the Five Stages of Group Dynamics within the context of music performance
ensembles. Sheih’s work can serve as a guide for practitioners to guide and facilitate social
interactions within their music programs.
Changing the culture of a music program offers a renewed sense of purpose to the
program and to all involved in it. Malin, Reilly, Quinn, and Moran’s (2014) study discussed how
a sense of purpose gives direction to adolescents’ lives, being actually necessary for them to
thrive. “Purpose, like other indicators of thriving and positive development, manifests in the
relationships between an individual and his or her environment because it is an aspiration to have
a meaningful existence in the world” (Malin, et al. 2014, p. 186). During the adolescent years,
students are seeking meaning for their lives. According to Malin, et al. (2014), the construct of
purpose seeks to answer two questions: 1) “What gives my life meaning?” and, 2) “How can I
contribute to or connect with world in ways that give my life meaning?” (p. 187). As students
ask themselves the aforementioned questions, they may also ask the same questions of and about
the organizations in which they participate. In the music performance classroom, establishing
the purpose for the ensemble may help students create a personal connection to the group and
identity alignment.

112
Implications for Future Research
Examining social capital in school music programs can have a lasting impact on the
music teaching and learning profession. By highlighting the social resources available in a
program, researchers can shed light on positive and negative interactions, taking steps towards
the cultivation of a harmonious environment. This dissertation brought more focus to the band
program; what is known about the “other program”, that is, the orchestra, is based on the
accounts of Mr. Moore, James, and Joan. While Mr. Moore was in direct contact with orchestra
students, James and Joan were able to offer little information, given their lack of interaction with
peers from this group. In order to gain a better understanding of the Bailey Heights Instrumental
Music Program (BHIMP), this study should be replicated with participants from the orchestra.
In addition to gaining insights from orchestra students, it is important to investigate the views of
students who did not meet the inclusion criteria, that is, those who are enrolled in the program
but are disengaged, and students who have left the program all together. These insights coupled
with voices of orchestra members can yield rich data, giving a more complete view of the
BHIMP. This study can also be replicated with the choral music program.
This dissertation examined a music program within a traditional setting, where the locus
of control rested with the teacher. In addition to studying traditional programs, future studies
could examine the social resources available within music programs that center on constructivist
and/or non-formal teaching methods. It will be interesting to determine the types of social
resources that are cultivated or available in a program where students have more opportunities to
interact with each other.
Social capital research in music often extols the social benefits of participating in a music
ensemble (Jones, 2010; Langston, 2011; Langston & Barrett, 2008), yet the negative aspects of
113
participating in music ensembles are not typically emphasized. This dissertation revealed an
erosion of social capital resources within a band program. Future works should explore social
capital erosion in different music education ensembles and settings. In the classroom setting, this
may help practitioners have a better understanding of attrition within school music programs, and
disengaged peers. Such findings may also help practitioners and student leaders make decisions
that adequately build and maintain social capital within their programs.
Regarding organizational theories, future research could use product-driven
organizational models to examine how music programs of varying sizes and abilities work
together effectively and purposefully. In doing so, directors, students, and parents may share the
secrets of their successes, while potentially illuminating and overcoming their struggles. The use
of organizational theories will also help to narrow the focus of research studies, allowing for
specific groups to be studied in a more comprehensive way. As an example, group dynamics
(Tuckman, 1965; Tuckman & Jensen, 1977) and communities of practice (Wenger, 2000) can be
used to study individual sections of a performance ensemble or to examine issues pertaining to
student leadership. Also, examining ensemble culture and leadership may help establish
contextualized interventions, helping struggling ensembles, or help directors, students, and
parents create a strategic plan to continue ensemble growth. (Northouse, 2013; Schein, 2004). In
doing so, researchers and practitioners can gain new insights into what makes a particular
ensemble unique and special, and how all actors involved contribute to and benefit from the
ensemble.
Closing Thoughts
Students participating in school music performance ensembles learn more than notes,
rhythms, intonation, style, and interpretation. Music ensembles teach students how to work with
114
peers and authority figures, develop leadership capabilities, and how to cultivate and maintain
relationships. Throughout this study, I had the opportunity to reflect upon my own in school and
out of school performance experiences. I asked the question, what makes a band family? I
realized that this question does not have a simple answer, as every family is different and an
outsider’s perspective does not always capture the insider’s reality.
When I consider social, cultural, and economic capital, the interplay between the three
forms of capitals is far from neat: it is tricky and messy. In this study, I attempted to “wrap the
three capitals in a somewhat neat package,” but that proved to be unrealistic as relationships
drove capital. Positive interpersonal relationships can inspire musical knowledge and skills,
while negative ones can withhold information, and be detrimental to the entire organization.
As music educators, we should not only teach students the musical skills they need to
perform with artistry, but we should also create opportunities for students to grow, allowing
space for their identities to develop whilst learning how to navigate social spaces. By cultivating
an environment that is cognizant of social, cultural, and economic capital, we teach our students
the importance of mutual support and reciprocity, how to be trustworthy, and the importance of
reputation, networks, and connections. For students who come from working class families, the
resources within social capital can be leveraged in increasing cultural and economic capital, and
may change a student’s life trajectory. Regardless of our students’ paths beyond their high
school years, the social skills they develop will serve them well in the future.

115
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Appendix A: Initial Interview Protocol
The following questions/prompts are designed for the first round of interviews with participants.
Further interview protocols will be developed based on responses from participants, field notes,
and observations.

Questions/Prompts for Teacher(s): How does the band program help foster
relationships between band members?
Tell me about your relationship with
students? How have your relationships
progressed?
Tell me about your relationship with
parents. How did you develop those
relationships?
Describe the relationship between band
members.
Describe the interactions that parents share.
Questions/Prompts for parents: Tell me about your relationship with the
band program.
How have you been encouraged to
participate with the band program?
In what ways is it possible to create
relationships with band members that are
not related to you?
Describe the interactions you have with
other parents.
In what ways do you feel connected to
band members and the teacher?
Questions/Prompts for students: How does the band program help promote
friendships between you and your
bandmates?
In what ways do you feel connected to the
teacher and parents?
Describe your relationship with your
teacher?
How do you interact with your bandmates?
How do you interact with parents that are
not your own parent or guardian?

Example of initial questions include:
-How are friendships formed in the music program? What was your experience like making
friends (in the music program)?
-As a band/choir/orchestra member in what ways do you feel connected to the community
outside of school? To what extent do you feel connected to parents or school administrators?
-Describe your relationship with the band/choir/orchestra director/conductor. How did that
relationship develop over time?
129
-How do you interact with your ensemble-mates inside and outside of school? Have these
interactions changed over time?
-What are you interactions with parents who are in the booster program? How do you view their
interactions with students and the ensemble director?

130
Appendix B: USC Institutional Review Board Approval

131

132
Appendix C: PGCPS Department of Testing, Research, and Evaluation Approval

133

134
Appendix D: Information Sheet for Non-Medical Research

135

136

137
Appendix E: Youth Assent For Non-Medical Research

138

139

140

141

142
Appendix F: Parent Participant Consent for Non-Medical Research

143

144

145

146
Appendix G: Initial Coding Tree

147
Appendix H: Artifacts

Figure 5. Photos from the Bailey Heights Band room.

Figure 6. Photo from the Bailey Heights Cluster Concert in the Gymnasium

148

Figure 7. Booster Association Minutes from December 2017

149

Figure 8. Booster Association Meeting Agenda from January 2017

150

Figure 9. Bailey Heights Instrumental Music Program Winter Clinic, February 2017

151

Figure 10. Bailey Heights Instrumental Music Program SLC Responsibilities

152

Figure 11. Bailey Heights Instrumental Music Program brochure

153

Figure 12. Bailey Heights Instrumental Music Program Cluster Concert, February 2017

Abstract (if available)

Abstract Social interactions and networks shape our ways of being in the modern world. Through our interactions in groups we learn social cues and behaviors, and unspoken rules. We also gain social resources that help us form lasting relationships. Music performance ensembles are credited with creating strong bonds, which translate into having a sense of family. Social capital is the social resources accumulated and exchanged between members of groups. The social capital of schools, teachers, and parents has been investigated, yet there is very little research that has investigated the social capital that exists between students, particularly students in school-based music programs. ❧ This qualitative, multiple case study investigated social capital within a low socioeconomic school music program. The study takes place in Prince George’s County, Maryland, a suburb of Washington, D.C. The time span for data collection took 14-weeks and included three stages of data collection. Stage one included participatory and non-participatory observations, field note writing, and artifact collection. Stage two contained interviews with two students, two parents, and one band director. They spoke candidly about the relationships they have cultivated within the music program. During stage two, participatory and non-participatory observations continued. Lastly, stage three contained data validation via triangulation and member checking. ❧ The findings revealed indicators of social capital, along with links to cultural and economic capital. Additionally, the study exposed threats to social resources and their negative impact on the music program. Implications for music teaching and learning and music research were included, including the need for purpose-driven engagement, leadership, organizational structure, and culture changes.

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Asset Metadata

Creator Palmer, Elizabeth Suzanne (author)

Core Title Forming relationships: investigating social capital in a low socio-economic school music program

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Music Education

Publication Date 07/17/2017

Defense Date 04/20/2017

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag band,Bourdieu,OAI-PMH Harvest,social capital,social interactions,social networks

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Ilari, Beatriz (committee chair), Helfter, Susan (committee member), Webster, Peter (committee member)

Creator Email epalmer_gc_2000@hotmail.com,espalmer@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c40-402049

Unique identifier UC11265072

Identifier etd-PalmerEliz-5527.pdf (filename),usctheses-c40-402049 (legacy record id)

Legacy Identifier etd-PalmerEliz-5527.pdf

Dmrecord 402049

Document Type Dissertation

Rights Palmer, Elizabeth Suzanne

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA