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A case study of teacher’s perception of experiences in a teacher-training program at LA Opera
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Content
A CASE STUDY OF TEACHER’S PERCEPTION OF EXPERIENCES IN A
TEACHER-TRAINING PROGRAM AT LA OPERA
by
Jerry Cordova
A Thesis Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF MUSIC
(MUSIC EDUCATION)
December 2010
Copyright 2010 Jerry Cordova
ii
TABLE OF CONTENTS
List of Tables iv
Abstract v
Chapter One: Background to the Problem 1
Introduction to Chapter One 1
Need for the Study 10
Purpose of the Study 10
Central Research Questions 10
Overview of Remaining Chapters 11
Chapter Two: Literature Review 12
Professional Development for Teachers 12
Form and Structure of Effective Professional Development 14
Education Initiatives of Opera Companies Across the U.S. 15
Conclusion 18
Chapter Three: Methodology 20
Introduction 20
Sample 20
Procedures 23
Analysis 24
Time Table 25
Summary 25
Chapter Four: Results and Data Analysis 26
Research Question 1 26
Research Question 1 Summary 32
Research Question 2 33
Research Question 2 Summary 38
Research Question 3 38
Research Question 3 Summary 40
Findings Summarized 41
Chapter 5: Conclusions, Discussion, and Implications 43
Conclusions 44
Discussion 47
Implications for Music Education 51
Implications for Research 52
Further Research 52
iii
References 54
Appendices:
Appendix A: Interview Questions 56
Appendix B: Information Sheet 57
iv
LIST OF TABLES
Table 1: Years of Teaching Experience of Participants in Opera 101 21
Table 2: School Classification of Participants in Opera 101 21
Table 3: Frequency of Reported Themes 27
Table 4: Salary Point Accrual 28
Table 5: Incorporation of Content According to Teaching Experience 33
Table 6: Incorporation of Content According to Age of Student 34
Table 7: Reasons for Not Implementing Content 35
v
ABSTRACT
A trend appears to exist in California where elementary classroom teachers are
frequently being called upon to include music instruction in the curriculum, while music
specialist positions are simultaneously being eliminated from many public schools.
These educators enroll in a variety of in-service professional development programs to
prepare for this task. The purpose of this case study was to explore teacher perception of
experiences in an in-service teacher-training program provided by the LA Opera. The
participants consisted of teachers (n = 17) from the Los Angeles Unified School District
(LAUSD), educators who attended two consecutive sessions of the LA Opera’s Opera
101 program. Data were collected in the form of interviews and results were analyzed to
answer research questions regarding the experiences of the teachers, why they had
participated in this program and how they had incorporated techniques and materials into
the classroom. Results revealed that participants gained a sense of enrichment,
enjoyment, and confidence through their participation in the workshops. One third of the
participants integrated approaches and materials covered in the training into their
curriculum, whereas other participants indicated that time constraints and planning were
prohibitive to such efforts. Though their main motivation for returning to future training
sessions appeared to be fiscal, participants reported being pleased with the outcomes of
participating in Opera 101. The skills gained through participation in this program
enabled a few educators to include music in their classrooms, thus reaching thousands of
students who may not have a certified music educator at their schools.
Keywords: Professional Development, Teacher-Training, Opera, Perception, Enrichment
1
CHAPTER ONE
BACKGROUND TO THE PROBLEM
Introduction to Chapter One
Children in the United States of America have been the beneficiaries of music
instruction provided to them through varied sources, as community and educational
structures have evolved over time. Initially, formal music education was offered through
community-based efforts, such as singing schools in New England, and in 1837 it was
first introduced in public schools alongside other subjects, or through a combination of
community-based and school initiatives (Mark & Gary, 2007). Within these varied
structures, music instruction has been taught by a variety of constituents, including
community musicians, music education specialists, and classroom (generalist) teachers.
It is the author’s perception that California has been reducing music specialists and
courses in public schools, resulting in a heavier reliance than previously on community-
based providers of music instruction.
Arts Instruction in Los Angeles
In the early 1990s, there was an increased focus across the USA, including Los
Angeles (LA), on the content and quality of K-12 instruction driven by the Goals 2000:
Educate America Act of 1994. The Goals 2000 Act states that children will demonstrate
competency in several subject areas and specifically lists the arts as a domain. This
mandate not only affirms that all children should receive a music education, but also that
they should be able to achieve the competencies detailed within specific content and
2
achievement standards (http://www.ed.gov/). During his tenure (2000-2009) as Director
of Arts Education of the LAUSD, Richard Burrows stated that,
the visual and performing arts raise and broaden young people’s understanding of
themselves, their community and their place in the world. An arts education
stewarded by a combination of classroom teachers, arts teachers, parents and a
collaborative arts community guarantees this opportunity.
(http://www.artseducation.lausd.net/news.php)
This community effort can provide students with a well-rounded education that includes
the arts. In theory, most educators probably support arts programs and want their
students to have as much access to every art form as possible, so that their students can
receive a well-rounded education.
Schools Lack Adequate Arts Instruction
While many in the USA believe arts instruction to be important and there are
government mandates to provide instruction in the arts for all children, adequate arts
instruction is not a reality for many students, particularly in large urban school districts.
According to a 2001 publication, LA County, with 1.7 million students in 82 schools
districts, is an example of an urban region lacking in adequate arts education (Arts in
Focus, 2001). In the same publication a survey of 1,745 schools in 80 school districts
across LA County reported an extremely low quantity of arts education supervisors in LA
County. The LA Arts Education Task Force of Arts for LA, an all-volunteer group of
artist and arts educators, reported that only 32.9% of districts in LA County has an arts
education supervisor or coordinator (Arts in Focus, 2001). Furthermore, in LA County
alone, 21.5% of the 80 districts surveyed do not have any arts specialists and 26.5 % had
only one to five arts specialists per district (Arts in Focus, 2001). This strikingly low
3
number of arts supervisors and arts specialists prevents the possibility of all public
schools in LA having adequate arts instruction provided by their schools.
Adopted in July of 1999 by LAUSD, the “10-Year Arts Education Plan” was put
into place to bring itinerant arts education teachers to every elementary school throughout
the district. The Arts Education Plan would provide students with instruction in the four
arts disciplines: dance, music, theatre, and visual arts. With the successful placement of
arts teachers in 80% of LAUSD Elementary Schools during its first decade, the Arts
Education Plan was believed by some to have proven successful, therefore compelling
The Wallace Foundation to dedicate $1.8 million countywide for a second 10-year plan
(www.lausd.net). However, due to the current state of California’s economy,
implementation of the second 10-year plan has been placed on hold for the time being
(www.lausd.net). If implemented in the near future, this plan would continue to provide
quality arts experiences to students. However, with the rapid expansion of the student
population in the district, itinerant educators are certainly not reaching the majority of the
student body.
Through his experience as a teaching artist in the LAUSD, the author has
observed that certified music teachers are characteristically employed in full-time
positions as itinerant elementary teachers, teaching for one day a week at each school,
with up to five schools visited during the school week. Each individual campus chooses
the grade level with which the music educator will work, leaving students in the other
five grade levels without music instruction. School administrators can choose to
purchase an additional day of music instruction from the music specialist, but they
4
apparently rarely do so (www.lausd.net). The results are twofold: Firstly, many students
in LAUSD receive minimal, if any music education taught by a certified music teacher.
Secondly, in an attempt to provide some music instruction for the remaining 70% or so of
the student bodies, some principals are known to seek alternate sources for music
instruction, or at least exposure to the occasional concert, which can hardly be called
instruction. Consequently, the students who receive this ad hoc arts education are not
receiving it sequentially. Conducted in 2000, Arts in Focus, an LA County Arts
Education Survey reports that thirty seven percent of districts in LA County reported a
lack of sequential arts education in their schools (Arts in Focus, 2001).
Since that time, budget proposals in California have included significant cuts for
arts and professional development for teachers (SSC Fiscal Report, 2008). With the state
of California currently in financial crisis, the LAUSD has required educators to take five
unpaid furlough days in the 2009-10 school year, and an additional seven days in the
2010-11, generating a total of $140 million in savings toward the $640 million budget
deficit currently facing the state (LAUSD press release, March 2010). Furthermore,
LAUSD has issued a proposal in 2010 to eliminate half of elementary school music
teachers in the next six months and the other half in the following 12 months.
Creative Options by Administrators for Arts Instruction
Acquiring an arts specialist for all students and allocating time in the school day
for music instruction can be a challenge for school districts and administrators. When
principals find themselves having to make difficult choices on the distribution of
dwindling resources, they rarely choose to purchase music instruction. Still, wanting to
5
provide students with some arts education, school administrators look for alternative
solutions such as engaging musicians from outside the school to offer music instruction
for the students or recruiting existing classroom teachers on campus to teach music.
According to a recent survey by the National Endowment of The Arts, nearly two
million Americans identify their primary job as an artist, which includes musicians,
artists, performers, writers, directors, etc. (National Endowment of The Arts, 2005).
Ranking second in the nation, with 97 self-identified artists per 10,000 people, California
was also shown to have significant resources to support an arts-enriched education.
Furthermore, LA ranks third of the 10 largest metropolitan cities in artists per capita
(National Endowment for the Arts, 2005). However, even if these local resources were
drawn upon more often, hiring performing musicians to teach in schools can yield an
inconsistent quality of instruction, as the musicians are likely not trained and credentialed
arts instructors. The musicians bring a strong understanding of the art form but can lack
knowledge of pedagogy, child development, and instructional strategies. Similarly,
though classroom teachers who are not music specialists may have a genuine love for the
arts, they mostly lack the musical knowledge to teach the subject successfully in the
classroom and often already feel overburdened with their primary responsibilities.
Having overwhelmed classroom teachers provide instruction in a subject area where they
lack sufficient training will very likely result in students receiving inadequate music
education. Though both of these options might be a means to providing music instruction
for children, they are not ideal solutions. It is in the opinion of the researcher that there
are still thousands of students who receive little, if any, music instruction in LA.
6
One possible solution that has gained tremendous momentum in recent years is
the “teaching artist,” a term coined by June Dunbar of the Lincoln Center Institute in the
1970s. This to refers to a practicing professional in the arts field who educates people in
experiences in or about the arts (Booth, 2003). The teaching artist can bring a level of
spontaneity to what, at times, might be an overly structured curriculum plan. The model
of performing/practicing artist engaging directly with students encourages the students to
be creative and to use their imaginations, thus dramatically altering the classroom
environment and allowing teaching to become more of an open forum for discussion and
exploration (Graham, 2009). According to a survey of 80 LA County school districts, in
the year 2000, 82.3% of the districts used this particular source of arts educator in
performances, workshops, or residencies in public schools (Arts in Focus, 2001).
Though all three approaches to putting music instruction in schools have
advantages, some preparation and training is needed: The classroom teacher needs
training in the arts domain, the performing musician needs training in pedagogy, and,
although the teaching artist (ideally) possesses both qualifications, the presence of a full-
time music specialist at each school is still missing. In order to make any of these
solutions viable, training and coordination is essential.
Partnership Challenges
As LA school districts have, for years, been experiencing shortfalls in funding and
resources, they have been forced to look to outside arts organizations to provide much
needed support for their students. Strong and mutual partnership need to be developed
between schools and the community arts partners. With continual pressure placed on arts
7
organizations to provide public school students with an arts education, the demands
might leave nonprofits with fewer fiscal resources than the schools themselves. For a
partnership to have continual success and growth, both organizations must share goals
while keeping the students’ education at the forefront. Open lines of communication,
clear goals, and visible leadership between both organizations allow room for growth and
future partnerships (Arts Education Partnerships, 2004).
Professional Development: A Solution
Having classroom teachers take on the role of arts educators for which they have
not been trained presents need for the provision of the in-service arts training. Music
training for classroom teachers can be included as part of the regular professional
development requirements for all teachers for recertification, thus not placing additional
burdens on the students, teachers and schools. As part of the broader goals of pursuing
continual education and keeping up to date on resources and educational techniques, the
teachers are able to acquire training in music and music education. The students benefit
from the newly acquired skills of the teachers, while the schools and districts advance
through the development of both teachers and students. By making district-wide
professional development available to classroom teachers, these partnerships between
schools and arts organizations can lead to a small but valuable presence of arts education
in the classroom.
LA Opera’s Professional Development for Teachers
The lack of school-provided music instruction within LAUSD schools has not
gone unnoticed. A number of professional arts organizations have increased the quantity,
8
variety, and depth of music instruction in LA schools over the past several years. One
such organization is the LA Opera, delivering on its mission to promote opera of the
highest international standards and to educate the community in the field of opera
through programs for children, ethnically diverse citizens, senior citizens, underserved
communities, and the general public (www.laopera.com).
In addition to the 80 opera performances the company produces each year, its
education and community programs have produced quality programs of the highest
standards of artistic excellence for over 20 years reaching, tens of thousands of people.
This past year alone, the department has reached more than 159,000 students, teachers,
and community members (www.laopera.com). Programming for students includes the
following: Elementary and Secondary Student Matinee Performances, Elementary and
Secondary In-School Operas, Voices For Tolerance, LA Opera 90012, Opera for
Educators, Opera 101, and Library Talks, to name a few (www.laopera.com). Arts
organizations such as LA Opera offer professional development for classroom teachers,
providing them with training in the arts with an emphasis on opera.
The professional development provided by LA opera for classroom teachers is
offered through two distinct programs: Opera 101 and Opera for Educators. Opera 101
is a program designed for the classroom teacher who knows little or nothing about opera
and would like to learn new and practical ways to embrace the art form. Opera for
Educators gives insight about opera through a historical context, language, and social
commentary (www.laopera.com). The goals of both programs are to train and support
local teachers to offer music instruction to their students. Classroom teachers who
9
participate in Opera 101 attend up to four day-long workshops that introduce multiple
ways to present and teach music using aspects of opera as entry points in the curriculum.
Educators are provided with materials, strategies, and lesson plans that directly address
the Visual and Performing Arts Framework (VAPA) of California’s Department of
Education. Through listening to live musical performances and meeting artists, technical
directors, and designers involved in LA Opera productions, the teachers receive
invaluable experiences that can be shared with their students (www.laopera.com). In
many cases, Opera 101 participants teach students who do not have any music instruction
provided by certified school music teachers. This professional development exists to
further the participant’s own education in music through attending performances and
hearing information and stories on the composers, music, historical backgrounds,
literature and the music itself. Secondly, it aims to provide resources that will enable
them to share this information with the students. For some children, the only music
instruction they will receive is from their own classroom teacher. Though by no means a
comprehensive music education for the children, the fact that the students might receive
little or no other musical training in school, underlines the importance of providing the
best possible musical and pedagogical training for the classroom teachers. As more
teacher professional development programs in the arts are offered, assessing the
effectiveness and best practices for delivery becomes more important.
10
Need for the Study
The lack of research concerning the efficacy of training programs in music
instruction for classroom teachers has created a gap in knowledge and has left arts
organizations unaware of best practices for this type of work. By providing progressive
and continuous investigation into available teacher-training programs researchers can
offer a means for schools and arts organizations to gain a better understanding of what
works in the classroom for teachers, teaching artists, and students. Where training
programs exist, arts organizations must receive feedback regarding their impact on
participating teachers and on the students they teach. Collecting and analyzing data from
teacher feedback inform the continuation, restructure, curriculum design, format and
presentation of professional development workshops in the field of music education.
Purpose of the Study
The purpose of this study is to explore teacher perception of experiences in a teacher-
training program at LA Opera.
Central Research Questions
1. What do teachers glean from participation in the LA Opera teacher
workshops?
2. How are the approaches and classroom materials presented in the workshops being
used by the teachers in their classrooms?
3. What motivates educators to participate in Opera 101 teacher-training sessions?
11
Overview of Remaining Chapters
Chapter Two is a review of the current literature in the field, grouped by topic into
the following three sections: Professional Development for Teachers, Form and Structure
of Effective Professional Development, and Education Initiatives in Opera Companies
across the United States. Chapter Three includes the process and procedures by which
the case study was conducted. After conducting a series of interviews and data
collection, the researcher analyzed the data. A detailed analysis of classroom teacher
interviews is discussed in Chapter Four. The three central research questions that guided
the study are proposed and addressed throughout the chapter. Chapter Five concludes the
case study with a restatement of the purpose, conclusion, and a discussion of results. The
chapter also addresses the implications of future research in the recreation of this study.
12
CHAPTER TWO
LITERATURE REVIEW
This chapter presents literature on professional development for classroom
teachers and some programs offered by prominent opera companies within the United
States. Though the need and supply of this work is constantly growing, surprisingly little
has been written on the topic. More effective teaching is possible when teachers are able
to benefit from carefully crafted and well-structured professional development. This
review aims to provide some context for the scope and structure of current work in this
area, for the larger purpose of identifying best practices in music professional
development for classroom teachers.
Professional Development for Teachers
Undergoing continual in-service education is an ongoing process that is expected
of educators over the years of their teaching. Through participation in professional
development, educators can learn the newest techniques, strategies and directions in their
respective fields. Furthermore, they can actively seek to expand their knowledge and
skills in areas in which they have deficiencies. The results can benefit the teachers, the
students, the schools, and the communities.
In public school music programs across the USA, there is a need for teachers to
receive additional training to implement the national and state standards in music. A
study performed by Byo (1999) found that current music specialists and generalists
expressed a need for additional training in order to successfully implement the national
music standards. This case study revealed that educators desire additional training in
13
order to feel more confident in implementing this task. Music specialists feel a higher
degree of responsibility for addressing the standards than generalist teachers, while the
generalists tend to disagree or strongly disagree that they are sufficiently able and trained
to address the standards in their classrooms (Byo, 1999). Music standards are stated by
the profession as learning goals for children and it seems that classroom teachers do not
see themselves as having the training to address these goals.
Professional development for teachers is not only beneficial to the teacher but also
to the students in their classrooms, thus impacting the schools on a broad level. An in-
depth case study by Darling-Hammond, Bullmaster, and Cobb (1995) closely examined
seven Professional Development Schools (PDS) and their potential for preparing
educators to be leaders in their fields. The PDS seek to redefine the roles of the teachers,
regardless of level of their teaching experience, and to prepare them to teach their
students by meeting the needs of diverse students and families. This effort is often
accomplished through collaboration with universities while restructuring schools
(Darling-Hammond et al., 1995). Based upon extensive interviews, research, surveys,
and observations, the study findings indicated that educators who participated in PDFs
were more likely to improve the capacity of schools to respond to the needs of students
(Hammond et al., 1995). This study suggests that the effects of participation in
professional development extend far beyond the classroom and indeed offer the
possibility of positively impacting the larger school environment.
14
Form and Structure of Effective Professional Development
Looking at professional development for educators in a national longitudinal
study, Desimone, Porter, Garet, Yoon, and Birman (2002) identified six core features for
effective professional development to lead to improved teaching practice. Of the six
features, three can be attributed to the structure of the professional development: reform
type (vs. traditional professional development), duration, and collective participation.
The remaining attributes are active learning, coherence, and content focus. In agreement
with Desimone et al. (2002), Knapp (2003) has found a large body of scholars that
believes professional development built in accordance with these six cores of
professional development will positively impact teaching and learning.
Professional development through workshops and clinic sessions continues to be a
common delivery mechanism. However, through technology, educators can now
participate in online courses in professional development courses. This format for
professional development is favored by many administrators as it provides a paying
customer (the educator) the same type of professional development as classroom
instruction without expenses such as the cost of travel, facilities, and parking (Brown &
Green, 2003).
Whether professional development is delivered in person or online, educators
must still find ways to implement teaching strategies learned in professional development
in their classrooms. Integration into the curriculum appears to vary greatly from teacher
to teacher. Garet, Porter, Desimone, Birman, and Yoon (2001) found that educators who
participated in professional development were more likely to implement what they had
15
learned if the professional development occurred over a longer period of time, required
participation, and makes clear connections among the curriculum, instruction, and
assessment. Conway’s (2008) study examined the perceptions of experienced music
teachers (n = 19) who participated in professional development sessions throughout their
careers. Based on a series of interviews of midcareer and veteran teachers, results
indicated that the teachers greatly valued informal interactions with music teachers. The
teachers reported that such interactions were quite likely the most effective component of
professional development (Conway, 2008).
Although professional development programs may provide educators with
numerous resources, they should be designed in such a way that that the educators are
continually challenged through thought-provoking debate and discussion (Little, 1993).
Teachers are accustomed to complexity, expecting the unexpected and layers of subtlety
in their classrooms. When professional development sessions are slower-paced or less
stimulating than might be ideal, teachers are less engaged in the process (Little, 1993).
Though this is not the case of all professional development programs it is important to
acknowledge the challenges that professional development programs face in educational
reform.
Education Initiatives of Opera Companies across the U.S.
Many performing arts organizations, such as opera companies, provide
professional development for teachers. Leading opera companies across the nation
provide a variety of professional development programs tailored to the needs of the
community, with programming that is linked to individual organizational goals and
16
capacities. To provide a context for examining community organizations that offer
professional development of teachers through opera, a brief overview of several
American initiatives is offered, including those of The Metropolitan Opera, Chicago
Lyric Opera, Houston Grand Opera, and San Francisco Opera.
The Metropolitan Opera in New York is known as one of the leading opera
companies in the world and has developed educational programs that serve as a model for
other opera companies (www.metoperafamily.org). Professional development workshops
for classroom teachers aim to provide the tools, skills, and inspiration to include arts
instruction in the classroom through individualized and small group training. Half-day or
full-day customized workshops are available for educators to learn specific and
fundamental music pedagogy skills aligned with New York City’s Blueprint for Teaching
and Learning in the Arts (www.metoperafamily.org). The New York Blueprint offers a
standards-based approach to arts instruction in an attempt to provide all Pre K-12
students with an exceptional education in the arts (www.schools.nyc.gov/default.htm).
The Chicago Lyric Opera has an education department that focuses on community
education for everyone, from novice opera enthusiasts to experts. Professional
development seminars occur in the summer and focus on teaching methods, providing
accessible arts education, and integrating opera into the curriculum. Specifically, teacher
participants learn to develop grade-specific opera units that incorporate literature, writing,
and music by building literacy, reading comprehension, vocabulary, and expression.
Workshops are led by master teachers, professional theatre directors and accomplished
opera singers. The seminars vary in length, from day-long to week-long sessions.
17
Educators are eligible to earn up to three Continuing Professional Development Units by
participating in professional development workshops (www.lyricopera.org). Educators
can prepare their students for attending a matinee opera performance by attending special
workshops that provide the teacher with extra resources including an overview of the
plot, production information, historical background, and composer information along
with strategies for integrating the opera into the curriculum (www.lyricopera.org).
Professional development at Houston Grand Opera is intended to coincide with
main stage productions. The workshops are led by master teachers, guest lectures, and
opera staff. They are held on the evenings of final dress rehearsals and consist of a
lecture-style presentation along with admission to the opera. By attending each
workshop, educators are eligible for Texas Education Agency (TEA) continuing
education hours, and so receive exposure to the opera genre while earning continual
education hours toward their professional development requirements
(www.houstongrandopera.org).
The San Francisco Opera offers professional development to address state arts
standards as well as the San Francisco Unified School Districts arts curriculum plans. It
also aims to connect opera to the larger school curriculum (www.sfopear.com).
Participants are provided with resource materials such as opera study guides and CDs that
help students prepare for attending dress rehearsals. During Saturday workshops,
educators work closely with teaching artists to acquire the skills to include opera in their
classroom curriculum (www.sfopera.com).
18
Many educators look to arts organizations such as opera companies for
professional development and continual education programs. These four opera
companies offer their communities exceptional opera enrichment programs. Though the
programs vary in size and budgets, they provide a high quality opera education for
students, educators, and their communities. Professional development is provided by all
four companies with several of them offering development or continuing education units
that can be applied to participants towards official requirements.
Conclusion
Continued music professional development for teachers is necessary, as many
teachers do not feel confident to address the music standards in the classroom (Byo,
1999). When professional development is executed well, teachers gain the skills and
ability to generate positive results in the classroom and the entire school (Darling-
Hammond et al., 1995). Effective professional development sessions have specific core
features (Desimone et al., 2002). These include sessions being spaced out over a longer
period of time (Conway, 2008) and being designed to actively engage teachers through
debate and discussion (Little, 1993).
In addition to professional development programs for music specialist, leading
opera companies have established programs for classroom teachers. Though delivered
through slightly different means, these programs each aim to equip teachers with the
skills and materials to provide students with integrated experiences around the art form of
opera. Having considered the literature presented in this chapter, it appears that some
19
questions remain unanswered. Firstly, we should understand what teachers specifically
gain from participation in the music professional development sessions provided by opera
companies. Furthermore, it would be interesting to know what approaches and materials
are being transferred from the sessions to the classroom. Finally, there are the questions
of what specifically motivates the teachers to attend or return to further professional
development sessions. These questions will be addressed in the subsequent chapters.
20
CHAPTER THREE
METHODOLOGY
Introduction
The purpose of this study was to investigate teachers’ perceptions of their own
experiences in a teacher-training program provided by LA Opera. After attending two
workshop sessions, 17 participating teachers were interviewed to address the following
research questions:
1. What do teachers glean from participation in the LA Opera teacher
workshops?
2. How are the approaches and classroom materials presented in the workshops being
used by the teachers in their classrooms?
3. What motivates educators to participate and return to Opera 101 teacher-training
sessions?
This chapter describes the methodology of this case study, including a description
of the participants, the interview and analysis procedures, and a timetable for which the data
were gathered and analyzed.
Sample
This study involved 17 classroom teachers who participated in the Opera 101
teacher-training program presented by LA Opera. The participants were not music
teachers, but credentialed classroom teachers in the LAUSD. As indicated in Table 1,
21
below, each teacher had a minimum of two years of teaching experience, with the
majority (n = 10) of the teachers having taught for 5 to 10 years.
Table 1
Years of Teaching Experience of Participants in Opera 101
Number Participants Number of Years Teaching
2 1-5 years
10 5-10 years
5 < 10 years
The participating teachers taught students ranging from kindergarten through twelfth
grade with the majority (n = 9) teaching at the high school level, as shown in Table 2,
below.
Table 2
School Classification of Participants in Opera 101
School Classification Men Women Total
Elementary 1 5 6
Middle School 1 1 2
High School 4 5 9
Total 6 11 17
The participants were not required by their district to teach music to the students
in their individual classrooms and any music teaching occurred on a voluntary basis.
None of the participants considered themselves professional musicians, though several
22
had varied music-making experiences in their backgrounds and all were participating in
the Opera 101 program for the first time.
Opera 101 is a teacher-training program for educators who wish to gain basic
skills teaching music and to acquire tools to introduce their own students to opera.
Educators were introduced to musical concepts that range from music theory to historical
background while directly addressing the visual and performing arts framework (VAPA)
for the state of California. Currently, the researcher is employed by LA Opera on a part-
time basis, with job responsibilities that include coordinating and facilitating teacher-
training programs such as Opera for Educators and Opera 101. This study population,
therefore, represents a sample of convenience.
Each participant was eligible to attend any of the four training sessions that
occurred throughout the season of LA Opera. The only requirement for participation in
the Opera 101 program was that attendees be current classroom teachers (at any grade
level). Educators who completed the teacher-training sessions qualified for salary points,
which were applied toward a pay increase with the LAUSD or credit through the UCLA
Extension program. One salary point was accrued by attending any two training sessions
and any two main-stage opera performances.
In order to qualify for inclusion in this study, participants must have attended the
first two sessions in the series of four teacher-training workshops. Attendance was
verified in a log-in/out sheet that participants signed as they arrived at and departed from
each session.
23
Procedures
Recruiting Participants
During the second Opera 101 training session, an announcement was made
informing educators that they would be contacted in the near future and invited to
participate in a research study. Upon receiving approval for this study from the
Institutional Review Board (IRB), the researcher contacted, via e-mail, the educators who
had attended both sessions. These participants were provided a brief introduction to the
study and interview process and invited to participate voluntarily in this case study.
Participants were assured that, though the researcher knew their identities during the
interview, their responses would be coded, and thus not linked directly to their names at
any time. Their anonymity would be protected. The teachers were also made aware that
participation in the study did not affect in any way their participation with the teacher-
training series. The participants had an opportunity to ask the researcher any additional
questions or to raise concerns regarding the study by e-mail or telephone call. Educators
who did not respond to the initial e-mail were contacted again with a follow-up telephone
invitation.
Explanation and Logistics
Once teachers had agreed to participate, they signed up for a 30-minute time slot,
in which they were available for a one-on-one, 10-minute phone interview. Educators
were informed that, during the interview process, they would be asked a series of
questions regarding their experiences in their own classrooms after attending sessions one
and two of Opera 101. Participants were informed that the interview process would last
24
approximately 10 minutes and reminded that their responses would be recorded for the
purposes of transcription and analysis but that their identities would be kept confidential.
Interview Process
Interviews with the participants took place approximately one week after the
second session. Each teacher was called on the telephone at a prearranged time and
participants were reminded that the conversation would be recorded for the purposes of
transcription and analysis. The telephone calls took place in a private office space with
only the researcher present and were recorded using a TuneTalk iPod recording device.
The interview protocol consisted of the following four steps: a greeting and
welcome, a sound-check, an icebreaker question, and then the series of interview
questions for this study. The interview questions were asked in a predetermined order,
depending on the participant’s responses. When the interviews were completed, the
audio recordings were copied to a password-protected computer and the original copies
stored in a locked filing cabinet. The interviews were transcribed into a word processing
document and the recorded interviews were discarded.
Analysis
All interview transcriptions were coded, identifying participants by number rather
than name, in order to protect the anonymity. The key that linked the names of the
participants to the assigned numbers was kept in a Word File on a password-protected
computer.
25
Once all the transcripts were prepared, the data were analyzed and coded to
identify themes occurring within and across the interviews. Common themes were
identified, labeled, analyzed, interpreted, and results are presented in Chapter Four to
answer the research questions guiding this inquiry.
Time Table
The following case study occurred over a two-month time period during the Fall
of 2009, when educators attended Opera 101 teacher-training sessions. Interviews with
the classroom teachers were conducted during early December 2009 and completed in
early January 2010 (after interviewees had attended the second session).
Summary
This case study explored classroom teacher experiences after participating in the
LA Opera’s, Opera 101 program. Classroom teachers who attended two, day-long
sessions of teacher-training at LA Opera were recruited to volunteer for the study.
Participants engaged in a telephone interview to answer questions about their
participation in the workshops and about incorporation of the workshop content into the
classroom. Interview data were collected, transcribed, and analyzed, the results of which
are presented in Chapter Four and discussed in Chapter Five.
26
CHAPTER FOUR
RESULTS AND DATA ANALYSIS
This chapter includes results of data analysis and answers to the research
questions of this investigation. The study consisted of educators (n = 17) who
participated in the Opera 101 teacher-training series, which is coordinated through LA
Opera’s Education and Community Programs. Participants who attended the first and
second teacher-training sessions were interviewed for the study. Interviewees were asked
a series of questions (Appendix A), which helped answer the three central research
questions:
1. What do teachers glean from participation in the LA Opera’s teacher
workshops?
2. How are the approaches and materials presented in the workshops being used by the
teachers in their classrooms?
3. What motivates educators to participate and return to Opera 101 teacher-training
sessions?
Research Question 1
What do teachers glean from participation in the LA Opera’s teacher workshops?
Several themes emerged from the data to address the research question, among
them were: Compensation, Enjoyment, Enrichment/Fulfillment Music
Resources/Materials, Creative Inspiration in and out of the Classroom, and Confidence.
See Table 3, below, for the number of participants whose responses informed the
27
identification of these themes. These themes were closely examined to further understand
what educators gleaned from participating in LA Opera’s teacher-training program.
Table 3
Frequency of Reported Themes
Content Category Number of Participants
Compensation 17
Enjoyment 10
Enrichment/Fulfillment 10
Music Resources/Materials 6
Creative Inspiration In and Out of the Classroom 5
Confidence 4
Compensation
Educators garnered many different benefits from participating in Opera 101. A
common and consistent theme related to money. One perk educators received from
participating in the teacher-training workshops was salary points. Teachers earned either
1 or 2 points, which counted toward promotion in their teaching positions (see Table 3,
above). All 17 participants participated in the program in order to earn salary points.
Fourteen participants stated that salary points were imperative to their participation in the
program.
28
Table 4
Salary Point Accrual
1 Point 2 Points Total Participants
Number of Participants 4 13 17
Enjoyment
Numerous examples, direct and indirect, indicated that participants experienced
enjoyment by taking part in the program. As one participant explained, “I enjoyed the
first one [participant referring to the first Opera 101 session] very much and I learned so
much, that I wanted to continue learning more about opera” (Participant #8). Ten
members of this self-selected group of participants expressed enjoyment, despite the
amount of personal time sacrificed to attend the weekend teacher-training session.
Participants’ personal level of enjoyment in participating in the program was apparent in
the interviews and was also something they value in the workshops. Attending what
could be perceived as time-consuming and extraneous sessions, educators reported
finding themselves entertained and informed on the subject matter presented by speakers.
Participants who showed a genuine enthusiasm for the opera art form and subject
matter reported naturally enjoying discussion on building student interest in opera. The
genuine enthusiasm displayed by the educators was reported to have fueled the students’
curiosity and subsequent interest in the subject matter.
Enrichment and Fulfillment
Upon self-reflection, 10 of the educators expressed that they were pleased with
the outcome of the training and reported finding it to be an enriching experience. Even
29
though teachers were initially tentative about attending, they reported an extreme sense of
fulfillment from their participation. After attending the first training session, participants
were pleasantly surprised that attending future sessions began to feel less of a work
obligation and more of an enriching experience. They soon allowed themselves to listen
with an open mind, gaining a more enjoyable experience from what could initially be
perceived as simply time-consuming. By focusing time and energy toward something
they already found of personal value, some participants were able to benefit further from
the training. As one participant said, “I was finding the educational experience very
valuable… [and] rewarding for this kind of professional development” (Participant #5).
The organic learning environment allowed for individualized experiences for each
educator. The participants expressed that, because the teacher-training was less technical
in nature, they found it to be more valuable than other forms of professional
development. The training that participants received was apparently different from what
they traditionally experienced (in terms of teaching methods, technology, and classroom
management). Once participants began to learn more about the art form, they found that
putting their guard down resulted in a unique experience for each of them.
Music Resources and Materials
Having a quest for knowledge in an area beyond their main area of expertise
yielded new music and art-related materials and resources for the participants. They
considered themselves to be novices to the art form and looked to the LA Opera to
provide them with a relevant foundation. Participants reported being overall pleased with
the amount of resources they were provided at training sessions, as one said: “there are so
30
many outside sources that could be brought into the classroom, there is just no end to it”
(Participant #13). Participants expressed that they found the materials received at
teacher-training sessions effectively provided them with a wide range of resources they
could then use in their classrooms. One explained, “You use visuals, you give us musical
pieces, we have handouts, there is lecture, and it’s interactive” (Participant #6).
One participant was even compelled to contact a guest lecturer for more resources
on operas. Through this communication, the participant was provided with helpful
websites and scholarly literature on the specific request. The guest lecturer even
suggested some of his favorite recordings of the specific opera about which the
participant was asking further information.
One specific workshop session was designed to provide participants with a
detailed look into the origins of the opera orchestra. By having a member of the LA
Opera Orchestra give participants a first hand look into the world of the opera orchestra,
the educators were able to see and hear instruments played live by a member of the
orchestra. The materials and resources were found to be so effective by the participants
that they were inspired and inclined to include them in their classrooms. One participant
explained, “The handouts and the orchestra break down of different instruments of the
orchestra I used directly in the classroom” (Participant #6).
Creative Inspiration In and Out of the Classroom
Participants (n = 5) in the Opera 101 expressed feelings of rejuvenation and love
for the arts through participation in the teacher-training program. One said: “Every time I
go, it really inspires me and I can’t speak of a way to make it much better” (Participant
31
#7). This rejuvenation inspired participants’ classes with a renewed enthusiasm for
teaching and learning opera.
Inspired by the training, participants felt genuinely enthusiastic about teaching
opera-related themes. Participants stated that they knew their previous reluctance to
include opera content in the classroom was clear to their students. After attending the
two training sessions, participants felt inspired and equipped to begin incorporating new
opera-related ideas into their curriculum. In turn, student displays of enthusiasm for the
subject matter further inspired creativity for future lesson plans (Participant #6). Inspired
by visiting scholars, performers, and master teachers, participants began to explore
creative and progressive curriculum planning to encompass the opera-related material
covered in training (Participant #7).
With a newly acquired wealth of opera knowledge, one participant was inspired to
look into creating an after-school opera education program, explaining, “I would like to
teach an after school program on opera to my students” (Participant #11). This
enthusiasm opened up new dialogue with LA Opera for participants interested in creating
an opera club at their school. Opening up a new line of communication provided
educators like Participant #11 with resources in addition to those received at the teacher-
training Opera 101 program. Participants were able to provide their students with school
field trips to the Dorothy Chandler Pavilion (LA Opera’s home), backstage tours, free
tickets to dress rehearsals and personal campus visits from LA Opera speakers bureau
members.
32
Confidence
Four educators indicated that they became more comfortable throughout the
course of the first and second session and looked forward to incorporating materials into
their curricula. In doing this, educators appear to have gained a sense of ownership of the
material and began cultivating alternate and innovative teaching styles with which to
engage their students. Influenced by a minimalist production of Madama Butterfly,
Participant #5 adapted a lesson plan to include an introduction to Asian martial arts.
Participants reported becoming more comfortable with using the material in their classes,
so much so they began to personalize materials. By making original materials more
pertinent to his/her personal teaching methods, the participant has shown evidence of
growing in confidence.
Two educators reported being very eager and open to learning new techniques for
incorporating the arts into the classroom, but their main trepidation was recreating the
activity accurately in their classroom (Participant #12 & Participant #14).
Research Question 1 Summary
The most frequent outcomes of participation in the LA Opera teacher-training
program included points toward job promotion, enjoyment, enrichment, confidence,
resources, and creative inspiration. Overall, participants were pleased with the training,
resources, quality of presenters, and subject matter presented at each session. They
looked forward to the subsequent workshops, as they felt both empowered with their own
33
increased musical knowledge and more prepared to share the knowledge with the
students in their classrooms.
Research Question 2
How are the approaches and materials presented in the workshops being used by the
teachers in their classrooms?
The first aspect of this question to address is whether the teachers had, in fact,
implemented approaches and materials into the classroom. Six out of the 17 participants
reported having already used approaches and materials in the classroom and 11 reported
having not. A closer look at the teachers who had and had not incorporated workshop
content into the classroom reveals the following: Of the teachers with more than five
years of teaching experience, four (n = 4) had incorporated workshop content into the
classroom and 11 (n = 11) had not. The teachers with fewer than five years of experience
included two (n = 2) who had incorporated workshop content and none (n = 0) who had
not (See Table 5, below)
Table 5
Incorporation of Content According to Teaching Experience
Did Incorporate Content Did Not Incorporate Content
> than 5 years experience 4 11
< than 5 years experience 2 0
34
The six participants who had incorporated approaches and materials into their
classroom curriculum taught students at the elementary (n = 3), middle (n = 1) and high
school (n = 2) level. This distribution is of particular interest because the workshop
material was geared more toward secondary students. The 11 participants who had not
yet included the content in the classroom represented elementary (n = 3), middle (n = 1),
and high school (n = 7) (See Table 6, below).
Table 6
Incorporation of Content According to Age of Students Taught
Did Incorporate Content Did Not Incorporate Content
Elementary School 3 3
Middle School 1 1
High School 2 7
The 11 participants who had not yet implemented workshop content into the
classroom cited as reasons time demands for testing, struggles linking the content to
current subject areas, and lack of planning.
35
Table 7
Reasons for Not Implementing Content
Content Category Number of Participants
Testing 2
Difficulty Linking Content 5
Lack of Planning 4
Listening Exercises and Activities
Participants who were new to the opera art form felt more comfortable
introducing opera to their students through listening exercises. Familiarizing students
with basic melodies, plot, and synopses, aided participants in future instruction. One
participant offered, “I’ve done listening assignments with opera songs, really famous
songs so they could recognize it even though the students had no idea where it came
from” (Participant #4).
Once they were more familiar with the genre, they appeared to have begun
constructing their own teaching lesson plans for incorporating opera into their
curriculum. One participant explained, “I was influenced by Madama Butterfly
[participant referring to LA Opera’s production of Giacomo Puccini’s, Madama
Butterfly] and the minimalism that was used in the production, so I adapted it for an
Asian martial arts version of Macbeth.”
36
Incorporating Teaching Techniques
Using learned teaching techniques helped educators engage students who may not
have necessarily been interested in core curriculum subjects. One participant said, “I do
think that it opened up a different kind of way to work with my kids than I knew before”
(Participant #14). Three participants began researching opera literature on their own and,
in doing so, took the knowledge acquired at teacher-training one step further. One
participant felt that the students appreciated the preparation that had gone into the
creation of lesson plan. Not only were students learning about opera but also, in this
particular instance, they were learning about Asian culture, for example government,
music, cuisine, fashion, religion, and so forth
Participant #1 used both opera plots and synopses to brainstorm new ideas for a
narrative that students were writing. In doing this, the students were able to incorporate
opera as a literary device into their writing. The students were impressed with their own
ability to write an opera, and therefore were able to relate to the storyline. Participant #1
was able to use the method taught in teacher-training in the classroom. By building on
existing writing techniques used in their practicing curriculum, the participants’ students
were able to create an opera. Students focused on building logic in rhetoric while
creatively constructing new and innovative lyrics to existing pieces. Suddenly students
were able to draw connections between the contemporary lyrics and the original plot in
the libretto (Participant #1).
37
Barriers for Classroom Teachers
Eleven out of 17 participants found it difficult to apply learned teaching
techniques in their classroom because the material was not as specific to their core
subject or grade level as they would prefer. Individualized lessons can give participants
the confidence they are looking for in incorporating new teaching techniques in their
classrooms.
When asked if participants had used any of the workshop materials or approaches
in the classroom, one participant stated, “I’m waiting to do that, I haven’t done that yet,
but I will” (Participant #11). The participant further suggested that once they grew more
comfortable and familiar with the art form, they would begin introducing concepts to
students. Unfamiliarity with the opera art form kept the participant from planning and
implementing lessons with students.
Participants who found the training fast-paced often reported a lack of
implementation of the suggested teaching techniques in the classroom. Participant #4
suggested that other educators felt the same way, “I’m sure some of the other students
[teacher-training participants] are having a hard time keeping up in the training”
(Participant #4). Some participants felt that time restrictions in their daily school
schedules prevented using new techniques in the classroom: “we are very pressed for
time to teach all the district mandated courses, we teach to test these days, it’s
problematic” (Participant #11). Though participants agreed that teaching the arts was of
importance to them, three of them stated that due to testing or test preparation they were
38
unable to devote a consistent amount of time to teach arts related curriculum in the
classroom.
Research Question 2 Summary
Participants who began incorporating opera into their classroom (n = 6) reported
finding new and innovative ways that complemented their existing lesson plans.
Teachers (n = 11) who were still in the process of introducing opera-related themes into
their curriculum found that in preparing their students for state-mandated tests, they were
unable to spend time introducing music-related techniques into the classroom. Some
participants reported being hesitant and requiring more time for planning in order to
familiarize themselves with the material learned at training. Those participants
apparently hoped to become more comfortable with the new material and eventually to
ease their way into introducing material to their students.
Research Question 3
What motivates educators to participate and return to Opera 101 teacher-training
sessions?
Eight of the 17 participants stated that they joined the Opera 101 program in
search of new teaching techniques rooted in arts education. Different aspects of the
program motivated participants not only to participate in the program, but also to return
to future training sessions. The two main themes that were reported as continually
motivating participants to return to teacher-training sessions were finances and personal
39
significance. Personal significance in particular encompassed several minor themes that
were common throughout the interviews.
Finances
Individual participants joined the Opera 101 program pursuing different goals.
Financial motivation initially inspired 14 of the participants to attend training sessions for
professional development credit that, over time, provides them with a salary increase for
their participation.
Given the threat of the economic recession, financial stability was extremely
pertinent. The current financial state was a motivating factor for participants to return to
future sessions to receive full credit. Four participants went as far as to state that
receiving full salary point credit was their primary reason for returning to the second
Opera 101 session. Financial security is essential for educators who continuously face
budget cuts, which often lead to significant lay-offs. Fiscal motivation, whether
perceived as positive or negative, served participants as a constant reminder for returning;
as one participant put it: “if I don’t come, I don’t get my salary points” (Participant #3).
With 16 participants eligible for salary points, nine participants stated that financial
motivation was their primary reason for returning to the second session.
Personal Significance and Enjoyment
Personal significance and enjoyment of the opera art form apparently a vital role
in the continual attendance of 10 participants. These educators seem to hold the opera art
form in such high regard that they sought to include it in their curricula. Participants
40
reported having made it a personal goal to teach an art from that they believe is essential
to providing their students with a balanced and well-rounded education.
With lack of funding for arts programs in schools, educators (n = 10) appear to
have made it their personal responsibility to expose students to a variety of musical
genres, including opera. The accountability that educators have taken motivated them to
teach opera in the classroom because they see value in the art form. When they attended
teacher-training sessions, participants found it important that they receive training from
leading scholars, professional singers, and master teachers in the field in order to get the
best training available. Covering opera-related topics with accurate scholarly research
was reportedly important to these educators and commonly mentioned in the interview
process. This exposure appears to provide them with the formal music education they
desired. Participants stated that they are now able to draw from the teacher-training in
introducing their students to opera.
Participants’ own personal level of enjoyment overshadowed any other perceived
negative associations with attending professional development on a weekend (Participant
#14). Educators who were genuinely interested in the topics found it easier to allow
themselves to “take in” the performances, training, and discussions because of their own
personal interest in the art form.
Research Question 3 Summary
The data indicated that participants were motivated both financially and
personally in attending teacher-training sessions. Participating in Opera 101 gave
41
teachers as sense of personal investment that inspired them to continue attending future
training. Some participants felt personally responsible for teaching their students about
the arts due to the lack of musical training students were receiving at their school.
Additional Feedback
After responding to interview questions directly addressing the research
questions, the participants frequently stated that the level of professionalism and
commitment, and the quality of material exceeded their expectations. Suggestions
provided by participants included tailoring Opera 101 to each individual grade level so
that educators could come into the program knowing exactly what level was being
addressed and how the material applied to their specific subject (i.e., history, science
etc.). In receiving more tailored instruction, educators would then have more options and
could learn specific techniques geared towards their subjects, making lessons even more
relevant and pertinent to their fields.
Findings Summarized
Based on the three central research questions guiding the inquiry, this case study
indicated that educators found tremendous value in the teacher-training program provided
by LA Opera. Participants expressed their feelings that the outcomes achieved by
participating in the program out-weighed any reservations they may have had prior to
attending the teacher-training sessions. Educators also reported that their initial personal
feelings of inadequacy towards opera changed after participating in Opera 101, giving
them a newfound respect for the art. Nearly one-third of participants reported
42
incorporating learned techniques into the classroom almost immediately following the
first teacher-training session and finding success in doing so. Those participants who did
not include learned techniques into the classroom expressed that in order to do so, they
needed more training and time for planning before implementation.
By understanding what teachers gain from participating in Opera 101, LA Opera
is able to continue a dialogue with educators, which enables them to assess whether the
skills gained at teacher-training are being taken back to teachers’ classrooms for
implementation. Additionally, LA Opera is able to measure the workshop outcomes
against the program goals and to address discrepancies, thus strengthening the
programming for the organization and the participants, and, ultimately, improving arts
instruction for students.
43
CHAPTER FIVE
CONCLUSIONS, DISCUSSION AND IMPLICATIONS
The primary purpose of this study was to gain an understanding of teacher
perceptions of experiences in the teacher-training program at LA Opera. Opera 101 is a
professional development program for classroom educators (K-12) who wish to learn
more about the basics of opera for inclusion in school curricula. Teacher-training
sessions include, but are not limited to, a historical look at opera genres, composers, and
librettists. Musical emphases such as recitals, performing forces, voice types/singing,
orchestra, chorus, aria, and songs are also important components of each session, and
benefit schools themselves by addressing the Visual and Performing Arts Framework
(VAPA) for the state of California. Educators who participated in two consecutive
teacher-training sessions of Opera 101 were eligible to volunteer in this case study,
which was conducted over the time span of two-months. Volunteer participants (n = 17)
consisted of classroom teachers from LAUSD who teach a wide range of subjects at
various grade levels.
Preceding the second training session, participants were contacted by phone for a
follow up interview on the status of the implementation of learned techniques in their
classrooms. Participants were informed that the interview would be recorded for
transcription purposes only. The interview content and participant identity would be kept
strictly confidential. After the participants answered a series of questions (Appendix A),
the interviews were transcribed and assigned a participant number to protect the
anonymity of participants. Transcripts were coded according to content, and the
44
researcher identified and analyzed emerging themes to create a narrative report of
participant experiences in the Opera 101 teacher-training program.
Conclusions
The first research question asked what teachers glean from participation in the LA
Opera teacher workshops. Educators reportedly gained both tangible and intangible
outcomes in participating in the Opera 101 teacher-training program. Overall,
participants expressed being pleased with the workshops. They ascribed participation in
the two consecutive sessions having resulted in increased financial compensation,
enjoyment, enrichment/fulfillment, acquisition of music teaching resources/materials,
creative inspiration in and out of the classroom, and confidence.
All participants (n = 17) received indirect financial compensation in the form of
salary points through LAUSD. Participants earned either one or two salary points for
their participation in the teacher-training workshops and this outcome was important to
the teachers. This benefit of participation was not the only one, but was clearly very
important.
Enjoyment was a reoccurring theme in what participants cited as a result of
participation. The researcher expected that participants would enjoy themselves to a
certain extent in participating in a program of this nature; however, the response to the
program appeared greater than expected. Participants shared strong feelings of
appreciation, demonstrating an almost immediate positive outlook after attending the first
session.
45
Participants’ feelings of enjoyment about the teacher-training apparently grew
into an enriching and fulfilling overall experience. After attending two consecutive
sessions, participants reported placing more value in the art form allowing them to
become engrossed in the content. The experience apparently soon became a rewarding
one, which allowed for participants to take much more from the program than what they
may have initially expected. As knowledge on the subject matter grew, participants were
inspired to seek out additional resources from presenters and LA Opera, resulting in the
design of creative and original lesson plans.
The participants valued the numerous musical resources and materials provided
for them while participating in Opera 101, such as synopses, production pages, lesson
plans, and the helpful online resources, such as links to websites with pertinent and
scholarly information relating to opera. Some guest speakers gave participants
suggestions for opera recordings whereas others provided educators with handouts they
could use in the classroom. The participants seemed to value most the sample lesson
plans that were distributed during the training.
By attending and participating actively in workshops, participants overcame their
feelings of insecurities and gained confidence. Participants who incorporated the
materials and techniques into their classrooms grew more comfortable with the material.
This gained confidence helped them overcome any initial insecurities they may have had
with regard to learning about a musical art form about which they had little to no
knowledge.
46
The second research question asked how the approaches and materials presented
in the workshops were being used by the teachers in their classrooms. Participants
reported either immediately incorporating the learned techniques into their individual
classrooms, not incorporating any of the learned techniques into the classroom, or being
in the process and needing more resources or time. Participants appeared enthusiastic
about learning new teaching techniques and those who did not administer learned
techniques stated “lack of time” as the initial reason for not incorporating learned
techniques. The intention to include music education into the daily curriculum was
apparently there, however implementation did not seem to come through fruition (at the
time of interview). Participants who expressed interest in expanding on their training and
creating opera forums in their schools were encouraged to create Opera Clubs. LA Opera
helped those participants explore the possibility of developing Opera Clubs by providing
them with additional resources and materials.
The third research question asked about what had motivated educators to
participate and return to Opera 101 teacher-training sessions. It can be concluded that
participants’ primary reason for attending Opera 101 teacher-training sessions was
reportedly to earn salary point credit for professional development salary increases. After
motivation by financial outcomes, participant motivation was stated to focus on
furthering individual education in the musical and the arts. It was apparently the
participants desire to gain improved comprehension of music with an emphasis on opera,
which eventually led to success stories among participants who did incorporate learned
47
teaching techniques into the classroom. A strong personal interest in the art form was
reported to have motivated participants to return to future sessions.
Discussion
The personal and professional enrichment teachers gained through participation in
Opera 101 seems to be a source of other positive outcomes. Once participants focused
on a singular educational method/technique and incorporated it into their everyday
classroom, educators appeared to have grown in confidence, which eventually
contributed to an overall positive experience. The breadth of the Opera 101 program
allows for a seamless transition into other programs at LA Opera making continual
participation an ongoing process.
Taking the First Step
Beginning with a newfound understanding and enrichment for the art form,
participants received a solid foundation for developing future lessons. However, taking
the first step in including this content in the classroom has proven to be the most difficult.
The majority of the participants reported having not yet taught a lesson with the concepts
of the workshops to their students, which may suggest that incorporating the learned
techniques and materials is not a high enough priority and that if it were of utmost
importance, the teachers would have already done it. Another interpretation is that it
simply takes more than two workshop sessions for participants to become comfortable
enough to do so.
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Adapting Lesson Plans
The teachers who did report including workshop content into the classroom
quickly learned what does and doesn’t work in the classroom. After becoming more
familiar with opera, they were comfortable enough to adapt the lesson plans to fit their
individual classroom needs. By providing educators with a concise overview to opera
and tools for instruction, Opera 101 has prepared participants with enough context to
successfully assimilate newfound knowledge into respective subjects and grade levels.
The lessons themselves are at an appropriate level that the participants can successfully
take one step further. The teacher-training workshop provided participants with enough
knowledge, skill and motivation to adapt the lesson plans and make them applicable to
their students.
Best Practices for Workshop Content
When developing a professional development program like Opera 101, LA Opera
administration recognizes the potential for positive impact on teachers and students, and
is, therefore, diligent about creating an effective workshop series for educators. The
current structure and organization of the workshops seems to have provided participants
with an adequate breadth of understanding about the opera art form, the historical
context, production/technical, performance practice, vocal pedagogy, orchestra, and
sociological context. Each subject area is addressed adequately so that participants are
able to relate to specific areas of interest in developing lesson plans. Topics of personal
interest often serve as a starting point for incorporating learned techniques in their
individual classes.
49
The variety in workshop content and presenters allows participants to meet and
speak with leading scholars in the music field. An array of views and approaches are
presented, providing numerous access points for the participating teachers. Master
classroom teachers who are educators with many years of teaching experience led some
sessions. Other sessions are led by teaching artists who combine performance and
education content, and provide participants with their own unique perspective on arts
instruction.
Designing and delivering workshop sessions that are courteous and respectful of
participants seems as important as the content, itself. Participants in Opera 101 are taken
care of in many different ways: through the duration of participation, the teachers are
kept in constant contact with LA Opera programs administrators; participants are sent
reminder emails of upcoming sessions along with directions and maps to where the
training will be taking place; participant parking is provided at no expense to them; and,
participants receive program binders that include agendas, production pages, synopses,
speaker biographies, resource pages, and related articles. After each workshop session,
surveys are emailed immediately to participants to collect feedback that will help LA
Opera to continue to improve the product delivered to the teachers. All of these program
features are designed to make participants comfortable and to provide a safe and healthy
environment that is conducive to learning.
Participation in the Study
Many participants were timid about participation in this study, which frequently
resulted in short responses to the questions. To address this reluctance and help put the
50
participants at ease, interview questions could have been distributed prior to the
interview. This courtesy would have allowed them to think about and prepare answers to
the questions with sufficient quantity and quality of information reflective of their
experiences. Additionally, longer and more thoughtful responses might have been
possible with further probing and asking of even more follow-up questions during the
interview.
The group of participants represented a wide range of teaching experiences. Some
educators could have incorporated music-related content into their classrooms prior to
attending Opera 101 sessions. For those educators who already may have been
incorporating music into the curriculum, the workshops clearly were not the original
stimulus. However, the workshops seem to have provided a sense of support and
encouragement for all teachers to include arts instruction with the students in their
classrooms.
The time of year in which the sessions and interviews take place may influence
the quality of participant responses and the extent to which they incorporated the
workshop content into the classroom. Workshop session two finished right before the
winter holidays and finding a convenient time for participant interviews was particularly
difficult. Placing the interviews after session two allows the investigation of teachers
who immediately incorporated ideas from the workshops. However, following
participants over a longer period of time would allow greater tracking of opportunities to
use the materials and ideas in their classrooms. This greater time period would allow for
51
additional data collection and an investigation of how the teachers adapt the lessons over
time.
Implications for Music Education
There is a trend of inadequately funded music education programs in schools and
professional development programs for teachers. As school administrators and teachers
continue to address the deficiencies by relying on programming by local arts providers,
understanding the best practices and outcomes of this programming is critical. This study
is one of several studies that investigates the arts programming of community arts
providers. Though no one study is positioned to address every aspect of this evolving
programming, much can be learned by looking at the results of the collection of studies.
This study contributes to the understanding of best practices and outcomes of the
classroom teacher-training program of the LA Opera.
The results of this study underscore the importance of having trained music
educators in the schools. Classroom teachers can include music in their curriculum, but
training a music educator takes time. Providing educators with a basic knowledge of
opera and music is entirely possible through in-service teacher-training programs. The
classroom teacher participants are then much better equipped to support the music
educators or to promote some music exposure for students on campuses where music
educators may not be present.
Educators who attend professional development in the arts are a valuable resource
within the school. Through professional development programs like Opera 101,
52
participants create a relationship with LA Opera and see the organization as a resource
for their own work in the classroom. This partnership between teachers and arts
organizations has the potential to positively impact all children in the school— not only
the students in the classrooms of the workshop participants. As part of this larger field of
arts education, the classroom teachers gain access to programming for the entire student
body and to continued professional development, and gain a greater appreciation for
opera and music that they can then share with peers and students.
Implications for Research
Though the research yields sufficient data for the case study, future research
would be beneficial for this program and other teacher-training programs with similar
structures. Recreating this study on a larger scale and following educators over a longer
period of time would likely aid in the development of other professional development
programs. Once a substantial amount of research is performed in the area of teacher-
training, arts organizations can restructure programs to meet the specific needs of
educators with little music training, therefore setting them up for successful classroom
experiences.
Further Research
A descriptive study following educators who are incorporating approaches and
materials into their classroom could provide valuable insight into the dilemma of
insufficient time. Understanding what those educators are doing to overcome the
53
obstacles to introducing a music-related curriculum in the classroom would be valuable.
Educators who are not incorporating the training in their classrooms are receiving the
same training as their peers, and by understanding what factors set them apart, we can
begin to address those issues.
Having a clear understanding of school logistics, including classroom schedules
and standardized test preparation, is essential to understanding what deters educators
from introducing new learned techniques to students. By providing adequate research in
this particular area of study, arts organizations can have a better understanding of what
educators juggle in daily schedules that often hinder their classroom agendas.
Feedback from the current study indicated that some teachers would prefer grade-
specific activities and instruction. It would be of interest to compare the implementation
of workshop content into the classroom of teachers trained with grade-specific activities
and those who received nongrade-specific training. Would this modification make a
difference? It is possible that, for teachers experiencing difficulty in adapting materials
for their own students, having grade-specific activities may not matter; they would still
struggle to make the connection with their students.
Research by classification of educators (elementary, middle, or high school) could
also aid in the programming and efficacy of professional development workshops. It
would be useful to determine which features, techniques, resources, and materials from
the training program yield the greatest dividends in the classrooms. By knowing this
information, arts providers can offer the most relevant resources to educators in specific
grade levels who attend the teacher-training programs.
54
REFERENCES
Artist in the Workforce (2005). National Endowment for the Arts. Washington, DC.
Arts Education Partnerships: Lessons learned from one school district’s experience.
RAND Corporation (2004). Santa Monica, CA.
Arts in Focus (2001). Los Angeles countywide arts education survey. Los Angeles:
United Arts.
Booth, E., (2003). Seeking definition: What is a teaching artist? Teaching Artist
Journal, 1(1), 5-12.
Brown, A., & Green T. (2003). Showing up to class in pajamas (or less!): The fantasies
and realities of on-line professional development courses for teachers. The
Clearing House, 76(3), 148-151.
Byo, S., (1999). Classroom teachers' and music specialists' perceived ability to
implement national standards for music education. Journal of Research in Music
Education, 47(2), 111-123.
California Department of Education Visual and Performing Arts Framework for
California Public Schools, K-12, 1995.
Conway, M. (2008). Experienced music teacher perceptions of professional
development throughout their careers. Bulletin of the Council for Research in
Music Education, 3(176), 7-18.
Darling-Hammond, L., Bullmaster, M.L., & Cobb, V.L. (1995). Rethinking teacher
leadership through professional development schools. The Elementary School
Journal, 96(1), 87-106.
Desimone, L., Porter, A. C., Garet, M. S., Yoon, K.S., & Birman, B. F. (2002). Effects of
professional development on teachers’ instruction: Results from a three-year
longitudinal study. American Educational Research Association, 24(2), 81-112.
Garet, M., Porter, A. C., Desimone, L., Birman, B.F., & Yoon, K.S. (2001). What makes
professional development effective? Results from a national sample of teachers.
American Education Research Journal, 38(4), 915-945.
Graham, M. (2009). How teaching artist can change the dynamics of teaching and
learning. Teaching Artist Journal, 7(2), 85-94.
55
Houston Grand Opera. Teacher Workshops. Retrieved January 24, 2009, from
www.houstongrandopera.org
Knapp. M. (2003). Professional development as a policy pathway. Review of Research
in Education, 27, 109-157.
Little. J., (1993). Teachers’ professional development in a climate of
educational reform. Educational Evaluation and Policy Analysis, 15(2), 129-
151.
Los Angeles Opera. Education and Community Programs. Retrieved January 24, 2009,
from www.laopera.com
Los Angeles Unified School District. Arts Education Branch. Retrieved January 24,
2009, from www.lausd.net
Lyric Opera of Chicago. Education. Retrieved from www.lyricopera.org
Mark. M., & Gary, C., (2007). A history of American music education. (3rd ed.),
Blue Ridge Summit, PA: Rowman & Littlefield Education.
New York City Department of Education. The New York blueprint. Retrieved
from http://schools.nyc.gov/default.htm
San Francisco Opera. Learn. Retrieved from www.sfopera.com
SSC Fiscal Report. (2008). Governor Declares Fiscal Emergency Calls–Special Session.
School services of California, inc., 28(25).
The Metropolitan Opera. Met in Schools. Retrieved from
www.metoperafamily.org
U.S. Department of Education. Retrieved from www.ed.gov
56
APPENDIX A
INTERVIEW QUESTIONS
Question #1
What are the main reasons you returned to the second session of Opera 101?
Question #2
Did the first workshop session influence your general classroom teaching and
if so, how?
Question #3
Did you use any of the workshop materials or approaches in your classroom
and if so, how?
If Yes on Q3 then Q4
Question #4
What is your perception of the student’s experience and why was it so?
If Yes on Q3 then Q5
Question #5
Looking back at the experiences in your classroom, what was your perception of your
own experience then and what is your perception of the experience now?
If No on Q3 then Q4
Question #4
For you to have used the materials and approaches, what would have been needed to be
different in the teacher-training?
If No on Q3 then Q5
Question #5
Having just completed a 2nd workshop, is there something that now you would
incorporate?
Q6 for all
Question #6
Do you have any suggestions for making the training more pertinent to you?
57
APPENDIX B
INFORMATION SHEET
University of Southern California
Department of Music Education
INFORMATION SHEET FOR NON-MEDICAL RESEARCH
Completion and return of the questionnaire or response to the interview questions
will constitute consent to participate in this research project.
A CASE STUDY OF TEACHER’S PERCEPTION OF
EXPERIENCES IN A TEACHER-TRAINING PROGRAM AT
LA OPERA
You are invited to participate in a research study conducted by Jerry Cordova (Principal
Investigator) and Susan Helfter (Faculty Advisor) from the University of Southern
California. Your participation is voluntary. Please take as much time as you need to read
the information sheet. You may also decide to discuss it with your family or friends. You
will be given a copy of this form.
PURPOSE OF THE STUDY
We are asking you to take part in a research study because we are trying to learn more
about teachers’ perception of experiences in a teacher-training program at LA Opera.
PROCEDURES
You will be to participate in case study. Participation in this study does not affect your
participation with the teacher-training series. Participants will be assured that, while the
researcher will know their identities during the interview, their responses will be coded,
and not linked directly to their names. Once you agreed to participate, you will then sign
up for 30-minute time slot during which they will be available for a one-on-one 10-
minute phone interview. During the interview process, you will be asked a series of
questions regarding your experiences in your own classrooms after attending sessions one
and two of Opera 101.
The interview process will last approximately 10 minutes and your responses will be
recorded for transcription, coded and kept confidential. Your will contacted in the near
future regarding an invitation to participate in a research study. A phone call will be
made during a pre-arranged time slot and you will be reminded that the phone call is
being recorded but strictly for transcribing purposes. All recorded interviews are will be
transferred into a recording program and transcribed, for the purpose of a back-up copy.
58
While the recorded interviews are in use, the back-up copy will be kept on a password
protected computer program and the original copy will be stored in a locked desk. All
transcriptions will be printed out and coded (i.e. Participant #1, Participant #2) in order to
protect your anonymity. The key indicating the actual name of the participant and their
equivalent code will be kept in a Word File on a password protected computer.
POTENTIAL RISKS AND DISCOMFORTS
There are no anticipated risks to your participation; you may experience some discomfort
at completing the questionnaire or you may be inconvenienced from taking time out of
your day to complete the questionnaire/survey instrument, etc. Any questions that make
you feel uncomfortable can be skipped and not answered.
POTENTIAL BENEFITS TO SUBJECTS AND/OR TO SOCIETY
You may not directly benefit from your participation in this research study.
PAYMENT/COMPENSATION FOR PARTICIPATION
You will not receive any payment for your participation in this research study.
POTENTIAL CONFLICTS OF INTEREST
The investigators of this research do not have any financial interest in the sponsor or in
the product being studied.
CONFIDENTIALITY
Any information that is obtained in connection with this study and that can be identified
with you will remain confidential and will be disclosed only with your permission or as
required by law. The information collected about you will be coded using a fake name
(pseudonym) or initials and numbers, for example abc-123, etc. The information, which
has your identifiable information, will be kept separately from the rest of your data. I will
be the only person to have access to the data associated with this study. The data will be
stored in the investigator’s office in a locked file cabinet/password protected computer
The data will be stored for three years after the study has been completed and then
destroyed.
As a participant you have access to your individual reordered interview for review. It
will only be used for educational purpose and can choose to decline to be audio recorded
anytime in the interview process. When the results of the research are published or
discussed in conferences, no information will be included that would reveal your identity.
Any audio-tape recordings of you will be used for educational purposes, your identity
will be protected or disguised.
PARTICIPATION AND WITHDRAWAL
You can choose whether to be in this study or not. If you volunteer to be in this study,
you may withdraw at any time without consequences of any kind. You may also refuse
to answer any questions you don’t want to answer and still remain in the study. The
59
investigator may withdraw you from this research if circumstances arise which warrant
doing so.
ALTERNATIVES TO PARTICIPATION
Your alternative is to not participate.
RIGHTS OF RESEARCH SUBJECTS
You may withdraw your consent at any time and discontinue participation without
penalty. You are not waiving any legal claims, rights or remedies because of your
participation in this research study. If you have any questions about your rights as a
study subject or you would like to speak with someone independent of the research team
to obtain answers to questions about the research, or in the event the research staff can
not be reached, please contact the University Park IRB, Office of the Vice Provost for
Research Advancement, Stonier Hall, Room 224a, Los Angeles, CA 90089-1146, (213)
821-5272 or upirb@usc.edu
IDENTIFICATION OF INVESTIGATORS
If you have any questions or concerns about the research, please feel free to contact:
Jerry Cordova (Principal Investigator)
(213) 709-8443
University Park Campus
University of Southern California
Thornton School of Music (Dept. of Music Education)
Los Angeles, CA 90089
Susan Helfter (Faculty Advisor)
(213) 740-3211
University Park Campus
University of Southern California
Thornton School of Music (Dept. of Music Education)
Los Angeles, CA 90089
Abstract (if available)
Abstract
A trend appears to exist in California where elementary classroom teachers are frequently being called upon to include music instruction in the curriculum, while music specialist positions are simultaneously being eliminated from many public schools. These educators enroll in a variety of in-service professional development programs to prepare for this task. The purpose of this case study was to explore teacher perception of experiences in an in-service teacher-training program provided by the LA Opera. The participants consisted of teachers (n = 17) from the Los Angeles Unified School District (LAUSD), educators who attended two consecutive sessions of the LA Opera’s Opera 101 program. Data were collected in the form of interviews and results were analyzed to answer research questions regarding the experiences of the teachers, why they had participated in this program and how they had incorporated techniques and materials into the classroom. Results revealed that participants gained a sense of enrichment, enjoyment, and confidence through their participation in the workshops. One third of the participants integrated approaches and materials covered in the training into their curriculum, whereas other participants indicated that time constraints and planning were prohibitive to such efforts. Though their main motivation for returning to future training sessions appeared to be fiscal, participants reported being pleased with the outcomes of participating in Opera 101. The skills gained through participation in this program enabled a few educators to include music in their classrooms, thus reaching thousands of students who may not have a certified music educator at their schools.
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Asset Metadata
Creator
Cordova, Jerry
(author)
Core Title
A case study of teacher’s perception of experiences in a teacher-training program at LA Opera
School
Thornton School of Music
Degree
Master of Music
Degree Program
Music Education
Publication Date
11/08/2010
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
enrichment,OAI-PMH Harvest,opera,perception,professional development,teacher-training
Place Name
California
(states),
Los Angeles
(counties)
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Woodward, Sheila C. (
committee chair
), Helfter, Susan (
committee member
), Whitener, John (
committee member
)
Creator Email
cordovajerry@gmail.com,Muzic1224@aol.com
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-m3521
Unique identifier
UC1273354
Identifier
etd-Cordova-2562 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-479393 (legacy record id),usctheses-m3521 (legacy record id)
Legacy Identifier
etd-Cordova-2562.pdf
Dmrecord
479393
Document Type
Thesis
Rights
Cordova, Jerry
Type
texts
Source
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Repository Name
Libraries, University of Southern California
Repository Location
Los Angeles, California
Repository Email
cisadmin@lib.usc.edu
Tags
enrichment
perception
professional development
teacher-training