Experienced High School Band Director Perspectives on Sustainability for a Successful

Instrumental Music Program

Dissertation Manuscript

Submitted to Northcentral University

School of Education

in Partial Fulfillment of the

Requirements for the Degree of

DOCTOR OF EDUCATION

by

MARYANN CECILIA CAPONE-RASCHILLA

La Jolla, California

August 2019




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Approval Page
Experienced High School Band Director Perspectives on Sustainability for a Successful
Instrumental Music Program

By
MARYANN CECILIA CAPONE-RASCHILLA

Approved by the Doctoral Committee:

PhD 09/27/2019 | 06:26:22 MST

Monifa Beverly
Dissertation Chair: INSERT NAME Degree Held Date

EdD, PhD 09/25/2019 | 06:41:08 MST

Committee Member: Shad Bailey

INSERT NAME Degree Held Date

09/24/2019 | 13:03:29 MST

PhD

INSERT
Committee Member: Brandy NAME Degree Held
Kamm Date
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Abstract

Experienced high school band directors’ lived experiences and perspectives on program success

and sustainability were explored in this qualitative phenomenological research study. The

problem addressed in this study regarded factors that affected instrumental music program

success and sustainability. The purpose of this research was to discover lived experiences of

high school band directors from a successfully sustained instrumental music program and gather

perspectives on how that success and sustainability were achieved. Sustainable leadership theory

was used to focus the research on the lived experiences of the band director as leader of a

program. A conceptual framework was used to focus lived experiences on sustained program

success from directors who achieved it. Expert experiential knowledge was gathered from

interviews of five participants. Categories were generated from verbatim transcripts. Two

questions guided the research: RQ1. What are the lived experiences of high school band

directors from a successfully sustained instrumental music program? RQ2. How did

experienced high school band directors perceive instrumental music program success and

sustainability? Interrelationships among directors and extended entities significantly impacted

the sustainable success of a program. An unexpected finding was that no directors perceived

success according to awards or recognitions. Students leaders significantly affected program

success and sustainability. Directors’ visions for an ideal program encompassed comprehensive

music programs, group/private lessons and trusting and supportive relationships. Implications

were that program success findings diverged from existing research that benchmarked success

according to awards. The results of this study converged with exiting leadership research

promoting emotionally intelligent leadership for sustainability. Recommended next steps would

be to design a qualitative survey for distribution to a larger sample population based on findings.

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Directors could use these findings for instrumental music advocacy efforts. Institutions could

use this study as a basis for curriculum development to better prepare future band directors for a

successful and sustainable program and career.

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Acknowledgements

I was blessed to be surrounded by a love of music. From my mother who loved Motown and

Rock and Roll to my father who loved Classical music and Opera…to grandparents who enjoyed

Polkas to Pops concerts. I’ll never forget my Grandpa Capone cranking the stereo to play me

Gershwin’s Rhapsody in Blue. From the moment I heard that glissando, I was hooked. I knew I

wanted to be a musician. Inspiration alone was not enough. It took the tireless sacrifices,

commitment and support from my parents over the years to help me achieve my goals and

dreams. I could hear their cheers and spot them amidst thousands in an arena. Their support

could never be silenced, and their commitment was unparalleled. My parents blessed me with a

brother whose talent inspired, motivated and challenged me to discover what I thought was my

best and surpass it. Thank you, Mom, Dad and TJ, for being my biggest fans. I could not have

accomplished this without you. Thank you to all my music teachers who continued to nourish

my passion for music and imbibe a lifelong love of music. Especially my marching band

directors who saw leadership potential in me when I didn’t by making me a drum major. Thank

you to my Spanish teacher Barbara Pellicano who showed me what true passion and love of

subject matter was. I wanted all my students to feel how I felt in her classroom. Thank you to

all the family and friends who’ve supported me on this Doctoral journey. Your support meant so

much. Last but not least, thank you to my husband. I believe I can explain my gratitude for my

husband’s support by relaying what my children have witnessed and learned. My children

witnessed their father support their mother’s dream. My children learned that when you truly

love someone, you’re willing to work harder, make sacrifices and compromise. My husband’s

love and commitment helped me achieve this Doctoral goal and continues to support the dreams

I have yet to dream.

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Table of Contents

Chapter 1: Introduction ................................................................................................................... 1

Statement of the Problem ............................................................................................................... 3
Purpose of the Study ...................................................................................................................... 4
Theoretical/Conceptual Framework ................................................................................................ 5
Nature of the Study ........................................................................................................................ 6
Research Questions ....................................................................................................................... 7
Significance of the Study ............................................................................................................... 8
Definition of Key Terms ................................................................................................................ 9
Summary .................................................................................................................................... 11

Chapter 2: Literature Review ........................................................................................................ 13

Research Strategies ...................................................................................................................... 14
Theoretical Framework ................................................................................................................ 17
Conceptual Framework ................................................................................................................ 22
Director Attrition ......................................................................................................................... 25
High School Band Directors ......................................................................................................... 39
Experiential Knowledge ............................................................................................................... 45
Instrumental Music Program Success ............................................................................................ 48
Challenges to Director Success ..................................................................................................... 55
Instrumental Music Program Sustainability ................................................................................... 70
Director Sustainability ................................................................................................................. 73
Successorship Planning and Sustainability .................................................................................... 76
Challenges to Program Sustainability ............................................................................................ 82
Relationship Between Success and Sustainability .......................................................................... 87
Application of Literature Review to Research Questions ................................................................ 94
Summary .................................................................................................................................... 96

Chapter 3: Research Methods ....................................................................................................... 98

Research Methodology and Design ............................................................................................... 98
Population and Sample................................................................................................................. 99
Materials/Instrumentation .......................................................................................................... 102

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Study Procedures ....................................................................................................................... 102

Data Collection and Analysis ..................................................................................................... 105
Assumptions ............................................................................................................................. 107
Limitations................................................................................................................................ 107
Delimitations............................................................................................................................. 109
Ethical Assurances..................................................................................................................... 110
Summary .................................................................................................................................. 112

Chapter 4: Findings ..................................................................................................................... 113

Trustworthiness of the Data ........................................................................................................ 114
Results ...................................................................................................................................... 116
Research Question 1 .................................................................................................................. 120
Research Question 2 .................................................................................................................. 126
Emergent Categories .................................................................................................................. 152
Evaluation of the Findings.......................................................................................................... 165
Summary .................................................................................................................................. 170

Chapter 5: Implications, Recommendations, and Conclusions .................................................. 172

Implications .............................................................................................................................. 174
Recommendations for Future Practice ......................................................................................... 187
Recommendations for Future Research ....................................................................................... 188
Conclusions .............................................................................................................................. 189

References ................................................................................................................................... 191

Appendices .................................................................................................................................. 215

Appendix A: Interview Questions and Protocol ......................................................................... 216
Appendix B: IRB Approval Letter .............................................................................................. 218
Appendix C: Former Director Inspirational Characteristics ....................................................... 219
Appendix D: Ideal Program ........................................................................................................ 220
Appendix E: Definitions of Success ........................................................................................... 221
Appendix F: Director's Sustained Success Attributes................................................................. 222
Appendix G: Sustained Program Success Factors ...................................................................... 224

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Appendix H: Challenges/Factors Affecting Sustained Program Success ................................... 227

Appendix I: Challenges Out of a Director’s Control .................................................................. 229
Appendix J: Keystone to Sustained Program Success ................................................................ 231
Appendix K: Forces Affecting Keystone .................................................................................... 232
Appendix L: Pressures that Strengthen Sustained Program Success .......................................... 233
Appendix M: Directors’ Professional Philosophies/Advice ....................................................... 234
Appendix N: Successful Administration Communication Practices .......................................... 236
Appendix O: Role of the Parents ................................................................................................ 237
Appendix P: Support of Small Group/Private Lessons for Sustained Program Success ............ 238

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List of Tables

Table 1. Participant Demographics and Qualifications Overview ............................................ 117

Table 2. Research Questions, Categories, Subcategories and Emergent Categories ................ 119

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Chapter 1: Introduction

The director of a band was by definition, the leader of the ensemble (Kerres, 2013).

Extant research noted the important role leadership played for organizational sustainability

(Benn & Metcalf, 2013; Evarts et al., 2015; Kosempel & Wilson, 2016). However, perspectives

from those important roles were given limited research attention (Acklin et al., 2014; Angeline,

2014; Austin, 2017). Sustaining support and success required strong advocacy from directors

(Fischer & Hedgecoth, 2014). Moreover, successful and sustainable instrumental music

programs provided a stage for directors to cultivate and nourish student leaders (Leshnower,

2008). Austin (2017) affirmed the importance of sustainable music programs to elicit positive

community relations and “hope” for students (p.7). Successful instrumental music programs

enabled directors to create an environment for success, and subsequently increase participation

and sustainability (Phillips, 2016). Gaps remained on how such success and sustainability were

made possible (Edgar, 2014; Hancock, 2016). McKoy (2018) affirmed those gaps and added

that implementation of successful sustainability practices should be investigated.

Implementation of successful sustainability was investigated through the voices of band directors

who lived it (Edgar et al., 2014).

Ideal sustainability of an instrumental music program involved retention of the same

ensemble director and their program (Phillips, 2016). Several factors threatened program

sustainability such as (a) high attrition or turnover rates of directors, (b) loss of funding/program

expurgation, (c) lack of administrative support or (d) lack of student participation (Bottery et al.,

2012; Carlsson et al., 2014; Dodson, 2014; Schmidt, 2012). Regardless of the reasons for

unsustainability, the effects of program loss were significant (Austin, 2017). During a director’s

tenure, trust, rapport, pedagogy techniques and community relations were developed over time
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(Phillips, 2016). When programs frequently changed directors, directors left, or programs were

cut, the interrelationships became unstable (Carlsson et al., 2014). Advocacy for music

programs was built on foundational relationships among students, administration, faculty,

parents and communities (Fischer & Hedgecoth, 2014). Extensive amounts of research relayed

the importance of music and ensemble instruction in schools (Barrett, 2012; Odegaard, 2016).

Performance ensembles uniquely addressed stewardship, collaboration, creativity, expression,

inclusion, self-discipline and personal responsibility (Fischer & Hedgecoth, 2014; Odegaard,

2016). Sustainability of those programs was essential to provide continued creative and

expressive outlets for students (Odegaard, 2016).

Stifling environments that limited creativity, performance, and musicianship potential

prompted music educators to leave a school or district and pursue potential elsewhere such as

private lessons or the business sector (Carlsson et al., 2014; Hancock, 2016). Attrition from the

field of music education was linked to absence of director input and recognition of professional

needs by administrations (Hancock, 2016). Lack of director perspectives in educational research

was noted as a continued systemic gap (Edgar et al., 2014). Due to lack of director perspectives

and the negative impacts unsustainable programs could incur, further research was needed to

bridge the gap between needs and actions (Carlsson et al., 2014).

The problem being investigated concerned comprehensive gaps in research linking

instrumental music program success with sustainability practices from director perspectives

(Edgar et al., 2014). Discovering director perspectives on sustainability of successful

instrumental music programs was warranted to improve retention of directors and programs.

Undergraduate institutions could use the findings in this study to develop curriculum for future

directors geared towards successful and sustainable programs and careers.

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Statement of the Problem

The problem addressed by this study was that unsustainable instrumental music

programs had substantial negative impacts (Austin, 2017). Specifically, lack of program

sustainability could incur significant loss of teacher or student motivation, student participation,

community involvement, trust in administration, and financial investment in human capital

(Austin, 2017; Hancock, 2016). Attrition, frequent director turnover or program termination

rendered a program unsustainable (Carlsson et al., 2014; Schmidt, 2012). Frequent turnover was

considered a change in directors less than five years after starting a program (Austin, 2017;

Conway, 2012; Eros, 2012). When programs frequently changed directors, had funding cut or

were not supported by administrations, students and their extended communities “lose hope”

(Austin, 2017, p.7). When students and communities lost hope, participation receded (Austin,

2017). There was no program without participation (Phillips 2016). Without instrumental music

programs, there was no stage for directors to cultivate and nourish student leaders (Austin, 2017;

Leshnower, 2008; Phillips, 2016).

Effective director leadership was the most important factor for the success of an

ensemble (Acklin et al., 2014; Biggs et al., 2010; Kerres, 2013). However; band directors’

voices on specific professional development, ensemble, budgetary and curricular needs

continued to be unheard (Angeline, 2014; Eros, 2012; Hancock, 2016). Gaps in research

remained linking band program sustainability of excellence with how such accomplishments

were made possible (Acklin et al., 2014; Edgar et al., 2014). Not exploring why successful

programs became and remained successful would only permit a myopic view of the phenomenon

and limit the potential for institutions to learn and grow through shared experiences (Angeline,

2014; Dodson, 2014; Eros, 2012; Popa, 2012).

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Purpose of the Study

The purpose of this qualitative phenomenological study was to discover the lived

experiences of high school band directors who sustained instrumental music program success.

Highlighting the voices of successful directors and discovering how they sustained program

success was a logical response to research gaps on the phenomenon of sustained program success

from director perspectives (Acklin et al., 2014; Edgar et al., 2014). The target population was

high school band directors with ten or more years of experience and three or more years of

sustained program success. The first phase of the research was a qualitative exploration through

interviews of five high school band directors meeting the study criterion (Biggs et al., 2010;

Collier & Rosch, 2016; West, 2014). The second phase involved development of categories

based on verbatim transcripts. Data were analyzed first according to research questions (RQs)

then interview questions (IQs). Data directly answering IQs generated priori categories. Data

that indirectly answered IQs yet directly pertained to the phenomenon of sustained program

success generated emergent categories. The third phase involved formation of subcategories

(See Appendices C-P for categorical data). The fourth and final phase involved a discussion of

findings relative to scholarly literature (Conway, 2012; Eros, 2012).

Having experienced and successful director perspectives on sustainability of instrumental

music programs could provide institutions with concrete knowledge to design meaningful

curriculum and professional development for future band directors (Angeline, 2014;

Baumgartner & Silvey, 2016). The goal of this research was to share this knowledge in the hope

that better prepared directors will become and remain successful and in effect create sustainable

instrumental music programs for future generations.

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Theoretical/Conceptual Framework

The framework guiding this research was based on sustainable leadership theory;

“leadership for the purpose of sustainability” (Kosempel & Wilson, 2016, p. 43). This research

was guided by a conceptual framework of understanding what worked well, consistently, and

that learning from experts who achieved those results, would provide vital information for

effective professional development of future band directors (Fischer & Hedgecoth, 2014).

Sustainable leadership theory guided the research while the relationship between success and

sustainability organized the data conceptually, making this combination the most ideal

framework.

Sustainable leadership theory evolved from a business model mentality to one focused on

leadership practices (Benn & Metcalf, 2013). Sustainable leadership was often used in an

environmental and engineering context (Benn & Metcalf, 2013; Kosempel & Wilson, 2016).

The same guiding principles were echoed by research for sustainability in higher education

(Evarts et al., 2015). Theories on successful sustainability practices were explored among

various disciplines to form a comprehensive picture of the phenomenon. The conceptual

framework was used to examine the relationship between success and sustainability.

Bottery et al. (2012) contended that leadership for sustainability required “more systemic

thinking…to understand the interconnectedness and interdependence of things” (p. 228).

Interconnectedness began with self-awareness to “focus on personal understanding” (Evarts et

al., 2015, p. 700). Personal understanding was acquired through interviews of experts in the

field. Experiential knowledge of successful sustainability implementation was crucial for

directors and their programs to remain relevant and meaningful (Barret, 2012; Fischer &

Hedgecoth, 2014; Odegaard, 2016). The relationship between success and sustainability

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required expert experiential knowledge for comprehensive understanding (Bottery et al., 2012;

Odegaard, 2016). Expert experiential knowledge of sustainability success stories would

“highlight the voice of the teacher…as a key component…for professional development” (Edgar

et al., 2014, p. 1). This research satisfied the need for “the [voice] of the master music

teacher…which was largely unexplored” according to Angeline (2014, p. 54). Discovering

sustainability practices could be used to design effective undergraduate curriculum geared

towards long-term retention of directors and their programs.

Nature of the Study

Phenomenological research methods were used in this qualitative study. Qualitative data

were derived from interviews centered on the phenomenon of sustained instrumental music

program success. Gathering lived experiences from individuals centered on a common

phenomenon made using qualitative phenomenological research the optimum method for this

study (Creswell, 2014; Leedy & Ormrod, 2010; Moustakas, 1994). A quantitative study method

would not permit an appropriate platform for band director voices to be heard (Edgar et al.,

2014).

Evarts et al. (2015) attested that experiential knowledge was vital to understand the

interrelationships sustainable leadership required. Conway (2012), Evarts et al., (2015) Hancock

(2016), Kerres (2013) and West (2014) used interviews to promote deeper phenomenon

understanding through experiential knowledge of lived experiences. Interviews of participants

meeting the criterion for experience and success provided validity to perceptions of the

phenomenon (Angeline, 2014, Austin, 2017). Open-ended questions with reflective dialogue

promoted greater breadth and depth of phenomenon understanding (Leedy & Ormrod, 2010;

Moustakas, 1994).

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The goal of this study was to discover important factors, practices or other considerations

for a successful and sustainable instrumental music program. The study problem was addressed

by focusing on the phenomenon of program sustainability while filling research gaps on this

phenomenon from experienced director perspectives. The purpose was achieved by gathering

lived experiences through interviews of five high school band directors with sustained success.

The study goal was accomplished using direct yet open-ended questions. Using open-ended

questions permitted a broader understanding of the phenomenon rather than limiting perspectives

to multiple choice surveys (Cai & Ding, 2017).

Five participants were interviewed. Justification for sample size was based on similar

phenomenological studies that used N=2 (West, 2014) to N=7 (Conway, 2012). The aim for

acquiring five participants was to enlist diverse perspectives regarding school types. Interviews

were audio recorded and transcribed using a transcription service (Eros, 2012). Transcriptions

were verified by participants for accuracy (Conway, 2012; Eros, 2012). Transcriptions were

examined for thematic data in the form of words and phrases (Dye et al, 2013). Categories were

generated organically from thematic data; first individually then collectively (Conway, 2012).

Categorical data were displayed using tables (Carlsson et al., 2014) (see Appendices C-P for

categorical data). Results were noted in conjunction with correlating interview excerpts where

applicable (Eros, 2012, West, 2014). Findings were discussed relative to scholarly literature.

Research Questions

Band director perspectives on successful, sustainable instrumental music programs were

explored to examine how retention of directors and instrumental music programs could be

improved and how gaps in research from director perspectives could be addressed. Exploring

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and examining director perspectives could lead to further studies benefitting the broader

instrumental music education field. The following questions guided the research.

RQ1. What are the lived experiences of high school band directors from a successfully

sustained instrumental music program?

RQ2. How did experienced high school band directors perceive instrumental music

program success and sustainability?

Significance of the Study

This study was important because band program success was directly linked to effective

director leadership (Acklin et al., 2014; Keres, 2013; Semones, 2013). Understanding lived

experiences of those leaders illuminated factors that affected sustainable success (Austin, 2017;

Biggs, et al., 2010). Expert experiential knowledge was needed to understand sustainability of

band program success (Acklin et al., 2014; Angeline, 2014; Edgar, et al., 2014).

The complex and dynamic relationships required to build successful music programs

must be explored through the lenses of directors leading those ensembles (Angeline, 2014; Benn

& Metcalf, 2013; Phillips, 2016). Understanding sustainability amidst those complexities

contributed to the field of instrumental music education by answering the call for master music

teacher voices to be heard (Angeline, 2014; Edgar et al., 2014; Kosempel & Wilson, 2016). The

results from this research filled gaps in research of experienced perspectives on successful and

sustainable music programs (Fischer & Hedgecoth, 2014).

Addressing the problem of unsustainability by focusing on successful outcomes

uncovered practices promoting retention of band directors and their programs (Hancock, 2016).

Discovering factors, practices or other considerations for a successful and sustainable band

program could provide a foundation for undergraduate curriculum, higher education and

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professional development (Edgar et al., 2014). Focused instruction could provide vital skills to

better prepare and promote retention of band directors and their programs. Future band directors

equipped with preparation geared towards sustainability would enable programs to flourish and

inspire the next generations (Austin, 2017).

Definition of Key Terms

Administration sponsored professional development. Administration sponsored

professional development refers to classes, workshops or other development opportunities

approved and paid for by administrations (Dodson, 2014).

Attrition from the field/Turnover. Attrition from the field or turnover could be

considered changing positions within a program and district or leaving a program, district or the

profession (Carlsson et al., 2014; Hancock, 2016).

Conductor/Director/Instrumental music educator. Conductor, director and

instrumental music educator are used interchangeably to refer to the leader of an ensemble such

as band, marching band, jazz band or pep band who is responsible for teaching and executing a

composer’s intent for a given piece of music and inspiring the group to work as a cohesive unit

(Kerres, 2013).

Ensemble. An ensemble is a large or small group of instrumentalists such as bands, pep-

bands, jazz bands, marching bands, quartets or quintets.

Experienced director (Criterion). Instrumental music educators teaching 10 or more

years in the same program are considered experienced (Eros, 2012).

Experiential knowledge. Experiential knowledge refers to information gained through

hands-on and interactive experiences (Cai & Ding, 2017; Evarts et al., 2015).

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Feeder systems/Feeder programs. Feeder systems or programs refer to elementary and

middle school ensemble musicians who would form the foundation of students entering the high

school music ensembles (Phillips, 2016).

Induction programs/Beginning teacher professional development. Induction

programs or beginning teacher professional development refer to the first years of a beginning

teacher where “self-defined problems and concerns” are the central focus rather than pedagogical

concerns (Conway, 2012, p. 64).

Instrumental Music. Instrumental music refers to ensembles with instruments such as

saxophones, flutes and clarinets found in different types of bands.

Master music teacher. The classification of master music teacher refers to a music

educator of any specialized discipline such as classroom music, instrumental or choral with 20 or

more years who reached a level of stability in their program (Angeline, 2014).

Musicianship. Musicianship refers to the execution of intended musical outcomes for

performance and expression (Baumgartner & Silvey, 2016; Chaffee et al., 2012).

Pre-service music teacher development. Pre-service music teacher development refers

to undergraduate students in their final semester of school who gained experiential knowledge

while being mentored throughout the process of teaching (Berg & Miksza, 2013).

Retention. Retention refers to directors who remain in their current program and district

(Duckworth & Kraft, 2014; Eros, 2012).

Sectionals/section leaders. Refers to small groups of instrumentalists such as a clarinet

section. Section leaders refers to a student who leads/instructs the section independently

(Leshnower, 2008).

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Successful instrumental music program (Criterion). Directors and their ensemble

were considered successful when “superior” or other titles indicating high performance were

achieved at contests, festivals and other ensemble competitions (Acklin et al., 2014; Biggs et al.,

2010). High performance descriptors can vary by state and competition type (Biggs et al., 2010).

Sustainable leadership. Sustainable leadership is “leadership for the purpose of

sustainability” with a mindset for program legacy (Kosempel & Wilson, 2016, p. 43).

Sustained success. Sustained success for an ensemble is considered at least 3

consecutive years or 4 out of 5 years receiving top ratings at contests or festivals (Acklin et al.,

2014).

Voice of the teacher. The voice of the teacher refers to a teacher’s ability to propose

change and actions that would result in desired outcomes; their voice being heard (Edgar et al.,

2014).

Summary

Factors such as attrition, turnover and program cuts challenged program sustainability

inspiring the problem under examination (Dye et al., 2013). Successful sustainability practices

must be gathered from expert experiential knowledge through the voices of those who lived it

(Angeline, 2014; Austin, 2017; Edgar et al., 2014; Cai & Ding, 2017). Interviews with experts in

the field achieved the purpose of this study by providing data on factors, practices or other

considerations important for a successful and sustainable instrumental music program (Conway,

2012; West, 2014).

Sustainable leadership theory guided the research (Kosempel & Wilson, 2016). A

conceptual framework of understanding what worked well, consistently, and learning from

experts who achieved those results was used to examine the relationship between success and

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sustainability (Fischer & Hedgecoth, 2014). Qualitative phenomenological research methods

were used in this study. Two questions guided the research process to discover lived experiences

and perceptions from directors on sustained program success. This study was significant because

understanding lived experiences of directors who achieved sustained program success

illuminated factors promoting retention of directors and programs (Austin, 2017; Biggs, et al.,

2010). A stage was provided through this research for directors to voice concerns and relay

factors contributing to successful and sustainable outcomes. The goal of this research was to

understand what worked well in the hopes of cultivating similar successful endeavors. Higher

education institutions could compare current director preparation programs to the data collected

in this study to design curriculum geared toward success and sustainability. Band directors’

voices must be heard if instrumental music programs wish to retain talented and capable

directors to lead future programs (Angeline, 2014; Conway, 2012; Eros, 2012).

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Chapter 2: Literature Review

The purpose of this qualitative phenomenological study was to discover the lived

experiences of high school band directors who sustained instrumental music program success.

This research evolved from a discovery that a once prominent high school marching band

program was less than 50 members. Twenty years ago, there were over 200 members. Concern

and curiosity led to inquiry. The state’s field competition website was scoured for recent

placements and discovered that the program and quality had receded significantly. Further

concern lead to an exploration to determine if other music programs at that same school had

diminished as well. Area All-State and All-County websites were searched for that school’s

representation (New York State Field Band Conference, NYSFBC, 2016). Wind ensembles, jazz

and concert bands were not among the competitive groups. Individual soloists were not listed

among the All-County or All-State participants. Twenty years ago, the school was represented in

almost every category and ensemble of music excellence. Finding answers to this shocking

discovery inspired broader research endeavors. The following literature review chronicled

literature related to the discovery and concerns that inspired the present research study.

The purpose of this literature review was to investigate: (a) How did researchers capture

and analyze lived experiences of successfully sustained organizations? (b) How did prior studies

gather perceptions of success and sustainability? (c) What factors contributed to an

organization’s diminished quality? (d) How do organizations and instrumental music programs

specifically sustain quality and overall success? (e) What role does leadership play in the success

and sustainability of an organization? Extant research was searched relating to organizational

leadership, non-profit organizations, educational leadership, business and management to gather

broader knowledge and fill gaps in research pertaining to the study topic. The following

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literature review outlines research strategies used to address the study problem associated with

un-sustained instrumental music programs. The purpose of this research, to discover important

factors that affected the success and sustainability of an instrumental music program, was

addressed within each subheading. Each element of the research was used as headings to outline

research for synthesis. Third, fourth and fifth level subheadings were used to organize research

topics where applicable. Literature regarding the relationship between success and sustainability

will be discussed followed by applicability to research questions and a summary.

Research Strategies

Initially, research was explored for existing literature related to the present study.

EBSCO host database was the primary search engine. Articles not available, or available in text

format only were found by locating the publisher and following the publisher’s website to locate

articles in PDF format. Sage publishing was the most beneficial resource to locate music

education research. However, navigating the search parameters was not as user friendly as

EBSCO host. Sage had a particularly useful tool when locating articles. Tracking cookies

suggested articles of interest based on previous searches. Many articles were found based on

Sage suggestions. Tracked suggestions saved search time by providing articles without needing

to input different search parameters. Many articles found from the tracking to suggestions

method were not available through EBSCO host.

References from applicable research were followed. Studies that specifically pertained to

instrumental music education, experiential knowledge, sustainability and success were used as

springboards to discover more research using literature references. Locating resources based on

references was challenging. Many references were greater than 10 years old. Most articles

derived from references were not located using EBSCO host. Google Scholar was a valuable

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asset for hard to find research. Sometimes, locating proper research required a cyclical method.

References would lead to a worthy study. The study would not be found in EBSCO host.

Google Scholar was used to locate study. The trail was followed to find the publisher. The

publisher was found using Road Runner search engine of all NCU databases. The links were

then followed to the proper database and location of the study.

Parameters for searches included years 2012 to 2018. Only peer-reviewed research and

articles were viewed. Significant articles prior to 2012 were used based on references of more

current articles. Using a Boolean search with the key words director and success* and

sustainable* in the title turned up few usable results. The term director resulted in many

business and management related articles such as director of operations. Music, success* and

sustainable* in the title resulted in just a few resources. Music* and success* in the title resulted

in approximately 6 usable resources. Music* and sustainable* in the title resulted with no usable

resources. Search parameters were expanded to the abstract. Abstract searches for band,

success* and sustainable* provided no usable resources. Adding band* produced research

results having to do with band width science experiments. Band as a key word generated articles

pertaining to people banding together in social contexts and medical studies relating to lap band

surgery. Synonyms of band director were then used to obtain more pertinent search results. The

interchangeable terms of conductor, director, educator and teacher were added to instrument*,

success* and sustain* respectively. Adding “not” to Boolean search for medical*, health and

science helped to narrow the search for more usable content.

Search parameters were generalized within the abstracts to include education*, music*

and leadership*. Hundreds of articles surfaced. Each resource was analyzed individually

according to title and abstract to determine applicability to the present study. No resources were

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found directly addressing the phenomenon of experienced director perspectives for a successful

and sustainable instrumental music program. However, many articles and studies were found

that relayed the importance of experiential perspectives to understand success and sustainability.

Sustainability research findings pertained to environmental and business sustainability such as

green engineering. Business, management and engineering research provided leads to usable

research. Business and management research used terms such as succession and strategic

planning. Engineering sustainability research often pertained to non-profit organizations that

aligned with an organization’s visions and goals. Running an instrumental music program was

like running a small non-profit business (Phillips, 2016). Many band booster organizations were

non-profit. Non-profit*, music* and success* within abstracts resulted in several subject related

resources. However, instrumental music programs as a non-profit were not specifically

identified. Music education in a general context was referred to regarding volunteers, grants,

fund-raising and stakeholder involvement.

Sustainable leadership theory research did not directly address music education.

However, sustainable leadership research in a business and management context was beneficial

for comparative analysis to music education articles. Similar language was used in sustainable

leadership business and management research as was used in music education articles. Many

articles relating to this study’s phenomenon were found, few contained significant research with

confirmed data and findings. Leadership* and education* searches within titles and abstracts

resulted in studies of administrators and principals. Educational, appreciative, distributive,

transformational and transactional leadership research was used for comparative analysis to

instrumental music education specific articles. Since several non- research articles were found

conveying the importance for experienced music educator perspectives and a need to fill the gaps

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on this subject, extant research was required to form a holistic need for the present study.

Sustainable leadership theory would need to be examined among various professions to form a

comprehensive understanding of the phenomenon.

Theoretical Framework

The framework guiding this research was sustainable leadership theory; “leadership for

the purpose of sustainability” (Kosempel & Wilson, 2016, p. 43). This research adopted a

conceptual framework of investigating what worked well consistently from experts who

achieved those results to provide vital information for effective professional development of

future band directors (Fischer & Hedgecoth, 2014). Each framework will be discussed

separately, then the relationship between the two will be examined. Sustainable leadership

theories’ applicability to the present study will be discussed. Justification for the conceptual

framework and the relationship between the two frameworks and why this combination is ideal

will be explained.

Sustainable leadership theory. Sustainable leadership theory guided the research

process (Kosempel & Wilson, 2016). Directors were viewed as the primary leadership role.

Theories were discussed as they related to organizational sustainability. Instrumental music

programs such as bands and other ensembles were the organizations under investigation. Three

main themes emerged among sustainable leadership literature (a) complexity of definition, (b)

successorship and (c) strategic planning. Literature was examined relative to the aforementioned

themes. Threats to program sustainability were examined from a leadership/director perspective.

Applicability of sustainable leadership theory will be discussed at the conclusion of the

theoretical framework section.

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Complexity of definitions. Benn and Metcalf (2013) conveyed that organizational

sustainability was a complex problem and that knowledge must be expanded to fully understand

this theory. The complexity of sustainable leadership was echoed by McDonald et al. (2010)

who contended that organizations involved multiple stakeholders, to which relationships must be

examined to fully understand their impacts on organizational development. Koskela and

Schuyler (2016) compounded the stakeholder complexities by adding a time component for

consideration. Understanding shifts in thoughts, actions and results over long periods of time,

prior to the present leader, were considered essential to form a holistic picture of the present

leadership culture (Koskela & Schuyler, 2016). In addition, comparing prior leadership to

present leadership promoted gainful insight into sustainability practices (Koskela & Schuyler,

2016). Evarts et al. (2015) added to theoretical complexities by arguing that environmental and

cultural aspects enhanced understanding of sustainable leadership practices. Furthermore,

environmental and cultural aspects required leader and follower perspectives (Evarts et al.,

2015).

Evarts et al.’s (2015) theory affirmed Benn and Metcalf’s (2013) consideration for human

capital complexities involved in organizational sustainability. Human capital, as a tool for

sustainable development, was considered by Bottery et al. (2012) as being fueled by moral

purpose. Moral purpose combined with forming strong interrelationships with administrations,

staff and communities were essential for music teacher professional development (Eros, 2012).

One could consider building human capital as forming strong interrelationships. Bradley et al.

(2010) would argue that musical creativity, performance and pedagogy were dependent upon

strong interrelationships. Furthermore, Bradley et al. (2010) attested that the leadership role for

directors was “complex and obscure” (p. 96). The complexity or obscurity of a director’s role

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regarding sustainable leadership could be deciphered by gathering first-hand, expert experiential

knowledge from directors (Acklin et al., 2014; Angeline, 2014; Biggs et al., 2010; Edgar et al.,

2014).

Successorship. Amidst the complexities of sustainable leadership theories, Furtek (2012)

contended that regardless of stakeholder perspectives, successorship was the keystone to building

organizational sustainability. Successorship was considered an evolutionary theory in that the

development of a program successor evolved over time (Bottery et al., 2012). As a future

successor evolved, values, morals and principles would encompass a shared vision that spanned

the passing of the baton (Bottery et al., 2012). Strategic planning was vital for a director to trust

that the program would continue beyond that director’s tenure (Rhine, 2015).

Strategic planning. Rhine (2015) argued that the leader was the “driver of the strategic

planning process” (p. 3). Sustainable leadership according to Rhine (2015) involved strategic

development of (a) resource coordination, (b) direction/vision planning and implementation, (c)

environmental/cultural change considerations, (d) stakeholder and community needs, (e)

feasibility of sustained implementation and (f) potential for future improvements. Resource

coordination would involve multiple stakeholders such as administrations for approval and

community involvement for fundraising efforts (Phillips, 2016). Fisher (2010) suggested that

strategic development for sustainability should be viewed according the hierarchical nature of the

educational system. Program sustainability would involve strategic planning with all parties

involved in the decision-making process regarding resource coordination (Fisher, 2010).

Environmental and cultural changes such as demographics or socio-economic, could

affect curricular needs for students (Colwell, 2011). Therefore, locally generated approaches to

sustainability, using mentoring as a tool for leadership induction and succession were

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recommended (Colwell, 2011; Furtek, 2012). Stakeholder and community needs required a

strategic vision that included buy-in into the program through rapport building (Lidh, 2013).

Stakeholders needed to “feel like they [were] partners” in the strategic planning process (Lidh,

2013, p. 249). Core values shared across stakeholder lines could help implement a sustainable

vision (Cementina-Olpoc & Hechanova, 2013). A sustainable vision would promote a

sustainable program. However, Prieto (2013) attested that a leader’s characteristics such as

passion, persistence, patience, motivation, empowerment and sense of team were essential for

vision feasibility and implementation. Potential for future improvements would rely on the

earned respect of the director and their ability to adapt, be flexible and commit to change (Lake

& Wiley, 2014; Schmidt, 2012). Strategic planning for a sustainable instrumental music

program required involvement of all decision-making stakeholders and a flexible model of a

shared vision (Cementina-Olpoc & Hechanova, 2013; Colwell, 2011; Fisher, 2010; Lake &

Wiley, 2014; Lidh, 2013; Schmidt, 2012).

Threats to sustainability. Positive outcomes from a director’s sustained leadership was

examined among the literature. Three themes emerged in the literature as key factors towards

sustainability; (a) emotional intelligence, (b) recognizing and capitalizing on leadership within

the program and (c) ability to adapt and change. Threats to those key themes will be discussed.

Emotional intelligence. Doe et al. (2015) contended that emotional intelligence was a

determining factor for the success or failure of a program. Lack of emotional intelligence and

social awareness would not “facilitate rational thinking and decision-making intuition” (Doe et

al., 2015, p. 106). Furthermore, abrasive director personalities and approaches that lacked

emotional intelligence would make strategic planning or vision implementation challenging and

reduce followership (Conger, 2013; Doe et al., 2015). Moreover, a director who exemplified and

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instilled emotional intelligence practices in students could solidify sustainability (Shieh, 2008).

A director’s communication approaches required exemplary sustainability procedures grounded

in emotional intelligence for effective implementation (Leonard et al., 2012; Shieh, 2008).

Director leadership as catalyst. Recognizing, cultivating and nurturing student leaders

within an instrumental music program was necessary for program sustainability (Leshnower,

2008; Semones, 2013). However, Brewer (2009) contended that leadership positions without

decision-making involvement could threaten morale, trust and motivation, therefore threatening

sustainability. Bush and Glover (2014) echoed that sentiment by purporting that leadership was

a catalyst for sustainable development. Leadership as a catalyst would imply that that the

director must begin the process of recognizing, cultivating and nurturing leaders, yet ultimately,

the process must be continued using student leaders to promote program sustainability. Eacott

(2010) affirmed that assertion and added that insight into the student/director relationship must

be examined from a macro and a micro perspective. Furthermore, Eacott (2010) contended that

implementation of sustainable leadership required reciprocal and cyclical reflexive analysis.

Sustainable leadership would involve continued director awareness, reflection and empowerment

of student leaders in decision-making processes for program sustainability (Brewer, 2009; Bush

& Glover, 2014; Eacott, 2010; Semones, 2013).

Adaptability and change. According to Boerner and Gebert (2012), directors went

through three phases; “testing…working and inspirational” (p. 348). Those three phases were a

means for directors to gauge ensemble capabilities. Gauging ensemble capabilities allowed

directors to adapt and change repertoire, teaching and leadership styles to best suit the

performers (Boerner & Gebert, 2012). Inability to determine appropriate methods of instruction

and challenging, yet feasible repertoire, could threaten the sustainability of the program (Boerner

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& Gebert, 2012). Music that was too difficult could make students feel defeated. Music that

presented minimal or no challenge would not inspire students to improve one’s musicianship

(Boerner & Gebert, 2012; Phillips, 2016). Bush and Glover (2014) attested that the lines

between leaders and followers could become blurred. Boerner and Gebert (2012) would argue

that a director must study and follow the needs of students to effectively lead them. One could

posit that program sustainability could be threatened if a director could not effectively assess the

needs of followers.

Applicability of theoretical framework to present study. The purpose of this

qualitative phenomenological study was to discover the lived experiences of high school band

directors who sustained instrumental music program success. Using sustainable leadership

theory was applicable to the present study regarding sustainable and successful instrumental

music programs under the same director. Successful directors and programs have been articled

and documented extensively. However, gaps in research existed explaining how such success

was sustained. Using sustainable leadership theory, with the director as leader to guide the

research, kept the research focused on how success was sustained from director perspectives.

Conceptual Framework

This research adopted the conceptual framework that understanding what worked well,

consistently, and learning from experts who achieved those results, would provide vital

information for effective professional development of future band directors (Fischer &

Hedgecoth, 2014). Biggs et al. (2010) conveyed that expert experiential knowledge was

necessary to understand the “skills and characteristics relevant to effective teaching” (p. 366).

Years of experience alone did not equate with success (Acklin et al., 2014). Cai and Ding (2017)

examined experienced educator perspectives on student understanding. Experiential knowledge

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was gained regarding methods for instruction, however, without knowing the success of those

methods over time, one could not determine if the experiential knowledge had applicable value

(Cai & Ding, 2017).

Discovering successful methods from verified experts gave credence to method

suggestions. Successful outcomes from teaching techniques, repertoire selection, relationships

and recruiting methods should be considered (Acklin et al., 2014; Angeline, 2014). Discovering

what methods worked well consistently could provide focused professional development (Biggs,

2010). For example, if a director teaching for 25 years had consistent growth in their program

using method A for 20 years, then tried method B years 20 through 25 and saw a decline, the

success of method A could be used as an example for curricular and professional development.

Reflective practices on methods and overall results would be needed to fully understand the

impact a director’s method had on the success of the ensemble (Edgar et al., 2014).

Directors had multiple roles (Gillis, 2011). Different types of ensembles required

different roles as well (Kerres, 2013). Regardless of ensemble type or roles involved,

understanding successful outcomes from experts who achieved those results was necessary for

institutions to effectively prepare future directors for a sustainable career (Edgar, 2014; West,

2014). Therefore, the conceptual framework for this study centered around the concept that

understanding success from experts who achieved it, would provide institutions with gainful

insight to prepare future directors to emulate similar outcomes.

Relationship between theoretical and conceptual frameworks. This study was guided

by sustainable leadership theory. Expert experiential knowledge was needed from directors who

achieved successfully sustained outcomes in order to understand the sustainable leadership of

directors and programs (Biggs et al., 2010; Eros, 2012). Focusing research on sustainable

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leadership or directorship theory in this context, with a goal to use that data for future director

preparation, reinforced conceptual understanding of what worked well in hopes of cultivating

similar outcomes. Therefore, a synthesized connection between the two frameworks was the

ideal method to focus data collection and analysis.

Assumptions and propositions regarding frameworks. The first assumption was that

higher educational institutions and curriculum developers would want to know proven successful

results. The second assumption was that future directors would want to know how successful

programs became and remained successful. The final assumption was that directors,

administrators, institutions or other professionals would value expert experiential knowledge.

Subsequent studies could use the data collected to form qualitative surveys for distribution to a

larger sample size. Exploration of variables such as demographic information could provide

further insight into this phenomenon.

In the following sections, literature was reviewed surrounding the study problem

associated with unsustainable organizations and music programs specifically. Unsustainable

music programs were considered ensembles or programs that significantly receded or

experienced attrition of a director or expurgation of a program. Reasons for director attrition will

be discussed followed by emergent themes which include (a) lack of undergraduate preparation,

(b) beginning years challenges, (c) lack of professional development opportunities, (d) strategic

planning challenges, (e) succession planning challenges and (f) other challenges to successful

and sustainable instrumental music programs.

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Director Attrition

The majority of teachers leaving a school, district or the profession, do so within the first

five years (Carlsson et al., 2014). Carlsson et al. (2014) conducted a longitudinal study on

teachers of various subjects and grade levels to discover attrition trends and possible reasons

why. Classroom management issues and frustration with administrations were echoed in similar

studies to Carlsson et al. (2014). As more emphasis was placed on teachers to resolve classroom

management issues, less support was received from administration, yet greater results were

expected (Conway, 2012). Conway (2012) attested that “high turnover” was due to “lack of

…[administrative] support” (p. 69). Power dynamics between administrations and teachers,

regardless of subject matter, was a common denominator.

Hancock (2016) specifically studied music teachers to explore the phenomenon of

attrition. Inadequate support, non-instructional responsibilities and isolation were main reasons

for music teacher attrition (Hancock, 2016). Music was not considered a standard subject since

there were no state or national standardized exams. However, music teachers were evaluated

according to national and state standards according the National Association for Music

Education (NAfME, 2017). Special education instruction was often required as part of inclusion

initiatives, yet music educators were often not included in Individualized Education Plan (IEP)

meetings (Van Weelden & Whipple, 2014). Observation of music teachers were often done by

administrators with no background or expertise in music subject matter (Eros, 2012). Lack of

value-adding feedback furthered music teacher frustration thus increasing the probability for

attrition (Eros, 2012). Eros (2012) affirmed Hancock’s (2016) assertion that music teachers left

due to lack of administrative support and added that professional development support was

equally important.

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Music teachers called for subject specific and applicable professional development

opportunities (Eros, 2012). However, music specific formal, informal, workshops or conferences

were often not approved or approved at the expense of the music teacher (Eros, 2012; Jorgensen,

2010). Jorgensen (2010) affirmed the powerlessness conveyed by Eros (2012) and added that

music teachers had the unique capability to incorporate all subject matters. Rather than

administrators viewing music as an all-inclusive subject, music was considered a separate entity

(Jorgensen, 2010). Angeline (2014) reiterated the disconnect between approved and desired

professional development and added that experienced music educators “require[d]…individual

enhancements …in…professional development …that [were] practical, impactful and beneficial”

(p. 50).

Angeline (2014) noted systemic gaps in research pertaining to experienced music

educator perspectives. Although teaching music content had not changed much in the past 100

years, according to McKoy (2018), culture and technology were ever evolving. Technological

advances and cultural shifts required new skill sets. New state mandates were designed to meet

the needs of those changes (Colwell, 2011). However, Colwell (2011) added that professional

development must go beyond content knowledge to include leadership development. Lack of

proper leadership development was echoed by undergraduate music educators (Carey & Lebler,

2012). Future directors felt unprepared to lead when entering the field (Carey & Lebler, 2012).

Unprepared directors combined with lack of administrative support to acquire necessary

leadership skills further fueled attrition thus leading to unsustainable programs (Carey & Lebler,

2012; Dye et al., 2013).

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Lack of undergraduate preparation. High school directors were “an incredibly

important figure in …students’ lives” according to Gavin (2012, p. 315). Directors, and the

ensemble experiences created, inspired students to follow a music teaching vocation (Gavin,

2012). Future directors went into the profession with preconceived notions of how a band

director experience should be. However, the reality of the challenges and necessary commitment

to continue a director’s inspirational path created a rude awakening (Gavin, 2012). Students

found inspiration and motivation through leadership roles in high school. Average musicians

with strong leadership, organizational and motivational skills and a strong work-ethic received

additional responsibilities, recognition and respect (Conway et al., 2010). Undergraduate

preparation often held music education majors to the same musicianship standards as

performance majors (Conway et al., 2010). Heavy course loads, unreachable expectations and

absence of respect through leadership roles caused many once aspiring directors to leave an

undergraduate music program (Gavin, 2012).

Student-teaching or preservice teaching was designed to introduce future directors to an

active teaching experience (Draves, 2013; Powell, 2014). However, many institutions began

with a peer-teaching transition to field-teaching. Peer-teaching was found to be unrealistic and

lacked necessary components for real-world preparation (Powell, 2014). Powell (2014)

conveyed that peer-teaching when combined with thoughtful reflection and discussion was

beneficial. Although Powell (2014) found peer-teaching with reflection beneficial, Legette and

McCord (2014) discovered that classroom management, linking courses to practice and materials

selection, were the most desired skills for improvement. One could assume that teaching

undergraduate peers would not equate with teaching school-aged children. The most beneficial

skills acquired during undergraduate preparation were hands-on experiences and field-

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experiences (Legette & McCord, 2014). However, significant emphasis was placed on lesson

planning despite evidence to the contrary (Legette & McCord, 2014). Moreover, Collier and

Rosch (2016) attested that leadership training and preparation were key to developing effective

future directors. There was no mention by Collier and Rosch (2016) regarding the importance of

lesson planning to nurture future directors, yet lesson planning was the most reinforced concept

during undergraduate preparation according to Legette and McCord (2014).

Specialization preparation also lacked adequate support. Groulx (2016) contended that

methods courses should be taught by experienced educators. Groulx (2016) discovered that “the

least valuable coursework included courses in education because students felt many courses

lacked relevance to music education” (p. 15). Lack of course relevance was echoed by Van

Weelden and Whipple (2014) regarding inclusion. Music classrooms were used for inclusion;

however, special education pedagogy was not a required course for degree attainment (Van

Weelden & Whipple, 2014). Moreover, undergraduates received little to no experience in a

special education environment (Van Weelden & Whipple, 2014). Future directors would be

required to teach special education students as part of inclusion, yet proper preparation to do so

was beyond the scope of an already burdened course load (Van Weelden & Whipple, 2014).

Lack of necessary preparation, the burden of non-value adding courses and lack of proper field

experiences left future directors unprepared for a sustainable program and career (Collier &

Rosch 2016; Gavin, 2012; Groulx, 2016).

Beginning years challenges. Barrett (2012) contended that “supporting meaningful

music teacher learning through professional development; preparing new music teachers for an

uncertain future; and generating innovative and sustainable curricular reform in [the music]

field…[required]…productive collaborations…between schools and universities” (p. 5). Legette

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(2013) affirmed that assertion and added that veteran teachers should act as mentors to novice

directors. Collaboration between schools and universities would require rapport and trust built

over time. When the majority of attrition occurred within the first five years of teaching, one

could posit that collaboration and meaningful preparation methods must take place prior to

entering the field (Carey & Lebler, 2012).

Carey and Lebler (2012) noted systemic gaps in undergraduate course requirements that

were vital for career and program survival such as professional business skills, public relations,

project management and networking. Though universities emphasized musical content,

technique and musicianship, Major and Silvey (2014) found that “nonverbal communication,

teacher self-efficacy and leadership [were] cited as three of the most important characteristics of

effective teachers” (p. 75). Shieh (2008) concurred with Major and Silvey (2014) in that

nonverbal communication through posture and readiness, self-efficacy through earned

confidence and student leadership were uniquely achieved in an instrumental music ensemble.

Such skills may have been experienced or emulated by future directors, however, teaching such

skills at the beginning of a career provided unique challenges (Silvey, 2011). Perhaps those

skills could only be learned through trial and error experiences.

Fischer and Hedgecoth (2014) conveyed that not much had changed in musical content

over the past 100 years. However, keeping music education relevant and thriving required

“music educators…to connect their curricula to the lives of the students, parents, administrators

and community members they [were] serving” (Fischer & Hedgecoth, 2014, p. 55). Being a

novice teacher in a new environment could be intimidating and confusing according to Hancock

(2016). Beginning directors may not have known who to go to for questions or concerns.

Without a mentor to guide future directors, directors often experienced burnout and frustration

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resulting in attrition from the school or profession (Hancock, 2016). When similar frustrations

occurred without an effective remedy such as mentoring, high turnover rates resulted (Carlsson

et al., 2014; Hancock, 2016). Frequent turn-over rates of directors eventually led to loss of

program hope and stakeholder buy-in (Christensen et al., 2012). As program hope faded so too

did student participation and with it the program (Austin, 2017).

Researchers posited that hope be instilled in the novice teacher through a supportive

environment where mentoring and professional development needs worked in harmony to

effectively prepare directors for a sustainable career (Austin, 2017; Fischer & Hedgecoth, 2014).

Fischer and Hedgecoth (2014) conveyed that the success and sustainability of one’s program

were dependent upon a director’s ability to advocate for one’s program. “Educating students,

parents, administrators, policy makers and community members…about the importance of

[sustainable] music education [could] not only prevent program cuts in times of financial crisis

but [could] help … ensure that programs thrive for years to come” (Fischer & Hedgecoth, 2014,

p. 54). Perhaps Advocating Your Profession 101 should be required curriculum.

Lack of professional development opportunities. Hancock (2016) attested that

retention of teachers required targeted initiatives. Targeted initiatives included professional

development opportunities that were meaningful and applicable (Carlsson et al., 2014; Hancock,

2016). Inadequate professional development support from administrations caused music

educators to feel isolated, uninspired and devoid of motivation for professional advancement

(Hancock, 2016). Jorgensen (2010) echoed that sentiment and added that music educators often

felt powerless regarding the ability to enact change in a music program. Jorgensen (2010)

argued that directors were “in a position to imbue lived life with imaginative thought and

practice and nourish the hearts, minds, souls, and bodies of young and old alike” (p. 23).

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Furthermore, that music education was able to “relate music to other school subjects, to

contribute to an integral and holistic general education and to enrich the educational experiences

of students throughout the school” (Jorgensen, 2010, p. 23).

One could question why such an adaptable and influential subject would not receive full

backing from administrations. Though administrations may be aware of holistic music education

benefits, Fischer and Hedgecoth (2014) contended that music educators must continually

advocate for one’s profession. Advocating for one’s profession may include collaboration with

other teaching professionals. According to Hall (2010) “music [was] a powerful teaching tool

educators [could] use to create a fresh and innovative approach to learning that promise[d] to

invigorate the traditional…classroom” (p. 108). The benefits of instrumental music education

were only as strong as a director’s ability to advocate and only as implementable as an

administrator’s openness to listen (Eros, 2012; Fischer & Hedgecoth, 2014).

Conway (2012) affirmed frustrations regarding lack of administrative openness and

added that particular attention should be given to beginning music teachers. In contrast,

Angeline (2014) argued that experienced music educators were altogether forgotten by

administrations. Eros (2012) would agree with Conway (2012) that beginning music teachers

should receive administrative support, especially in the first five years. However, Eros (2012)

noted that second-stage teachers (5 or more years teaching) should receive meaningful feedback

from experts in the field rather than arbitrary administrative mandates. Professional

development mandates were often generalized and lacked applicability to the music classroom

(Eros, 2012). Professional development opportunities were either not approved by

administrations or approved at the expense of the music educator (Angeline, 2014; Eros, 2012).

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Acquiring desired professional development with approval and financial compensation

from administrations required an “authentic alignment …of institutional strengths, mission

statements…responses to change and challenges…and social/cultural forces” (Barrett, 2012, p.

7). Huizenga and Szczesiul (2014) contended that principals must establish direction for teacher

collaboration. Collaboration could be viewed as professional development if instruction and

reflection were expert led according to Edgar et al., (2014). Expert led mentoring from

experienced music educators and directors within the same district could strengthen the program,

provide sustainable professional development and offer desired improvements to novice directors

at minimal cost to districts (Edgar et al., 2014). Edgar et al. (2014) affirmed the success of such

actions and found that “when teachers [had] control over their own learning, they [were] more

likely to accept and retain new teaching practices” (p. 82).

When directors were able to make strategic choices regarding the purpose of one’s

leadership role, meaningful and effective professional development was possible according to

Hyler et al., (2014). “Leading with purpose [was] a substantial part of …leadership

development” (Hyler, 2014, p. 1). The director of an instrumental music program was the

primary leadership role holding direct impact and influence over students (Hallam, 2011). A

director’s ability to collaborate and work in harmony with administrations impacted students as

well (Hallam, 2011). Students could either see positive partnerships exemplified through trust

building and strong relationships or see advocacy, time and effort rejected as if without value

(Hallam, 2011). Grunewald and Salleh (2013) affirmed Hallam’s (2011) assertion and added

that “organizations need[ed] both strong leadership and strong management for optimal

effectiveness” (p. 13). Though Grunewald and Salleh (2013) were discussing leadership and

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management from a business perspective, the message was applicable in a music education

context where leadership referred to directors and management referred to administration.

Strong leaders should create and implement a vision (Grunewald & Salleh, 2013).

Enabling administrations to adopt and support a director’s vision required “creative visionary

leadership [from the director] that included innovation and development of ideas and people in

order to be effective” (Grunewald & Salleh, 2013, p. 14). While Hallam (2011) promoted strong

partnerships between directors and administrations, in contrast, Carpenter (2016) purported that

peer feedback and unstructured reflective discussions were the most beneficial forms of

professional development. Collective knowledge among colleagues could provide more

beneficial and ultimately effective professional development (Carpenter, 2016). Carpenter

(2016) did not discount the importance of administrative collaboration, however, collective

knowledge from colleague interactions were found to impact the social, emotional and

motivational development of an educator.

Chikoko et al., (2013) argued that principals were the most important figure to enact

change within a school and that strong administrative leadership would have the most profound

impact on teacher development. One could posit that an ideal environment for directors would

have supportive administrators and colleagues that worked as one collective team towards a

common goal. The common reality of the situation was that directors were held to standards that

encouraged student performance, progress and growth (Dietz et al., 2013) yet, directors were

often not given the proper support and resources to improve one’s own performance, progress

and growth (Hruska, 2011).

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Strategic planning challenges. Hancock (2016) contended that retention of directors

required effective strategies. Strategic planning for retention of directors included targeted

initiatives (Hancock, 2016). Targeted initiatives for strategic planning should be viewed from

the perspectives of students, self and subject according to Dye et al. (2013).

Student. Student cultures changed over time (Fernandez, 2011). Directors who were

unaware of present and changing cultures were unprepared to effectively lead ensembles

(Fernandez, 2011). Unprepared directors experienced frustration and burnout resulting in

attrition from the field (Hancock, 2016). Preparation for dynamic changes in student needs

required specialized professional development according to Groulx (2016). Specialized student-

centered professional development could include both formal and informal methods (Van

Weelden & Whipple, 2014).

Formal methods could include courses, workshops and seminars designed to understand

student needs on a broad spectrum (Groulx, 2016). Broad spectrum professional development

was often not applicable or insufficient (Angeline, 2014; Hancock, 2016). Strategic planning

challenges regarding students involved obtaining awareness of student needs and acquiring

meaningful professional development to address those needs (Groulx, 2016; Hancock, 2016; Van

Weelden & Whipple, 2014). Without meaningful support, unsatisfied student needs could result

in decreased student participation, commitment, program sustainability and ultimately existence

(Jorgensen, 2010; Rhine, 2015).

Informal methods of understanding student needs stemmed from a director’s emotional

intelligence according to Doe et al. (2015). Emotional intelligence development involved

strategic planning based on student emotions, self-motivation, social skills and leadership

development (Doe et al., 2015). Strategic planning involved first-hand experiential knowledge

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to obtain emotional intelligence (Chikoko et al., 2013). Developing skills within a classroom

setting was found to be more effective for implementing change (Chikoko et al., 2013).

Although informal methods were found to be more effective, Rhine (2015) attested that directors

should strategically plan for such developments.

Directors could strategically plan for both formal and informal professional development

using reflective assessment (Conger, 2013). Reflective assessment involved using a “breadth

approach” with “in-depth skill development” (Conger, 2013, p. 77). For example, directors

could assess the breadth of student needs then formulate a detailed plan for implementation.

Directors may discover overall intonation issues among ensembles. That would be a breadth

discovery. Strategic planning might consider director analysis of instrumentation and balance in

each ensemble. Further strategies might consider narrowing the focus to include sections then

individuals to address the common issue of intonation. Without having a plan to address quality

of sound, students may become frustrated. Frustration due to lack of musical progression could

lead to student attrition enacting a snowball effect into program expurgation (Gillis, 2011;

Ponchione, 2013). Finding meaningful ways to connect motivation to musical purpose for

students would create an environment worth remaining in (Biggs et al., 2010).

Self. Director’s self-motivation could be especially challenging in non-supportive

environments (Carlsson et al., 2014). Edgar et al. (2014) found that directors in charge of one’s

own professional development were more likely to be effective. However, researchers conveyed

that desired professional development was often not approved or approved at one’s own expense

(Angeline, 2014; Carlsson et al., 2014; Edgar et al., 2014). Furthermore, experienced, successful

directors were more likely to have improvement requests denied by administrations (Angeline,

2014). Challenging power dynamics between directors and administrations created a stifling

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environment and culture within a school (Christensen et al., 2012). “Teachers asserted

that…power dynamics [were] sharply affected by how teachers perceive[ed] the dominant

culture” (Christensen et al., 2012, p. 77). Suppression of needed skills, funding, resources or

other developmental improvements created negative work environments thus leading to director

attrition (Carlsson et al., 2014).

Fisher and Hedgecoth (2014) conveyed that directors must continuously advocate for

one’s program. Advocacy for self-improvement should be given equal consideration (Gillis,

2011; Kerres, 2013; Ponchione, 2013). Ponchione (2013) noted that “conductors [were] often

perceived to be the names, faces and personalities that characterize[ed]…institutions…and…in

large measure bear the weight of preserving and promoting the sophisticated, culturally elite

image of the ensemble and of [instrumental] music more generally” (p. 184). One could

question how an institution could promote a positive educational environment without

supporting the individual growth of that educator. Why would directors remain in an

environment counterproductive to one’s personal growth as a conductor and educator? When the

majority of director attrition occurs within the first five years, why would administrations not

support “quality professional development…an essential element of the profession” (Eros, 2012,

p. 20)? Further research should examine why administrations would reject director desired

professional development improvements given research indicated power to improve teacher

retention (Eros, 2012).

Subject. Conway (2012) attested that administrations knew little about how best to

support music teachers’ professional development. Music specific professional development

was requested by directors according to Conway (2012), yet director voices went largely unheard

(Angeline, 2014; Conway, 2012; Edgar et al., 2014; Jorgensen, 2012). West (2014) found that

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experience played a large role in cultivating pedagogical technique. However, Ponchione (2013)

noted that improving one’s conducting required specific professional development to refine

technique. Improved artistry and musicality required willingness to continuously improve one’s

craft (Ponchione, 2013). Although Ponchione (2013) contended that directors must seek specific

conducting professional development, the desire to do so was deemed an innate quality. The

challenge for directors to improve competency in one’s subject would be to possess intrinsic

motivation for improvement. Directors who possessed innate conducting ability with intrinsic

motivation would be challenged by administrative approval (Carlsson et al., 2014).

Administrations often had increased expectations for ensemble performance without

commensurate support for directors to improve one’s individual technique, pedagogy and content

knowledge (Eros, 2012). Without those challenges being addressed, directors could lose

motivation resulting in attrition from the field (Carlsson et al., 2014; Hancock, 2016; Jorgensen,

2010). Those problems would carry through succession to the incoming director (Hancock,

2016).

Succession planning challenges. Succession planning required fluid decision making

(Northfield, 2014). Fluid decision making could be challenging if instructional leadership was

not in place according to Northfield (2014). Instructional leadership would promote smooth

transitioning by maintaining core teaching and learning processes (Northfield, 2014). Northfield

(2014) noted the “importance of providing professional development opportunities…making

observations…and having collegial conversations…about instructional techniques and student

needs” (p. 421). Environments without administrative support for succession planning to

accommodate the aforementioned needs could challenge successful transitioning (Furtek, 2012).

Furtek (2012) concurred with Northfield’s (2014) importance of smooth transitioning in

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successorship adding that “developing a successful [program] through successorship [was] a

strategic proposition” (p. 59).

Furtek (2012) contended that directors should strategically identify and develop new

talent. However, directors did not have authority to identify, hire and develop new talent.

Administrations often made hiring decisions regardless of the possible disconnect between a new

director’s personality and a program. One could assume that a director who worked with

ensemble members everyday would have better insight into an ensemble’s needs as opposed to

an administrator who conducted periodic reviews. Personality played a large role in building

successful relationships between directors and ensembles (Bottery, 2012). Moreover, Bottery et

al. (2012) argued that personality played a prominent role in talent development and vision

planning. One could posit that incoming directors would possess different personalities.

Therefore, directors would also identify and develop talent in different ways. Combating such

challenges required reflection and self-awareness according to Evarts et al. (2015). Director self-

awareness of competency, knowledge, skills, and abilities could illicit trust between current and

incoming directors (Northfield, 2014). Incoming directors who trusted current directors would

be more likely to sustain vision trajectory (Benn & Metcalf, 2013). Benn and Metcalf (2013)

contended that the complex and dynamic succession process required authentic, transparent and

adaptive systems.

Succession planning could affect student perceptions (Evarts et al., 2015). Successful

succession of directors could be challenging if students did not trust an incoming director;

particularly if the present director had an admirable reputation (Benn & Metcalf, 2013; Evarts et

al., 2015). Reputation, according to Faulk et al. (2015) had a “major impact on the actual

supporting behavior of stakeholders” (p. 456). Succession planning challenges would be for

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incoming directors to maintain human and social capital among stakeholders (Minkler, 2014).

Maintaining human and social capital could be frustrating and overwhelming according to

Zysberg (2013). Lack of training and preparation were found to pose significant challenges to

incoming directors (Zysberg, 2013). Anticipating such challenges and formulating strategic

succession planning through transparent communication could improve smooth succession

transitioning of directors (Buteau et al., 2014).

High School Band Directors

Though directors were evaluated on teaching skills, classroom management and other

pedagogical elements, Shieh (2008) posited that ensemble directors were in a unique position to

develop leadership in students. Bush (2011) echoed that sentiment and added that directors were

formative and influential leaders who invoked student aspirations to lead. Therefore, high school

band directors were the focus of this research.

Director as leader. “The conductor of an ensemble [was], by definition, a leader”

according to Wis (2009). Wis (2009) conveyed that becoming an ensemble leader required

questioning the nature of one’s experiences. Exploring the nature of a director’s leadership role

should involve well-defined problems and objective evaluation of solutions tried or abandoned

and the outcomes (Barrett, 2012). Leading by example required strong musicianship, artistic and

performance skills (Bush, 2011). Acklin et al. (2014) argued that personality characteristics

were more important than musicianship capabilities. Biggs et al. (2010) affirmed Acklin et al.’s

(2014) assertion adding that teaching and personal skills relating to motivation and classroom

management were more influential toward program success. Love (2013) noted that passion and

purpose should be infused.

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Passion, purpose and artistry through leadership should be authentic (Elrod, 2012).

Authentic directors would need strong musicianship yet possess transparency and humility for

one’s weaknesses (Ponchione, 2013). Leading by example could involve personal goals set by a

director and relayed to the ensemble (Ponchione, 2013). For example, a director could convey to

an ensemble that he/she was working on improving one’s cue technique. The ensemble would

give feedback regarding the clarity and execution of particular cues. The process of

improvement would be the example (Elrod, 2012; Ponchione, 2013). Accountability through

transparency and authenticity would provide students with ownership in a director’s leadership

(Cleveland-Innes & Orr, 2015). Cleveland-Innes and Orr (2015) considered accountability as

strength-based appreciative leadership. Appreciative director leadership would “move beyond

behavioral analysis and discussion of leader/follower behavior to a broader view of [ensemble]

participation as …co-constructors of present and future possibilities” (Cleveland-Innes & Orr,

2015, p. 238).

Director leadership required many roles that included recruitment and retention,

communication and providing a high-quality music environment (Phillips, 2016). Gray (2012)

conveyed that directors inspired “young people to become the kind of persons who embrace life

and make full use of their special gifts” (p. 28). Those gifts “need[ed] challenging learning

experiences that instill[ed] creativity and critical thinking” according to Leshnower (2008, p. 30).

Directors who led with stewardship and innovation in mind promoted sustainability of music

education (Odegaard, 2016).

Ensemble performance and leadership. Bush (2011) conveyed that musicianship was

“a performance of theoretical knowledge, technical skill and understanding” constructed through

leadership (p. 37). Instrumentalists performed a piece of music, however, creating life into that

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performance was inspired by a director (Bush, 2011). Inspiration, motivation and life infused

performances should harmoniously combine to form successful and sustainable programs

(Fischer & Hedgecoth, 2014). The road to accomplish harmony required continued advocacy

(Fischer & Hedgecoth, 2014). Advocates for music education contended that music engaged

students intellectually, aesthetically, educationally and socially (Fischer & Hedgecoth, 2014).

Emotional intelligence of a director should be present, developed and nurtured for such engaging

to manifest according to Doe et al. (2015).

Emotional intelligence was defined as “the capacity for recognizing our own feelings and

those of others, as well as the ability to effectively manage our feelings as we interact with

others” (Doe et al., 2015, p. 105). Leonard et al. (2012) added that developing emotional

intelligence required resilience. Musical rehearsals afforded instrumentalists opportunities to

develop resiliency as individual performers and as an ensemble (Hernandez et al., 2014).

Individual work-ethic through practicing repertoire, heard by the ensemble, offered

accountability that needed no words to garner trust (Hernandez et al., 2014). Trust that each

ensemble member was contributing to the group’s success separated music’s benefits from other

subjects. Leader and follower trust manifested through actions (Hernandez et al., 2014).

Instrumental ensembles offered opportunities for peers to lead peers (Leshnower, 2008;

Semones, 2014; Wis, 2002). Hannah et al. (2013) argued that peers leading peers “provided a

valuable lens through which newcomers [made] sense of their relationship” with the ensemble

(p. 1153). However, Hannah et al. (2013) cautioned the use of peer leadership in that affect-

based trust could influence a student leader’s self-identity, cognitive and emotional development.

Thies (2013) posited a logical assumption that chosen student leaders would have been chosen

because those leaders already possessed a strong self-identity and maturity. Future life-skills

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such as work-ethic, personal accountability, and persistence were required in business and

management according to Prieto (2013) and evidenced through instrumental music education

(Austin, 2017). Ensemble student leaders would be “highly committed leaders [with a]

…transforming social reality” (Cummins & O’Boyle, 2014, p. 33). Transforming social reality

involved leading with purpose (Cummins & O’Boyle, 2014; Hyler et al., 2014; Morrison, 2013).

Effective management research echoed the importance of leading with purpose and added

that purpose was achieved through a strategic vision (Lidh, 2013). Ensemble performers may

not have possessed a strategic vision; however, ensemble instruction provided a platform for

director leadership to impart and implement a strategic vision (Kerres, 2013; Morrison, 2013).

Musicians following a director’s strategic vision stemmed from a director’s transformational

leadership and emotional intelligence (Kumar, 2014). A director’s “leadership [was] inseparable

from an [ensemble’s] needs and goals” (Kumar, 2014, p. 1). Goals should not be confused with

competency-based assessment according to Nodine (2015). Though instrumental music

educators would argue the importance of musical competence, transactional consequence for

lack of competency was a far less effective motivator than transformational leadership

(Deichmann & Stam, 2015; Popa, 2012). Awards and recognitions provided ensembles with

recruitment, funding and support from communities and administrations (Phillips, 2016).

Transactional leadership was commonplace in the instrumental music education culture (Phillips,

2016). However, transactional incentives combined with transformational leadership provided

students with an environment conducive to change and innovation (Cementina-Olpoc &

Hechanova, 2013).

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High school ensemble leadership. High school level ensembles promoted self-directed

learning according to Carlisle (2013). Voluntary ensembles were assumed to contain students

with intrinsic motivation (Carlisle, 2013). Students who began in elementary or middle school

that continued participation into high school possessed a positive work-ethic that prompted

continuance (Carlisle, 2013). For example; a student who wanted to participate in jazz ensemble

or marching band may be required to also participate in concert band. Although some schools

made certain ensembles necessary, Carlisle (2013) noted that students valued the emotional and

social interactions among groups whether voluntary or not. Montemayor (2014) concurred with

Carlisle (2013) regarding the emotional and social benefits of multiple ensemble interactions

adding that effectiveness of rehearsals, performance and long-term musical development was

enhanced. Enhancing such skills “[took] skill to gain skill” according to Montemayor (2014, p.

44). High school level ensembles contained student musicians with a higher level of maturity

able to proactively enact change and progress (Guenter et al., 2017; Montemayor, 2014).

Guenter et al. (2017) attested that proactive, self-directed, authentic leadership would

promote followership. Followership should be earned and solidified to motivate an ensemble

towards a common goal (Hruska, 2011). Understanding common goals required working closely

together in partnership (Hallam, 2011). Chamber ensembles such as quartets, where there was

one player per part and often rehearsed independently, were possible with high school level

ensembles (Epstein & Makowski, 2012; Leshnower, 2008). Trust between directors and students

should be present for such independent rehearsing to occur (Hallam, 2011). Hallam (2011) noted

that “trust [was]...a key component for effective partnerships” (p. 161). Effective partnerships

could involve director implemented distributed leadership.

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Distributed leadership could involve student leaders, parents, community members and

other faculty or staff (Phillips, 2016; Semones, 2014). Student leadership roles at the high school

level could involve mentoring. Juniors or seniors could mentor incoming freshman. Mentoring

built trust, encouraged cooperation and adoption of policies and practices (Levy-Gazenfrantz &

Shapira-Lishchinsky, 2015). Incoming freshmen could be inspired and motivated to pursue

leadership roles as one progressed through a program. Directors would need to authentically

nurture those interactions (Levy-Gazenfrantz & Shapira-Lishchinsky, 2015). Authentically

nurturing distributed student leadership would require reciprocity, critical thinking and problem-

solving through reflective and engaging communication (Turner, 2012). Structured reflections

among directors, student leaders and followers could increase social capital by building trust

(Turner, 2012). Bush (2014) affirmed the need to build social capital and added that complex

social networks must be understood. Understanding social networks required directors to gather

knowledge directly from those networks using student leaders as conduits (Bottery et al., 2012).

Christensen et al. (2012) challenged the use of distributed leadership regarding power

struggles. Once a student went from being a fellow ensemble player to a leader, one’s role

changed and with it one’s social identity (Christensen et al., 2012). Coyle et al. (2014) echoed

concerns for affective responses to leader/follower social dynamic changes. Dealing with social

dynamic changes would prepare students with valuable life skills according to DuBois et al.

(2015). High school level ensembles possessed opportunities for students to show one’s

leadership potential and nurture it (Chaffee et al., 2012). Instrumental music education provided

students with “opportunities for creative freedom, responsibility, job training and a sense of

ownership and autonomy” (Chaffee et al., 2012, p. 36). Those opportunities would translate to

life skills valued in business/ management (DuBois et al., 2015).

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Long-term successful life skills involved balancing authority with charisma (Boerner &

Gebert, 2012). Balancing authority with charisma required problem-solving through trust and

communication (Bond, 2012). Trust could be established through student leader transparent self-

evaluation (Burk & Olsen, 2014). Exemplifying desired outcomes with transparent and authentic

assessment through reflective dialogue could build rapport and trust among student leaders and

peers (Burk & Olsen, 2014). Burk and Olsen (2014) argued that assessment without dialogue

would not promote progress. Reflection should be a cyclical and continuous process for

ensemble participants and student leaders to grow as musicians and adults (Cook & Howitt,

2012; Burk & Olsen, 2014). Learning leadership/followership skills in high school ensembles

could help students “thrive and survive in ways that [were] genuinely sustainable” (Cook &

Howitt, 2012, p. 398).

Experiential Knowledge

White-Smith (2012) expressed that “teacher development was central to maintain

excellence” (p. 14). Proper teacher development included gathering, learning and understanding

a teacher’s lived experiences (White-Smith, 2012). Gathering lived experiences of a teacher’s

relationships, interactions, instructional styles and outcomes would permit administrations to

provide meaningful professional development opportunities (White-Smith, 2012).

Understanding lived experiences through experiential knowledge would be considered gathering

“spiritual capital” according to Intxausti et al. (2016). Spiritual capital referred to understanding

inspirational motivations of educational leaders (Intxausti et al., 2016). Understanding a

director’s inspirations and motivations enabled a comprehensive view of emotional and social

knowledge (Carlisle, 2013). A director’s emotional and social well-being were “important for

improved self-awareness and …sense of empowerment” (Evarts et al., 2015, p. 699).

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Eros (2012) attested that directors felt powerless due to lack of administrative concern for

directors and a program’s well-being. When a director’s experiential knowledge was given no

concern or value, programs suffered, often resulting in teacher attrition and program reductions

or expurgation (Angeline, 2014; Eros, 2012; Jorgensen, 2010). Conway (2012) affirmed that

sentiment and added that “we know very little about how to best provide support for music

teachers throughout their careers” (p. 74). Experiential knowledge gathered through

observations, discussions and reflections with meaningful feedback could provide directors with

a sense of partnership (Colwell, 2011). Parker (2012) would concur that understanding daily

lived experiences was beneficial. However, understanding pivotal moments in one’s career

could offer deeper insight into influential practices (Parker, 2012). Learning how directors

functioned and adapted to pivotal challenges were important to understand the impact on

musicianship and student learning (Parker, 2012). Understanding lived experiences from

experienced experts in the field could enable administrators and institutions alike the opportunity

to form partnerships that provided comprehensive, innovative and inclusive strategies for

improvement (Odegaard, 2016).

Expert experiential knowledge. McKoy (2018) attested that music educators achieved

success based on the experiences and paths taken to achieve success. Furthermore,

understanding a music educator’s path toward present success was necessary yet “remain[ed]

persistently elusive” (McKoy, 2018, p. 3). Angeline (2014) affirmed that statement and added

that experienced music teachers, with successful programs, were often ignored. When a program

was successful and running smoothly, administrators did not see the need for developmental or

professional improvement (Angeline, 2014). Administrators and institutions should understand

“what drives a teacher toward greater mastery” (Angeline, 2014, p. 53). Gathering experiential

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knowledge from expert directors in the field would “embrace the profession in a

visible…impactful manner…, provide an experienced voice…and promote the continued

growth…of the profession” (Angeline, p. 53).

Expert, superior, master, and exemplary were used interchangeably by researchers to

describe experienced and successful band directors (Acklin et al., 2014; Angeline, 2014; Biggs et

al., 2010). Edgar et al. (2014) considered experts as directors who taught for 10 or more years

whose ensembles achieved at least three consecutive years of success based on local, regional or

state competitions. Superior ratings at contests and adjudications were used to select exemplary

directors for experiential knowledge research according to Acklin et al. (2014). Directors that

achieved notable expertise should be sought out to discover that director’s path to achievement

(Kerres, 2013). Directors possessed multiple roles (Gillis, 2011). Ponchione (2013) argued that

understanding a director’s journey from a novice conductor to becoming a seasoned leader of an

ensemble would provide a clearer picture of a director’s role and emergence. One could interpret

Ponchione’s (2013) assertion as promotion of longitudinal studies rather than short-term

observations. Longitudinal studies could provide significant insight into the emergence of an

exemplary director. However, West (2014) argued that the uniqueness of a director’s success

inspired the worthy research; research that required director reflections on one’s journey to that

success (West, 2014).

Schools often failed to provide opportunities or mechanisms for reflection on prior

knowledge (Edgar et al., 2014). Expert reflection and discussion with novice teachers could

provide informative and effective professional development (Edgar et al., 2014; Eros, 2012).

Collaborative reflections and discussions between expert and novice teachers could improve

director retention (Eros, 2012). Learning, reflecting and understanding expert experiential

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knowledge of proven practices would provide meaningful support for incoming teachers

(Odegaard, 2016). When studying highly effective educators, Intxausti et al. (2016) conveyed

that strategic thinking, classroom management, relationships and organizational methods should

be viewed from a leadership as well as instructional perspective. Biggs (2010) found that

teaching and personal skills were more important than musical skills. Exemplary directors could

possess basic musical competence yet excel due to effective leadership skills (Biggs, 2010).

Leshnower (2008) equated directorship with leadership in that a director’s role was to “influence

relationships…and intend real changes and outcomes that reflect …shared purposes” (p. 29).

Gray (2012) would posit that to achieve expertise, one must “have a constant collaboration

between research and practice” (p. 29). Constant collaboration, intending change, research and

practice would require perseverance or “true grit” according to Duckworth and Robertson-Kraft

(2014, p. 1). Teachers could be considered experts when sustained commitment to excellence

was accomplished with “true grit” despite challenging contexts (Duckworth & Robertson-Kraft,

2014, p.1). Observing, reflecting and discussing an expert director’s personality traits,

instructional behaviors, creativity and flexibility during challenging times “could advance our

knowledge of effective band instruction” (Acklin et al., 2014, p. 42).

Instrumental Music Program Success

Phillips (2016) conveyed that “the three pillars of a great music program [were] (a)

recruitment and retention, (b) a high-quality music environment and (c) communication” (p. 40-

41). Recruitment and retention of students involved promotion of expression and diversity,

flexible leadership and opportunities for student leadership according to Shieh (2008). While

Phillips (2016) emphasized logistic strategies for recruitment and retention, others argued that

inspiring student leadership was more valuable (Chaffee et al., 2012; Shieh, 2008). Montemayor

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(2014) found that long-term music development and performance skills were enhanced through

effective director led instruction. Success, from Montemayor’s (2014) perspective should be

viewed both long and short-term. One could question the extent of director significance within a

small timeframe regarding recruitment and retention. Phillips (2016) noted that recruitment and

retention was an ongoing process. One could question whether success could be obtained in a

director’s first year.

Recruitment and retention. Acklin et al. (2014) posited that a director’s personality

characteristics and instructional behaviors were primary contributors to ensemble and program

success. Success according to Acklin et al. (2014) should consider achievement beyond an

ensemble’s awards or recognitions. Student participation in additional ensembles and continued

musicianship into college and beyond were considered indications of a successful director

(Acklin et al., 2014). However, formal director evaluations were not based on retention of

students, students’ desire to play in multiple ensembles or continued musicianship (Deitz et al.,

2013). Short-term observations determined director success from administrative perspectives.

Director personality was not under specific scrutiny, however, relationships with students were

(Deitz et al., 2013). One could question whether director personality, relationships and

interactions with students were mutually exclusive.

Biggs et al. (2010) echoed Acklin et al.’s (2014) assertion on the importance of

personality and instruction. However, Biggs et al. (2010) enveloped personality with leadership

traits that included motivation and management skills. Recruiting students would require

motivation from current students, feeder programs and school communities (Philips, 2016).

Student motivation towards successful recruitment and retention of fellow players was goal

related according to Hruska (2011). Hruska (2011) promoted the use of “mastery goals” in that

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“goals [were] related to motivation because they [were] cognitive representations of the

approaches and intentions people [had] in different achievement situations” (p. 4). One could

assume that an ensemble would want to retain good performers. Extrinsic and intrinsic

motivation required director consideration to appeal to a diversity of incoming talent (Hruska,

2011).

Whether extrinsic or intrinsic, motivation should be transparent and authentic (Elrod,

2012; Liket & Maas, 2015). Transparency of goals and motivating factors towards those goals

enacted accountability (Liket & Maas, 2015). A transparent vision and mission could aid

recruitment and retention efforts (Jegers & Wellens, 2014). Grunewald and Salleh (2013)

conveyed that “the most important task of the [director]…[was] to act as a visionary leader…that

create[d] a vision and a set of goals for the [program] to achieve” (p. 13). Jegers and Wellens

(2014) argued that the director must understand the needs and objectives of the students. One

could question whether a director would be able to accomplish such a task with new students.

Should incoming member needs and objectives be considered? How would incoming member

needs affect veteran members? How could a director address the needs of incoming players

without devaluing veteran members? Accomplishing collective objectives would require a “high

quality music environment” (Phillips, 2016, p. 40).

High quality music environment. High quality music environments would provide

multiple ensemble opportunities where students could improve overall knowledge and

musicianship (Phillips, 2016). One could posit that the more opportunities one had to practice

and nurture one’s musicianship, the more improved one would become (Chaffee et al., 2012).

Chamber ensembles, such as quartets, provided “opportunities for learning and development

beyond the realm of music” (Chaffee et al., 2012, p. 37). Offering opportunities for leadership

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positions in large ensembles was a strong motivational force (Biggs et al., 2010; Chaffee et al.,

2012; Kallio, 2015). Student led chamber ensembles enlisted greater self-motivation and self-

discipline through leadership development (Bradley et al., 2010). Students wanted opportunities

to perform in a variety of genres (Bradley et al., 2010). High quality music environments would

provide frequent and varied opportunities for students to discover one’s passion for performance

(Kallio, 2015). Epstein and Makowski (2012) contended that tensions created and resolved

during a music rehearsal was a key lesson relatable to life. Dissonance and resolution in music

promoted critical thinking and problem-solving (Bond, 2012; Epstein & Makowski, 2012;

Minkler, 2014). Musicians, by nature, had a fundamental need to problem-solve or resolve

dissonance according to Epstein and Makowski (2012). High quality music environments would

provide students with the musical and social skills to work together as a team to resolve

dissonance and problem-solve (Bond, 2012; Epstein & Makowski, 2012; Minkler, 2014).

Problem-solving as a team in an ensemble promoted self-acceptance, self-growth and

empowerment through others (Chacon et al., 2013). Sectional camaraderie built social capital

which in turn promoted ensemble strength (Biggs et al., 2010; Minkler, 2014). For example, a

saxophone section from a wind ensemble that also practiced together as a quartet, would improve

cohesiveness and responsiveness to one another. The extra, more focused practices in a quartet

environment would carry over to ensemble rehearsal. Doing so would appeal to the competitive

nature of students in that hearing an improved saxophone section would prompt other sections to

follow suit (Bush, 2011). High quality music environments would encourage students to

exemplify desired outcomes through work-ethic, practice and musicianship as exemplary role-

models (Bush, 2011).

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Biggs et al. (2010) conveyed that displaying high levels of musicianship and musical

standards were important for a successful program. Boerner and Gebert (2012) added that an

effective director would inspire students to display those high standards. Although researchers

implored the importance of director musicianship and musical skill competency, a high-quality

music environment should be formed with student leadership as the foundation through director

inspiration (Biggs et al., 2010; Boerner & Gebert, 2012; Bush, 2011). A director must “influence

others to become more than they believe they can be” (Walker, 2014, p. 88). The same influence

applied to all stakeholders within and surrounding the program (Jegers & Wellens, 2014).

Students, parents, faculty, administrations and communities must believe in the passion,

mission and vision of the director according to Cleveland-Innes and Orr (2015). A high-quality

music environment enlisted stakeholder support for the director and a program’s future

(Cleveland-Innes & Orr, 2015). Cleveland-Innes and Orr (2015) attested that fostering

stakeholder support needed “focus on how people think rather than …what people do” [and that

staff should be able to] “innovate and organize themselves” (p. 237). High quality music

environments would consist of allotted time and resources for stakeholders to effectively

communicate in the interest of innovative improvement (Levy-Gazenfrantz & Shapira-

Lishchinsky, 2015). Supportive communication efforts would build trust and encourage

cooperation where innovations and changes would be more likely adopted (Levy-Gazenfrantz &

Shapira-Lishchinsky, 2015). High quality music environments should have all parties involved

working in harmony with trust and fluid communication (Hannah et al., 2013; Levy-Gazenfrantz

& Shapira-Lishchinsky, 2015).

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Communication. Phillips (2016) conveyed that effective communication of values and

direction to all stakeholders was necessary for a successful program. Boies et al. (2015) would

add that effective communication required trust. Boies et al. (2015) found that “communication

and …trust would sequentially mediate the relationship between leadership and …performance”

(p. 1088). Popa (2012) affirmed the importance of trust for effective leadership. However,

director leadership and its effectiveness should ultimately be based upon results according to

Popa (2012). Determining which results were meaningful was debatable. Retention of existing

students and growth of participation could be viewed as evidence of effective communication

through director leadership (MacLeod & Napoles, 2016).

Social intelligence conveyed through motivational leadership would build rapport and

enthusiasm for a program (MacLeod & Napoles, 2016). Non-verbal communication through

“eye contact, voice modulation, proximity and facial engagement” were positively related to

effective teaching (MacLeod & Napoles, 2016, p. 61). One could question whether effective

communication with students was equally as important as stakeholder communication. Could a

program be sustainably successful with effective communication in the classroom alone? Should

communication emphasis be placed on nurturing student communication or administrative and

community relationships? Hruska (2011) would argue that increased mastery of skills and

performance would increase student motivation and that that motivation would influence

stakeholder program support.

Hruska (2011) contended that “until [directors] clearly identif[ied]…specific…learning

goals…it [was] impossible for students to take the necessary steps to achieve them” (p. 6).

Communicating clear goals would require a strong shared social identity according to Cummins

and O’Boyle (2014). While Larsson et al. (2014) conveyed the importance of self-awareness for

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improved performance, Cummins and O’Boyle (2014) would add that ensemble-oriented

communication processes were more beneficial for long-term success. “Clear, concise and

frequent communication…[would] create a common sense of purpose…promoting…success”

(DuBois et al., 2015, p. 42). Lidh (2013) echoed the importance for clear and concise

communication adding that “the most important part of communication is listening” (p. 252).

Listening to students, staff, parents, administration and the community would promote ownership

and therefore program support (Chacon et al., 2013). Trust and rapport could be established

through active listening (Chacon et al., 2013). Establishing and cultivating trust through active

listening would require emotional intelligence according to Parrish (2015).

While Phillips (2016) relayed logistical importance of communicating with stakeholder

entities, Parrish (2015) emphasized communication approaches using emotional intelligence.

Emotionally intelligent communication would involve integrity, persistence and trust (Parrish,

2015). Parrish (2015) suggested that integrity, persistence and trust could be obtained through

formal leadership development. Empathy, according to Parrish (2015) was considered the most

important contributory characteristic towards effective communication. When directors showed

authentic empathy through active listening, students would be more likely to trust a director and

implement a director’s vision and achieve goals (Parrish, 2015). Building trust through

emotionally intelligent leadership would motivate students and inspire intrinsic perseverance

(Parrish, 2015).

Motivating students through enthusiasm, mutual trust and fostered rapport was

considered social intelligence according to MacLeod and Napoles (2016). Enthusiasm through

verbal and non-verbal communication was highly influential on the effectiveness of teacher

delivery and students’ responses to that delivery (MacLeod & Napoles, 2016). Influential

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directors who communicated with enthusiasm, passion, and purpose could “compensate for

motivational deficits of the musicians” (Boerner & Gebert, 2012, p. 359). Although ensembles

learned to play as a unified entity, Bush (2011) argued that technically challenging pieces

required “empowering the musicians to ‘perform’ as a single entity rather than a body of capable

individuals” (p. 40).

A director’s objective would be to motivate students intrinsically to improve individual

musicianship while rehearsing an ensemble to obtain a unified sound. One could question

whether goals for individual students and ensembles should be separate considerations. Should

individual goals be determined by group benchmarks? For example, should an entire ensemble

have a goal of learning all the major scales? What if some students already know those scales?

Should a median goal be set that could ensure the full ensemble meeting that goal or should the

highest level of musicianship among the ensemble members be met or surpassed by the group?

Gillis (2011) conveyed that “the director’s choice of rehearsal activities… serve[d] as an action

plan to support desired student conduct, and the performance goals of the ensemble” (p. 36). An

effective action plan would require emotionally intelligent leadership where trust enabled

effective communication with all stakeholders of an instrumental music program (MacLeod &

Napoles; Parrish, 2015; Phillips, 2016).

Challenges to Director Success

Directors faced challenges on two fronts; educating and management. According to

Gillis (2011), “only through the development of basic administrative skills [could] educators

become efficient contributors to the musical growth of their students” (p. 35). Fischer and

Hedgecoth (2014) affirmed that assertion adding that directors should advocate for student

musical growth by nurturing administrative, community and financial support. Instrumental

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music programs were dependent upon school allotted budgets, fundraising efforts and grants

(Fischer & Hedgecoth, 2014; Phillips, 2016). Band programs often “fill[ed] gaps in budget

shortfalls through increased fundraising efforts” (Christensen et al., 2014, p. 121). Successful

programs required directors to motivate students to excel in musicianship and motivate students

to fundraise (Christensen et al., 2014).

Cementina-Olpoc and Hechanova (2013) argued that directors, like other educational

leadership positions, should plan pedagogically for long-term terms goals. However, the

business side of budgeting and fundraising was more dynamic and addressed short-term goals

(Cementina-Olpoc & Hechanova, 2013). One could posit theoretically that inspiring a vision for

long-term growth and success with short-term support could be counterproductive. Band booster

organizations made up of parents and community members were intrinsically motivated

according to Ford and Ihrke (2016). Parents and communities had a vested interest in the

success of the children in the program (Ford & Ihrke, 2016). However, as booster organizations

increased fundraising and commensurate financial support, administrations often saw those

efforts as budget reduction opportunities (Ford & Ihrke, 2016). One could posit that the more a

band fundraised the less district funding was needed.

When increased fundraising efforts were circumvented by negative correlating

administrative financial support, morale of the program could be threatened (Jorgensen, 2010).

Moreover, the social and cultural dynamics among the ensembles could be affected (Jorgensen,

2010). For example, a marching band with 200 members might fundraise a substantial amount

of money and be able to purchase equipment upgrades. Administrations might determine that

since the marching band was able to obtain desired equipment independently, the program would

not need as much money from district budgets. However, reducing music budgets across the

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board could affect other ensembles within the program. Therefore, one could question whether

each individual ensemble should have independent budgetary and financial considerations.

Regardless of independence, a director should address both the pedagogical and budgetary needs

of the program by managing the program as one entity according to Ford and Ihrke (2016).

Therefore, challenges to director success was examined according to (a) pedagogical challenges

and (b) managerial challenges.

Pedagogical challenges. Cementina-Olpoc and Hechanova (2013) found that change

initiatives and implementations were more favorable in academic organizations than in business

organizations. Academic approaches using transformational leadership were beneficial to garner

student and community buy-in and program support (Cementina-Olpoc & Hechanova, 2013).

However, managerial concepts regarding organizations of stakeholder participation and support

were favorable for financial program support (Cementina-Olpoc & Hechanova, 2013).

Therefore, pedagogical challenges for directors involved balancing academic approaches with

business etiquette.

Classroom management was crucial for effective teaching according to MacLeod and

Napoles (2016). Powell (2014) affirmed that assertion adding that novice directors were most

concerned about classroom management challenges upon entering the field. Although delivery

style was considered essential for effective classroom management according to MacLeod and

Napoles (2016), Powell (2014) attested that the majority of teacher preparation focused on lesson

planning and rehearsal strategies. Disparities between preparation and implementation were

problematic (Montemayor, 2014; Powell, 2014). Director concerns regarding communication

and building rapport within one’s program lacked administrative professional development

support for improvement (Powell, 2014). Effective communication of musical content and

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direction required “eye contact, voice modulation, proximity and facial engagement”; skills that

should be learned and developed by the director according to MacLeod and Napoles (2016, p.

61). Therefore, pedagogical director concerns could be assuaged by informing administrations

of director desired professional development. Theoretically, directors could become more

effective if director insecurities or lack of confidence were minimized by pertinent, desired and

applicable professional development.

Effective teaching did not necessarily correlate with student success (Montemayor,

2014). Montemayor (2014) suggested that “some aspects of the quality of instruction [were]

related to the band’s performance skills and perhaps to students’ long-term music skill

development” (p. 44). Achieving short-term rehearsal goals could appear as effective teaching

when viewed objectively in a single rehearsal (Montemayor, 2014). However, long-term success

strategies that developed technical skills and musicianship were positively related to overall

ensemble success (Montemayor, 2014). Therefore, one could question whether a choice between

short-term or long-term teaching strategies should be made or if a synthesis of the two would

prove more effective. Could short-term goals be implemented to achieve long-term vision for a

program?

Instrumental music program needs were continuously changing (Caniels & Rietzschiel,

2013). Long-term pedagogical direction could still be maintained; however, short-term

adaptations might be necessary (Caniels & Rietzschiel, 2013). Adaptation implementation

would require trust. Trust, according to Hernandez (2014) was personal, relational and

contextual. The best lesson plans and intended rehearsal techniques could not be effectively

implemented if a director’s personality did not inspire trust (Hernandez, 2014). Likewise, if a

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director’s plans and techniques did not relate to students, there would be a disconnect. Knowing

the social culture of an ensemble would improve communication and trust (Fernandez, 2011).

Fernandez (2011) attested that cultural intelligence went beyond race and ethnicity to

include “eating rituals, personal space, conflict resolution, eye-contact, greetings, tone of voice

and many other factors” (p. 16). Understanding cultural factors could greatly improve pedagogy

effectiveness (Fernandez, 2011). One could question whether such inquiry and understanding

was possible or feasible. How could a director learn about students’ cultures without infringing

on one’s privacy or personal life? How could a director adapt teaching to accommodate cultural

needs within a diverse classroom setting? Perhaps the concept of understanding each ensemble

member’s culture was utopian, however, the intent and attempt of understanding could improve

pedagogy preparation (Fernandez, 2011).

Preparation could involve contextualizing instruction (Hernandez, 2014). Directors could

relate pedagogy to student cultures while putting learned skills into applicable contexts

(Hernandez, 2014). Cultivating follower trust, according to Hernandez (2014), would involve

teaching students’ skills in the music classroom that would benefit students in other contexts

such as life-skills, work-ethic, leadership or college preparation. Pedagogical challenges in that

sense would suggest knowing students’ future needs. One could argue that learning leadership

and positive work-ethic would be beneficial in any context and not be personally unique to any

one student. However, knowing specific future needs of disenfranchised students could form a

connection otherwise unattainable (Burke, 2006).

Connecting with students should be viewed from a macro and micro perspective

according to Eacott (2010). Directors’ pedagogy approaches from a macro perspective would

involve analyzing long-term goals for an ensemble. Instituting rehearsal goals attainable by all

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ensemble members through a macro perspective leadership lens could improve overall ensemble

performance. However, Eacott (2010) noted that “there [was] no one size fits all leadership” (p.

273). Moreover, reflective approaches must be cyclical and consistent regardless of the

leadership style to determine micro level instruction for macro level goal attainment (Eacott,

2010). Micro level instruction should involve reciprocal and cyclical reflection (Eacott, 2010).

Analyzing relationships among ensemble members could offer gainful insight into proper

rehearsal strategies. One could assume that knowing one’s ensemble better would make them a

better director, however, not all directors were fully prepared to accommodate learner needs

(West, 2014).

Directors may have been hired to teach certain classes such as bands and general music.

Increased participation or desire for extended ensembles such as jazz, marching or pep-bands

may require directors to teach outside one’s training and comfort level (West, 2014). Although

specializations were not required to teach jazz or other such ensembles, West (2014) noted that

“college jazz courses did little to prepare [directors] to teach jazz” (p. 71). Familiarizing oneself

with jazz through performance and demonstration was found to be more beneficial than formal

courses (West, 2014). West (2014) noted research disparities regarding the benefits of formal

jazz training. There was no consensus among leading jazz pedagogy researchers, however, a

common denominator, despite differing opinions, was that performance and practice were crucial

to understanding jazz (West, 2014).

Listening, analyzing, reflecting, playing and recording in a cyclical fashion would

promote effective jazz pedagogy techniques (West, 2014). One could question how such active

involvement would be possible given the amount of suggested director preparation to teach jazz.

How could a director learn to listen, analyze, reflect, record and teach while simultaneously

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handling a full course load? West (2014) suggested that directors “look for ways to help students

develop the skills required to adapt and apply general knowledge to area-specific knowledge” (p.

75). Perhaps West (2014) was implying that directors should use one’s jazz learning experiences

as the foundation for pedagogy. Learning alongside students could empower students by making

individuals part of the learning process (Schmidt, 2012). However, directors should have the

fundamental knowledge to locate information and resources. West’s (2014) teaching-learning

relationship could empower students to be self-motivated learners, yet, directors were ultimately

held accountable (Schmidt, 2012).

Accountability of teachers was evident regardless of the subject matter. However, special

education instruction held music teachers accountable without permitting director input (Groulx,

2016). Directors were often not included in IEP meetings yet were held accountable for overall

progression of a special education student (Van Weelden & Whipple, 2014). Special education

was not required for degree attainment, however, inclusion initiatives placed unprepared

directors in accountable positions (Van Weelden & Whipple, 2014). Lack of professional

development support caused “the vast majority of teachers [to] locate materials, resources and

devices on their own without the help of special education teachers, school-based therapists, or

their school system” (Van Weelden & Whipple, 2014, p. 43). Pedagogical challenges for

directors were that specialized trainings were needed yet specialized professional development

was not provided or supported (Eros, 2012; Groulx, 2016).

Groulx (2016) echoed calls for specialized training and added that more teacher

preparation, specific to one’s needs, was necessary. Specialized training could involve non-

course curriculum such as fundraising, budgeting, booster organization management, tax laws,

music library, policies, regulations and compliance (Groulx, 2016). Eros (2012) noted the

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mandated pressures for performance goals placed on directors and asserted that such pressures

without proper support could lead to teacher attrition. Gleeson (2015) affirmed that external

mandates placed enormous pressure on teachers and added that Catholic schools had critical

challenges stemming from education and faith-based mandates. Pedagogical challenges for

directors in a faith-based school included accountability to all stakeholders in the educational and

faith-based communities (Gleeson, 2015). Although directors at a Catholic school did not need

to be actively practicing Catholics, educators must “visibly demonstrate the Catholic character of

learning [with] …integrity of the academic discipline” (Gleeson, 2015, p. 153). One could

question whether a director could authentically teach in a Catholic school if the director was not

a practicing Catholic. An interpretive paradigm could be used in such challenging school

contexts according to Chikoko et al. (2013).

An “interpretive paradigm…acknowledge[d] that there [were] multiple truths since

reality [was] subjective and constructed from a person’s life experiences, background and social

interactions” (Chikoko et al., 2013, p. S140). Perhaps Chikoko et al. (2013) was implying that

the sum of one’s character was more important than one’s religious affiliation. One’s character

and teaching effectiveness, regardless of school type should have “Specific, Measurable,

Achievable, Realistic and Time-bound” (SMART) objectives (Fisher, 2010, p. 5-6). SMART

objectives would help directors match performance results with expectations (Fisher, 2010).

Pedagogical challenges would be for directors to sustain performance results with increased

expectations from stakeholders (Fisher, 2010).

Knowing stakeholder expectations required teacher collaboration and meaningful

feedback (Huizenga & Szczesiul, 2014). Director efficacy and motivation could be affected

without proper collaborative efforts (Huizenga & Szczesiul, 2014). Formal and informal

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collaborations could help directors navigate through challenging contexts (Huizenga &

Szczesiul, 2014). Huizenga and Szczesiul (2014) noted that teacher collaboration efforts should

be directed, encouraged and supported by the principal. Lack of administrative direction and

support for collaboration would make forming a unified vision unattainable (Huizenga &

Szczesiul, 2014). Therefore, program goals in pursuit of that vision could be compromised.

Moreover, isolation of directors would not promote “ongoing professional exchange and growth”

necessary for effective teaching (Huizenga & Szczesiul, 2014, p. 188).

Isolation of directors could impact the school culture (Christensen et al., 2012). Power

dynamics stemming from teacher isolation could thwart authentic interactions and impact

problem-solving and decision-making (Christensen et al., 2012). One could question whether

director isolation was problematic or beneficial. More people involved, such as staff, faculty,

administrators or other stakeholders could also mean more opinions and commensurate scrutiny.

The challenge for directors would be to balance the value of outsider involvement with the

benefits of collaboration. Batch and Heylinger, (2014) suggested identifying transformational

leadership qualities within stakeholders to determine possible value-adding collaboration.

Directors who surrounded themselves with transformational leaders could overcome pedagogical

challenges by learning to be proactive rather than reactive (Batch & Heylinger, 2014).

Supportive leadership in that manner could improve director job satisfaction and therefore

retention (Batch and Heylinger, 2014).

Managerial challenges. As school culture changed, so too did management styles

according to Cementina-Olpoc and Hechanova (2013). Graduating high school seniors, student

retention or attrition rates and changes in school personnel could fluctuate dramatically

throughout a director’s tenure (Cementina-Olpoc & Hechanova, 2013). Adapting to such

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fluctuations could be challenging. Although Cementina-Olpoc and Hechanova (2013) noted that

academic institutions provided greater leadership support compared to business organizations

during times of change, program management processes should follow suit. School leadership

management shifted paradigms from a top-down approach to one of collaboration (Morrison,

2013). Collaborative efforts posed unique challenges to directors’ needs for autonomy and

intertwined accountability (Morrison, 2013). Directors wanted autonomy to pursue and

implement the passion and vision for a program. However, pursuing such endeavors could

involve increased funding, participation, approval and permissions from administrators.

Although researchers contended that collaboration was necessary for proper program

management, Bush and Glover (2014) attested that the director must act as a catalyst. When a

director acted as a catalyst to enact collaborative efforts, power relationships could become

blurred (Bush & Glover, 2014).

Christensen et al. (2012) echoed Bush and Glover’s (2014) concern regarding power

dynamics adding that “power dynamics [were] sharply affected by how teachers perceive[d] the

dominant culture” (Christensen et al., 2012, p. 77). Identifying dominant cultures could be

challenging for directors who often felt isolated from the rest of the academic community

(Angeline, 2014). Isolation could be overcome through awareness and participation in social and

civic processes (Christensen et al., 2012). Perhaps Christensen et al. (2012) was suggesting that

directors should be involved in students’ lives in non-music related contexts. For example, a

director who encouraged band students to support an athletic event may receive greater

reciprocal support for a music event. One could question who was responsible for initiating

support and subsequent reciprocity. Should a director lead reciprocal support or should a

principal establish a school-wide tone of cross-curricular support?

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According to Huizenga and Szczesiul (2014), principals possessed social influence for

meaningful collaboration. Huizenga and Szczesiul (2014) noted that director self-efficacy was

important for collaboration. However, self-efficacy could be minimized if cross-curricular

supportive efforts were mandated by administrations (Huizenga & Szczesiul, 2014). Moreover,

principals’ social processes could affect director motivation, attitude, and other behaviors

associated with collaboration (Huizenga & Szczesiul, 2014). While Huizenga and Szczesiul

(2014) argued that principals should provide direction for teacher collaboration, Batch and

Heylinger (2014) found that administrative mandated collaboration reduced faculty job

satisfaction and lowered morale. Addressing director management challenges would involve

awareness of a principal’s social influence and leadership style (Batch & Heylinger, 2014).

Management challenges for directors could involve compartmentalizing music program

management and principal leadership style management. Fisher (2010) would argue that music

program contest results would offer objective data encouraging program support school-wide.

However, without principal led recognition and support, how would school communities be

aware of a music program’s results and effectiveness? How could faculty and communities

support a program they were unaware of? Fisher (2010) noted that programs had a certain level

of expectations from stakeholders. Directors could communicate expectations for students,

parents, volunteer participation and faculty cooperation, yet administrators should clearly

communicate extended stakeholder expectations (Batch & Heylinger, 2014). For example,

directors could communicate a program goal to qualify for a national competition. Plans and

resources needed to accomplish such a goal could be relayed at community meetings.

Opportunities should be provided at those meetings to ensure mutual understanding of needs and

expectations to illicit trust (Hernandez et al., 2014). Trust among directors, faculty,

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administrators and communities required a “collective responsibility” to create an environment

of interdependence towards “shared vision, purpose and goals” (Huizenga & Szczesiul, 2014, p.

187).

Directors could overcome managerial challenges through transformational leadership

according to Cementina-Olpoc and Hechanova (2013). Decision-making and change

implementation were found to be more successful under transformational leadership (Cementina-

Olpoc & Hechanova, 2013). Directors who inspired a shared vision among administrators and

other stakeholders encouraged program support through empowerment (Cementina-Olpoc &

Hechanova, 2013). DuBois et al. (2015) concurred that transformational leadership practices

were important for directors to inspire a vision. However, managing a program efficiently and

effectively required an entrepreneurial personality (DuBois et al., 2015). “Entrepreneurial

personality was the trait that contributed positively to success in almost all types of projects

especially those of high innovation and complexity” (DuBois et al., 2015, p. 40). One could

interpret Cementina-Olpoc and Hechanova’s (2013) diverging view point from DuBois et al.’s

(2015) as using transformational leadership to garner buy-in then using an entrepreneurial

mentality to implement changes. The managerial challenge for directors would be to match

one’s personality and management type with project type (DuBois et al., 2015). For example,

encouraging greater attendance at a band festival may require a different approach than getting

approval for a bake sale fundraiser. Regardless of project or management type, DuBois et al.,

(2015) contended that for programs to be successful, directors must communicate passionately

with “clear, concise and frequent communication” (p. 42).

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Although communication with passion and purpose was important, Johnstone and Nodine

(2015) argued that skill competency and results were more influential. Rather than garner

support through transformational leadership as suggested by Cementina-Olpoc and Hechanova

(2013), Johnstone and Nodine (2015) suggested a competency-based approach. A competency-

based management approach would allow program results to speak for themselves. However, in

order to advocate for one’s program in a competency-based fashion, a director would have to use

comparative analysis among other school programs. Doing so could ostracize or isolate

colleagues and ultimately reduce support. Preventing possible interpersonal conflicts would

require appreciative leadership according to Cleveland-Innes and Orr (2015).

Appreciative leadership would “search for the best in people…asking questions that

strengthen[ed] a system’s capacity to heighten positive potential” (Cleveland-Innes & Orr, 2015,

p. 235-236). Appreciative leadership directors would manage one’s program by highlighting the

positive and mutually beneficial relationship already in existence. Doing so would create a

paradigm shift in program management from problem-focused to positive-focused. Positively

focused program management could solidify existing connections while appealing for future

support. However, directors would need existing positive relationships to progress with

appreciative leadership. How could a novice director showcase existing positive relationships?

Could a director effectively manage one’s program without external support? Cummins and

O’Boyle (2014) would argue that social identity theory should be considered.

“The social identity theory of leadership view[ed] leadership as a group process…in

which both group and self-categorizations” were constructed (Cummins & O’Boyle, 2014, p. 29-

30). Directors would need to depersonalize solicitation and focus on group-centered benefits.

The quality of mutually beneficial relationships was dependent on a director’s ability to advocate

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and manage one’s program in a context that would appeal to the broader school community. For

example, if students were going out of state to compete in a band festival, the director would

have to convince (a) all faculty that students would make up all work missed, (b) the parents that

the competition would benefit their child and (c) administrations that expenses and risks incurred

would be worth the investment. Managing a program using social identity theory would entail

“transforming social reality” (Cummins & O’Boyle, 2014, p. 37).

Transforming social reality would involve generating awareness of program management

challenges such as heavy workload, lack of resources, time management issues and lack of

administrative assistance (Conn, 2013). Administrators should encourage and reward efficient

time-management according to Conn (2013). However, unless efficient time-management was

brought to an administrator’s attention, how would an administrator be able to encourage or

reward such actions? Directors have multiple roles and communicative entities (Kerres, 2013).

Communicating to all the various stakeholder entities would require distributed leadership

according to Bush (2014).

Managing through distributed leadership would build director social capital that “goes

beyond individual control and management bureaucracy” (Bush, 2014, p. 601). Bush (2014)

would argue that directors should gather social capital to empower program support through

increased advocacy in numbers. One could posit that if bureaucracies opposed a director, they

would also oppose program advocates. Corrigan (2013) noted that “the social construction of

leadership [was] a social process and learned behavior” (p. 66). The social construction of

distributed leadership would require directors to examine human potential (Corrigan, 2013).

Potential of students, parents, staff and faculty would require short-term strategies and long-term

goals (Corrigan, 2013). Changes in student and parent participation could fluctuate

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commensurate with graduations. Volunteer participation from family, faculty, staff or

community members could fluctuate as well thus requiring short-term goals.

The management challenge for directors would be to discern short-term and long-term

goals and who shares in accountability. Edgar et al. (2014) would argue that the director would

be ultimately responsible for any management decisions within the program. Distributed

leadership, according to Corrigan (2013) would involve a level of accountability assigned to

distributed posts. However, Corrigan (2013) noted that adding levels of accountability could

demoralize willing participants and deter further participation. Building social capital while

instituting distributed leadership would require an authentic approach that encouraged

cooperation and trust (Levy-Gazenfrantz & Shapira-Lishchinsky, 2015).

Authentic director leadership required directors to be role-models and mentor supporters

such as volunteers, parents or faculty (Levy-Gazenfrantz & Shapira-Lishchinsky, 2015).

Managing a program efficiently and effectively would involve creating an environment where

ideas, creativity and innovation could flourish (Minkler, 2014). Minkler (2014) would argue that

authentic leadership without motivation, inspiration and charisma would not implement desired

positive changes. Authentic leadership could be used to gather support; however,

transformational leadership was necessary to build social capital that could enact change

(Minkler, 2014). Managerial challenges for directors would entail (a) knowing one’s school

culture, (b) being an authentic, transformational leader, (c) forming short-term and long-term

mutually beneficial relationships, (d) using distributed leadership appropriately and efficiently

and (e) increasing advocacy by building social capital.

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Instrumental Music Program Sustainability

McDonald et al. (2010) attested that organizations must “adopt strategies aimed at

building viable, sustainable organizations in order to continue to pursue their social mission” (p.

346). Instrumental music programs should balance fundraising efforts with vision (Edgar et al.,

2014; McDonald et al., 2010). As band programs prospered and sought greater competitive

outlets, increased funds may have been required to compete at higher levels. Higher levels of

competition, commensurate fundraising and increased budget requests required strategic

planning (McDonald et al., 2010). Strategic planning should involve minimal reliance on

administrations and proactive emphasis on diversified fundraising according to McDonald et al.

(2010). Instrumental music programs should remain relevant to sustain competitive efforts

(Edgar et al., 2014; McDonald et al., 2010). Multiple innovative strategies could be

implemented for program growth and sustainability (McDonald et al., 2010). Innovative

strategies should balance autonomy with accountability according to Schmidt (2012).

Schmidt (2012) argued that in order to balance autonomy and accountability, directors

must “be able to engage with policy talk, provide re-conceptualization of community, and

present alternatives to direct pedagogical practice…all formative to a kind of leadership that is

participative and critical” (p. 222). Perhaps Schmidt (2012) was suggesting a multiple

stakeholder holder approach to communication similar to Jegers and Wellens (2014). Jegers and

Wellens (2012) argued that a multiple stakeholder approach to communication would provide a

better picture of reality. Objective data, reports, and observations alone would provide a myopic

view of a program’s needs according to Barrett (2012). Multiple perspectives were required for

holistic communication according to Barrett (2012); however, Edgar et al. (2014) noted the

importance of expert-led director intervention and reflection. How could one gather multiple

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perspectives yet lead effectively without over-stepping authority while maintaining autonomy?

Jegers and Wellens (2014) recommended gathering a sense of the overall issues to address

sustainability obstacles.

Discovering and acknowledging what all stakeholders valued would promote buy-in and

encourage support (Jegers & Wellens, 2014). “Individuals [had] a right to be involved in

decisions that [affected] their daily lives” (Jegers & Wellens, 2014, p. 226). Decision-making

processes should be transparent according to Liket and Maas (2015). Program design and

implementation should include relevant input from all stakeholders (Liket & Maas, 2015).

While researchers conveyed the importance of gathering input from multiple stakeholder

perspectives, Fisher and Hedgecoth (2014) argued that the director should ultimately decide

which information was relevant when advocating for one’s program. Directors advocating for

program sustainability should consider multiple perspectives to illuminate expectations (Liket &

Maas, 2015). Expectations required standards for benchmarking (Liket & Maas, 2015). Without

benchmarked standards, a director could not accurately address sustainability concerns. Faulk et

al. (2015) suggested using a performance assessment approach to benchmark standards. Faulk et

al.’s (2015) suggestion diverged from Barrett’s (2012) who considered objective data limiting.

Gathering performance assessments and other objective data could provide concrete reputation

building blocks (Faulk et al., 2015). More objective data collected would build a program’s

reputation. Documented positive reputation building would serve as a tool for director and

program advocacy.

McKoy (2018) stated that “music programs continue[d] to conform to the status

quo…and [did] not reflect interests and musical goals of the students” (p. 4). Though

researchers conveyed the importance of holistic decision-making, Koskela and Schuyler (2016)

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emphasized the importance of being present. Being present was considered being mindfully

aware of the people directly affected by director decisions; the students (Koskela & Schuyler,

2016). Directors should have a “capacity to observe and find new points of view” if ensemble

members were to remain and thrive (Koskela & Schuyler, 2016, p. 56). Ensemble members that

remained and thrived promoted program sustainability (Koskela & Schuyler, 2016). Program

sustainability required significant efforts on retention. Recruitment efforts without innovative

and meaningful retention efforts could be inefficient and counterproductive (Koskela &

Schuyler, 2016).

One could argue that increasing recruitment would statistically improve the chances for

retention. For example, if a program typically lost ten out of one hundred members every year or

ten percent then ninety would return. If a director recruited two hundred and lost ten percent one

hundred eighty members would return thus increasing participation and retention statistically.

However, Jaskyte (2013) warned that larger numbers could affect program quality if quantity of

members was prioritized. Jaskyte (2013) found that program size was not an indicator of

innovation or performance, however, maturity level was important. Moreover, retaining

members, who have grown and matured musically within the program would promote

sustainability through improved performance and musicianship (Edgar et al., 2014; Jaskyte,

2013). One could assume that without students, there would not be a program. Likewise,

without retention of quality students, a program would not be able to sustain quality.

Perhaps, researchers were implying that sustainability and relevancy were intertwined.

Director mindfulness should prioritize the physical, emotional and intellectual presence of

ensemble members according to Koskela and Schuyler (2016). Mindfulness of such presence

would determine relevancy. Relevant information would enable directors to effectively

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communicate with stakeholders as recommended by Jegers and Wellens (2014) and build

reputational support as suggested by Faulk et al. (2015). One could question whether

sustainability could be paralleled with growth. Could programs sustain success while

maintaining status quo participation? Could a program increase competitive efforts,

musicianship and performance ability without growing in participation? For example, if an

instrumental music program maintained a wind ensemble of fifty members, a jazz ensemble of

twenty, and a marching band of one hundred without considering additional ensemble expansion,

would a program be able to improve competitive level and musicianship? Would a program be

sustainable and thrive without expansion mindfulness? Future research should explore those

possibilities.

Director Sustainability

Director sustainability could be considered from two perspectives; job security and

success sustainability. Job security depended on a director’s ability to advocate for one’s self as

well as one’s profession and program (Fischer & Hedgecoth, 2014). Fischer and Hedgecoth

(2014) noted that “the notion of music education advocacy [was] a continuous effort” (p. 57).

Directors must remain relevant through professional development opportunities (Edgar et al.,

2014). Relevant and meaningful professional development could require directors to reflect on

one’s experiences (Kallio, 2015). According to Kallio (2015) directors should journal

experiences for later reflection and analysis. Doing so would allow directors to relay learning

experiences through storytelling (Kallio, 2015). The process of experiential storytelling could

invite problem-finding and initiate problem-solving (Kallio, 2015). Barrett (2012) noted that

“problems in music education were often “ill-defined…ambiguous…subjective…and complex”

(p. 4). Job security depended on a director’s ability to problem-solve the “ill-defined…

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ambiguous… subjective… and complex” (Barrett, 2012, p. 4). Moreover, documented problem-

solving could empower directors with advocacy strength (Barrett, 2012).

One could assume that doing one’s job in addition to advocating for its existence and

importance would become mentally and emotionally exhausting. One could also assume that

leaving one’s program would impact job security. Sustainability regarding job security

considered directors’ individual choices to remain with an existing program. Duckworth and

Robertson-Kraft (2014) found “true grit” to be a determining factor for retention of directors (p.

1). “True grit… [was defined] as perseverance and passion for long-term goals…sustained

commitment…self-efficacy… and commitment to work” (Duckworth & Robertson-Kraft, 2014,

p. 4-5). Perhaps Duckworth and Robertson-Kraft (2014) implied that director sustainability

relied on one’s intrinsic motivation. Bottery et al. (2012) emphasized the importance of

relationships in developing motivational leadership characteristics.

A director’s ability to remain at a school depended upon sustainable positive relationships

(Bottery et al., 2012). Mismatched personalities among directors and colleagues or staff could

challenge sustainability. Directors should examine mutually beneficial skill sets as well as

“embrace the concept of personality” (Bottery et al., 2012, p. 229). One could interpret true grit,

perseverance and other intrinsic motivational qualities as personality characteristics. Personality

characteristics containing intrinsic motivation could improve a director’s sustainability.

However, Angeline (2014) noted that directors should understand “the role motivation play[ed]

in seeking out methods for individual enhancement” (p. 50). Introspection and reflection were

found to increase a director’s effectiveness thus increasing a director’s desire to remain (Bottery

et al., 2012).

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Sustaining successful directorship required relevant, applicable and implementable

professional development (Edgar et al., 2014). Edgar et al. (2014) found that directors who

“[had] control over their own learning [were] more likely to accept and retain new teaching

practices” (p. 6). Opportunity to pursue improvement and excellence was a significant factor for

sustaining and improving successful outcomes (Angeline, 2014; Edgar et al., 2014). Broad

applicability balanced with relatability was important for sustainability according to Kosempel

and Wilson (2016). Balancing applicability with relatability required trial and error experiential

knowledge (Benn & Metcalf, 2013). Reflective practices such as journaling experiential

knowledge could provide a framework for aligning preparation with implementation (Evart et al.,

2015; Kosempel & Wilson, 2016).

One could question whether success and sustainability were only possible to the extent

that director initiatives were implemented. How would directors be able to sustain program

success if initiatives were not implemented and the program remained at the status quo? Future

research should explore correlations among director led implementations, initiatives and

outcomes. Gathering such data could provide institutions with useful information for

professional development curricula. Angeline (2014) argued that successful director voices

regarding professional development were largely unexplored.

Successful directors were often overlooked by administrations regarding professional

development (Angeline, 2014). Perceived success was from an administrative perspective of

sustaining the status quo. For example, administrators might determine that if a program was

successful there was not a need for developmental improvement. Therefore, professional

development for experienced directors was often not approved or approved at the expense of the

director (Angeline, 2014). Sustaining successful directorship under those circumstances could

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be challenging if performance expectations increased without commensurate professional

developmental support.

Successorship Planning and Sustainability

“Successorship [was] intended to identify and develop current talent” (Furtek, 2012, p.

59). Furtek (2012) defined successorship as “identifying and developing…leaders through

processes and activities to fill leadership roles in the future” (p. 59). Shifting paradigms through

successorship required directors to possess “vision and the ability to build positive and trusting

relationships with all stakeholders” (Morrison, 2013, p. 418). Positive, trusting relationships

could ensure smooth succession of student leaders and directors (Hannah et al., 2013; Hernandez

et al., 2014). Distributed leadership among students and colleagues permitted continuance of

vision and mission goals (Bush, 2014; Cummins & O’Boyle, 2014). Identifying and developing

talent for succession could be considered from two angles; student succession and director

succession. Successorship for sustainability will be examined through student and director

lenses regarding (a) distributed leadership, (b) director trust, (c) student leader trust, (d)

stakeholder trust, (e) student succession planning for sustainability and (f) director succession

planning for sustainability.

Distributed leadership. Planning for succession required effective teambuilding

focused on common goals (Bond, 2012). Effective teambuilding required directors to

proactively build social capital (Bush, 2012). According to Cummins and O’Boyle (2014)

building social capital was “leading through others” (p. 27). Inspiring leadership through others

was found to be more influential than intrinsic leadership qualities (Cummins & O’Boyle, 2014).

Authentic group commitment from directors energized ensembles with a “sense of purpose and

direction” (Cummins & O’Boyle, 2014, p. 32). Ensembles and extended stakeholders who

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sensed authentic commitment from directors were more likely to accept distributed

responsibilities (Bush, 2014; Furtek, 2012). However, Corrigan (2013) warned against a “core

assumption that each member [had] …leadership abilities” (p. 67).

Directors would need to know ensemble members, student leaders, staff and other

stakeholders. Moreover, directors would need to know interpersonal relationships among all

parties involved to effectively choose succession transition catalysts. For example, directors

might choose student leaders that exhibited excellent musicianship. The next step would be to

ensure that those student leaders would be followed by others and remain focused on the vision

and goals of the program. Likewise, colleagues and staff would need to be transitioned into

leadership positions to assimilate students to an incoming director (Bond, 2012). Incoming

directors would enter an ensemble with a strong foundation of distributed leadership in place.

Distributed leadership geared towards smooth successorship transitioning required trust as the

foundation for social influence (Hernandez et al., 2014).

Director trust. Students, parents, staff and other stakeholders should trust that a director

was a competent educator and musician (Gillis, 2011). However, one could posit that trust

should be earned. Demonstrating musicianship to students and communities would showcase

competence, therefore eliciting trust (Gillis, 2011). Building trust required proficiency in

administrative tasks (Gillis, 2011). According to Gillis (2011), “only through development of

basic administrative skills [could] [directors] become effective contributors to the musical

growth of their students” (p. 35). One could assume that students and school communities would

want a competent director. How would one know a director was competent unless one was able

to properly evaluate the director? Hernandez et al. (2014) contended there were three

dimensions to cultivating follower trust; “personal, relational and contextual” (p. 1868).

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Personal trust enlisted integrity, care for others and strong moral character (Northfield,

2014). Connecting with students, parents and other stakeholders on a personal level through

integrity, care and character would build lasting foundations of trust. Those foundations of trust

could translate into continuance of a director’s vision after succession. Therefore, continuance

of vision would promote program sustainability.

Relational trust pertained to working relationships among students, staff and other

stakeholders (Hernandez et al., 2014). Successful succession would require directors to know

personalities, which ones worked well together and which ones did not. According to Kerres

(2013) being a great director had “nothing to do with how well you conduct[ed]. It [had] a lot to

do with how well you [understood] how to work with people” (p. 32). Knowing which staff and

faculty worked well together could build proactive followership for the director. Effectively

assembling team support would enable smooth successorship and remain vision-focused beyond

a director’s tenure (Acklin et al., 2014; Gray, 2012).

Contextual trust building required “situation-focused [director] leadership behaviors that

focus[ed] on interpreting the organizational dynamics and environment for followers”

(Hernandez et al., 2014, p. 1868). Situational focus on succession would require effective

partnerships at the local, regional and beyond levels according to Hallam (2011). Local, regional

and other performance venues required strategic planning to sustain program participation during

and after director succession (Hallam, 2011). Maintaining performance standards and

competitive venues required continual advocacy (Austin, 2017). Breaks or lulls in tradition

could threaten program sustainability (Austin, 2017). Maintaining strong relationships using

contextual leadership would establish foundations of trust for incoming directors. For example,

directors leaving a school or program that kept strong relationships and detailed program

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information could pass that information on to the incoming director. Students and other

stakeholders would see that a director had vested interest in the success and sustainability of the

program. Therefore, students and stakeholders would be more likely to trust an incoming

director equipped to maintain program success at the onset of directorship (Austin, 2017;

Montemayor, 2014).

Student leader trust. Thies (2013) encouraged the use of student leaders in band

programs to improve rehearsal efficiency. However, Burk and Olsen (2014) warned that

exceptional skill competency did not necessarily induce leadership qualities. Cultivating student

leaders required “structured reflection…and applying theory to practice while guiding deep

thinking skills” (Burk & Olsen, 2014, p. 79). Student leaders were considered an extension of

the director (Brewer, 2009). Directors should establish an environment of mutual trust and

learning between themselves and student leaders (Bush, 2011). Transposing student musicians

into leadership roles was a process that required healthy relationships among group members

(Shieh, 2008). Utilizing students in leadership capacities required trust among one’s peers

(Hannah et al., 2013). Hannah et al. (2013) found that affect-based trust provided a “stronger

sense of mutual obligation” (p. 1161). “Affect-based trust represent[ed] an emotional investment

through which newcomers develop[ed] relationships that [were] of potentially better quality”

(Hannah et al., 2013, p. 1161). Quality relationships could be built through a mentoring process

(Levy-Gazenfrantz & Shapira-Lishchinsky, 2015). Mentoring built trust and encouraged an

environment of cooperation where instruction would be more likely adopted (Levy-Gazenfrantz

& Shapira-Lishchinsky, 2015).

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Stakeholder trust. Jorgensen (2010) noted that directors should have power with others

not over others. Collaboration with stakeholders was necessary to build trust and ensure

program sustainability during and after a director’s succession (Jorgensen, 2010). Trust-building

collaboration prepared stakeholders for change such as curriculum reform, budget changes and

director succession (Barrett, 2012). Barrett (2012) urged the use of multiple perspectives to

reflect on interrelationships and complex challenges. Stakeholders were more likely to trust

directors who authentically represented “institutional strengths, mission statements, hiring

practices, constituents, choice of leaders, responses to changes and challenges, and mapped them

according to the components of social/cultural forces…and external stakeholders” (Barrett, 2012,

p. 7). Perhaps Barrett (2012) was suggesting that well-informed stakeholders would be more

trusting of a director’s plans during succession. One could posit that a planned succession would

be better than no plan at all. However, one could not automatically assume that an incoming

director would immediately adopt the former director’s plan. Therefore, stakeholder trust and

buy-in would be needed to bridge the gap during director succession to ensure a smooth

transition.

Student succession planning for sustainability. Student leaders played a large role in

succession planning to maintain sense of purpose and direction (Cummins & O’Boyle, 2014).

Phillips (2016) conveyed that student leaders were necessary for a high-quality music

environment and that “great music programs always have great leaders” (p. 40). Capitalizing on

in-house student leadership would “improve the musical environment for the entire community

[and] increase the number of students involved” (Phillips, 2016, p. 40). Successorship of student

leaders required strategic and comprehensive planning to sustain a program’s vision after student

leaders graduated (Furtek, 2012; Odegaard, 2016).

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Director succession planning for sustainability. Reputation and credibility of directors

was a cumulative and ongoing process according to Northfield (2014). Reputable directors

should be included in hiring processes to promote program vision (Northfield, 2014). However,

Benn and Metcalf (2013) posited trial and error considerations. One could assume that an

incoming director would not immediately pick up where the former director left off. Therefore,

new directors would have a learning curve through trial and error. Navigating an incoming

director through the trials and errors should include a mentoring period (Levy-Gazenfrantz &

Shapira-Lishchinsky, 2015).

Mentoring would provide guidance to navigate new surroundings, procedures, cultures

and personalities within and surrounding a program (Levy-Gazenfrantz & Shapira-Lishchinsky,

2015). Perhaps Levy-Gazenfrantz & Shapira-Lishchinsky (2015) were suggesting that after

directors and administrations agreed on an incoming director, the former director should work

alongside the present director. For example, a retiring director might mentor the new director a

few weeks while the new director becomes acclimated. That might prove difficult for directors

that may be moving to a different school. Scheduling conflicts may pose significant challenges

for mentoring to take place. One course of action might be for a one-year transition period.

Contractual agreements would need to be discussed with administrations; however, smooth

succession and program sustainability may prove worth the investment in two directors (Koskela

& Schuyler, 2016; McDonald et al., 2010). Decision-makers would need to evaluate and balance

risk verses reward.

Koskela and Schuyler (2016) implored holistic and big-picture perspectives for a

balanced, sustainable program. McDonald et al. (2010) agreed, adding that programs should

“adopt…strategies aimed at greater sustainability” (p. 353). Maintaining stability amidst director

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succession could reduce the overwhelming nature of new directors to a program (Evarts et al.,

2015). Incoming directors and ensemble members would be “better equipped to engage in

collaborative learning, collective action and the development of key sustainability practices”

(Evarts et al., 2015, p. 700). Director succession planning for sustainability would be needed for

continued success, vision and goal attainment.

Challenges to Program Sustainability

Programs, schools and communities changed and evolved over time (Koskela &

Schuyler, 2016). Poorly established reputations could challenge forward progress under new

directorship (Faulk et al., 2015). Adapting to the ebb and flow of incoming and outgoing

students to a program posed challenges to sustainability regarding (a) student culture, (b) school

culture and (c) need for specializations based on culture changes.

Reputation challenges. Reputations built on trust were vital for success and

sustainability of a program (Faulk et al., 2015). Frequent turnover rates, dismissal of resource

requests and oppressive work environments due to micro-management could breed a reputation

of non-trust within program communities (Christensen et al., 2012; Eacott, 2010; Faulk et al.,

2015). For example, students and parents may be less trusting of an incoming director if the last

couple of directors left within one or two years. Program communities may not see time, effort

and volunteerism as a worthwhile investment in a director who was likely to leave in one or two

years. Administrators who consistently denied requests for improved music program equipment

could diminish hope and reduce participant and volunteer motivation (Austin, 2017). Challenges

for directors would be to establish relationships among all stakeholders, especially

administrations to build reputations of trust to promote success and sustainability of a program.

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Establishing such relationships would require learning, acknowledging and adapting to culture

changes (Fernandez, 2011).

Student culture challenges. Fernandez (2011) noted that culture went beyond race and

ethnicity. Being mindful of student cultures meant awareness of “eating rituals, personal space,

conflict resolution, eye contact, greetings, tone of voice and many other factors” (Fernandez,

2011, p. 16). Personalities, priorities and personal responsibilities among students shifted with

culture changes (Koskela & Schuyler, 2016). Challenging culture changes among students could

affect sustainability if directors did not embrace and reflect on those changes (Bottery et al.,

2012). For example, students might lose interest in learning music theory in a traditional sense.

Learning from books or blackboards may not be relevant or particularly interesting. However,

subject matter may not have been the issue but rather delivery. Directors would need to update

delivery methods to include advanced technologies based on culture changes.

Adapting to and improving one’s technological capabilities could require professional

development. Professional development to improve technological capabilities could be

challenging without administrative support. Even if directors were aware of the necessary means

for culture adaptation, directors would need to be prepared for sustainable curriculum reform

amidst those adaptations (Barrett, 2012). Preparation would require administrative supported

professional development (Austin, 2017). However, researchers argued that perseverance and

intrinsic motivation could overcome lack of administrative support (Carlisle, 2013; Duckworth &

Robertson-Kraft, 2014).

Knowing student cultures and the challenges therein required reflective cyclical processes

(Zysberg, 2013). Challenges could include students being academically overwhelmed, lack of

proper resources, lack of challenging repertoire, lack of proper equipment and

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school/life/program balance (Zysberg, 2013). Chikoko et al. (2013) noted that a director’s

responsibility regarding student culture was to shape “structures and cultures of the school in

response to the school community” (p. S147). Gathering a holistic picture of a school’s culture

could help directors better navigate cultural shifts in student cultures and formulate adaptations

(Chikoko et al., 2013).

School culture challenges. Culture changes induced paradigm shifts within schools

(Morrison, 2013). Restructuring of classrooms to accommodate changes in school size and

socio-economic needs often used top-down administrative approaches (Morrison, 2013). Top-

down approaches were often disconnected from school culture, not realistic and difficult to

implement (McKoy, 2018; Morrison, 2013).

School size challenges. One could posit that success breeds success. Successful schools

would therefore attract more students. At some point, saturation would occur causing

classrooms to be overcrowded. Overcrowded classrooms would prompt adaptations and change.

Jaskyte (2013) noted that increased numbers of students to a school would provide a larger pool

of talent from which to choose from. However, Benn and Metcalf (2013) warned that larger

numbers would increase human capital complexities. Gathering human capital could be

considered understanding school culture according to Benn and Metcalf (2013). Sustainability

of a music program would require directors to effectively increase school culture awareness on a

larger scale while still adapting to individual needs (McDonald et al., 2010). Individual needs

may constitute similar challenges, such as socio-economic challenges, yet on a larger scale

(Chikoko et al., 2013; Jaskyte, 2013).

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Socio-economic challenges. Schools serving impoverished communities could have less

resources and funding support compared to affluent districts (Chikoko et al., 2013). Chikoko et

al. (2013) suggested using in-house talent and pooling of resources to address socio-economic

challenges. For example, teachers or parents may be able to offer skills or services that might

otherwise come out of a limited program budget. According to Caniels and Rietzschiel (2013)

directors should “look at the specific tasks that are required [for the program] and stimulate

debate and discussion around the nature and dynamics of organizational creativity under

constraints” (p. 101). A clear picture of present and anticipated needs should be relayed by the

director. Program sustainability amidst socio-economic challenges would depend upon a

director’s ability to effectively relay program needs and match those needs with in-house

capabilities and volunteerism (Caniels & Rietzschiel, 2013; McDonald et al., 2010).

Other school culture challenges. Chikoko et al. (2013) implored the use of instructional

leadership in challenging school contexts. Teachers directly involved with music program

students should lead culture adaptation initiatives according to Chikoko et al. (2013). For

example, teachers could collaborate with directors to discuss changing culture trends regarding

ensemble members. Math or English teachers could show directors technologies or delivery

methods that were successful at reaching most students. Directors, who often felt isolated could

become part of the larger school community through such collaborative processes (Fischer &

Hedgecoth, 2014; Jorgensen, 2010). However, Caniels and Rietzschiel (2013) warned that

increased workloads, time constraints, mental and emotional pressures could prohibit such

collaboration or add to present collaborative challenges. Addressing school-wide cultural

challenges would require a “breadth approach…[with]…in depth skill development” and

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understanding according to Conger (2013). School-wide culture challenges could include

specialization requirements (Groulx, 2016).

Specialization challenges. Hall (2010) contended that music education was “rich in

leadership content and allow[ed] flexibility in meeting students’ individualized learning needs”

(p. 108). Moreover, music education could be used as an alternative pedagogy to enhance

learning outcomes (Hall, 2010). Increased awareness of music educations benefits was realized

by many school systems; however, support did not necessarily match expectations for

specialization (Groulx, 2016; Jorgensen, 2010). Jorgensen (2010) attested that “cultural

changes…challenged [director] complacency…and suggest[ed] that [directors] may need to

change what [they] do…and discover other ways of thinking, doing and being that [met] the

needs of…students in today’s world” (p. 22). Meeting the needs of students in today’s world

could include specialized professional development such as special education or extending

ensemble choices.

Special education. The number of special education students increased steadily and

significantly over the last 20 years (Van Weelden & Whipple, 2014). Music educators were

pressured to accommodate inclusion initiatives (Van Weelden & Whipple, 2014). However,

music educators were often not included in IEP meetings and given little to no training (Van

Weelden & Whipple, 2014). Moreover, music educators were offered little to no involvement

and given no outlet for input yet were held under the same inclusion expectations as core subject

educators (Van Weelden & Whipple, 2014). Groulx (2016) noted that incoming directors felt

grossly unprepared for dealing with special education requirements for inclusion. Creative

solutions for inclusion such as extended ensembles could be warranted.

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Extended ensemble challenges. Accommodating special education inclusion into a

music program could require additional ensemble choices, such as percussion ensembles, jazz

bands or chamber ensembles with creative instrumentation adapted to special needs (Van

Weelden & Whipple, 2014; West, 2014). Directors who showed willingness to adapt and grow

ensembles to accommodate the specialized needs of students could garner additional support and

increase advocacy endeavors (Fischer & Hedgecoth, 2014). Sustainability of a program could

reside in a director’s ability to accommodate a wide range of specialized needs to obtain overall

increased program support and success. However, director willingness should be matched by

administrative, financial and professional development support (Christensen et al., 2012; Fischer

& Hedgecoth, 2014). Students, parents and communities calling for increased or greater

diversity of ensembles would require continued advocacy according to Fischer and Hedgecoth

(2014).

Challenges for directors would be to address an “application gap” (Conger, 2013, p. 81).

Directors would need to show school communities that extended ensembles had applicability to

“skill-building and feedback interventions in the classroom” (Conger, 2013, p. 81). Feedback

frameworks would provide a lens for administrations and school communities to assess progress

and benefits of extended ensembles (Morrison, 2013). Challenges for directors would be to

sustain continued advocacy through collective stakeholder engagement using frequent and

transparent feedback to promote success and sustainability of an instrumental music program.

Relationship Between Success and Sustainability

Success and sustainability of a music program involved partnerships and strategic

planning to build social capital (Minkler, 2014). Odegaard (2016) noted that “many areas

throughout the United States suffer[ed] from teacher shortages [and that] educator retention

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[was] the key to sustainability of music education” (p. 6). Moreover, retaining successful

directors was a product of building social capital through emotional intelligence (Doe et al.,

2015; Minkler, 2014).

Social capital. Transformational leadership was found to significantly impact social

capital (Minkler, 2014). Building social capital linked successful endeavors with program

sustainability by attracting committed group leaders (Cummins & O’Boyle, 2014). Attracting

leadership within a program would integrate shared ideas, problem-solving, provide motivation

and boost morale (Bond, 2012). Sustainability of a program required relaying success to entities

beyond ensemble members. Garnering community support was crucial for sustaining a

program’s vision (Chacon et al., 2013). Strategic planning to build social capital and

partnerships required mindfulness of “(a) community, (b) stewardship, (c) comprehensiveness,

(d) inclusion and equity and (e) innovation” according to Odegaard (2016).

Community. Chacon et al. (2013) noted that communities needed to relate to a

program’s purpose to offer support. Odegaard (2016) implored the use of community

collaboration. One could question the feasibility of community collaboration. How could a

director collaborate with an entire community? Who might be receptive? Which demographics

of a community might be more receptive than others? Perhaps Odegaard (2016) was referring to

extended music program communities such as parents, grandparents, faculty or volunteers.

Regardless of which community group was involved, long-term community engagement should

enlist “self-acceptance, autonomy…purpose in life and purpose in growth” according to Chacon

et al. (2013, p. 298). Accomplishing those ideals required empowerment through stewardship

(Odegaard, (2016).

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Stewardship. Stewardship involved “strategically developing leadership, fostering a

spirit of accountability and a culture of giving … time, talents and resources” (Odegaard, 2016,

p. 5). Successful stewardship would depend on a director’s ability to know what ensemble

members and stakeholders valued (Jegers & Wellens, 2014). Understanding values of members

and stakeholders could greatly improve retention efforts, thus improving success and

sustainability (Jegers & Wellens, 2014). Worthiness of participant and volunteer time, talents

and resources would require comprehensive feedback and frequent communication (Hallam,

2011).

Comprehensiveness. Comprehensiveness to build social capital involved connecting to

students and stakeholders through performance (Odegaard, 2016). Performances that connected

to communities would form comprehensive bonds. Bonding through performances could include

diversity of repertoire to increase potential supporters. For example, bands could play cultural

music attuned to marginalized communities. There may be a small percentage of students in a

program from other countries, however, students’ extended communities may be large.

Performing music from a diversity of genres may appeal to a broader range of audiences such as

the elderly, teenagers and baby-boomer generations. Comprehensive social capital building for

success and sustainability of a program would involve directors knowing students as well as

extended community cultures. Knowledge of such diversity would require mindfulness of

inclusion and equity through performance (Odegaard, 2016).

Inclusion and equity. Inclusion and equity considerations could go beyond cultural and

demographic diversity to include socio-economic and gender identities (Odegaard, 2016).

Fischer and Hedgecoth (2014) attested that music content had not changed over the past 100

years. However, engaging students and communities esthetically, educationally, intellectually

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and socially changed over the years (Fisher & Hedgecoth, 2014). Success and sustainability of a

program should involve connected, dynamic and adaptive systems (Benn & Metcalf, 2013).

Successful adaptations required expert-led instruction and collaboration according to Edgar et al.

(2014). Expert-led collaboration could inform directors which inclusion methods were

successful through trial and error (Benn & Metcalf, 2013; Edgar et al., 2014).

Intxausti et al. (2016) noted that efficient collaboration depended on administration’s

“handling of and attention to teaching and learning processes” (p. 407). Perhaps inclusion and

equity were a matter of knowing who should be included and what an equity benchmark was.

For example, how could a director know that a particular group was marginalized?

Marginalized, by definition would imply that particular groups were not as noticeable. How

could a director notice the un-noticed? Success and sustainability of a program could depend on

a director’s ability to notice the un-noticed. Doing so would require innovative approaches,

reflection and feedback (Montemayor, 2014).

Innovation. Building social capital enlisted innovation to enhance “music teaching and

association program management through combining effective and dynamic practices with

proven strategies in the context of our changing global community” (Odegaard, 2016, p. 5).

Boerner and Gebert (2012) suggested building diverse teams to increase innovative

effectiveness. Innovation could be considered from several angles such as innovative problem-

solving, fundraising, lesson planning, program restructuring, recruiting or other matters (Gillis,

2011). Gillis (2011) contended that many such innovations could be done simultaneously. A

director’s multiple roles could require them to simultaneously restructure a program while

problem-solving fundraising challenges. According to Gillis (2011), success and sustainability

of a program depended on a “director’s choice of rehearsal activities that serv[ed] as an action

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plan to support desired student conduct, and the performance goal of the ensemble” (p. 36).

Forming, planning and implementing innovative changes required emotional intelligence (Doe et

al., 2015; Kumar, 2014; Parrish, 2015).

Emotional intelligence. “Effective leadership and sound governance [were] critical

factors in sustaining and improving the quality and performance of an [ensemble]” (Parrish,

2015, p. 821). Effective directorship required emotional intelligence to link leadership with an

ensemble’s needs and goals (Kumar, 2014). According to Doe et al. (2015), “emotional

intelligence [was] usually assessed on four dimensions: (a) self-awareness, (b) self-management,

(c) social awareness and (d) relationship management” (p. 105).

Self-awareness. Kerres (2013) attested that great directors were aware of one’s own

strengths and shortcomings. Awareness of strengths and needed improvements required an

authentic approach (Kerres, 2013). Director self-awareness entailed more than cognizance of

musicianship competence. Directors also needed to balance awareness of one’s multiple roles

when decision-making (Gillis, 2011; Kerres, 2013). Connecting research trends, current

pedagogy and connections between self and ensemble required emotional intelligence to link

ideals with purpose (Gillis, 2011; Leonard et al., 2012). Success and sustainability of an

ensemble would depend on a director’s self-awareness and one’s ability to reflect and improve

based on those reflections. Self-awareness through reflection and feedback could provide

directors with necessary information for self-management (Parrish, 2015).

Self-management. Biggs et al. (2010) contended that directors struggled with motivation

and management. Self and program management were linked yet autonomous. Directors needed

to focus on self, individual skills and management of time in relation to ensemble needs (Biggs

et al., 2010). For example, directors may need to work on improving one’s own instrument

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demonstration skills. Directors may need to practice to properly demonstrate a musical passage

on an instrument. That process would be considered a director’s self-management. Time would

need to be allotted to practice. Time-management would be crucial to accommodate desired skill

development. Likewise, directors may find significant down-time in rehearsals. Successful

rehearsals with limited down-time may require additional time for assessing, reflecting and

adapting rehearsal techniques. Improving such skills might require professional development

and program management. White-Smith (2012) found that teacher development correlated with

excellence. Professional development to improve self-management “was central to [sustaining]

excellence” (White-Smith, 2012, p. 14). Knowing effective, applicable and implementable

courses of action required social awareness (Deichmann & Stam, 2015).

Social awareness. Director social-awareness related to the “perceived oneness with an

[ensemble] and the experience of the [ensemble’s] success and failures as one’s own”

(Deichmann & Stam, 2015, p. 205). Deichmann and Stam (2015) found that high performance

expectations were indicative of successful ensembles. However, one could posit that a director

could only know standards were high if directors were socially aware of the ensemble’s current

level and potential of musicianship. How could a director plan rehearsal according to perceived

potential to create high enough standards to illicit improved performance? Social-awareness for

improved performance would enlist directors to “see their work as an entity separate from

themselves that [was] susceptible to judgement and criticism; [directors] must be willing to

discard their ideas and start anew when necessary” (Bradley et al., 2010, p. 94). For example,

directors may think that an ensemble should be able to easily sight-read a piece of music. A

socially aware director would sense the boredom or frustration. Moreover, directors would need

to create an environment where students could voice opinions or concerns about repertoire

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choices (Bradley et al., 2010). Directors “must…be willing to undergo criticism and

dissatisfaction without compromising…core values or commitments” for such an environment to

exist (Bradley et al., 2010, p. 95).

Open and inviting environments required social awareness of stakeholders as well.

Community and administrative support were crucial to the success of a program (White-Smith,

2012). Moreover, Kosempel and Wilson (2016) noted that sustainability of a program resided in

a director’s social awareness of knowing “what or who need[ed] to change in order to ensure

continuity” and why (p. 44). Directors who were socially aware of community needs could

better frame complex issues and develop sustainable solutions (Evarts et al., 2015). Developing

sustainable solutions based on social awareness would require relationship management among

stakeholders (McDonald et al., 2010).

Relationship management. McDonald et al. (2010) warned organizations not to be too

dependent upon government or administrations for support. Strategic, business-like relationships

were found to improve long-term sustainability (McDonald et al., 2010). Bottery et al. (2012)

suggested forming partnerships beyond administrations. Relationship management of those

partnerships would be crucial to the success and sustainability of a program (Bottery et al.,

2012). Core values and vision would need to be aligned among potential supporters (Bottery et

al., 2012). Aligning relationships required “holistic leadership grounded in wider perspectives”

(Koskela & Schuyler, 2016, p. 54). Wider perspectives constituted awareness of external

stakeholder potential support.

According to Koskela and Schuyler (2016) “sustainability leadership require[d] …a new

mindset be present among sufficient numbers of people” (p. 55). Enlisting a ‘sufficient number

of people’ could be viewed as building social capital as recommended by Minkler (2014).

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Forming and sustaining social capital required trust to properly manage relationships (Boies et

al., 2015). Trust, regarding relationship management, could be direct or indirect (Boies et al.,

2015). Direct trust constituted one-on-one personal relationships (Boies et al., 2015). Indirect

trust related to how directors interacted or treated team members (Boies et al., 2015). Boies et al.

(2015) found that “leadership intervention, which may guide leaders in using behaviors most

relevant to [a] situation, [was] important in team building efforts” (p. 1091). One could interpret

leadership intervention as pertaining to directors, administrators, volunteers or student leaders.

Successful programs would depend on the sustainability of team building efforts and properly

managing those relationships through emotional intelligence and trust (Kosempel & Wilson,

2016).

Application of Literature Review to Research Questions

Literature on the phenomenon of band director perspectives for a successful, sustainable

instrumental music program was explored with the following questions: What factors contributed

to a program’s diminished quality? How have successful directors sustained a program’s quality

and overall success. Investigating the answers to those questions could fill the gaps in research

and lead to further studies benefitting the broader instrumental music education field. The

following questions guided the research and formed the foundation for interview questions.

RQ1. What are the lived experiences of high school band directors from a successfully

sustained instrumental music program?

RQ2. How did experienced high school band directors perceive instrumental music

program success and sustainability?

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RQ1. Experiential perspectives. Literature was explored according to experiential

perspectives on a phenomenon. Music related and non-related topics pertaining to experiential

perspectives were considered for discovery. Qualitative, quantitative, mixed-method,

descriptive, survey and exploratory methods on the phenomena were explored. Studies that used

survey methods such as Dodson’s (2014) gathered experiential knowledge, however, there were

finite, predetermined categories in search of quantifiable data. Survey methods, even descriptive

survey methods limited the potential for depth of discovery and breadth of knowledge (Intxausti

et al., 2016). Descriptive, open-ended survey methods could offer more detailed information yet

may not be representative of a larger population (Dodson, 2014; Evarts et al., 2015). First-hand

knowledge was gathered in order to form original categories and decipher thematic data. The

focus of the present study was on deeper understanding of a specific phenomenon and population

rather than general applicability.

RQ2. Perceptions of success and sustainability. According to Conway (2012)

gathering experiential knowledge through qualitative reflective interviews, “naturalistic inquiry,

purposeful sampling… and document[ation]” would provide “strategic themes” and surface an

“emergent design” (p. 65). Deriving themes and constructing an analysis design from

experiential perspectives offered significantly richer data of a phenomenon (Conway, 2012;

West, 2014). Incorporating selected interview transcripts allows the reader to interpret and

compare researcher analyses of participant responses (West, 2014). Open-ended survey methods

permitted authentic knowledge from which original thematic data could be formed (Acklin et al.,

2014). However, researchers found that interviews permitted participants to speak freely and

relay concerns that might not have been covered by a conventional survey seeking the same

information (Edgar et al., 2014; West, 2014).

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Angeline (2014) and Edgar et al. (2014) contended that experienced music educator

perspectives were largely underrepresented. Several researchers echoed Angeline’s (2014) and

Edgar et al.’s sentiment (Austin, 2017; Colwell, 2011; Fischer & Hedgecoth, 2014). Therefore,

various methods of gathering data from experiential perspectives were explored. In-depth

interviews were found to be the most beneficial at gathering rich, thick description on the

phenomena of experienced high school band director perspectives on sustainability for a

successful instrumental music program (Moustakas, 1994).

Summary

Literature was explored regarding the study problem concerning lack of program

sustainability. The purpose of this literature review was to discover which methods would best

illuminate lived experiences of high school band directors who sustained instrumental music

program success. In-depth interviews from purposive sampling was found to contain the most

detailed information among reviewed literature (Moustakas, 1994). The aim of the literature

review was to explore existing research on director perspectives and broad-based content

regarding organizational success and sustainability to fill research gaps.

The frameworks guiding the literature review were sustainable leadership theory and a

conceptual framework of understanding successful outcomes in order to cultivate similar results.

The goal of the literature review was to discover data for a successful and sustainable

instrumental music program. Success and sustainability of organizations, business and

management were analyzed comparatively to music programs. Business, management and

leadership research offered significant findings regarding organizational success and

sustainability practices.

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The phenomenon of band director perspectives for a successful, sustainable instrumental

music program was explored through literature using the following guiding questions: (a) How

did researchers capture and analyze lived experiences of successfully sustained organizations?

(b) How did prior studies gather perceptions of success and sustainability? (c) What factors

contributed to an organizations’ diminished quality? (d) How have organizations and

instrumental music programs specifically sustained quality and overall success? This literature

review was significant because organizational/program success was directly linked to effective

leadership (Acklin et al., 2014; Keres, 2013; Semones, 2013). Study methodology involved

experienced high school band director perspectives on sustainability of program success.

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Chapter 3: Research Methods

The problem addressed in this study was that unsustainable instrumental music programs

had substantial negative impacts (Austin, 2017). Specifically, lack of program sustainability

could incur significant loss of teacher or student motivation, student participation, community

involvement, trust in administration, and financial investment in human capital (Austin, 2017;

Hancock, 2016). The purpose of this qualitative phenomenological study was to discover the

lived experiences of high school band directors who sustained instrumental music program

success. Two questions guided the research: RQ1. What are the lived experiences of high

school band directors from a successfully sustained instrumental music program? RQ2. How

did experienced high school band directors perceive instrumental music program success and

sustainability? Research methodology involved experienced and successful high school band

director perspectives on program sustainability using interviews as the main source for data

collection. The goal in conducting this qualitative phenomenological study was to discover data

that institutions could use to better prepare future directors for a successful and sustainable

career.

Research Methodology and Design

Qualitative phenomenological research methods were used in this study. Qualitative data

were derived from interviews centered on the phenomenon of sustained instrumental music

program success. The study problem was addressed through interviews of high school band

directors meeting the criterion to understand perspectives on the phenomenon from the ensemble

leader; the director (Angeline, 2014; Edgard et al., 2014; Gillis, 2011). The study purpose was

achieved using interviews to garner deeper understanding of the phenomenon from those who

lived it in hopes of learning how to cultivate similar outcomes. Guiding research questions

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regarding lived experiences and perceptions of sustained instrumental music program success

were explored using qualitative interview methods. The following research questions guided the

interview process (see Appendix A: Interview Protocol for interview questions).

RQ1. What are the lived experiences of high school band directors from a successfully

sustained instrumental music program?

RQ2. How did experienced high school band directors perceive instrumental music

program success and sustainability?

Gathering lived experiences from individuals centered on a common phenomenon made

using qualitative phenomenological research the optimum method for this study (Creswell, 2014;

Leedy & Ormrod, 2010; Moustakas, 1994). A quantitative study method did not permit an

appropriate platform for band director voices to be heard (Edgar et al., 2014). Director voices

would be limited to the choices provided in a survey method (Cai & Ding, 2017). Subsequent

studies could use these research findings to design a survey for distribution to a larger sample

and population. However; mixed methodology such as open-ended responses would be needed

to fill gaps in research calling for the voices of band directors to be heard (Angeline, 2014;

Conway, 2012; Eros, 2012). Quantitative methods could be used to analyze correlations among

thematic data. However; gathering primary source rich descriptions obtained deeper

understanding of sustained instrumental music program success.

Population and Sample

The target population for this study was high school band directors from the Lehigh

Valley region of Pennsylvania with 10 or more years of experience and three or more years of

sustained program success. Target population formed the purposive sampling design for

participant selection criterion. Sampling method included identifying programs that met the

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criterion for success then examining director qualifications within that program. The Lehigh

Valley is shared among 7 counties containing a total of 145 high schools (U.S. Census Bureau,

2012). The purposive sampling frame continued to Allentown, Bethlehem and Easton

surrounding areas and suburbs. Allentown, Bethlehem and Easton are the main cities central to

the Lehigh Valley. Initial regional searches for participants began with the Allentown,

Bethlehem and Easton area school districts. Among those cities, there are 27 high schools; 12

public, 12 private and 3 charter schools (Trulia, 2018).

County and state-wide expanded searches were warranted to gather ideal participants.

All school types such as public, private, charter, religious and magnet were considered for

participant inclusion. The goal was to find 10 qualified participants with successful programs.

More than 20 potential candidates meeting the criterion were found. Saturation was reached by

examining music programs at all 145 high schools within the Lehigh Valley region. Priority of

inclusion was based on best criterion qualification. The most experienced and successful

directors were the ideal participants. However, limited response was obtained from recruiting

efforts. Location was not a factor for exclusion. Expanded search parameters were required to

obtain participatory ideal candidates. Five ideal candidates were found by expanding search

parameters to include New York and New Jersey. A highly qualified, retired band director with

significant teaching experience and accolades served as an expert reviewer as recommended by

Eros (2012) and West (2014). The expert reviewer examined potential candidate qualifications

and approved researcher’s final participant selection.

Band directors instructing beyond 10 years were deemed to have passed “the survival

years” (Eros, 2012, p. 22). Therefore, 10 or more years at the same program were the

experienced criterion. Relevant characteristics of experienced band directors included but were

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not limited to (a) one or more successful ensembles, (b) one or more different types of successful

ensembles such as jazz, marching or pep bands, and (c) forms of recognition and awards other

than competitions.

Success criterion was based upon local, regional and state contest ratings, awards and

recognitions as recommended by Acklin et al. (2014). Sustained success was considered

receiving top ensemble performance marks for three or more consecutive years (Acklin, 2014;

Edgar, 2014). The researcher took under consideration that not all bands competed yet may have

received awards and recognition at the national, state or local levels for excellence. The same

criterion of three consecutive years was used to select participants regarding non-competitive

recognition. Each state and competition venue had unique classifications describing top

performance (Bandmasters, 2018). The highest classification for ensemble excellence was used

to select the ideal pool of participants in addition to non-competitive awards and recognition

(Acklin et al., 2014; Biggs et al., 2010).

The target population within the Lehigh Valley region of Pennsylvania was appropriate

given the diversity of socio-economic factors and demographics. The Pennsylvania Budget and

Policy Center 2012 census indicated the diversity within the Lehigh Valley region of

Pennsylvania. Free or reduced lunch statistics ranged from Allentown school district 85%,

Bethlehem 49.9%, Easton 43.6% to city suburbs such as New Hope-Solebury 4.4%. The Lehigh

Valley of Pennsylvania encompassed very impoverished school districts to very affluent school

districts making it an ideal region to gather a sample for participant selection.

The sample size, N=5, was appropriate given the need for expert experiential knowledge

(Conway, 2012; Eros, 2012; West, 2014). Similar studies ranged from N=2 (West, 2014) to N=7

(Conway, 2012). Obtaining expert experiential knowledge through interviews was the most

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effective way to gather rich data on the phenomenon of sustained instrumental music program

success (Benn & Metcalf, 2013). Thematic data analysis, combined with transcript excerpts was

an appropriate and effective way to synthesize data in a holistic way (Collier & Rosch, 2016).

Materials/Instrumentation

Interviews were conducted as the primary instrument to collect qualitative

phenomenological data. Interviews were audio recorded using Voice Record Pro ©, an iPad

application, transcribed using Rev.com © transcription service and verified by participants for

accuracy through email. Northcentral University’s Institutional Review Board (IRB) approved

instrumentation (see Appendix: B: IRB approval letter). Interviews enabled rich description of

the phenomena and permitted greater depth of understanding (Collier & Rosch, 2016; Conway,

2012; West, 2014). Similar studies used open-ended survey questions; however, the categories

for thematic analysis were pre-determined (Cai & Ding, 2017; West, 2014). The goal in using an

interview protocol was to discover authentic data and generate categories from that data (see

Appendix A: Interview Protocol). Authentic data entailed “naturalistic inquiry” through

interviews where first-hand knowledge and lived experiences were relayed (Conway, 2012, p.

65). Verbatim transcript excerpts included with research offered authentic lived experiences

permitting the reader to better evaluate the researcher’s analysis (West, 2014). Transcribed

interviews offered greater reliability of data collection (Conway, 2012). Participant verification

of transcriptions provided validity to transcribed data (Conway, 2012; West, 2014).

Study Procedures

Approval from NCU’s Institutional Review Board (IRB) was obtained prior to

conducting interviews and gathering data (see Appendix B: IRB approval letter). Minimal risk

was involved using interview protocol. Anonymity of participants was adhered to in accordance

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with IRB regulations using pseudonyms for participants, general qualifications information and

substituting identifiable information with pronouns or general terms. All data were securely

stored on the researcher’s personal computer and thumb drive to which only the researcher had

access to.

Expert band directors’ experiential knowledge on success and sustainability of a band

program required recruitment of expert band directors to interview. Interviews were an effective

way to gather primary source data (Leedy & Ormrod, 2010). Recruitment of participants

involved (a) narrowing qualified participants to 10 ideal candidates, (b) choosing the five best

from that list for study inclusion pending expert reviewer approval, (c) sending recruitment

letters with study procedures and intent to five ideal expert reviewer approved participants and

(d) pending interest, sending additional recruitment letters to obtain a total of five expert

reviewer approved participants. Once interest in participation was confirmed, informed consent

documents were sent to five ideal expert reviewer approved candidates.

Interviews were conducted at a mutually agreed upon location conducive to interview

protocol. Observing a director’s classroom environment could enable directors to point out

environmental factors, equipment or technology that contributed to the success and sustainability

of their program (Acklin et al., 2014; Dye et al., 2013). Descriptions of the classroom,

equipment and other resources could also promote a more descriptive account of the

phenomenon (Cai & Ding, 2017). However, the researcher considered that ideal participants

may be retired. Although directors currently teaching were preferred, the focus remained on

ideal candidates currently teaching or retired, their experiences and perceptions of overall

sustained success throughout one’s tenure.

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After the informed consent document was signed and returned, an email was sent to the

participant to determine an appropriate interview time and place. Interview protocol and

questions were sent to participants in advance for review, clarifications or questions (see

Appendix A: Interview Protocol). Participants received the researcher’s NCU e-mail and phone

number. No participants asked questions or sought clarifications in advance of the interviews.

An email was sent confirming necessary conditions for interview protocol. Conditions included:

(a) a suitable time and place with minimal distractions, (b) a table to place recording equipment

near an outlet and (c) two chairs. An outline of study procedures was also sent via email. The

participant received a concise bulleted list of the research steps.

Participants were asked to find a two-hour block of time for the interview. The two hours

included time for set-up, sound check, interview, and take down of recording equipment. Upon

entering the room, the researcher greeted the participant, introduced themselves and thanked

participant for their time and sharing of their experience and expertise. Recording equipment

was set up first. The researcher asked the director to take his or her seat and conducted a few

sound-checks to make sure the equipment was in working order and placement of the

microphone was sufficient. Once sound and equipment checks were adequately completed, the

researcher began the interview protocol (See Appendix A: Interview Protocol).

The interview protocol began with a review of the informed consent and reassurance of

ethical and confidentiality protocols. Participants were reminded that they may forego the

interview and stop the interview at any time. The bulleted list of research steps, sent via email

prior to conducting the interview, was reviewed. The participant could ask questions at that

time. Once the participant confirmed they had a clear picture of the research proceedings, the

interview began. Interviews ranged between 60 to 90 minutes.

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Data Collection and Analysis

Approval from NCU’s Institutional Review Board (IRB) was obtained prior to data

collection and analysis (see Appendix B: IRB approval letter). Minimal risk was involved

during the data collection process. Anonymity of participants was adhered to in accordance with

IRB regulations using pseudonyms for participants when labeling audio recordings and

transcriptions files. All data were securely stored on the researcher’s personal computer and

thumb drive to which only the researcher had access to.

The role of the researcher was to ask participants questions that promoted focused

attention on how the director’s program became and remained successful and how they

perceived success and sustainability. Interviews were the primary source of data collection.

Interviews answered RQ1 by gathering lived experiences of band directors from a successfully

sustained program. Doing so addressed the study problem associated with unsustainable

programs, by focusing on successful outcomes with a goal to inform, learn and cultivate similar

results. The study purpose was achieved using an interview protocol to gather perceptions and

answered RQ2 regarding how directors perceive success and sustainability. Interviews of

experienced band directors answered research calls for experienced music educator perspectives

(Angeline, 2014; Edgar et al., 2014).

Interviews took place at a mutually agreed upon location conducive to interview protocol.

Interviews were audio recorded using Voice Record Pro © iPad application and transcribed using

Rev.com© transcription service. Audio recordings were directly uploaded to Rev.com ©.

Rev.com© emailed verbatim transcripts to the researcher’s NCU email. Transcriptions were

downloaded and saved as a Word© document for editing purposes. Transcriptions were

reviewed alongside audio recordings and edited accordingly to assure accuracy. Edited,

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completed transcriptions were sent via email to participants to review for accuracy. Opportunity

was given to add, modify or amend transcriptions. Participants were given a two-week

timeframe to review transcription, make amendments or seek clarification. No participants

requested amendments to edited transcriptions. Participants were asked to sign and date

transcriptions affirming validity. Once the approved transcription was returned, the researcher

reviewed any changes and began analyzing.

Initial analysis was data-driven according to the research questions (Collier & Rosch,

2016). Collective data analysis was guided by the research questions, interview questions,

theoretical and conceptual frameworks. Textual analysis required manual inspection by the

researcher. After initial analysis of all participant transcripts, the researcher determined that a

data mining program would not accurately portray data context. For example, when participants

spoke of parental involvement, some participants regarded parental involvement as vital whereas

others deemed parental involvement as a nuisance. Therefore, manual analysis of data was

required to obtain proper contextual applicability. Manual analysis involved extracting words

and phrases that answered interview questions (Conway, 2012). Words and phrases directly

related to interview questions generated priori categories. Data were also examined for emergent

categories that were not aligned with the interview questions yet directly pertained to sustained

program success. Data saturation was achieved by including all data pertaining to the

phenomenon of sustained program success. The researcher formed sub-categories to better

organize categorical data according to words and phrases extracted from transcripts. Each

participant was analyzed and coded separately then common threads among participants were

used to determine final categorization and sub-categorization for data analysis.

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Adjustments to categories and subcategories were required in order to properly address

data context. For example, directors relayed practices that promoted success and sustainability

and factors that could affect a program positively or negatively depending on relationships

within and surrounding a program. Therefore, divergent categories were generated to

accommodate factors that affected a program verses directly conveyed positive practices. The

researcher triangulated the analyzing process according to priori and emergent categories with

each individual participant and among all five participants collectively. Redundancies were

eliminated, and the data were streamlined for comprehensive discussion of findings.

Assumptions

Years of experience with successful outcomes were primary considerations in this

qualitative phenomenological research study. The first assumption was that band directors

meeting the study criterion had a formal education/ degree in music education. The second

assumption was that sustainable, successful programs were positively favored by directors. The

final assumption was that all participants would be trustworthy and honestly answer questions.

Credibility of chosen participants were evidenced by expert reviewer approval of chosen

participants.

Limitations

Potential weaknesses that may have affected the study included: (a) limited number of

participants, N=5, (b) limited region for population selection, and (c) non-observance of actual

teaching. The limited number of participants enabled deeper understanding feasibility through

in-depth interviews. The weakness of numbers was mitigated by the depth of data obtained by

fewer individuals (West, 2014). Limitations to initial selection from one region was mitigated by

the diversity of schools and socio-economic factors within that region. Non-observance of

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teaching was based on the logic that the researcher could not hear the voice of the director and

gather their perspective while they were instructing. Therefore, non-observance of teaching was

mitigated by conducting interviews based on a participant’s overall experiential knowledge

throughout one’s tenure.

Retired participants posed a possible weakness regarding lack of current directing roles.

That weakness was mitigated by choosing retired directors who have done so within the last five

years. Furthermore, gathering retired directors’ extensive years of experience at the same

program was decidedly more beneficial than a current director with less experience. While

current directors may have had at least 10 years of experience in the same program, retired

directors who taught for 20 or more years offered valuable insight regarding long-term

sustainability (Angeline, 2014). Every effort was made to form diverse participants regarding

school type and ensemble. However; the priority for selection was the most experienced and

successful directors. This limitation was mitigated by examining a diverse region for participant

selection. Diversity of the five participants’ school types included one Catholic (private), two

urban (public), two suburban (public).

Other limitation considerations included possible threats to transferability of data.

Threats to transferability of data could result if the participant centered all program success on

themselves rather than discussing the program. The researcher mitigated this limitation by

keeping interviews focused on the director’s interrelationships within and surrounding the

program.

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Delimitations

Sustainable leadership theory was the framework guiding the research. In order to

understand sustainability leadership, data were gathered from leaders or directors in this context,

who sustained successful programs (Angeline, 2014; Benn & Metcalf, 2013; Evarts et al., 2015).

The main delimitations of this study were the participant criteria which included (a) instrumental

music directors, (b) high school level educators of instrumental music, (c) 10 or more years of

experience and (d) at least three consecutive years of awards or recognitions of excellence during

one’s tenure.

The rationale behind choosing instrumental music was two-fold, variety of ensembles and

competitive ensembles. Instrumental music included but was not limited to (a) bands, (b) wind

ensembles, (c) jazz bands, (d) marching bands and (e) other instrumental ensembles such as pep-

bands. Bands such as marching bands competed more frequently than jazz or wind ensembles

that often competed annually (Acklin et al., 2014; Semones, 2013). Objective analysis of

successful instrumental music directors was accomplished by expert reviewer approval of

participant qualifications. Confidentiality procedures and the expert reviewer’s role will be

detailed in the Ethical Assurances section of this study.

High school level director rationale was that high school level ensembles were more

visible in the community, drew more attention to their programs and competed more often than

junior high or elementary level students (Phillips, 2016). Large crowds at sporting events or

parades enabled exposure to high school ensembles like marching bands or pep-bands. The

same size crowds and variety of audiences of high school ensembles did not engage similar

exposure to elementary bands. Credibility was also enhanced by choosing high school level

directors in that more advanced and challenging music required a higher level of musicianship

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and expertise from a director (Gillis, 2011; Kerres, 2013). For example; a director who won

awards for a 6th grade band performing “Hot Cross Buns” would not seem as impressive as a

director whose high school wind ensemble received awards for performing Igor Stravinsky’s

“Rite of Spring”. Therefore, reliability and credibility were strengthened by gathering data from

high school level directors (Acklin et al., 2014).

Directors with 10 or more years of experience was deemed by music education

researchers to be a stage beyond novice and past the “survival years” (Eros, 2012, p.22).

Therefore, industry standard for experience equaling 10 years or more offered credibility to

participant perceptions. Furthermore, credibility and reliability were strengthened by gathering

perspectives from experienced high school directors whose ensembles received awards and

recognitions for excellence. Other delimitation considerations included the limited region of the

Lehigh Valley of Pennsylvania. The rationale for choosing this region was due to (a)

accessibility, (b) feasibility of study completion and (c) expert reviewer connections to review

and validate participant selections.

Ethical Assurances

This research study received approval from Northcentral University’s Institutional

Review Board (IRB) prior to data collection December 17, 2018 (see Appendix B: IRB approval

letter). This qualitative phenomenological study involved participation and data collection from

human subjects. Research involving human subjects required ethical assurances of anonymity

and confidentiality for IRB compliance. Therefore, pseudonyms were used in this study when

referring to participants to protect anonymity. Participants were given the option to forego the

interview and stop the interview process at any time in accordance with the Belmont Report

(1979) respect for persons principle. Minimal risks were explained to participants in advance

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through informed consent documents sent via email. Study procedures and risks were reviewed

with participants at the time of the interview where participants were given another opportunity

to ask questions, seek clarifications and forego the interview process at any time without penalty,

harm or repercussions in accordance with the beneficence principle of the Belmont Report

(1979). Prior to conducting interviews, the researcher reviewed study procedures and how the

findings of the study would be used, accessed and possibly distributed in accordance with the

justice principle of the Belmont Report (1979).

Criterion for experience and sustained program success was referred to in general terms

to assuage participant or program identification. Detailed programs, awards, exact years of

experience at school and school demographic information could make identification of directors

or programs possible. The researcher and expert reviewer were the only ones who knew the

directors, awards and schools in which they taught. This knowledge was for expert reviewer

approval of participant selection meeting the criterion only. Minimal descriptions of schools

were relayed since participant selection was from a limited region. Though school types and size

could be important to understand the success of a program, the researcher’s role was to focus this

study on the director’s perception of program success and sustainability.

The researcher and expert reviewer signed confidentiality agreements in compliance with

IRB requirements (see Appendix B: IRB approval letter). The researcher and expert reviewer

agreed to maintain confidentiality of data collected to assure participants of ethical practices,

build rapport and enable an open and trusting interview protocol. The role of the researcher was

to create an interview environment where directors could speak freely.

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Summary

This qualitative phenomenological study involved interviews of five experienced and

successful instrumental music directors. The purpose of this study was to discover how directors

perceived success in an instrumental music program and how that success and sustainability

were made possible by gathering lived experiences from directors of successfully sustained

programs. Interview transcriptions were analyzed, categorized, and discussed using sustainable

leadership theory as a guiding theoretical framework. Data were examined independently then

among collective data findings. A conceptual framework was used to organize and prioritize

findings. The aim of this research was to discover factors that affected the success and

sustainability of a high school instrumental music program. The goal of this research was to

address the study problem by filling gaps in research on the phenomenon from primary director

perspectives.

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Chapter 4: Findings

The purpose of this qualitative phenomenology was to investigate experienced high

school band director perspectives on sustainability for a successful instrumental music program.

Qualitative phenomenological research was the optimum method for gathering lived experiences

of band directors centered on the phenomenon of sustained program success (Creswell, 2014;

Leedy & Ormrod, 2010; Moustakas, 1994). Qualitative data were derived from five interviews

of directors meeting the study criterion. Understanding the interrelationships associated with

band directors and their programs required gathering experiential knowledge (Evarts et al.,

2015). Gathering experiential knowledge through interviews permitted a deeper understanding

of sustained program success (Hancock, 2016; Kerres, 2013; West, 2014). Band directors’ lived

experiences, centered on the purpose, were examined using the following questions to guide

inquiry.

RQ1. What are the lived experiences of high school band directors from a successfully

sustained instrumental music program?

RQ2. How did experienced high school band directors perceive instrumental music

program success and sustainability?

Interview questions used to prompt director discussions of lived experiences can be found

in the Appendices (see Appendix A: Interview Protocol). The first phase of findings will include

a review of study trustworthiness. Factors impacting interpretation of data collection will be

noted. Results will be presented in the second phase according to RQ1 and RQ2. Results will

begin with an overview of demographic information and participant qualifications (see List of

Tables). Categories answering RQ1 and RQ2 will follow participant information. Generation of

categories and formation of subcategories will be noted. Emergent categories indirectly related

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to interview questions, yet directly related to the phenomenon will be addressed. All data

pertaining to the phenomenon of sustained program success will be included in the data analysis.

All categorical data presented in tables will be explained (see Appendices C-P for categorical

data tables). The third phase, evaluation of the findings, will include a discussion of significant

findings relative to scholarly literature where applicable. A summary of key points will conclude

the findings.

The theoretical framework of sustainable leadership will be used to focus the evaluation

of findings (Kosempel & Wilson, 2016). The conceptual framework of understanding what

worked well in hopes of cultivating similar outcomes, will be used to organize the discussion

(Cai & Ding, 2017; Fischer & Hedgecoth, 2014). The combination of a theoretical and

conceptual framework was the most ideal for focusing on sustainability leadership while

examining the relationship between success and sustainability from directors who achieved it

(Biggs et al., 2010; Eros, 2012). Therefore, a combination of the theoretical and conceptual

framework will be used to focus evaluation of the findings.

Trustworthiness of the Data

Validity of data was evidenced by expert reviewer approval of final participant inclusion.

Participant qualifications were triangulated among researcher discovered data, expert reviewer

approval and participant validation of found qualifications. Reliability of data was evidenced

through use of verbatim transcripts. Conway (2012) affirmed that transcribed interviews

provided greater reliability of data. The researcher reviewed transcripts while listening to audio

recordings to ensure accuracy. Transcripts were edited accordingly by the researcher. Edited

transcripts were sent to participants via email for review and approval. Conway (2012) and West

(2014) affirmed that validity to transcribed interviews was enhanced with participant verification

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of transcriptions. Participants were given opportunity to amend, add or remove data from

transcripts. All participants approved final transcripts used in this study.

Credibility of the research was evidenced by selecting participants with extensive

experience and credentials. Authentic, first-hand experiential knowledge from experts in the

field affirmed credibility (Collier & Rosch, 2016; Conway, 2012; West, 2014). Transferability

of data was evidenced by keeping interviews focused on RQ1 and RQ2. Gathering experiential

perspectives on a given phenomenon could be transferred and applied to other disciplines within

the music education field (Acklin et al., 2014; Angeline, 2014). Dependability of data was

evidenced through expert reviewer approval of participant qualifications and the use of verbatim

transcripts (Conway, 2012). Dependability was enhanced by having research-based criterion for

success and sustainability as the benchmark for participant selection (Acklin et al., 2014; Eros,

2012). Study methodology of audio recorded interviews with verbatim transcripts, allows the

study to be repeated. Confirmability processes included expert reviewer examination and

approval of participant qualifications and participant confirmation of transcript accuracy.

Moustakas (1994) contended that a researcher’s subjective experiences could influence one’s

research including subjects under inquiry. Therefore, an expert reviewer was used to reduce

researcher bias in participant selection and ensure that the most ideal candidates were selected.

Coding participant names to protect anonymity and substituting or omitting any identifiable

information ensured ethical practices in accordance with IRB regulations (see Appendix B: IRB

Approval Letter) (Leedy & Ormrod, 2010; Moustakas, 1994).

Factors that impacted data analysis included using all data found relating to the

phenomenon of sustained program success and all analysis done by the researcher. Data were

solely analyzed, extracted, organized and categorized by the researcher. Repeat analysis of

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complete transcripts may indicate different results. However, repeat analysis of findings derived

from researcher categorization should produce similar results. Other factors impacting data

analysis included omission of identifiable information and editing transcripts to replace

pronouns. Where identifiable information was relayed in transcripts, the researcher substituted

in general terms. Moustakas (1994) conveyed the importance of constructing “a description of

…the textural-structural…essence…of the [participants’] …experiences…using a

phenomenological approach” (p. 122). Therefore, the researcher substituted in subject matter in

order to contextualize a statement. For example, a participant may have said ‘They need to be

supportive, not micromanage us’. After reviewing a transcript, the researcher substituted

pronouns to add context. The sentence would read ‘[The parents] need to be supportive, not

micromanage [the program]’. Booth et al. (2008) noted that “data you take from a source have

invariably been shaped by that source… [and that data should be] …put in a form that serves the

source’s end” (p. 134). Therefore, context was added to generalized statements to enable proper

categorization for analysis.

Results

Overall participant selection encompassed a diversity of school types and socio-economic

circumstances; one private school in an urban district, two public schools in an urban district and

two public schools in a suburban district. Four male directors and one female director

participated. Names of schools, exact years of service at a school, awards and recognitions were

purposefully omitted in order to retain anonymity of participants. Doing so adhered to IRB

ethical guidelines and Belmont Report (1979) principles (see Appendix B: IRB Approval Letter)

(Creswell, 2014). Including such information would make identification possible. Therefore,

general demographic and experiential data were included (see List of Tables).

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Table 1
Participant Demographics and Qualifications Overview

Mr. Ms. Mr. Scott Mr. Celic Mr. Lyons

Crimson Barbara
Demographics
School type Public/ Public/ Public/ Private/ Public/
Suburban Urban Urban Urban Suburban
FRL* 51% 43.60% 55.21% 85% 17.57%
Experience
Total years 32 33 34 47 29
experience
Local Yes Yes Yes Yes Yes
recognition
State Yes Yes Yes Yes Yes
recognition
Regional Yes Yes Yes Yes Yes
recognition
National Yes Yes Yes Yes Yes
recognition

* Free/Reduced Lunch eligible statistics of district

Participant demographics and qualifications overview. The far-left column indicated

Demographics and Experience (see List of Tables). Demographics were divided into the

subcategories School type and FRL. The School type statistics indicated the following: Mr.

Crimson, public suburban; Ms. Barbara, public/urban; Mr. Scott, public/urban; Mr. Celic,

private/urban; and Mr. Lyons, public/suburban. FRL indicated the following: Mr. Crimson

51%, Ms. Barbara 43.6%, Mr. Scott 55.21%, Mr. Celic 85% and Mr. Lyons 17.57%.

All participants’ programs were recognized at the local, regional, state and national

levels. Experience was divided into the subcategories: Total years experience, Local

recognition, State recognition, Regional recognition and National recognition (see List of
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Tables). Total years experience for participants were: Mr. Crimson 32, Ms. Barbara 33, Mr.

Scott 34, Mr. Celic 47 and Mr. Lyons 29.

Categorical data. Lived experiences of high school band directors were gathered

through interviews in this qualitative phenomenological study. RQ1 was answered by gathering

lived experiences from directors of a successfully sustained instrumental music program. RQ2

was answered by focusing directors’ lived experiences on the phenomenon of sustained program

success. Categories were generated organically as data were analyzed, first individually

according to the interview questions (IQs) then collectively (see Appendix A: Interview

Protocol). Collective data analysis of all five participant transcripts indicated data directly and

indirectly related to the interview questions. Data directly answering IQs was used to generate

priori categories. All data on the phenomenon of sustained program success was to be included.

Therefore, data indirectly addressing IQs, yet directly related to the phenomenon generated

emergent categories. The generation of categories and formation of subcategories and the steps

involved will be explained within the results. The following results were organized according to

categorical data answering RQ1 then RQ2 followed by emergent categories answering both RQ1

and RQ2 (see List of Tables).

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Table 2
Research Questions, Categories, Subcategories and Emergent Categories
Research Questions
Categories
Subcategories
RQ1
Former director inspirational characteristics
Earned/demonstrated over time Work-ethic related
Personality related Other/Multiple applicability
Ideal Program
Student related Scheduling related Administration related
Group/private lessons related Staff related Other/Multiple applicability
Comprehensive music program Parents related
related
RQ2
Definitions of success
Student related External recognition Other/Multiple applicability
Awards related
Directors’ sustained success attributes
Work-ethic related Student related attributes Other/Multiple applicability
Attributes related to Personal Attributes/actions
relationships
Sustained program success factors
Miscellaneous student related Community related Faculty related
(Non-leadership roles related) Parents related Staff related
Student leadership roles related Administration related Other/Multiple applicability

Challenges / factors affecting sustained program success

Student related Administration related Staff related
Parents related Community related Other/Multiple applicability
Challenges out of a director’s control
Student related Mandates related Administration related
Scheduling related Parents related Budget related
Comprehensive program related Staff related Other/Multiple applicability
Community related
Keystone to sustained program success
Forces affecting keystone
Emergent Categories answering RQ1 and RQ2
Pressures that strengthen sustained program success
Directors’ professional philosophies / Advice
Planning & preparation related Student related Other/Multiple applicability
Personal development Rapport related
Successful administration communication practices
Prior to meeting During discussion
Role of the parents
Director related Support related Other/Multiple applicability
Parent to parent related
Support of small group/private lessons for sustained program success

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Research Question 1. What are the lived experiences of high school band directors from a

successfully sustained instrumental music program?

Koskela and Schuyler (2016) contended that impacts on sustainability should be

examined according to actions and results over long periods of time. McDonald et al. (2010)

attested that a leader’s relationships must be examined in order to understand one’s impacts on

the sustainability of a program. The researcher aimed to form a comprehensive picture of a

director’s journey, from one’s inspiration for chosen profession, to one’s sustained involvement

and success. Doing so affirmed Koskela and Schuyler’s (2016) assertion that gainful insight into

sustainability practices could be obtained by comparing prior leadership to present leadership.

Former director inspirational characteristics. All directors were inspired by one or

more former directors. The category Former Director Inspirational Characteristics was

generated to organize band directors’ inspirations for chosen vocation based on one’s lived

experiences (see Appendix C: Former director inspirational characteristics). RQ1 was answered

by gathering lived experiences from directors regarding the inspiring characteristics of their

former directors. The category Former Director Inspirational Characteristics contained the

following subcategories: (a) Earned/Demonstrated Over Time, (b) Personality Related, (c)

Work-ethic Related and (d) Other/Multiple Applicability.

Collective data were examined for common threads. A common thread among the data

indicated inspiring characteristics that were earned over time, thus forming the subcategory,

Earned/Demonstrated Over Time (see Appendix C: Former director inspirational characteristics).

Mr. Crimson described what inspired him the most about his former director: “The motivation

was in the knowledge, and part of that knowledge was the fact that even though he was a trumpet

player, he was able to play every instrument very well” (personal communication, January 12,

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2019). The subcategory Earned/Demonstrated Over Time contained the following words and

phrases: knowledgeable, earned respect through knowledge, combination of attributes, proved

himself, competent, wealth of knowledge, wealth of resources, outstanding musician, played

every instrument well, smart, demonstrated on multiple instruments, excellent musician and

multiple talents.

Personality characteristics required delineation from those of work-ethic thus forming the

subcategory, Personality Related (see Appendix C: Former director inspirational characteristics).

While Mr. Crimson’s data indicated that knowledge and proper musicianship exemplified were

primary inspirational factors, Ms. Barbara’s inspiration stemmed from an emotional connection.

Ms. Barbara conveyed emotional intelligence as having passion and compassion:

A successful teacher needs both… [passion and compassion]. Compassion … means that

we learn from our failures … when we have somebody … who … helps us through …

mistakes … knows exactly how to recover their students … so that a child can then start

again and move it forward. I feel that one can have passion, but if one doesn't have

compassion, it won't go to that next level of success (personal communication, January

15, 2019).

The subcategory Personality Related contained the following words and phrases: motivating,

dedicated, enthusiasm, inspired good practice habits, inspired hard work, knew how to inspire a

group, empowering, passion, compassion, excitement, fun-loving, charismatic, relaxed, instilled

sense of pride and accomplishment and inspiring.

Work-ethic characteristics required delineation from those of personality thus forming the

subcategory, Work-ethic Related (see Appendix C: Former director inspirational characteristics).

Mr. Crimson described his former director’s work-ethic evidenced daily during rehearsals:

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The qualities that I saw in [my former director] were dedication. He was very structured.

He loved what he was doing and loved the students that he was doing it with. He

demanded their best. The other thing that goes along with it was that he really knew his

‘stuff’ (personal communication, January 12, 2019).

The subcategory Work-ethic Related contained the following words and phrases: demanding,

pushed us, structured, perfectionist, set high standards of success, vision was perfection, goal-

oriented, high yet realistic standards, never let anything slide, relentless in pursuit of perfection

and challenging.

All data pertaining to the category Former Director Inspirational Characteristics was to

be included. The subcategory Other/Multiple Applicability was formed to accommodate data not

represented within previous subcategories (see Appendix C: Former director inspirational

characteristics). Admiration of skills and personality encompassed Mr. Scott’s description of his

former director’s inspiring characteristics:

[My former director was] very charismatic, very demanding, definitely got you to see

what he envisioned the whole program to be. Just was a great person. Sometimes, I

think his excitement, enthusiasm, which wasn't always positive…was sometimes

misinterpreted as just being maybe angry, and volatile, if you will, but that's not really the

case. He was more a perfectionist on two legs, just really looking for the best from

everybody at all times, and a tremendous guy [and] a lifelong friend (personal

communication, February 19, 2019).

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The subcategory Other/Multiple Applicability contained the following words and phrases:

listening, loved the students, loved what he was doing, connections, mentor, could see what he

envisioned, mutual respect, enjoyable literature, appealed to the audience, broad experience,

overall program was enjoyable, wide variety of music and worked with guest conductors.

Ideal Program. RQ1 was answered by gathering data on what an ideal program would

be based on one’s collective lived experiences. The researcher wanted to capture a future picture

of successfully sustained programs based on directors’ lived experiences. Some subcategories

contained single phrases yet were allotted a designated subcategory. That was done to show

convergence of data among other categories. The researcher aimed to highlight the convergence

of related data as well as the divergence among related subject matter. The category generated

was Ideal Program (see Appendix D: Ideal program). Mr. Crimson’s ideal program would have

students who genuinely want to be there:

I just want 100 kids that really want to be there, and I want parents there to support them.

I want whoever's in my band to be in the band. I would rather have less people but

quality people that want to be there and learn and work rather than just have large

numbers (personal communication, January 12, 2019).

Equality and accessibility for all encompassed Ms. Barbara’s ideal program:

My dream of sustaining a comprehensive music program [would be to have] … equality

for all students, … ample time to teach, … lessons schedule…grouped by ability … and

… [be allowed] … creative scheduling. I wanted to leave the program better than what I

got it (personal communication, January 15, 2019).

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A comprehensive feeder program geared towards a love for the program was Mr. Scott’s ideal

program:

[My ideal program would be to have] every student…study privately with a positive,

right influence kind of person. I…would assemble a group of individuals who I think

could instruct the band on a day to day basis, beyond myself… It could be a combination

of student leaders and adult leaders [with the] ability to break out into sectionals…[I’d

have a] group of colleagues, be it student level or adult level, to do that, to take on that

charge to bring that aspect together (personal communication, February 19, 2019).

Well-trained students and every student studying privately was Mr. Celic’s ideal program vision:

Every kid would get private lessons, at a good studio…Private instruction for every

student in the band would be my dream group…I would love to make that happen…[If

that happened] I wouldn’t … have to teach fingerings and rhythms and even tone quality

and playing in tune. I’d be … able to take kids who had learned all those basic

techniques from private instructors, and … spend more time on ensemble techniques like

blend and balance and group intonation and playing together, following a conductor, and

things like that (personal communication, February 8, 2019).

Mr. Lyons envisioned bands according to ability level and all students studying privately:

[My ideal program would have] … all the students…studying privately, …concert bands

on several different levels … a select wind ensemble … a band in the middle for

everybody else, … two band directors, …a separate jazz instructor and ... a separate

music teacher [floating] within the district (personal communication, January 18, 2019).

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Subcategories derived from Ideal Program included: (a) Student Related, (b) Group/Private

Lessons Related, (c) Comprehensive Music Program Related, (d) Scheduling Related, (e) Staff

Related, (f) Parents Related, (g) Administration Related and (h) Other/Multiple Applicability.

The subcategory Student Related was formed from ideal program data related to students

(see Appendix D: Ideal program). The subcategory Student Related contained the following

words and phrases: students trusting in me, students doing what I want to do, dedicated students,

equality for all students, qualified students and adult leaders to instruct band beyond director,

student lead sectionals, student and adult colleagues working on marching, band according to

abilities levels and select wind ensemble.

The subcategory Group/Private Lessons Related was formed from ideal program data

related to group/private lessons (see Appendix D: Ideal program). The subcategory

Group/Private Lessons Related contained the following words and phrases: students studying

privately, administration would understand the importance of group and private lessons, every

kid studying privately, all students privately trained, every kid would get private lessons at a

good studio and all students studying privately.

The subcategory Comprehensive Music Program Related was formed from ideal program

data related to comprehensive music programs (see Appendix D: Ideal program). The

subcategory Comprehensive Music Program Related contained the following words and phrases:

comprehensive music program, music history, jazz and arranging and music theory all three

levels.

The subcategory Scheduling Related was formed from ideal program data related to

scheduling (see Appendix D: Ideal program). The subcategory Scheduling Related contained the

following phrase: no time limits.

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The subcategory Staff Related was formed from ideal program data related to staff (see

Appendix D: Ideal program). The subcategory Staff Related contained the following words and

phrases: dedicated staff, two band directors, separate district jazz instructor, head marching band

director with other music teachers assisting, indoor color guard with dedicated instructors, indoor

percussion with dedicated instructors and qualified assistant to float around ensembles during

rehearsals.

The subcategory Parents Related was formed from ideal program data related to parents

(see Appendix D: Ideal program). The subcategory Parents Related contained the following

phrase: dedicated parents.

The subcategory Administration Related was formed from ideal program data related to

administration (see Appendix D: Ideal program). The subcategory Administration Related

contained the following phrase: dedicated district.

All data pertaining to the category Ideal Program was to be included. The subcategory

Other/Multiple Applicability was formed from ideal program data not assigned to other

subcategories (see Appendix D: Ideal program). The subcategory Other/Multiple Applicability

contained the following words and phrases: heart and soul, make incredible music together,

every student would enter at a level 3 or higher and have as many kids as possible.

Research Question 2. How did experienced high school band directors perceive instrumental

music program success and sustainability?

Lived experiences of high school band directors were gathered through interviews. RQ1

was answered by gathering lived experiences of directors meeting the study criterion. RQ2 was

needed to focus directors’ lived experiences on their perceptions of the phenomenon; sustained

program success. Focusing directors’ lived experiences on a specific phenomenon was needed

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for proper phenomenological research (Creswell, 2014). Directors related success to one’s

individual competence as a director and to one’s program. Directors also sought clarification of

success definition and offered their own definitions. Therefore, three categories were generated;

Definitions of Success, Directors Sustained Success Attributes and Sustained Program Success

Factors.

Definitions of success. RQ2 was answered by gathering director perceptions of program

success. Although existing research defined success based on awards and recognition, no

directors defined success as such in this study (Acklin et al., 2014; Biggs et al., 2010).

Therefore, the category Definitions of Success was generated (see Appendix E: Definitions of

success). Success for Mr. Crimson encompassed how students felt in their hearts as members of

the program:

Success is the student feeling good in their heart, … good about themselves, knowing that

they're on the right track, … that there's improvement… that it takes a team to be not only

your individual best, but a team of people that all care about [the program] that… they

are part of a bigger picture. Success is when students take the experiences …they had in

the [program] out to the real world and [find] success…happiness and love. Do your best

in whatever place you come in, as long as you're doing your best, that's okay (personal

communication, January 12, 2019).

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Students making connections in life using music as a conduit indicated success according to Ms.

Barbara:

Success is about the connections you make with people. As a music educator…our

number one priority… should be to make [students] musically sustainable forever…

giving them the love of sustainability of music, the arts and what it can do for them as an

adult (personal communication, January 15, 2019).

Mr. Scott did not base success on competitive results. Success for Mr. Scott was buy-in and

realization of the program’s vision and appreciating small steps towards improvement:

Success… is … multi-level. I think so many programs … defined success as winning this

competition or … that. We're just the opposite. We have never stressed winning, not one

of us. What it comes down to is, are you going to do your best at all times? As you

create that vision and it's shared, and you have a buy-in from your students and your

parents, then, that leads to success. I think, to me, success is the sustainability of a

program. If you can take the kid who's never picked up a baritone before, and get him to

play, maybe not every note, but 70% of the notes, and in a couple of years he is playing,

or she, 95% of the notes and growing as a musician, that's a heck of a lot. I think it's

more rewarding than having a trophy sitting in the cabinets. If you've given your best

and you fail, you still succeeded because you've given the best that you can do to get that

far (personal communication, February 19, 2019).

Mr. Celic indicated resentment towards the competitive aspect of instrumental music and that

success was about a personal connection between the director and the ensemble:

I don't define [success] by trophies because those are awarded by other people, other

people that have nothing to do with your program. Other people that never spent one

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minute in your band room with those kids. How do they know what success is? [Success

is when] the real connection takes place … not in a concert hall. It's in the band room. In

rehearsal. When it's just you and the kids. No audience. No parents. Nobody else. Just

you and the kids making beautiful music and communicating (personal communication,

February 8, 2019).

Students sustaining music in their life indicated success according to Mr. Lyons:

The ultimate sign of success is when students keep playing. The future of bands is not

the music majors. It's going to be just people … still playing, and … working with other

people [because]…there's still that common thread of [being] part of something bigger

than yourself. You're part of an ensemble. We're not here to make you professional

musicians. We just want you to keep learning about music and have music in your life,

so this is a never-ending process (personal communication, January 18, 2019).

Definitions of Success was divided into subcategories: (a) Student Related, (b) Awards Related,

(c) External Recognition and (d) Other/Multiple Applicability.

Words and phrases directly referring to students, when directors defined success, required

assignation. Therefore, the subcategory Student Related was formed (see Appendix E:

Definitions of success). The subcategory of Student Related contained the following words and

phrases: students working hard and doing their best, students keeping music in their lives beyond

the program, students glad to be in the program, kids growing socially, kids growing musically,

more kids involved, exposing our kids to life, life-long success for kids, doing your best at all

times, kids knowing I care, kids knowing I love them, developing kids that care, having then love

and respect of my students, when students return to show gratitude for my advice and students

keep playing for life.

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The subcategory of Awards Related was warranted due to participant consensus that

success was not related to awards. Therefore, the subcategory Awards Related was formed (see

Appendix E: Definitions of success). The subcategory of Awards Related contained the

following words and phrases: not about winning, didn’t mean first place, not defined by trophies

and not defined by awards.

The subcategory External Recognition was formed to accommodate director definitions

of success related to communities, institutions or other such entities not directly involved with a

program (see Appendix E: Definitions of success). The subcategory of External Recognition

contained the following words and phrases: performing well in the community, representing

community with pride, a program that continues to benefit school community and recognition

from institutions on how well trained my students are.

All data pertaining to participant definitions of success was to be included. Therefore,

Other/Multiple Applicability was formed to accommodate data not assigned to previous

subcategories defining success (see Appendix E: Definitions of success). The subcategory of

Other/Multiple Applicability contained the following words and phrases: positive aura, a shared

understanding of the vision, sustainability, the realization that the program will continue and

program made a lasting impact.

Directors sustained success attributes. RQ2 was answered by gathering director

perceptions of success and sustainability attributed to one’s personal success and sustainability in

the field of instrumental music education. Upon reviewing collective data, a distinction was

warranted between director attributes and program attributes. Directors’ sustained success

attributes were considered characteristics or practices that reflected directly and solely on a

director. Therefore, the category Directors Sustained Success Attributes was generated (see

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Appendix F: Director’s sustained success attributes). Connecting with and understanding

children was important to Ms. Barbara: “Connect[ing] to that child [means understanding]

…their cultures, their economic stance, their religious stance [and] who they are as people. We

can't put people in a box. So my success is because I wanted to know that about them” (personal

communication, January 15, 2019). Directors Sustained Success Attributes was divided into

subcategories (a) Work-ethic Related, (b) Attributes Related to Relationships, (c) Student Related

Attributes, (d) Personal Attributes/Actions and (e) Other/Multiple Applicability.

Words or phrases pertaining to a successful work-ethic, required clarification of whom a

director’s work-ethic was directed towards. For example, directors conveyed work-ethic related

data pertaining to their own individual work-ethic as well as student related work-ethic. Work-

ethic related data within the category Directors Sustained Success Attributes referred directly to

a director’s individual work-ethic. Therefore, the subcategory of Work-ethic Related was formed

(see Appendix F: Director’s sustained success attributes). Ms. Barbara implored the act of going

outside the band room and performing duties in an effort to connect with the students:

You can't have everything just handed to you your first year of teaching. Goodness

gracious, you've got to do lunch duty. You have to do bus duty. You've got to … hear

the craziness and smell the lunchroom. … I recruited many kids in that lunchroom

(personal communication, January 15, 2019).

The subcategory of Work-ethic Related contained the following words and phrases: dedication,

hard work, determination, critiquing myself, never content, pushing oneself, demanding the best,

continued learning, took responsibilities of the job seriously, didn’t bring personal problems to

work, compartmentalized personal from professional life, never being home, continued to

change, have a success plan, set my own goals, always found ways to work things out, gave

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everything I have, prepared, standard of perfection, good at logistics and planning, never

satisfied, listened to professional recordings or repertoire, adapted to technological advances and

organized.

Extensive amounts of data pertaining to relationships was discovered. Distinctions were

needed among student, personal and other relationships. Therefore, Attributes Related to

Relationships was formed to accommodate data not accounted for in the other subcategories of

Student Related Attributes and Personal Attributes/Actions (see Appendix F: Director’s sustained

success attributes). Having a good relationship with the athletic director was encouraged by Mr.

Lyons:

Talk to the athletic director. Rather than picking up the phone, I'll walk over to the other

end of the building, which is a long walk. I'll walk over there and just, ‘Hey, how's it

going’? I want to be part of their thing too, and not just this faceless guy who's screaming

at them from the phone (personal communication, January 18, 2019).

Proactively cultivating vison buy-in was Mr. Crimson’s approach to relationship building with

parents:

The very first year that I had a vision of not only teaching concert band and jazz band,

but to start a marching band from scratch, we had a meeting with the parents. I

remember like it was yesterday, but it was outside under a tree. I had this grand vision of

‘how would you like to have a competitive marching band’? There were startled faces,

but no faces that were withdrawn as to this can't happen… Deep down inside of me I had

bigger visions, but … I wanted to give it in spoon sizes to the parents and show them if

we could do this, then we could do something else, and then we could do something else.

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I involved the parents in many aspects of the band (personal communication, January 12,

2019).

The subcategory of Attributes Related to Relationships contained the following words and

phrases: family support, sought experts in the field, observing and learning from other programs,

many years in the same community, planted my feet in the community, gave my time to the

community, good rapport with the boosters, treated other programs with the utmost respect, good

relationship with choral directors, established sustainability and trust, spouse understood my

passion for the vocation, attended every booster meeting, district supported the vision over the

years, excellent predecessors, maintaining connections, positive interactions, collegial, just

talking, good relationship with athletic director, good relationship with principal and assistant,

good relationship with football coach, an integral relationship with assistant director, spouse

understands how I feel about music and good interpersonal skills on multiple levels.

Director success directly related to students was warranted in order to delineate that data

from other relationships. Therefore, the subcategory Student Related Attributes was formed to

highlight directors’ sustained success attributed to students (see Appendix F: Director’s sustained

success attributes). Ms. Barbara reflected on her commitment to students that contributed to her

success:

I always made a pact to myself and my high school students … that we all have bad

days…When [I] walk in the door and … turn that doorknob, everything stays in that

doorknob, and I am now your teacher, and I am 100 percent yours (personal

communication, January 15, 2019).

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The subcategory of Student Related Attributes contained the following words and phrases:

walking amongst the students, honesty with students, was a positive role-model, help others to be

successful, conversations with the kids, sitting down with kids informally, realize where students

come from (incoming skill level), adapt teaching style to what works, never be afraid to be

emotional in front of students, kids listen to my critique, always challenged players,

benchmarked challenges against my own musicianship, earned life-long respect from students,

made bets with students and followed through if I lost and let students know when they’ve

achieved the goal.

A subcategory was needed to accommodate data pertaining to a director’s personal

attributes and actions. Doing so accounted for data that was not directly determined as work-

ethic related. Therefore, the subcategory Personal Attributes/Actions was formed (see Appendix

F: Director’s sustained success attributes). Mr. Scott encouraged accountability: “You need to

be accountable for yourself, be it good or bad, and own it” (personal communication, February

19, 2019). Loving one’s job promoted sustainability according to Mr. Lyons: “I think you can't

do anything this long without loving doing it. [Being a band director] is the one thing I really

love doing” (personal communication, January 18, 2019). Keeping personal problems out of the

classroom was essential according to Ms. Barbara: “I despise teachers who talk about [their

personal problems] to students … Leave [your problems] on the doorknob” (personal

communication, January 15, 2019). The subcategory of Personal Attributes/Actions contained

the following words and phrases: knowledgeable, passion, love what I’m doing, love the

students, love people, have excitement, enthusiasm, character, commitment, reflecting, core

values, acknowledging mistakes, love to teach, music is my passion, passion and compassion,

knew the value of a large program, small successes, took care of myself physically, next

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approach?, next time?, do better?, honest and real, saw the bigger vision, accountability, I love

being a teacher, love what I do, lead by example, walk the talk, know what I’m doing and

structured life.

All data pertaining to a director’s sustained success was to be included. Therefore, the

subcategory Other/Multiple Applicability was formed to account for data not represented in other

subcategories pertaining to Directors Sustained Success Attributes (see Appendix F: Director’s

sustained success attributes). The subcategory of Other/Multiple Applicability contained the

following words and phrases: God, hometown, mistakes helped me learn, experience/years of

service, door is always open and changed recruitment strategies.

Sustained program success factors. RQ2 was answered by gathering director

perceptions on sustained program success. The category Sustained Program Success Factors

was generated to accommodate data directly pertaining to sustained program success (see

Appendix G: Sustained program success factors). Sustained Program Success Factors was

divided into subcategories: (a) Miscellaneous Student Related, (b) Student Leadership Roles

Related, (c) Community Related, (d) Parents Related, (e) Administration Related, (f) Faculty

Related, (g) Staff Related and (h) Other/ Multiple Applicability.

Data within the category Sustained Program Success Factors contained significant

amounts of data related to students. Two categories accounted for student related program

success; Miscellaneous Student Related and Student Leadership Roles Related. The subcategory

Miscellaneous Student Related accounted for student related data not pertaining to student

leadership roles (see Appendix G: Sustained program success factors). Band attracted intelligent

students which promoted successful programs according to Mr. Scott: “There are so many

academically advanced kids in the band. It's amazing. If you have a problem in geometry, I

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guarantee, the number one geometry person is in the band” (personal communication, February

19, 2019). The subcategory Miscellaneous Student Related contained the following words and

phrases: provides life-long experiences, vison buy-in from students, recruitment through program

excitement, we help others and work as a team, having students that want to be in the program,

continuation of pushing, students know director cares, students believe in director, group

dependence on one another, delegate, democracy, team working together, kids trusted director,

after school programs, effective classroom management, honest and open relationship between

director and students, students hold director accountable, students hold themselves accountable,

students are encouraged to find their ‘best’, kids set goals for section and themselves, smart kids,

kids know they’re valued, auditions for placement, open-door policy, students knew director was

devoted, kids were proud to be in the program, kids felt accepted by other school students,

prepared kids for next year before summer vacation, band took director seriously, time was set

aside to talk with just the seniors, almost all drummers had private lessons, student partnership,

getting student input, reach a lot of students, program appealed to many students, high

percentage of school students in the program, utilize students’ academic and technology skills,

accommodate students that want to be in multiple ensembles, band is family for students,

everyone’s welcome, something for everyone, home away from home and sense of family and

safety.

A subcategory dedicated to student leadership roles was warranted due to participant

consensus on the importance of student leadership for program success and sustainability.

Therefore, the subcategory Student Leadership Roles Related was formed (see Appendix G:

Sustained program success factors). Mr. Crimson encouraged the use of mentoring: “[Having

older students mentor younger ones] kept them in the program longer because they were in the

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moment of teaching and helping students become what they saw was successful” (personal

communication, January 12, 2019). Seniors were identified specifically by Mr. Celic as key

roles in the mentoring process:

I [told] my seniors … if you want a successful year that you want to remember for the

rest of your life, you've got to convince the new underclassmen that they have to work

hard. The best way to do that is through leadership and leading through example. I

would lay that on them, very thick and very heavy” (personal communication, February

8, 2019).

The subcategory Student Leadership Roles Related contained the following words and phrases:

students found purpose through leadership roles, older students taking on responsibilities, older

students mentoring younger ones, student leaders getting involved and staying involved, section

leaders, mentoring, upper classmen mentoring younger students, student leadership, band

council, leadership training, students able to assist director with many tasks, using in-house

student talents, student leading by example, seniors responsible for success or failure of program,

upper classmen set goals for the ones behind them, leadership teams and student officers.

Data related to community involvement required delineation from Parents Related due to

participant consensus on the importance of community for a successfully sustained program.

Therefore, the subcategory Community Related was formed (see Appendix G: Sustained program

success factors). Having a program that the faculty and community were proud of promoted

teamwork according to Ms. Barbara: “[Faculty] saw how hard I worked and what great honor it

brought to the community, and that it made them better too, because they're part of the

community, and we just worked as a great team” (personal communication, January 15, 2019).

Being visible, present and involved in a community was important for trust building according to

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Ms. Barbara: “You have to be in the community. You have to walk the walk. You have to go

into that neighborhood. You have to because you must build trust, and the only way you're

gonna build trust in today's world is to be with them” (personal communication, January 15,

2019). The subcategory Community Related contained the following words and phrases: having

a program that best represented the band, heritage, trust of the community, admiration of the

community, community support, support of school community, support beyond band community

and positive image in the community.

All data pertaining to Sustained Program Success Factors that related to parental

involvement was to be included. Therefore, the subcategory Parents Related was formed (see

Appendix G: Sustained program success factors). Mr. Celic noted that Catholic schools relied

heavily on financial support from parents: “[The parents] gave so much to my program because

the school couldn't” (personal communication, February 8, 2019). Contagious excitement and

enthusiasm for the program from Mr. Crimson encouraged parental support:

My excitement, my enthusiasm, my knowledge, and my vision of what I wanted, wasn't

too big for [the parents] to want to say no to… I could get the kids to do whatever we

needed to have them do as long as I had their parent's support (personal communication,

January 12, 2019).

The subcategory Parents Related contained the following words and phrases: vision buy-in from

parents, strong parental support, met parents halfway, enthusiastic parent group, continued

parental involvement, collective decision making with executive committee, veteran parents

mentoring new parents, strong parent booster group, parental involvement, parent officers, one

on one time with parents, volunteerism, parental support, dedicated parents, parents never said

no to director and supportive parents.

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All data pertaining to Sustained Program Success Factors that related to administrative

involvement was to be included. Therefore, the subcategory Administration Related was formed

(see Appendix G: Sustained program success factors). The subcategory Administration Related

contained the following words and phrases: superintendents proud of the program, meet in the

middle, supportive principal, helpful principal, accessible principal, visible principal, district

support, good administrators and marching band required for all members.

All data pertaining to Sustained Program Success Factors that related to faculty

involvement was to be included. Therefore, the subcategory Faculty Related was formed (see

Appendix G: Sustained program success factors). Success according to Ms. Barbara was

because “[faculty] never talked down about the program” (personal communication, January 15,

2019). The subcategory Faculty Related contained the following words and phrases: faculty

support, faculty talked positively about the program, athletic director/coaches support, school-

wide program support, integrated with faculty, competent teachers and face-to-face

communication with athletic director.

Only one participant provided data on staff support for Sustained Program Success

Factors. However, all data pertaining to Sustained Program Success Factors that related to staff

involvement was to be included. Therefore, the subcategory Staff Related was formed (see

Appendix G: Sustained program success factors). Mr. Crimson relayed the importance of

finding staff that were a good fit for the program and its needs:

I needed to find the right person to be with students… because I wanted to give them the

best. The best is caring individuals that ‘know their stuff’ and that are striving to make

the kids the best they can be (personal communication, January 12, 2019).

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The subcategory Staff Related contained the following words and phrases: vison buy-in from

staff, listening to staff, met staff halfway and excellent staff that were a good fit for the program.

Data not assigned to previous subcategories required designation. Therefore, the

subcategory Other/Multiple Applicability was formed (see Appendix G: Sustained program

success factors). Mr. Celic conveyed that sometimes just one student’s dedication could make a

difference:

You always get those special kids who will do whatever it takes to make the band

director happy … the first day of band camp and had everything memorized, you know,

you just wanna hug 'em and say ‘Thank you for being alive, you have made my day!’

(personal communication, February 8, 2019).

Mr. Lyons added that providing a safe space for that one child could make a big difference in

their life:

I love it when I see that student walk in [the band room] … and … think… This kid

needs to be here. I'm happy to … provide that place for that student … because maybe

they don't fit in someplace else (personal communication, January 18, 2019).

The subcategory Other/Multiple Applicability contained the following words and phrases: never

compromised goals, bigger picture in mind, had success, continuation of enthusiasm,

connections with people, alumni support, ‘our program’ mentality, follow-through, positive

reputation, established parameters, achieving musically, quality band program, recognition

throughout the state, total program, consistency, collective vision, goal building, all inclusive,

demanding program, flexible, structured, organized, routine process, high retention, organization

branding, spirit wear on everything and budget not a concern.

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Challenges/factors affecting sustained program success. RQ2 was answered by

gathering director perceptions on program success and sustainability. Data were allotted to the

category and subcategories within Sustained Program Success Factors. When seeking

perceptions of sustained program success factors, participants relayed significant amounts of data

regarding challenges. A contrasting category surfaced as a result; Challenges/Factors Affecting

Sustained Program Success (see Appendix H: Challenges/factors affecting sustained program

success). Subcategories found in Challenges/Factors Affecting Sustained Program Success

included: (a) Student Related, (b) Parents Related, (c) Administration Related, (d) Community

Related, (e) Staff Related and (f) Other/Multiple Applicability.

Data pertaining to students that challenged sustainable program success required

delineation from other factors. Therefore, the subcategory Student Related was formed (see

Appendix H: Challenges/factors affecting sustained program success). Overburdened student

schedules were challenging according to Mr. Scott: “Asking a student to practice, even half an

hour a day, can be asking a lot” (personal communication, February 19, 2019). Mr. Lyons

applauded the opportunities offered to students, however, added that the multitude of choices

posed challenges for the program: “Kids have other choices they can make, and you can't fault

the program when they don't choose us. Academics are much more demanding now” (personal

communication, January 18, 2019). The subcategory Student Related contained the following

words and phrases: student buy-in, student leadership capabilities, incoming students’

musicianship levels, keeping juniors and seniors in the band, practicing, musicianship level of

kids entering program is unknown, school atmosphere towards band program, opposition to

marching band requirement, student input, kids want to belong somewhere, hypersensitivity,

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bullying, increased practicing expectations, difficult literature and maintaining quality of

musicianship.

Data pertaining to parents that challenged sustainable program success required

delineation from other factors. Therefore, the subcategory Parents Related was formed (see

Appendix H: Challenges/factors affecting sustained program success). Having supportive and

involved parents were essential for a successful program, however, Mr. Crimson warned: “Never

… let your parents run the program” (personal communication, January 12, 2019). Ms. Barbara

added: “You … have to educate the parent as to what the kid really wants” (personal

communication, January 15, 2019). Mr. Celic conveyed a parental support environment where

parents were an extension of the director: “My band parents were behind me a hundred percent”

(personal communication, February 8, 2019). The subcategory Parents Related contained the

following words and phrases: parents, trust in parents, worried parents about time commitment,

rapport with boosters, creating a community of teamwork with parents, parental support, parents

that micromanage, parental roles in the organization and relying on parents financially.

Data pertaining to administration that challenged sustainable program success required

delineation from other factors. Therefore, the subcategory Administration Related was formed

(see Appendix H: Challenges/factors affecting sustained program success). Lack of

administrative understanding hindered program improvement efforts according to Mr. Scott: “I

don't think the school district understands the immensity of the program, and the support that

truly it needs beyond just to a director and assistant director” (personal communication, February

19, 2019). Advocating for one’s program to administration posed primary challenges for Mr.

Crimson: “The district was number one to convince because they had to give me the things that

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would help make my program successful” (personal communication, January 12, 2019). Lack of

administrative understanding was echoed by Mr. Lyons:

It's always bothered me when … administrators say to me, ‘The kids just need to be

having fun’. Well, no, sometimes it's not fun. Sometimes, it's just a lot of hard work,

blood, sweat, and tears, and you don't want to be here. That's not fun. Maybe what

[administrators] were really talking about, and … didn't even realize … is the kids want

to belong (personal communication, January 18, 2019).

The subcategory Administration Related contained the following words and phrases:

administrative support, convincing the district, district understanding of program needs,

coordinating a shared vision with school district, every band member was required to be in

marching band, lack of vision from school district and lack of centralized authority to make

things happen.

Data pertaining to communities that challenged sustainable program success required

delineation from other factors. Therefore, the subcategory Community Related was formed (see

Appendix H: Challenges/factors affecting sustained program success). Often, communities were

happy with the existing program which made making any changes difficult for Mr. Scott:

[Communities expect] that you'll be this large, and you'll be this good,… and it just kind

of become the norm…That's great, but it doesn't do a whole lot for you, and it doesn't do

a whole lot for the program. It's great that people admire that and you have that

community support, but I don't think it's the most important part of [success] (personal

communication, February 19, 2019).

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The subcategory Community Related contained the following words and phrases: community

expectations, public marching band performances were not representative of total program and

exposure to the public.

Data pertaining to staff that challenged sustainable program success required delineation

from other factors. Therefore, the subcategory Staff Related was formed (see Appendix H:

Challenges/factors affecting sustained program success). The subcategory Staff Related

contained the phrase ‘trust in staff’.

All data regarding Challenges/Factors Affecting Sustained Program Success were to be

included. Data not designated to other subcategories required assignation. Therefore, the

subcategory Other/Multiple Applicability was formed (see Appendix H: Challenges/factors

affecting sustained program success). Having spousal and family support for one’s profession

was important, particularly for longevity of one’s career as a director according to Ms. Barbara:

“If you are married, that spouse needs to understand what this means to you, that it's not a

job…This job is very hard on your spouse” (personal communication, January 15, 2019). Short

term gains were feasible, however, Mr. Scott attested that long-term support was more

challenging: “When you have a program that finds success very quickly…everybody jumps on

board … to support [the program]. But it's not long term. That concerns me, because long term

success, I think, is crucial for a program” (personal communication, February 19, 2019). The

subcategory Other/Multiple Applicability contained the following words and phrases: director

responsibility for everything, obtaining needed equipment, no limit on time commitment for

director, director spousal understanding of program dedication, finances, long-term success, and

coordinating between principal, kids, parents, other teachers and other band directors in the area.

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Challenges out of a director’s control. All participants answered that they had control

and influence within their programs and did not feel powerless when asked directly (see IQ6 in

Appendix A: Interview Protocol). However, throughout the interview process, data were

discovered which indicated powerlessness and lack of control. Clear delineation was warranted

to differentiate challenges within and out of a director’s control. Therefore, the category

Challenges Out of a Director’s Control was generated to accommodate challenges out of a

director’s control (see Appendix I: Challenges out of a director’s control). Subcategories found

in Challenges Out of a Director’s Control included: (a) Student Related, (b) Scheduling Related,

(c) Comprehensive Program Related, (d) Mandates Related, (e) Parents Related, (f) Staff

related, (g) Community Related, (h) Administration Related, (i) Budget Related and (j)

Other/Multiple Applicability.

The subcategory Student Related was formed to accommodate challenges out of a

director’s control related to students (see Appendix I: Challenges out of a director’s control).

Mr. Lyons conveyed the frustration of resistance for arts integration into standard curriculum:

There just aren't enough hours in the day for [students] to [take advantage of multiple

course offerings] and take band. The whole STEM thing, it's like we're fighting that. We

keep saying, ‘Well, it should be STEAM. [Arts] should be in there,’ but we're not

(personal communication, January 18, 2019).

The subcategory Student Related contained the following words and phrases: remedial needs of

the students, incoming students’ musicianship levels, students getting recruited for sports/other

activities, musicianship levels of incoming freshmen were so different, new building

environment from middle school to high school, everything is new to the students, attrition

between 9th and 10th grade due to increased options, multiple course offerings, many elective

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choices, required remediation courses, home pressures, private lessons are not a priority among

the many student pressures, academic pressures, students pulled in too many directions and high

school standards are more serious.

The subcategory Scheduling Related was formed to accommodate challenges out of a

director’s control related to scheduling (see Appendix I: Challenges out of a director’s control).

Mr. Lyons conveyed the difficulties of changing schedules to accommodate the needs of a music

program: “If I want to change the schedule or anything like that, then that's an act of Congress to

get that through” (personal communication, January 18, 2019). The subcategory Scheduling

Related contained the following words and phrases: scheduling, living life by a bell schedule,

tailor teaching according to bell schedule and pulling students out of class for small group

lessons.

The subcategory Comprehensive Program Related was formed to accommodate

challenges out of a director’s control related to comprehensive programs (see Appendix I:

Challenges out of a director’s control). Mr. Lyons called for comprehensive leadership:

A district needs … an overall music supervisor for … K-12… somebody who's a

qualified music teacher, music supervisor, not another administrator who just oversees

…, but somebody who actually knows something about music and how things should be

structured... There needs to be some kind of leadership (personal communication, January

18, 2019).

Mr. Scott voiced his frustration with unknown incoming musicianship levels:

I think so much of what we do is … teaching technique and just concepts instead of

creating art…known as music. But high school is so about teaching the technique, …

dynamics, and … phrasing, but … it's all very mechanical. … I think … if [incoming

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students] were all at least at a base level three…you [would] really see [the program] take

off and then, really be ... much further, and … more artistic in everything they did

(personal communication, February 19, 2019).

The subcategory Comprehensive Program Related contained the following words and phrases:

lack of comprehensive feeder program, inability to cultivate a comprehensive feeder program

and lack of comprehensive k-12 music program.

The subcategory Mandates Related was formed to accommodate challenges out of a

director’s control related to governmental or other such mandates (see Appendix I: Challenges

out of a director’s control). Mandates aimed at improving student performance by

accommodating remedial needs had ripple effects that affected the arts. When students required

remediation, Ms. Barbara felt powerless when music was one of the first subjects a child would

be removed from for allotted remedial instruction: “I felt powerless when No Child Left Behind

came” (personal communication, January 15, 2019). As school safety climates changed, so too

have the rules governing safety procedures according to Mr. Scott:

Thirty years ago, we could walk out the door and there could be a full rehearsal going on.

We had some really stellar student leaders, who on their own, organized the rehearsal.

We could necessarily stay to be part of it, but we knew they were going to carry through

with what had to be. Then, you get the new mandate that says, ‘Well, you can't have kids

in the room. You walk out of the room; the kids all have to leave. You have to lock the

doors. You have to do this’ (personal communication, February 19, 2019).

The subcategory Mandates Related contained the following words and phrases: No Child Left

Behind, state mandates, students not allowed to work in groups or practice on their own and

mandated state testing.

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The subcategory Parents Related was formed to accommodate challenges out of a

director’s control related to parents (see Appendix I: Challenges out of a director’s control).

Changing family dynamics posed challenges out of a director’s control according to Mr. Scott:

“It's that element of support and interaction, and family that's culturally, I think, just

disappeared” (personal communication, February 19, 2019). The subcategory Parents Related

contained the following words and phrases: families financial priorities changing, changing

family dynamics and financial burden on parents.

The subcategory Staff Related was formed to accommodate challenges out of a director’s

control related to staff (see Appendix I: Challenges out of a director’s control). Lack of staff

imposed significant pressure on Ms. Barbara: “In charting of my course [for the program], it was

me, me, and me, because that's all I had” (personal communication, January 15, 2019). The

subcategory Staff Related contained the following phrases: only one director, hiring additional

staff and lack of support for existing staff.

The subcategory Community Related was formed to accommodate challenges out of a

director’s control related to community (see Appendix I: Challenges out of a director’s control).

Changes in housing developments and community complaints about outdoor marching band

practices posed challenges out of Mr. Crimson’s control:

Our school was situated in a place that had housing going up all over the place. No

matter how I convinced the district that these housing projects came up after the band had

been practicing for years in the parking lot…I was powerless in the fact that they actually

moved our practice site to a different school, which was a lot worse situation, or a harder

situation to teach and being away from our home base (personal communication, January

12, 2019).

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The subcategory Community Related contained the following phrases: public complaints about

noise and changing cultures.

The subcategory Administration Related was formed to accommodate challenges out of a

director’s control related to administration (see Appendix I: Challenges out of a director’s

control). Cultures and student situations would change, yet, Mr. Scott’s administrators

maintained expectations: “[Administration] expects us to maintain a status quo despite student

situations drastically changing” (personal communication, February 19, 2019). Mr. Lyons

affirmed the frustrations with administrative acceptance of the status quo:

If I can't … do private lessons and if [administrations are] not going to let me make …

changes to the schedule …, then we're going to have what we have… A lot of times

administrations are… happy with what we have (personal communication, January 18,

2019).

The subcategory Administration Related contained the following phrases: administrative reality

check and unrealistic administration expectations.

The subcategory Budget Related was formed to accommodate challenges out of a

director’s control related to budgetary concerns (see Appendix I: Challenges out of a director’s

control). Ms. Barbara noted that directors could not control the cost of instruments, music and

supplies: “Instrumental music is the second most expensive entity in [our] school system, other

than sport” (personal communication, January 15, 2019). The subcategory Budget Related

contained the following phrases: allotted budget, program expenses, changing economy and lack

of teaching resources.

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The subcategory Other/Multiple Applicability was formed to accommodate challenges

out of a director’s control not assigned to previous categories (see Appendix I: Challenges out of

a director’s control). Directors could not control supporters actions or reactions according to Mr.

Crimson: “The hard part of teaching was [being] drawn away from students [to] deal with …

parents who were questioning my motives … how I ran things…my teaching methods, and staff

questioning students’ behaviors” (personal communication, January 12, 2019). The subcategory

Other/Multiple Applicability contained the following words and phrases: moving practice site to

a different school, being away from our home base, copyright permissions, dealing with pre-

existing teachers, snow days and how band grades counted towards a student’s cumulative

average.

Keystone to sustained program success. RQ2 was answered by gathering director

perceptions on a program’s keystone to sustainability and success. A keystone was considered

the most important piece of a program, that if missing, would compromise the strength and

integrity of the ensemble causing it to crumble (see IQ5 in Appendix A: Interview Protocol).

Data were collected to determine directors’ perceptions of a program’s keystone to sustainable

success. All participants perceived the relationship between success and sustainability as

synonymous. Delineation was required to differentiate keystones from the forces that affected

keystones. Therefore, the category Keystone to Sustained Program Success was generated (see

Appendix J: Keystone to sustained program success). A director’s competence and knowledge

of all things program related was the keystone to Mr. Crimson’s program:

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The keystone to our sustained success is knowledge of what I’m teaching…If I don't

know what I'm doing, I shouldn't be there and I shouldn't be recruiting people to join

something [if] I don't even know what I'm doing... I need to know everything…before I

get into it (Mr. Crimson, personal communication, January 19, 2019).

Belief in Ms. Barbara and her vision was the keystone to her program’s success: “If my students

didn't believe in my vision and my way of teaching, I might as well just leave, because my kids

knew what was important to me and they supported that” (personal communication, January 15,

2019). Mr. Scott echoed the importance of vision buy-in:

The keystone to this program is the director and the vision that they have for the program.

I mean that in its entirety. The vision they have for the students, for each student

individually, for the parents, the organization, for the goals of both organizations, the

band and the parent's organization. I think … the keystone is definitely whoever the

director is, and their ability to pull it all together to make it work (Mr. Scott, personal

communication, February 19, 2019).

Seniors specifically were the keystone to Mr. Celic’s program:

[Setting aside time to talk with seniors] is important to sustainability because that lays the

success of every program directly on your seniors every year for them to pass down to the

younger ones (personal communication, February 8, 2019).

Band directors were seen as the glue that holds a program together according to Mr. Lyons:

We're the one common element that holds everything together…We're dealing with the

students. We're dealing with the parents. We're dealing with the school. We're dealing

with the community, and we've got to … pull all that together. If we're not there, the

…[program’s] not going to come together (personal communication, January 18, 2019).

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The category Keystone to Sustained Program Success contained the following words and

phrases: knowledgeable director, students, the director’s vision for the program, seniors, student

leaders and director.

Forces affecting keystone. The researcher did not differentiate between forces affecting

a program positively or negatively. For example, some participants viewed parental involvement

as positive whereas others viewed parents as a nuisance. Forces, either positive or negative that

affected the keystone of a program required inclusion. Therefore, the category Forces Affecting

Keystone was generated (see Appendix K: Forces affecting keystone). The category Forces

Affecting Keystone contained the following words and phrases: trust in one’s knowledge, trust in

staff’s knowledge, student believing in vision, students believing in director’s way of teaching,

director as mediator, democracy, student councils, academic achievement, communication,

school first philosophy, tradition, No Child Left Behind, parents, student buy-in, music, school,

community, administration, ability to pull all entities involved together to make the program

work, underclassmen, student leaders getting out of hand, peer pressure, students, faculty,

athletic director and football coach.

Emergent Categories

RQ1 and RQ2 were answered by gathering perceptions of success and sustainability that

evolved over the course of one’s lived experiences. Participants were given the opportunity to

offer perceptions on the phenomenon of sustained program success not directly asked using

interview questions (see IQ8, IQ9 in Appendix A: Interview Protocol). Data directly answering

IQs generated the priori categories. All data on the phenomenon of sustained program success

was to be included. Common threads among the collective categorical data were examined,

analyzed and allocated to the priori categories where applicable. Emergent categories were

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generated from data indirectly addressing IQs, yet directly related to the phenomenon. Emergent

categories included: Pressures that Strengthen Sustained Program Success, Director’s

Professional Philosophies/Advice, Successful Administration Practices, Role of the Parents and

Support for Small Group/Private Lessons.

Pressures that strengthen sustained program success. Participants were asked to

provide data on pressures that strengthened the keystone to one’s program. However,

participants did not directly answer the question as it pertained to the keystone identified (see

IQ5 in Appendix A: Interview Protocol). Participants relayed pressures that strengthened a

program in general. A designated category was needed to accommodate data pertaining to

pressures that strengthened one’s program. Delineation was required to differentiate keystones

from the forces that affected keystones and the pressures that strengthened programs. Therefore,

the category Pressures that Strengthen Sustained Program Success was generated (see Appendix

L: Pressures that strengthen sustained program success). Challenging repertoire and drills

strengthened Mr. Crimson’s program: “[The program] had to be challenging, and it had to take

the kids to the next level of pushing themselves to do what we thought would be the best

educational experience … for the kids” (personal communication, January 12, 2019). Ms.

Barbara viewed failure as a strengthening force: “When we fail to phrase, when we fail to play in

tune, when we fail to hear the pyramid of the sound … and … work … through that failure,

that…push[es] the team to success [and]…rais[es] the bar” (personal communication, January

15, 2019). The judgmental and competitive nature of surrounding schools strengthened Mr.

Scott’s program:

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I think the pressures that have strengthened [the program] in particular is from my fellow

school districts, who make comments, which come back…they don't know [how hard it is

to run our program] .... It's that external lack of appreciation, lack of collegial support,

lack of the realization that the kids here work just as hard as the kids at [the other

schools] …and that makes the program even stronger (personal communication, February

19, 2019).

Pressure to pursue constant improvement strengthened Mr. Celic’s program: “Part of a band

director's job [is] to pressure his kids into getting better, to never let them think they have

reached the pinnacle. Always demand, always ask for more. Give me a foot and I'll ask for a

yard” (personal communication, February 8, 2019). Accountability among peers strengthened

Mr. Lyons program: “If you're not holding up your end of the deal, you're letting everybody else

down. You're not letting me down. It's not my band. It's your band” (personal communication,

January 18, 2019). The category Pressures that Strengthen Sustained Program Success

contained the following words and phrases: challenging programs, challenging repertoire,

showing budget is well spent as evidenced by awards, winning and success, competitive

program, raising the bar, failure, group dependence on one another, leadership, learning new

things, practicing, program scheduling, creating a new normal, culture, pride, tradition, jealousy

from other programs, judgmental/competitive environment among neighboring schools, lack of

collegial support and appreciation from fellow school districts prompted band members to look

for all support from within program, director was relentless for underclassmen to perform and fill

the shoes of seniors, moral support and leadership from seniors, seniors responsible for success

or failure of program, positive peer pressure, student leadership, students don’t want to let their

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friends down, students relying on each other as part of a family, director’s personal dedication to

the program and guilt.

Director’s professional philosophies/advice. RQ1 and RQ2 were answered by

gathering philosophies and advice that evolved over the course of one’s lived experiences.

Participants were given the opportunity to offer perceptions on the phenomenon of sustained

program success not directly asked through interview questions (see IQ8, IQ9 in Appendix A:

Interview Protocol). The open opportunity produced results related to philosophies and advice.

Some directors’ philosophies were also conveyed as advice. The data were combined to permit

the reader to decide if the data were practical advice or one’s philosophy. Philosophies and

advice were found throughout the collective data. Data pertaining to philosophies and advice

required categorization. That was done to differentiate directors’ practices for sustainable

program success from personal philosophies/advice. An emergent category not directly related

to the interview questions was generated; Directors’ Professional Philosophies/Advice (see

Appendix M: Director’s professional philosophies/advice). After reviewing collective data of

entire transcripts, data pertaining to Director’s Professional Philosophies/Advice was extracted

and placed in that category. Subcategories formed within Director’s Professional

Philosophies/Advice were: (a) Planning and Preparation Related, (b) Personal Development, (c)

Student Related, (d) Rapport Related and (e) Other/Multiple Applicability.

Significant amounts of data related to planning and preparation were found. Therefore,

the subcategory Planning and Preparation Related was formed (see Appendix M: Director’s

professional philosophies/advice). Ms. Barbara encouraged looking ahead to what’s next:

“You're gonna fail, you're gonna make mistakes. It's what you do next” (personal

communication, January 15, 2019). Mr. Scott noted:

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You don't need to know all fingerings, … you don't need to know how to exactly play

piano for everything, but you better be able to think on your feet, … because as much as

you're going with the plan, that plan changes faster than ... a band is an animal, and that

animal just changes instantaneously (personal communication, February 19, 2019).

The subcategory Planning and Preparation Related contained the following words and phrases:

surround yourself with experts, study other programs, establish priorities, know your stuff,

evaluate yourself first, be organized, be prepared, continually develop vision, practice what you

preach, practice at home in front of a mirror, learn every day, always end rehearsal on a positive

note, have a success plan for yourself, consistency is a reflection of the support system, be good

at logistics and planning, assign hours of rehearsal for every piece of music, religiously stick to

your rehearsal schedule, plan your rehearsal time, know how much rehearsal time is needed until

concert, be willing to put in extra time, make a time commitment to the program, have a routine

process, be organized, have your program structured, know where everything is, know how

everything’s going to happen, check calendar for conflicts, work proactively, anticipate, think

ahead, be aware of the precedents set and assess your preparation before assessing the students’

faults.

Significant amounts of data related to the personal development of a director were found.

Therefore, the subcategory Personal Development was formed (see Appendix M: Director’s

professional philosophies/advice). Perfection was a worthy philosophy according to Mr. Celic:

“Everybody’s standards should be perfection. If you aren't shooting for perfection, well my God,

what goal is really worth achieving under that” (personal communication, February 8, 2019)?

Surrounding oneself with experts was a philosophy applicable to life in general as well as the

program according to Mr. Crimson: “Go out into the real world and see exactly what makes a

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good program or a great program tick. Surround yourself with experts” (personal

communication, January 12, 2019). Family support for a balanced life was noted by Mr. Lyons:

“You've got to have somebody at home telling you when enough is enough…because it'll make

you crazy if you let it … It'll … take as much as you're willing to give it and add more” (personal

communication, January 18, 2019). Ms. Barbara noted that staying healthy and exemplifying a

positive image was important:

I don't drink and I don't smoke… I didn't believe in that… [Staying healthy] was

important. I always took care of myself first in that way. I think that's important…You

can't be telling kids not to do things and then they see your name in the paper…and that

wears on the whole community…Being a positive role model [means] taking care of my

body, realizing whether you agree with it or not that your image is important and you

should take ownership in that (personal communication, January 15, 2019).

The subcategory Personal Development contained the following words and phrases: see the good

in everyone, keep enthusiasm going, maintain excitement, be patient, check your ego at the door,

be kind to yourself, take care of your body and health, your image is important, be yourself and

commit to it, be honest and real, be authentic, pick yourself up, own it, be devoted and give it

your all, solve problems on your own, be human, be flexible, have your life structured and check

personal problems at the door.

Significant amounts of data related to students were found. Therefore, the subcategory

Student Related was formed (see Appendix M: Director’s professional philosophies/advice). Mr.

Crimson’s philosophy encompassed contagious enthusiasm for the program: “Get the students

excited about coming in and wanting to keep the program going” (personal communication,

January 12, 2019). Conveying the human element of teaching, not just the technical was

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conveyed by Mr. Lyons: “Students need to know that you're human, and you want to see them

succeed” (personal communication, January 18, 2019). Mr. Celic conveyed a general philosophy

that helped ground him while motivating him towards continued success:

No matter how good or bad you are [as a director], ten percent of the kids are always

going to love you, and ten percent of the kids … are … always going to hate … whatever

you do. So, once I found that out to be true, I forgot about the ten percent that hate me. I

forgot about the ten percent who loved me, and I started looking at that eighty percent in

the middle. … I figured in order to be successful, I wonder how many of those eighty

percent I can get to stop thinking about lunch when they walk into my band room. That

was my goal (personal communication, February 8, 2019).

The subcategory Student Related contained the following words and phrases: give everyone a

chance to succeed, don’t categorize students, don’t limit students, don’t let student limit

themselves, understand where students come from, have a straight conversation with students

about their future choices, let the kids know they’re valued, let the kids know when they do

better, talk to students as they are coming in the room, hold students accountable, be aware of

students’ mental states, make allowances for high school teams and understand what your kids

are going through.

Significant amounts of data related to rapport were found. Therefore, the subcategory

Rapport Related was formed (see Appendix M: Director’s professional philosophies/advice).

Visibility in the community enhanced rapport building according to Ms. Barbara:

You’re never gonna have success or respect if you don’t plant your feet [in your

community]. You have to be in the community. You have to walk the walk. You have

to go into that neighborhood. You have to because you must build trust, and the only

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way you're gonna build trust in today's world is to be with them (personal

communication, January 15, 2019).

Building rapport with coaches was important according to Mr. Scott:

Football coach and band director can be two of the best allies out there. …You just have

to have relationships with people, and not keep yourself in the band room as a hermit

thinking …somehow, it's ... going to happen. It's not. You have to be able to reach out

and have that support from everybody, but the kind of support where you can have open

and honest conversations (personal communication, February 19, 2019).

Establishing an accepting and welcoming environment was Mr. Lyons’ philosophy towards

building rapport: “I always feel like we should put the Statue of Liberty right outside the door

here. It's like…Come one, come all. We'll take you” (personal communication, January 18,

2019). The subcategory Rapport Related contained the following words and phrases: understand

human nature, respect each other’s differences, develop good rapport with boosters, get along

with other music colleagues, have a good relationship with the principal and assistant principals,

have a good relationship with the athletic director, have a good relationship with the football

coach, have integral relationship with the assistant director, build a program that the community

supports, maintain connections, help others be successful, be sociable with other people in your

building and talk with the athletic director.

All data that conveyed philosophies or advice was to be included. Therefore, the

subcategory Other/Multiple Applicability was formed to accommodate data not assigned to other

subcategories (see Appendix M: Director’s professional philosophies/advice). Mr. Lyons

conveyed that having an ample budget and desired resources was not enough to sustain a

program:

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I think you can have the budget, and if you don't have the other things in place, it doesn't

matter. You can have all the horns in the world sitting out there, but if the students aren't

encouraged properly, aren't trained properly, it doesn't matter (personal communication,

January 18, 2019).

The subcategory Other/Multiple Applicability contained the following words and phrases:

winning is not everything, do your best at all times, rules have grey areas, school first, honor

your profession, the program won’t take care of itself, have someone play devil’s advocate, build

a program that supports itself, go at it again, find a way to make it work, responsibility for

sustainability, work out the bugs as you go, know how to work within your school system,

follow proper chain of command, size is not everything and quality is important.

Successful administration communication practices. Data related to administration

was found among all participants’ data. Significant amounts of data indicated administration

communication related practices. Therefore, the category Successful Administration

Communication Practices was generated (see Appendix N: Successful administration

communication practices). The category Successful Administration Communication Practices

was divided into two subcategories; Prior to Meeting and During Discussion.

When participants provided data on communicating with administrative entities, data

pertained to preparation before communicating with administration. Therefore, the subcategory

Prior to Meeting was formed (see Appendix N: Successful administration communication

practices). Ms. Barbara considered the larger needs of the school when making requests:

“Under[stand] that sometimes money need[s] to go different places than [the program]”

(personal communication, January 15, 2019). Mr. Scott encouraged knowing reasons for

requests and preparing for disagreements: “If you disagreed with [administrators], you better

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have a good reason why. Otherwise, you weren't going to ... [get] along well (personal

communication, February 19, 2019). The subcategory Prior to Meeting contained the following

words and phrases: use administration as sounding board, have a plan, approach district before

parents, come with multiple solutions, come with a detailed proposal, know when not to ask,

don’t be afraid to have a conversation, request support-don’t demand, have all your ducks in a

row, have a plan well figured out, anticipate answers/problems/resistance, hold-off when

necessary and be good at logistics and planning.

When participants provided data on communicating with administrative entities, the data

conveyed how to communicate with administration during discussions. Therefore, the

subcategory During Discussion was formed (see Appendix N: Successful administration

communication practices). Respecting administration’s side during discussion improved the

likelihood for positive outcomes according to Mr. Scott:

I respect my bosses, but I'm not afraid to have a conversation with them… I refuse to be

disrespectful to either of them, but I do know, we can disagree, but in the end, they're the

boss. Okay, I can say, ‘Yeah, I'm not real happy with that, but you know what? I

understand where you're coming from, and I get it’. I think that's what has given me the

opportunity to be a little bit more, given more free rank than some others (personal

communication, February 19, 2019).

The subcategory During Discussion contained the following words and phrases: adapt, have

equal respect, use common sense, be a team player, compromise, find middle ground, be

creative, remember that they’re the boss, respect your bosses, think on your feet, be collegial,

state reasons for requests’ importance, seek admins understanding of importance, find a way to

make it work and even when opposed accept proposed compromises.

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Role of the parents. Data related to parental roles was found throughout the transcripts.

Therefore, the category Role of the Parents was generated (see Appendix O: Role of the parents).

The category Role of the Parents was divided into four subcategories; (a) Director Related, (b)

Parent to Parent Related, (c) Support Related and (d) Other.

Data of parental roles directly impacting directors required delineation from other related

relationships. Therefore, the subcategory Director Related was formed (see Appendix O: Role

of the parents). Ms. Barbara conveyed her role as a team member among parents “I was just a

human wanting the best for their child, just as they want the best for their child, and create that

community of teamwork” (personal communication, January 15, 2019). The subcategory

Director Related contained the following words and phrases: buy-in to vision, support program

in achieving vision goals, trust in director’s vision, understand director’s philosophy, share in the

program vision, support director and assist where/when needed.

Data of parental roles directly impacting fellow parents required delineation from other

related relationships. Therefore, the subcategory Parent to Parent Related was formed (see

Appendix O: Role of the parents). The subcategory Parent to Parent Related contained the

following words and phrases: mentoring new parents, team members and support each other.

Data of parental roles directly impacting program support required delineation from other

related relationships. Therefore, the subcategory Support Related was formed (see Appendix O:

Role of the parents). Financial support from parents was essential for Mr. Celic’s program: “I

could not have run my program financially without [the parents]” (personal communication,

February 8, 2019). The subcategory Support Related contained the following words and phrases:

supporting role, fundraising, supportive, raise funds, support the group not just their child,

financial support and help with administrative support.

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All data pertaining to parental roles was to be included. Data not accounted for in other

subcategories required assignation. Therefore, the subcategory Other was formed (see Appendix

O: Role of the parents). Mr. Lyons noted appreciation for proactive parental support, however,

implored following the chain of command:

You need to know how to work within your school, your system…[Parents] come in, and

maybe there's something that they felt needed to happen, and they were ready to organize

parents and go march on the school board. It's like, do not do that in this school district.

That is not going to get you what you want. We need to go through the chain of

command because we're big on chain of command here (personal communication,

January 18, 2019).

The subcategory Other contained the following words and phrases: understand program’s

heritage, not decision makers, not policy makers, understand their role, consider longer range

plans, transportation and logistics.

Support of small group/private lessons for sustained program success. Due to

majority consensus on the importance of group/private lessons for sustainable success, the

category Support of Small Group/Private Lessons for Sustained Program Success was generated

(see Appendix P: Support of small group/private lessons for sustained program success).

Inability to provide lessons to ensemble members hampered Ms. Barbara’s program’s potential:

With us [directors] not being able to give…lessons, you worked your butt off in ensemble

time to get [the students] to the level…you knew they should be at…Administration

[needs] to understand and respect and support that lessons are just as important to these

kids (personal communication, January 15, 2019).

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Having student leaders lead sectionals during school and students receiving private instruction

would improve several aspects of a child’s education according to Mr. Scott:

Knowing that every child [could] have that opportunity [for private lessons] would be

immense. [Private lessons] gives [students] the opportunity to improve [themselves], and

then, improve others, just a cascading effect…[If students were given the opportunity to

independently lead sectionals] …they would realize the immensity of the importance that

they've been given and realize that they're not just being taken for granted. …Whatever

[section leaders] do is going to affect everybody that they’re with. …It would build, not

just an academic side to the music, …, but it would build the familial side, and that in

itself … helps to grow and becomes a [force] in the organization, that … is almost

unstoppable at that point (personal communication, February 19, 2019).

Higher grades of music and improved musicianship could be nourished if all students studied

privately according to Mr. Celic:

[Having all students study privately] would allow me to … do a higher grade of music,

…focus on interpreting the music, getting the kids to blend, and make musical

presentations that would bring the house down, without having to spend so much time on

correct rhythms, intonation, … and … how to be musical (personal communication,

February 8, 2019).

The category Support of Small Group/Private Lessons for Sustained Program Success contained

the following words and phrases: enables director time to improve ensemble performance level,

provides students opportunities for self-improvement, value students and their leadership

capabilities, allows ensembles to perform higher grade of music, frees director to work on

musicality not just technique, enables ensemble to focus on conveying a composer’s vision for

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the music and computers will never be a valid substitute for real one-on-one instruction with a

person.

Evaluation of the Findings

McDonald et al. (2010) asserted that relationships must be examined to fully understand

developmental impacts. Participants were asked how former directors impacted their own

sustainability in the instrumental music education field. Doing so affirmed Koskela and

Schuyler’s (2016) theory that gainful insight into sustainability practices could be obtained by

comparing prior leadership to present leadership. Former director inspirational characteristics,

promoting sustainability, were those earned over time. Demonstrating competence, knowledge,

and musicianship were key to inspiring and motivating students. Those findings aligned with

Wis (2002) who encouraged directors to continuously examine one’s beliefs, philosophies,

experiences, vision and leadership effectiveness.

Regardless of how a former director inspired a future director, all directors had a

common task of getting students to achieve a goal. Grunewald and Salleh (2013) noted that

“there is influence involved in leadership; that is, the leader must be able to convince members

of the group to follow his or her lead toward a common goal” (p. 11). Former director

inspirational personality characteristics converged with Shieh (2008) who noted that directors

who exemplified emotional intelligence could solidify sustainability practices in students.

Significant findings of note for an ideal program were support for group/private lessons

and comprehensive music programs. Achieving such ideal programs would involve

communication and trust between the director and extended program communities. Thies (2013)

noted that “…band is grounded in the tradition of public performance and creating school spirit,

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band programs depend on student involvement, public support and administrative priorities” (p.

2).

Success was relative to one’s definition of success. Directors’ definitions of success were

linked to students sustaining music in their lives. Acklin et al. (2014) affirmed those findings by

purporting that success should be considered beyond an ensemble’s awards or recognitions.

Those findings diverged from existing research which defined success according competitive

results (Biggs et al., 2010). Directors’ definitions of success differed yet agreed that contest

results did not play a prominent role in one’s definition.

Director sustainability in the field was due to one’s individual work-ethic and ability to

positively maintain interrelationships. Conger (2013) concurred noting that “few researchers

today actually examine leadership from a sociological lens” (p. 79). Personality inspired a

director’s sustainability in the field while exemplified work-ethic promoted one’s sustained

success. Personality characteristics and exemplified work-ethic were essential for sustained

program success according to Prieto (2013). Work-ethic related findings converged with Fischer

and Hedgecoth’s (2014) theory that work-ethic was linked to sustainable success.

Sustained program success went beyond directors that included interrelationships within

a program. Those findings affirmed Hernandez et al.’s (2014) notion that “relationships

determine how … a leader’s perceived personal credibility and competence…can affect follower

trust” (p. 1873). Collaboration among extended entities was found to affect sustained program

success. Buteau et al. (2014) affirmed those findings and noted ongoing program challenges

“including attracting talent…growing leadership…and the need to develop upcoming

generations of leaders” (p. 69).

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Furtek (2012) contended that successorship was the keystone to building organizational

sustainability. However, directors did not relay successorship considerations when speaking of

sustainability. Keystones to program sustainability included the director’s competence and

knowledge, all entities buying in to a director’s vision, having seniors and student leaders bear

the responsibility for the success of a program and the director as the key that holds a program

together. Managing the integrity of what one considered a program’s keystone was found to be

commensurate with long-term planning initiatives. Though Jegers and Wellens (2014) promoted

long-term planning initiatives for organizational sustainability, directors in this study considered

long-term planning incoming freshman through seniors or four-year increments. Faulk et al.

(2015) might argue that four-year incremental planning was not sufficient enough to build a

reputation and establish trust with program entities. Fisher (2010) would argue that as long as

responsibilities for keystones were clearly presented and understood by all parties, the timeline

would be a secondary consideration.

Planning and preparation were found to be particularly important when communicating

with administration. Morrison (2013) affirmed study findings regarding director challenges

associated with administration communication. Furthermore, Bush and Glover (2014) noted the

importance of directors as leaders to serve as catalysts in communication with administration.

Those findings converged with Schmidt’s (2012) account that “teachers…have little control over

their own fate [and that] leadership is a notion more comprehensive and complex than

management, and directly attached to how we construct our own notions of professionalism” (p.

222). Professionalism encompassed knowing who to talk to, how to approach them and more

importantly, when to approach and make requests. Knowing proper chain of command, how and

when to communicate was learned through trial and error from years of experience. Popa (2012)

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affirmed those findings and stated that “leadership…qualities need to be developed, knowledge

needs to be acquired and most of all, experience needs to be accumulated” (p. 123).

Obtaining clear cut roles for parents within a program was found to be commensurate

with program support or hindrance. Due to the nature of a program, changes affected families,

not just the students. Morrison (2013) affirmed the need for collaboration with parents for a

successful program adding that “there is a significant difference between leadership and

management [and that]…change must be holistic, systemic and dynamic and utilize a

multidirectional approach in order to be successful” (p. 413).

Student leadership roles, such as leading sectionals and small group instruction, were

found to significantly impact the sustainable success of a program and students’ lives in general.

Utilizing in house talent for more than musical benefits was echoed by Boies et al. (2015) who

stated: “Inspirational motivation and intellectual stimulation leadership behaviors may serve to

create a more open and accepting group climate where members are free to put forth new ideas

and speak freely” (p. 1090). There was director consensus that overall musicianship and level of

repertoire would be enhanced by student lead sectionals, small group and private lessons. Shieh

(2008) affirmed those findings adding that student led small group instruction with professional

guided instruction, offered unique opportunities to cultivate leadership.

Pressures that strengthened program sustainability were uniquely attributed to the

cultures and environment within that program. Those findings affirmed Fernandez (2011) who

noted that organizational cultures were unique, evolved and changed over time and that effective

leadership required learning and adapting to such developments.

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Relationships involving students, parents and administration were found to present

significant challenges to program sustainability. Karalar and Unsar (2013) affirmed those

challenges adding that director “leadership is about effecting, motivating and enabling

…individuals to contribute to [a program’s] success and efficiency” (p. 47). Perhaps Austin

(2017) would consider such relationship building challenges as advocacy endeavors. Asking and

answering parents’ questions and parents trying to manage a director presented unique

challenges. Cleveland-Innes and Orr (2015) noted that “the leader is less important than the

questions she or he asks” (p. 237). Challenges associated with realizing ideal programs,

converged with research indicating that directors and their programs were not adequately

supported to achieve ideal programs (Eros, 2012; Groulx, 2016).

Challenges related to students and student scheduling were found to be significant

challenges out of a director’s control. Odegaard (2016) affirmed that challenges related to

students went beyond directors’ capabilities which included cultural and environmental factors.

Pressures on students such as family and financial circumstances, multiple course offerings and

high academic standards were often out of a director’s control. Carey and Lebler (2012)

reiterated academic pressures on students in that expectations “[have] been rapidly

changing…requiring [students] to be increasingly flexible, creative and technologically

literate…and adapt readily to change” (p. 315). Directors were faced with the difficult choice of

advocating for one’s program or what was in the best interest of a particular child’s future

regarding course selection.

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Summary

The purpose of this research was achieved by investigating experienced high school band

director perspectives on sustainability for a successful instrumental music program. The

problem was addressed by finding factors that affected instrumental music programs’

sustainability and success. RQ1 was answered by interviewing directors meeting the study

criterion. RQ2 was answered by focusing interviews on the phenomenon of sustained program

success. Sustainable leadership, used as the theoretical framework, focused the data collection

on directors as leaders of the program. The conceptual framework focused data analysis on the

concept of understanding success from those who achieved it.

Several categories were needed to accommodate the complex interrelationships within a

program. Interrelationships among directors and extended entities significantly affected the

sustainable success of a program. Relationships among students, administration and parents

could influence sustainability practices either positively or negatively depending on the culture

of trust and cooperation established. The same inspiring characteristics of former directors

manifested in the participants creating a cyclical effect of sustained success practices. Although

current research trends on successful programs were based on awards and recognition, no

participants defined success as such in this study (Acklin, 2014; Biggs et al., 2010). Success

from directors’ perspectives was based primarily on students sustaining music for life.

Director’s sustained success was influenced by one’s work-ethic and ability to form and maintain

trusting relationships. Student leaders were found to significantly affect sustained program

success. Challenges to sustained program success concerned the relationships among the

directors, students, parents, administration, community and staff. Although participants

answered that they had a substantial amount of control and did not feel powerless, there were

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several challenges out of a director’s control regarding students’ personal lives, administration,

and scheduling.

The keystone to program sustainability was found to be uniquely identified by each

participant. Some challenges to sustained program success were found to be pressures that

strengthened sustainability such as peer accountability, challenging repertoire and working

through failure. Directors’ visions for an ideal program were related to trusting and supportive

relationships among students, staff, parents and administration. Significant findings of note for

an ideal program were support for group/private lessons and comprehensive music programs.

Successful administration communication practices required preparation before meetings and

proper mindfulness and awareness during meetings. The roles of parents significantly affected

program sustainability. Group lessons during school and private lessons out of school were

found to significantly impact the progression of an instrumental music program. Overall

findings indicated that in order to understand the sustainable success of a program, one must

understand the interrelationships associated within that program.

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Chapter 5: Implications, Recommendations, and Conclusions

The problem addressed by this qualitative phenomenological study was that

unsustainable instrumental music programs had substantial negative impacts affecting students,

schools and extended communities (Austin, 2017; Hancock, 2016). Sustainable leadership

theory was adopted to examine the problem from program leader perspectives (Kosempel &

Wilson, 2016). Gaps in research remained linking band program sustainability of excellence

with how such accomplishments were made possible (Acklin et al., 2014; Edgar et al., 2014).

The study problem was addressed by gathering expert experiential perspectives on the

phenomenon of sustained program success from the program leader, the director (Angeline,

2014; Edgard et al., 2014; Gillis, 2011). A conceptual framework addressed the problem by

focusing on successfully sustained programs to discover what worked well in hopes of

cultivating similar outcomes (Cai & Ding, 2017; Fischer & Hedgecoth, 2014).

The purpose of this qualitative phenomenological study was to discover the lived

experiences of high school band directors who sustained instrumental music program success.

Qualitative phenomenological research methods were used in this study. Qualitative data were

derived from interviews centered on the phenomenon of sustained instrumental music program

success from directors who achieved it. The following research questions guided the research

process.

RQ1. What are the lived experiences of high school band directors from a successfully

sustained instrumental music program?

RQ2. How did experienced high school band directors perceive instrumental music

program success and sustainability?

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Results were found by analyzing interview transcripts individually then collectively to

discover common threads among the data to generate categories (see Appendices C-P). Several

categories were needed to accommodate the complex interrelationships found that affected a

program’s sustainable success. Interrelationships among directors and extended entities were

found to significantly affect the sustainable success of a program. Overall findings indicated that

in order to understand the sustainable success of a program, one must understand the

interrelationships associated within that program. Sustainable program success was dependent

upon a director’s ability to positively cultivate, build, nourish and maintain those relationships.

Limitations to this study were the limited number of participants (N=5), limited diversity

among participants and non-observance of teaching. The limited number of participants was

mitigated by depth of data obtained from expert experiential knowledge (West, 2014). Diversity

limitations were reduced by obtaining one female and four males, one private school in an urban

district, two public schools in an urban district and two public schools in a suburban district.

Directors’ years of experience in the field of music education ranged from 29 to 47 years (see

List of Tables). Non-observance of teaching was mitigated by gathering phenomenological data

based on one’s experiential knowledge throughout one’s journey towards chosen profession.

Implications will be discussed as they relate to RQ1 and RQ2. RQ1 and RQ2 will be

used to organize discussion of concluding results relative to scholarly literature, the study

problem, purpose and frameworks. Recommendations for future practice will be discussed.

Applicability of the findings will be noted. Based on the findings, recommendations for future

research will be discussed. Improvement recommendations will be noted followed by next

logical steps. This chapter will conclude with a summary of the study, its importance and how it

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addressed the problem and accomplished the purpose. Final thoughts for academic institutions

will conclude this chapter and the study.

Implications

Implications will be discussed relative to RQ1 and RQ2 followed by emergent categories

addressing both RQ1 and RQ2. RQ1 and RQ2 will be used to organize discussion of concluding

results relative to scholarly literature, the study problem, purpose and frameworks.

RQ1. What are the lived experiences of high school band directors from a

successfully sustained instrumental music program? RQ1 was answered by forming a

comprehensive picture of a director’s journey, from their inspiration for chosen profession, to

their sustained involvement and program’s success. Doing so addressed gaps in research, from

directors’ lived experiences, that connected one’s sustainability in the field with how that

sustainability was possible (Acklin et al., 2014; Edgar et al., 2014). Gathering lived experiences

from directors addressed the study problem of unsustainable programs associated with director

attrition, director turnover, student participation, communication challenges, lack of

administrative support and program reductions or expurgation (Austin, 2017; Carlsson et al.,

2014; Conway, 2012; Hancock, 2016). The purpose of the study was achieved by gathering

experiential knowledge regarding factors that affected one’s sustained involvement in the field

and subsequent program sustainability. The sustainable leadership theory framework was used

to focus on lived experiences of high school band directors from a successfully sustained

instrumental music program (Kosempel & Wilson, 2016). The conceptual framework was used

to focus those lived experiences on factors that affected one’s sustained involvement in the field

and one’s sustained program success (Fischer & Hedgecoth, 2014).

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Director sustainability in the field was due to respect earned over time. Demonstrations

of competence, knowledge, talent capabilities and musicianship from former directors inspired

one’s continued involvement in music. Those findings aligned with Biggs et al.’s (2010)

findings that successful directors “motivate students, … maintain high musical standards, …

display a high level of musicianship, … and [are] knowledgeable of subject matter materials” (p.

377). Furthermore, Gavin (2012) found that “the school music teacher surfaced as being an

incredibly important figure in students’ lives [and who students] …hoped to emulate…in every

way” (p. 315).

Discovering directors’ inspirations and motivations for sustaining music in their lives

addressed the study problem associated with lack of motivation and participation rendering a

program unsustainable (Carlsson et al., 2014). Angeline (2014) noted that “music teachers

strengthen their position as educational advocates by increasing feelings of relatedness toward

the profession” (p. 53). Knowing why directors chose the profession achieved the purpose of the

research; to understand sustained program success, beginning with a director’s sustained

involvement. Sustainable leadership theory was used as the framework to discover what

characteristics of director leadership influenced one’s decision to choose the profession and

sustain music in one’s life. The conceptual framework of understanding positive outcomes in

order to cultivate similar outcomes, was used to focus analysis on the phenomenon of sustained

program success. Obtaining lived experiences of a director’s initial inspiration for chosen

profession highlighted the beginning of a director’s journey towards one’s sustained success.

Directors noted that programs were not adequately supported to achieve ideal programs.

Lack of comprehensive music programs, unknown incoming musicianship levels and lack of

support and scheduling for private/group lessons were found to impede ideal program

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realization. Duckworth and Robertson-Kraft (2014) noted that ‘true grit’ could overcome

challenges. However, some challenges to achieving an ideal program were found to be out of a

director’s control regardless of one’s ‘true grit’. Pressures on students, changing family

dynamics and cultural environments were found to significantly impact a program and were out

of a director’s control. Building and maintaining successful relationships were found to

significantly impact the path towards an ideal program. Gray (2012) attested that “relationships

are central to thriving and the oxygen of life” (p. 28). Benn and Metcalf (2013) noted that

building and maintaining relationships throughout an organization required “many broad

complex adaptive systems and must use leadership to be adaptive to the demands of those

systems” (p. 378). Perhaps Benn and Metcalf (2013) were suggesting that directors carve a path

towards an ideal program by adapting to the needs of a program’s complexity. One could posit

that a program’s needs towards idealism may not align with the overall needs of program

supporters. Perhaps achieving an ideal program would involve charting the ideal path using a

program’s community needs to build the foundation. Ideal programs were found to be

unachievable in a school environment satisfied with the status quo. Striving towards an ideal

program was found to be possible if directors successfully established relationships and garnered

vision buy-in from all program entities, especially administrations.

RQ2. How did experienced high school band directors perceive instrumental music

program success and sustainability? RQ2 was answered by gathering director perceptions of

instrumental music program success and sustainability. Doing so addressed gaps in research,

from directors’ perspectives that connected sustainability of program success with how that was

possible (Acklin et al., 2014; Angeline, 2014; Baumgartner & Silvey, 2016). Gathering director

perspectives on the phenomenon of sustained program success, addressed the study problem of

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unsustainable programs associated with student participation, student retention, community

support, parental support and lack of administrative support resulting in program reductions or

expurgation (Austin, 2017; Carlsson et al., 2014; Conway, 2012; Hancock, 2016). The purpose

of the study was achieved by gathering director perspectives on factors that affected sustainable

program success. The sustainable leadership theory framework was used to focus on lived

experiences of high school band directors from a successfully sustained instrumental music

program (Kosempel & Wilson, 2016). The conceptual framework was used to focus those lived

experiences on factors that affected sustained program success from directors who achieved it

(Fischer & Hedgecoth, 2014).

Students sustaining music in their lives dominated directors’ perceptions of success and

what success meant to them. Contest results did not play a prominent role in one’s definition of

success. However, having a successful program did contribute to increased program support.

Instrumental music programs possessed unique capabilities to develop leadership and promote

student success in other areas of life (Leshnower, 2008). Directors noted that students who

excelled in instrumental music also excelled in other activities. Fischer and Hedgecoth (2014)

noted that directors who showed “support for music students’ nonmusical endeavors…will most

likely find themselves the recipient of others’ appreciation and support” (p. 57).

Director sustainability in the field was due to one’s individual work-ethic and ability to

positively maintain interrelationships. Findings converged with emotional intelligence research

purporting that success or failure as a leader was due to one’s capacity for “self-awareness, self-

management, social-awareness and relationship management” (Doe et al., 2015, p. 105). Gillis

(2011) differed by attesting that “only through the development of basic administrative skills can

educators become efficient contributors to the musical growth of their students” (p. 35). One

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could question whether a director would argue that communication or having administrative

skills were unimportant. However, sustained program success was found to be directly linked to

positive communicative outcomes. Personality traits garnering student trust, and actions

promoting communication with students, contributed to a director’s sustained success.

A director’s authentic personality and open-door policy for communication was found to

promote sustained program success. Lidh (2013) concurred noting: “Perhaps the most important

aspects of communication are openness and honesty” (p. 253). Hallam (2011) noted the

importance of building partnerships and that “trust is…a key concept in effective partnerships”

(p. 161). However, Jegers and Wellens (2014) noted that although partnerships were important,

leaders or directors in this context, were ultimately held accountable for decision-making. Trust

of the students was found to be enhanced by students feeling that they had a voice in decision-

making. Trust between directors and students and students among each other was found to affect

program sustainability and success. Trust was earned through students believing in a director

and their vision.

A director’s passion for music was found to promote program success and sustainability.

Conveying one’s passion to a program’s community required concerted work-ethic. Minckler

(2014) reinforced the importance of the director as role model. Passion, combined with

positively exemplified work-ethic, significantly affected students sustaining music in their lives.

Organizational leadership literature noted that volunteers and other program supporters were

more likely to remain committed when efforts “related to self-acceptance, autonomy, … purpose

in life and personal growth” (Chacon et al., 2013, p. 298). Perhaps Chacon et al. (2013) was

suggesting that in order to obtain needed support from program communities, directors would

need to connect support with purpose. Study findings converged with Cummins and O’Boyle

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(2014) who noted; “highly committed group leaders were more influential than leaders

displaying intrinsic leader skills” (p. 31). A director’s self-motivation and individual work-ethic

alone were not sufficient enough for long-term program support and sustainability (Cummins &

O’Boyle, 2014). Specifically, nurturing relationships with students, student leaders,

communities, administration and parents promoted program support and successful efforts.

Program success and sustainability were affected by a director’s ability to successfully navigate

challenging relationships.

Building positive relationships among students, parents, administration and faculty

promoted sustained program success. Trust was a key component to building those positive

relationships. Trust was gained through authentic and caring leadership of the director.

According to Christensen et al. (2012) an organization’s “power dynamics are sharply affected

by how the teachers perceive the dominant culture” (p. 77). Perhaps Christensen et al. (2012)

would suggest that directors were responsible for establishing a dominant culture as one of trust.

Hallam (2011) affirmed the importance of garnering faculty trust; “The support and

encouragement of school staff help drive a project and related activities…and raise the profile of

the project and…the levels of progress being achieved” (p. 165). Furthermore, Hallam

contended that “teachers’ involvement offers the opportunity to share skills and knowledge and

provides possibilities for the continuity of similar projects” (p. 165). Directors proactively

building and maintaining positive relationships was found to reduce feelings of isolation. Those

findings directly addressed the study problem associated with director attrition due to feeling

isolated (Angeline, 2014; Barrett, 2012).

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Leading by example, in and out of the band room setting was found to significantly

promote trust within a program’s community. Program communities, including parents,

administrators and faculty needed to know that their support was an investment and that funds

were well spent. According to Jorgensen (2010), “needs of our students…relate to all of the

other interested parties to this education: parents, guardians, extended family members,

administrators, colleagues, politicians, those who hold the educational purse strings, and

members of the public who are interested in music education as a part of the wider cultural

education” (p. 22). Perhaps Jorgensen (2010) was implying that directors must advocate, or

rather defend one’s program to all extended entities. The importance of director exemplified

advocacy was echoed by Phillips (2016) who noted; “Great music programs always have great

leaders. Teachers who put students first and are constantly trying to improve the musical

environment for the entire community increase the number of students involved” (p. 40). One

could question whether successfully doing so with all entities involved was a utopian ideal.

Gathering support through advocacy efforts was found to be feasible yet challenging.

Challenges for new directors could involve “experienc[ing] a sense of vulnerability and

uncertainty as they seek to learn the culture of the organization and their roles in relation to other

members, and to establish themselves as valued members” (Hannah et al., 2013, p. 1148).

Program sustainability, from Hannah et al.’s (2013) perspective, suggested establishing oneself

and one’s value to a community as a harmonious partnership. Establishing clear policies,

understood and agreed to by all parties was found to improve sustainability efforts. Directors

conveyed that parents were often not aware of the complex issues and responsibilities entailed in

sustaining a successful program. Parents could positively or negatively affect a program

depending on a director’s ability to garner vision buy-in and trust. Chacon et al. (2013) noted it

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was “essential…that volunteers experience a feeling of engagement or an energetic and affective

connection with their work” (p. 300). Directors noted that even if students bought-in to a

program’s vision, the parents needed to be convinced for the vision to come to full fruition.

Those findings affirmed Phillips (2016) who noted that successful programs required “a clear

recruiting strategy that entices students and parents to participate” (p. 40). Directors with a

parental perspective were found to promote successful communication with parents.

Discovering communication factors that affected program success and sustainability addressed

the study problem by gathering data related to directors’ lived experiences related to

communication challenges impacting program sustainability. The purpose of the study was

achieved by gathering lived experiences related to communication within a successfully

sustained program. The sustainability leadership framework was used to focus analysis on

communication from directors’ perspectives. The conceptual framework was used to focus

analysis of directors’ perspectives on communication that affected sustained program success.

Communication efforts were perceived by directors to be within one’s control. However,

several factors obstructing program success and sustainability were found to be out of one’s

control. Specifically, changing student cultures and expectations, financial burdens, micro-

managing parents, administrative lack of program realities and student scheduling were found to

present significant challenges to program sustainability. Thies (2013) affirmed those challenges

and noted: “Balancing…student involvement, public support and administrative

priorities…while maintaining an educational purpose within secondary band programs can be

challenging in the current state of educational prioritization” (p. 2). Gathering director

perspectives on successful outcomes, despite challenging contexts further addressed the problem

of this study regarding unsustainable programs. Chikoko et al. (2013) attested that “instructional

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leadership practices that work in challenging school contexts… should be examined …and

understood in order to overcome challenges in the future” (p. S137). The conceptual framework

used in this study directly aligned with Chikoko et al.’s (2013) sentiment.

Keystones to program sustainability included the director’s competence and knowledge,

all entities buying in to a director’s vision, having seniors and student leaders bear the

responsibility for the success of a program and the director as the key that holds a program

together. Managing the integrity of what one considered a program’s keystone was found to be

commensurate with long-term planning initiatives. Long-term planning was considered

incoming freshman through graduating seniors. Grunewald and Salleh (2013) posited that

“organizations need both strong leadership and strong management for optimal effectiveness” (p.

13). Managing one’s relationships was found to be synonymous with managing one’s program.

Perhaps, long-term success was more a matter of management than leadership according to

Grunewald and Salleh (2013).

Emergent categories answering RQ1 and RQ2. Pressures found to strengthen program

sustainability were uniquely attributed to the cultures and environment within that program.

Specifically, challenging repertoire, learning through failure, demanding improvement and

positive peer pressure as members of a team in an ensemble. Schmidt (2012) affirmed the effect

of peer pressure towards group goals; “Compelling vision empowers others to excel…to which

individuals and organizations are bonded together by common commitment” (p. 225). Popa

(2012) warned that leadership positions did not necessarily equate with leadership skills.

“[Leadership] qualities need to be developed, knowledge needs to be acquired and most of all,

experience needs to be accumulated” (Popa, 2012, p. 123). Upperclassmen were often placed in

leadership positions. Morrison (2013) would argue that placing upperclassmen in leadership

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positions could harm the group rather than help them. According to Morrison (2013), once a

student assumed a leadership position, their social hierarchy changed and could negatively affect

one’s sustainability in the program. Conger (2013) combatted social hierarchy challenges by

noting “many of our leadership constructs fail to identify leadership as a process that is a) highly

contingent, b) multi-directional, and c) only sometimes heroic in nature” (p. 80). Perhaps

Conger was suggesting that directors design leader selection processes contingent upon group

input and agreement. Group accountability was found to be a motivating pressure. One could

question whether a group accountability environment was inherently present in an ensemble or if

it was the responsibility of the director to create such an environment. Prieto (2013) argued that

“you can’t motivate anybody. The best you can do is create a climate for motivation” (p. 210).

Director philosophies and advice were found throughout the data collection and analysis

process. Planning and preparation and personal development dominated directors’ philosophies

and advice. Sustainable program success was linked to one’s ability to plan and prepare

efficiently. Long-term goals and vision were important for sustainability. Being mindful of

future programs and preparing for program sustainability amidst graduations and normal attrition

rates was echoed by Montemayor (2014) who found that “rehearsal effectiveness and ensemble

performance quality [was]…related to…students’ long-term music skill development” (p. 44).

Furthermore, Montemayor (2014) highlighted “the importance of developing fundamental

performance skills…beginning at the earliest stages…and continuing throughout

[one’s]…ensemble experience…for the success of the ensembles…and the conductors who

rehearse them” (p. 44).

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Planning and preparation were found to be particularly important when communicating

with administration. Knowing how to communicate and when to approach impacted request

approvals. Being mindful of a district’s needs, not just the program’s was found to be an

important consideration when making requests for one’s program. Evarts et al. (2015) noted that

“leaders need a new understanding of complex issues and new approaches to sustainable

leadership” (p. 692). Moreover, that directors must “develop…capabilities and competencies to

improvise, adapt, innovate and be creative… [in order to] …problem-solve” (Evarts et al., 2015,

p. 693). Problem-solving entailed knowing proper chain of command, and how and when to

communicate. Conway (2012) noted that institutions did little to prepare future directors “for

understanding the macro and micro-political landscapes of schools” (p. 72). Political landscapes

involved multiple entities. Parents and administrators were primary entities whose support could

make or break a program. Administrators were noted as being out of touch with the realities of

what a successful program needed. Conway (2012) reiterated that administrations “know very

little about how best to provide support for music teachers throughout their careers” (p. 74).

There was participant consensus that effective communication for problem-solving was learned

through trial and error from years of experience. One could question whether such

communication practices could be taught and/or learned. Perhaps the error part of trial and error

learning could be assuaged through proper training and learned behaviors.

Obtaining clear cut roles for parents enhanced sustainability efforts. Parental support was

anticipated by the researcher to be a contributing factor towards success and sustainability.

However, parents were found to significantly affect a program positively or negatively

depending on the level of trust established with the director. Earning parental trust and

establishing parental roles as team members supporting a director’s vision was found to

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significantly promote program success and sustainability. Those findings were surprising given

that the majority of undergraduate instruction emphasized conducting and pedagogy techniques

(Baumgartner & Silvey, 2016; Biggs et al., 2010). Not one director mentioned conducting

technique as a contributing factor toward program success or sustainability. Furthermore, neither

pedagogy nor specific instructional techniques were mentioned in any interviews. Directors

conveyed that knowledge and competence were important factors. However, knowledge of

people and competence regarding relationship building was found to be more valuable for a

successful sustainable program.

Addressing student needs, regarding leadership roles was needed if directors’ visions for

an ideal program were to reach fruition. Student leadership roles were found to significantly

impact the sustainable success of a program and students’ lives in general. Specifically, student

leaders leading sectionals and small group instruction. Those findings converged with Hruska

(2011) who noted; “Student leadership is…the hidden motivational gem in…education that can

intrinsically motivate some students to strive for higher levels of personal and academic

achievement” (p. 7). Furthermore, Boies et al. (2015) attested that student leaders who inspired

and motivated others through exemplified musicianship and intellect “create[d] a more open and

accepting group climate where members [were] free to put forth new ideas and speak freely” (p.

1090). Student leaders working in tandem with peers in an ‘open and accepting group climate’

was viewed positively by the participants. However, Ford and Ihrke (2016) warned against

creating a group-think mentality. Ford and Ihrke (2016) contended that working through

conflicts offered the greatest opportunities for growth and improvement. Instrumental music

uniquely addressed dissonance according to Epstein and Makowski (2012); “Music would not

speak if it were devoid of dissonance” (p. 294). One could posit the same to be true of

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communication from student leaders to their peers. Progress may only be achieved by working

through the dissonance of communication.

Finding that student leaders were important for a successful program was anticipated.

However, discovering the level of student leader importance and the difficulty in utilizing in

house talents was unexpected. Specifically, school policies prohibited student leaders from

working independently with peers. Furthermore, that students were not able to practice

independently at school without certified instructors present. District policies and budget

restrictions hindered student leaders’ potential. Although directors conveyed that such an

environment was not conducive towards musicianship improvement, a director’s passion for

music was found to circumvent district and budget restrictions. Directors’ philosophies and core

values were absorbed by the group, even if not explicitly stated by the director. Translating

one’s love of music and passion for the vocation was equally important. Directors sought

student leaders who were extensions of that love and passion. Student leaders’ embodiment of a

director’s passion for music was found to be vital for program success and sustainability.

Increasing numbers and having the program accessible to all was positively viewed by all

participants. Increasing numbers was viewed as an opportunity for more students to take on

leadership roles.

Guidance, direction and supervision were needed even when tasks were delegated to

student leaders. Directors needed to guide, direct and supervise student leaders to reduce hubris

and embody humility according to Larsson et al. (2014). Larsson et al. (2014) noted: “Leaders

who overestimate their abilities have been found to have the lowest level of leader effectiveness”

(p. 98). Those findings converged with Guenter et al. (2017) who contended that effective

leadership required plasticity and balancing student leader accountability with the needs of the

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ensemble and one’s peers within. Eacott (2010) diverged slightly, adding that directors were

ultimately held responsible for the actions of their followers; student leaders included. One

could question whether directors could supervise all student leaders at all times if instruction

were delegated. Trust was a significant component to enabling delegation of instruction to

student leaders. Building trust between student leaders and their peers was a “social process and

learned behavior” according to Corrigan (2013). Directors would need to establish the social

process and teach desired behaviors of student leaders for delegation to be successful (Corrigan,

2013). Achieving successfully sustained programs required a climate of open communication

and trust established by the director and embodied by the students, student leaders, parents,

administration, community and extended entities within a program.

Recommendations for Future Practice

Undergraduate curriculum focused heavily on pedagogy, musicianship, conducting,

curricular and instructional methods (Dodson, 2014; Draves, 2013; Eros, 2012). Directors were

unprepared at the beginning of their career for creating a successfully sustained program. The

most important skills for a successful sustainable program and career were learned through trial

and error over years of experience. Factors related to communication were found to be essential

for a successfully sustained program. Future practice should incorporate found effective

communication practices into undergraduate curriculum and professional development for future

directors. Specifically, effective communication for parental support and administration

regarding requests. Data found in this study could provide band directors with meaningful

professional development geared towards success and sustainability (Bottery et al., 2012).

Directors could use the findings in this research to advocate for one’s program, specifically the

needs for student lead instruction, comprehensive music programs and group/private lessons.

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Recommendations for Future Research

Considering that rapport significantly affected program success and sustainability, future

research should examine the phenomenon of sustained program success from various

perspectives. Ideal programs from director perspectives could be compared to parental, faculty

and administration perspectives. Ideal program, program success and sustainability data found in

this study could be used to design a Likert style descriptive survey. The survey could be used as

the basis for future perception assessment research on the phenomenon of sustained program

success. The same Likert style descriptive survey method could be used to determine role

perceptions. Future research could use the data found in this study regarding parental, faculty

and administrative roles to design a mixed-method study. Descriptive qualitative data could be

used to determine role perceptions. Likert scale data could then be analyzed quantitatively to

determine correlations among the data. Directors would be able to see how closely one’s desired

roles aligned with each party. For example, a director may convey that the parents’ primary role

is to be supportive and assist when asked. Parents may convey that their primary role is to guide

the director in making the best decisions for their children. Directors equipped with such

knowledge could better prepare for teambuilding with parents. Compromises and teamwork

could be enhanced through knowing where each party stands regarding one’s role in the

organization. The same theory for teamwork could be applied to faculty and administration.

Boies et al. (2015) affirmed the benefits of teamwork noting that communication and trust

among all parties enhanced team performance and creativity. Identifying roles of extended

entities would assist collaboration efforts according to Edgar et al. (2014).

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Next Steps. The next steps for researchers would be to improve upon this study by

creating a Likert type survey based on the categories formed for distribution to a larger

population (Rhine, 2015). Higher educational institutions could use the data from this study to

design more pertinent, applicable, useful and meaningful curricula for future band directors as

recommended by Burk and Olsen (2014). Since no participants defined success according to

awards and contest ratings, the next step would be to replicate this study using the collective

definition of success discovered; students sustaining music in their lives.

Necessary skills for a sustainable program were learned through years of experience

according to the participants in this study. One could question whether such experiential

learning could be achieved through instructional methods. Leonard et al. (2012) contended that

“certain aspects of emotional intelligence can in fact be taught” (p. 26). Could institutions teach

what was learned through trial and error experiences? There are leadership, management, public

speaking and communicating with difficult people seminars and workshops available through

various organizations. Institutions could use existing workshops as a framework for designing

director specific professional development. Future band directors, equipped with preparation

geared towards success and sustainability, would enable programs to flourish and inspire the

next generations (Shieh, 2008).

Conclusions

The research problem was addressed by gathering experiential knowledge from expert

band directors. The purpose of this research was achieved by gathering expert band director

perspectives on factors that affected program success and sustainability. Discovering factors that

affected the success and sustainability of band programs was significant in providing a

foundation for meaningful undergraduate curriculum, higher education and professional

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development of band directors (Edgar et al., 2014). Using sustainable leadership theory to focus

on the lived experiences of successful directors provided meaningful data on the beginning of a

director’s journey to one’s sustained involvement (Kosempel & Wilson, 2014; Kerres, 2013).

Effective communication with all program entities was found to significantly promote

sustainability efforts. A conceptual framework enabled understanding of program success and

sustainability from those who achieved it (Fischer & Hedgecoth, 2014). Knowledge and

competence regarding musicianship was found to be important yet secondary to knowledge of

people and competence regarding effective communication.

Previous research on successful band directors was based on awards and contest ratings

(Biggs et al., 2010; Edgar et al., 2014). Not one director in this study defined nor considered

success based on awards or contest ratings. That discovery was significant in understanding

director motivations for program success and sustainability. This study was important because

band director voices were heard, thus filling research gaps and calls for expert director

perspectives (Angeline, 2014). Furthermore, discovering how directors defined success and

factors that affected program success and sustainability provided valuable information for future

directors to learn from, improve and emulate. Ideal programs could become a reality if future

band directors, institutions, administrations and parents knew how important a sustainable music

program is and how it can be attained.

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Appendices

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Appendix A: Interview Questions and Protocol

Participant # 1__________________ Date______________Time_______________

Location of Interview __________________________________________________

Interviewer:
Hello, my name is Maryann Capone-Raschilla. Thank you for your time and sharing your
experiences and expertise regarding the success and sustainability of your band program. It is an
honor and a privilege to learn how your program’s success and sustainability were made
possible. I will begin with a few sound and equipment checks to make sure everything is in
proper working order. Then I will review the research procedures and ethical assurances with
you so you may ask questions or seek clarification if needed. The interview will begin once all
procedures have been reviewed. After the interview has been transcribed, I will send you the
transcripts via email to confirm accuracy within two weeks after our interview. You may include
additional comments or amendments to transcripts via email. You will have two weeks to return
approved/amended transcripts. I will send you a copy of the completed dissertation once
completed and approved if requested. The purpose of this research and these following
questions are designed to understand your mind as a director of a successfully sustained
instrumental music program.

Lived Experiences: Success

The first round of interview questions deals with your lived experiences as a director of a
successfully sustained program. The questions are geared to understand your perceptions of
success as a band director over the course of your tenure as well as your day to day experiences.

Lived Experiences: Perceptions

The second round of questions are designed to gather your perceptions on the sustainability of
your program. The questions are geared to understand what success and sustainability mean to
you; as a director, a musician, educator and person.

Questions on Success
1. I am assuming that you had at some point a formidable director or teacher who inspired
you to choose this vocation.
a. Please describe the characteristics of that director/teacher and which of those
characteristics resonate with the success of your program and why?
2. You were chosen as a participant based on the sustained success of your program. Why
do you think your program was successful?
3. I would like you to paint a picture for me. Let’s start with a pyramid. I would like you to
describe your program support system in layers. The bottom of the pyramid would

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represent what you have the most of but is the least important since it is at the bottom.
The top on the other hand represents what you have the least of and is most important.
a. What would you put at the bottom and why?
b. What would you put at the top and why?
c. What are the factors in the middle and how do they effect the top and bottom of
the pyramid?
Questions on Sustainability
4. How do you view the relationship between success and sustainability of your program?
a. Can you have one without the other? Why or Why not?
5. Imagine that your program is an arch made of stones, with each stone representing the
entities involved in a program such as students, parents, funding etc. Which stone would
be the “keystone”, that without that very important piece, the strength and integrity of the
ensemble would crumble? What or who is your “keystone” and why?
a. I am assuming that your students did not walk in on day one and sound as good as
they do at the end of the year. So over time they have become stronger, much like
an arch does with added pressure. Imagine again your ensemble as and arch.
i. What pressures have strengthened it and how?
6. How much control or influence do/did you have regarding the sustainability of your
program?
a. How has this control or influence changed over the years?
b. Are there certain factors relating to the sustainability of your program that you
feel you are powerless to correct, improve or change? If so, why?
7. Describe your ideal program, your dream program.
a. Now imagine you have a magic baton. If you could give a cue and get exactly
what you need to realize that dream, who or what would you point the baton at
and why?
Closing Remarks
I have asked you some deep questions and gathered some visual representations to
understand your mind as a director and find out what contributed or affected the success and
sustainability of an instrumental music program.
8. Is there anything you would like to add at this time before I ask the final question?
Final Question
9. How do/did you do what you do for as long as you have done it?
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Appendix B: IRB Approval Letter

NCU Approved Date Stamp

December 18, 2018

Date: December 18, 2018

PI Name: Maryann Capone-Raschilla
Chair Name (if applicable): Monifa Beverly
Application Type: Initial Submission
Review Level: Expedited – Category 7
Study Title: Experienced High School Band Director Perspectives on Sustainability for a Successful Instrumental
Music Program.
Approval Date: December 17, 2018
Expiration Date December 16, 2019
Dear Maryann:
Congratulations! The purpose of this letter is to inform you that your IRB application has been approved. Your
responsibilities include the following:
1. Follow the protocol as approved. If you need to make changes, please submit a modification
form requesting approval of any proposed changes before you make them.
2. If there is a consent process in your research, you must use the consent form approved with your
final application. Please make sure all participants receive a copy of the consent form.
3. Continuing review is required as long as you are in data collection or if data have not been
deidentified. Failure to receive approval of the continuing review before the expiration date means the
research must stop immediately.
4. If there are any injuries, problems, or complaints from participants, you must notify the IRB at
IRB@ncu.edu within 24 hours.
5. IRB audit of procedures may occur. The IRB will notify you if your study will be audited.
6. When data are collected and de-identified, please submit a study closure form to the IRB.
7. You must maintain current CITI certification until you have submitted a study closure form.
8. If you are a student, please be aware that you must be enrolled in an active dissertation course
with NCU in order to collect data.

Congratulations from the NCU IRB. Best wishes as you conduct your research!
Respectfully,
Northcentral University Institutional Review Board
Email: irb@ncu.edu
2488 Historic Decatur Rd., Suite 100, San Diego, CA 92106 USA www.ncu.edu
· p: 928-541-8014 · f: 928-515-5519

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Appendix C: Former Director Inspirational Characteristics

Former Director Inspirational Characteristics

Subcategories
Earned/ • Knowledgeable • Combination of attributes
demonstrated • Wealth of knowledge • Proved himself
over time • Outstanding musician • Excellent musician
• Smart • Multiple talents
• Earned respect through • Played every instrument well
knowledge • Demonstrated on multiple
• Competent instruments
• Wealth of resources
Personality • Motivating • Empowering
related • Dedicated • Passion
• Enthusiasm • Compassion
• Inspired good practice habits • Instilled sense of pride and
• Inspired hard work accomplishment
• Knew how to inspire a group • Inspiring
• Enthusiasm • Charismatic
• Excitement • Relaxed
• Motivating • Fun-loving
Work-ethic • Demanding • Demanding
related • Pushed us • High yet realistic standards
• Structured • Never let anything slide
• Demanding • Relentless in pursuit of
• Perfectionist perfection
• Set high standards of success • Challenging
• Vision was perfection • Goal oriented
Other/multiple • Listening • Enjoyable literature
applicability • Loved the students • Appealed to the audience
• Loved what he was doing • Broad Experience
• Connections • Overall program was
• Mentor enjoyable
• Could see what he envisioned • Wide variety of music
• Mutual respect • Worked with guest
conductors

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Appendix D: Ideal Program

Ideal Program
Subcategories
Student related • Students trusting in me • Bands according to ability
• Students doing what I want levels
to do • Select wind ensemble
• Dedicated students
• Equality for all students
Group/private • Administration would • All students privately trained
lessons related understand the importance of • Every kid would get private
group and private lessons lessons at a good studio
• Every kid studying privately • Students studying privately
• All students studying
privately
Comprehensive • Music history • Music theory all three levels.
music program • Jazz and arranging • Comprehensive music program
related

Scheduling • No time limits • Lesson schedules grouped by

related • Ample time to teach ability

Staff related • Dedicated staff • Indoor color guard with

• Two band directors
• Separate district jazz
instructor
• Head marching band director
with other music teachers
assisting
Parents related • Dedicated parents,
dedicated instructors
• Indoor percussion with
dedicated instructors
• Qualified assistant to float
around ensembles during
rehearsals

Administration • Dedicated district

related

Other/multiple • Heart and soul. • Every student would enter at a

applicability • Make incredible music level 3 or higher
together • Have as many kids as possible

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Appendix E: Definitions of Success
Definitions of Success
Subcategories
Student related • Students working hard and doing
their best
• Students keeping music in their
lives beyond the program
• Kids growing socially
• Kids knowing I care
• Students growing socially
• Students glad to be in program
When students return to show
gratitude for my advice
• Exposing our kids to life
Awards related • Not about winning
• Did not mean first place
• Not about winning
External • Performing well in the
recognition community
• Representing community with
pride
• Recognition from institutions on
how well trained my students are
going into their programs
Other/multiple • Positive aura
applicability • A shared understanding of the
vision
• Program made a lasting impact
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• Kids growing musically
• Kids knowing I love them
• Students keep playing for
life
• Doing your best at all times
• More kids involved
• Developing kids that care
• Life-long success for kids
• Having the love and respect
of my students
• Not defined by trophies
• Not defined by awards
• A program that continues to
benefit school community
• A program that continues to
benefit school community
• Sustainability
• The realization that the
program will continue
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Appendix F: Director's Sustained Success Attributes

Director's Sustained Success Attributes

Subcategories
Work-ethic • Work ethic • Didn't bring personal
related • Dedication problems to work
• Hard work • Compartmentalized
• Determination personal from
• Critiquing myself professional life
• Never content • Never being home
• Pushing oneself • Continue to change
• Demanding the best • Have a success plan
• Continued learning • Set my own goals
• Took responsibilities of the job • Always found ways to
seriously work things out
• I took my job seriously • Adapted to
• Gave everything I have technological advances
• Prepared • Organized
• Standard of perfection • Never satisfied
• Good at logistics and planning • Listened to professional
recordings of repertoire
Attributes related • Family support • District supported the
to relationships • Sought experts in the field vision over the years
• Observing and learning from other • Excellent predecessors
programs • Maintaining
• Many years in same community connections
• Planted my feet in the community • Positive interactions
• Gave my time to the community • Collegial
• Good rapport with boosters • Just talking
• Treated other programs with the • Good relationship with
utmost respect athletic director
• Good relationship with choral • Good relationship with
directors principal and assistant
• Established sustainability and trust principals
• Spouse understood my passion for • Good relationship with
the vocation football coach
• Attended every booster meeting • An integral relationship
with the assistant
director
• Spouse understands
how I feel about music
• Family support

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Student related • Walking amongst the students • Never afraid to be

attributes • Honesty with students emotional in front of
• Was a positive role-model students
• Help others to be successful • Kids listened to my
• Conversations with the kids critique
• Sitting down with kids informally • Always challenged
• Realize where students come from players
(incoming skill level) • Benchmarked
• Adapt teaching style to what works challenges against my
• Earned life-long respect from own musicianship
students • Made bets with students
and followed through if
I lost
• Let students know when
they've achieved the
goal
Personal • Knowledgeable • Love to teach
attributes/actions • Passion • Music is my passion
• Love what I’m doing • Passion and compassion
• Love the students • Knew the value of a
• Love people large program
• Have excitement • Small successes
• Enthusiasm • Took care of myself
• Character physically
• Commitment • Next approach?
• Reflecting • Next time?
• Core values • Do better?
• Acknowledging mistakes • Honest and real
• I love being a teacher • Saw the bigger vision
• I love what I do • Reflecting
• Lead by example • Accountability
• Walk the talk • Know what I’m doing
Other/multiple • Changed recruitment strategies • Mistakes helped me
applicability • God learn
• Hometown • Experience/years of
service
• Door is always open

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Appendix G: Sustained Program Success Factors
Sustained Program Success Factors
Subcategories
Miscellaneous • Provides life-long experiences
student
related • Students know director cares
• Honest an open relationship
between director and students
• Students knew director was
devoted
• Student partnership
• Kids trusted director
• Vision buy-in from students
• Students believed in director
• Students hold director
accountable
• Kids were proud to be in
program
• Getting Student input
• Recruitment through program
excitement
• Group dependence on one
another
• Students hold themselves
accountable
• Smart kids
• Reach a lot of students
• We help others and work as a
team
• Delegate
• Students are encouraged to
find their “best”
• Kids felt accepted by other
school students
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224
• Effective classroom
management
• Open-door policy
• Kids know they’re valued
• Time was set aside to talk with
just the seniors
• Band is family for students
• Everyone’s welcome
• Something for everyone
• Home away from home
• Sense of family and safety
• After school programs
• Auditions for placement
• Almost all drummers had
private lessons
• Accommodates students that
want to be in multiple
ensembles
• Democracy
• Kids set goals for section and
themselves
• Prepared kids for next year
before summer vacation
• High percentage of school
students in the program
• Continuation of pushing
• Teams working together
• Band took director seriously
• Utilize students’ academic and
technology skills
• Having students that want to be
in the program
• Program appealed to many
students

Student • Students found purpose
leadership through leadership roles
roles related • Older students taking on
responsibilities
• Student leaders getting
involved and staying involved
• Section leaders
• Mentoring
• Upperclassmen mentoring
younger students
• Leadership teams
• Section leaders
• Student officers
• Student Leadership
Community • Having a program that best
related represented the band
• Heritage
• Trust of the community
• Admiration of the community
Parents • Vision buy-in from parents
related • Strong parental support
• Met parents halfway
• Enthusiastic parent group
• Continued parental
involvement
• Collective decision making
with executive committee
• Veteran parents mentoring
new parents
Administration • Superintendents proud of the
related program
• Meet in the middle
• Marching band required for all
band members
• District support
Faculty related • Faculty support
• Faculty talked positively about
the program
• School-wide program support
• Integrated with faculty
Staff related • Vision buy-in from staff
• Listening to staff
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• Band council
• Section leaders
• Leadership training
• Students able to assist director
with many tasks
• Using in-house students’ talents
• Student leadership
• Students leading by example
• Seniors responsible for success
or failure of program
• Upperclassmen set goals for the
ones behind them
• Older students mentoring
younger ones
• Supportive school community
• Support beyond band
community
• Positive image in the
community
• Community support
• Strong parent booster group
• Parental involvement
• Parent officers
• One on one time with parents
• Volunteerism
• Parental support
• Dedicated parents
• Parents never said no to director
• Supportive parents
• Visible principal
• Supportive principal
• Helpful principal
• Accessible principal
• Good administrators
• Competent teachers
• Face-to-face communication
with athletic director
• Athletic director/coaches
support
• Excellent staff that were a good
fit for the program

• Met staff halfway
Other/multiple • Never compromised goals
applicability • Bigger picture in mind
• Had success
• Continuation of enthusiasm
• Total Program
• Consistency
• Collective vision
• Goal building
• All inclusive
• Demanding program
• Flexible
• Structured
• Organized
• Routine process
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• Connections with people
• Alumni support
• ‘Our program’ mentality
• Follow-through
• Positive reputation
• Established parameters
• Achieving musically
• Quality band program
• Recognition throughout the
state
• High retention
• Organization branding
• Spirit wear on everything
• Alumni support
• Budget not a concern

Appendix H: Challenges/Factors Affecting Sustained Program Success
Challenges/Factors Affecting Sustained Program Success
Subcategories
Student related • Student buy-in
• Student leadership
capabilities
• Incoming students’
musicianship levels
• Keeping juniors and seniors
in the band
• Practicing
• Musicianship level of kids
entering program is unknown
• School atmosphere towards
band program
Parents related • Parents
• Trust in Parents
• Worried parents about time
commitment
• Parents
• Rapport with boosters
Administration • Administrative support
related • Convincing the district
• Administration support
• Every band member was
required to be in marching
band.
• District understanding of
program needs
Community • Community expectations
related • Exposure to the public
Staff related • Trust in staff
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• Opposition to marching band
requirement
• Student input
• Kids want to belong somewhere
• Hypersensitivity
• Bullying
• Increased practicing
expectations
• Difficult literature
• Maintaining quality of
musicianship
• Parental support
• Parents that micromanage
• Parental roles in the
organization
• Relying on parents financially
• Creating a community of
teamwork with parents
• Coordinating a shared vision
with school district
• Lack of vision from school
district
• Lack of centralized authority to
make things happen
• Public marching band
performances were not
representative of total program
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Other/multiple • Director responsibility for • Coordinating between principal,

applicability everything
• Obtaining needed equipment
• No limit on time commitment
for director
• Director’s spousal
understanding of program
dedication
• Finances
• Long-term success
kids, parents, other teachers and
other band directors in the area
• Extra time and work to
accommodate technology
challenges
• Pressure to put content online
• Lack of director’s vision for
program
• Coordinating instruction with
feeder schools

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Appendix I: Challenges Out of a Director’s Control
Challenges Out of a Director’s Control
Subcategories
Student related • Remedial needs of the students
• Incoming students’
musicianship levels
• Students getting recruited for
sports/other activities
• Musicianship levels of incoming
freshmen were so different
• New building environment from
middle school to high school
• Everything is new to the
students
• Private lessons are not a priority
among the many student
pressures
Scheduling • Scheduling
related • Tailor teaching according to bell
schedule
Comprehensive • Lack of comprehensive feeder
program program
related • Lack of comprehensive K-12
music program
Mandates • Students not allowed to work in
related groups or practice on their own
during school
Parents related • Families financial priorities
changing
• Changing family dynamics
Staff related • Only one director
• Hiring additional staff
Community • Public complaints about noise
related
Administration • Administrative reality check
related
Budget related • Allotted budget
• Program expenses
• Changing economy
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• Attrition between 9th and
10th grade due to increased
options
• Multiple course offerings
• Many electives choices
• Required remediation courses
• Home pressures
• Academic pressures
• Students pulled in too many
directions
• High school standards are
more serious
• Pulling students out of class
for small group lessons
• Living life by a bell schedule
• Lack of comprehensive feeder
program
• Inability to cultivate a
comprehensive feeder
program
• Mandated state testing
• No Child Left Behind
• State mandates
• Financial burdens on parents
• Lack of support for existing
staff
• Changing cultures
• Unrealistic administration
expectations
• Lack of teaching resources
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Other/multiple • Moving practice site to a • Dealing with preexisting

applicability different school
• Being away from our home base
• Copyright permissions
teachers
• Snow days
• How band grades counted
towards a student’s
cumulative average

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Appendix J: Keystone to Sustained Program Success

Keystone to • Knowledgeable director • The director’s vision for the

Sustained • Students program
Program Success • Seniors/Student leaders • Director

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Appendix K: Forces Affecting Keystone

Forces Affecting • Trust in one’s knowledge • Parents

Keystone • Trust in staff’s knowledge • Student buy-in
• Student believing in vision • Music
• Students believing in director’s • School
way of teaching • Community
• Director as mediator • Administrations
• Democracy • Ability to pull all entities
• Student councils involved together to make the
• Academic achievement program work
• Communication • Underclassmen
• School first philosophy • Student leaders getting out of
• Tradition hand
• No Child Left Behind • Peer pressure
• Students • Faculty
• Parents • Athletic director
• School • Football Coach
• Community • Administration

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Appendix L: Pressures that Strengthen Sustained Program Success

Pressures that • Challenging Programs • Culture

Strengthen • Challenging repertoire
Sustained • Showing budget is well spent as
Program Success evidenced by awards
• Winning and success
• Competitive program
• Raising the bar
• Failure
• Group dependence on one
another
• Leadership
• Learning new things
• Practicing
• Program Scheduling
• Creating a new normal
• Positive peer pressure
• Student leadership
• Students don’t want to let their
friends down
• Director’s personal dedication
to the program
• Guilt
• Pride
• Tradition
• Jealousy from other programs
• Judgmental/competitive
environment among
neighboring schools
• Lack of collegial support and
appreciation from fellow school
districts prompted band
members to look for all support
from within program
• Director was relentless for
underclassmen to perform and
fill the shoes of the seniors
• Moral support and leadership
from seniors
• Seniors responsible for success
or failure of program
• Students relying on each other
as part of a family

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Appendix M: Directors’ Professional Philosophies/Advice
Directors’ Professional Philosophies/Advice
Subcategories
Planning & • Surround yourself with
preparation experts
related • Study other programs
• Establish priorities
• Know your stuff
• Evaluate yourself first
• Be organized
• Be prepared
• Continually develop vision
• Practice what you preach
• Practice at home in front of a
mirror
• Learn everyday
• Always end rehearsal on a
positive note
• Have a success plan for
yourself
• Consistency is a reflection of
the support system
• Be aware of the precedents
set
• Assess your preparation
before assessing the students’
faults.
Personal • See the good in everyone
development • Keep enthusiasm going
• Maintain excitement
• Be patient
• Check your ego at the door
• Be kind to yourself
• Take care of your body and
health
• Your image is important
• Pick yourself up
• Own it
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• Be good at logistics and
planning
• Assign hours of rehearsal for
every piece of music
• Religiously stick to your
rehearsal schedule
• Plan your rehearsal time
• Know how much rehearsal
time is needed until concert
• Be willing to put in extra time
• Make a time commitment to
the program
• Have a routine process
• Be organized
• Have your program structured
• Be prepared
• Know where everything is
• Know how everything’s going
to happen
• Check calendar for conflicts
• Work proactively
• Anticipate
• Think ahead
• Be yourself and commit to it
• Be honest and real
• Be authentic
• Be devoted and give it your all
• Solve problems on your own
• Be human
• Be flexible
• Have your life structured
• Check personal problems at
the door

Student related • Give everyone a chance to
succeed
• Don’t categorize students
• Don’t limit students
• Don’t let students limit
themselves
• Understand where students
come from
• Be aware of students’ mental
states
• Make allowances for high
school teams
Rapport related • Understand human nature
• Respect each other’s
differences
• Develop good rapport with
boosters
• Get along with other music
colleagues
• Be sociable with other people
in your building
• Talk with the athletic director
• Have a good relationship with
the athletic director
Other/multiple • Winning is not everything
applicability • Do your best at all times
• Find a way to make it work
• Responsibility for
sustainability
• Rules have grey areas
• School first
• Honor your profession
• Follow proper chain of
command
• Size is not everything
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235
• Have a straight conversation
with students about their future
choices
• Let the kids know they’re
valued
• Let kids know when they do
better
• Talk to students as they’re
coming in the room
• Hold students accountable
• Understand what your kids are
going through.
• Have a good relationship with
the principal and assistant
principals
• Have a good relationship with
football coach
• Have an integral relationship
with the assistant director
• Build a program that the
community supports
• Maintain connections
• Help others be successful
• The program won’t take care
of itself
• Have someone play devil’s
advocate
• Build a program that supports
itself
• Go at it again
• Work out the bugs as you go
• Know how to work within
your school system
• Quality is important
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Appendix N: Successful Administration Communication Practices

Successful Administration Communication Practices

Subcategories
Prior to • Use administration as sounding • Don’t be afraid to have a
meeting board conversation
• Have a plan • Request support, don’t demand
• Approach district before parents • Have all your ducks in a row
• Come with multiple solutions • Have a plan well figured out
• Come with a detailed proposal • Anticipate
• Know when not to ask answers/problems/resistance
• Be good at logistics and • Hold-off when necessary
planning
During • Adapt • Remember that they’re the
discussion • Have equal respect boss
• Use common sense • Respect your bosses
• Be a team player • Think on your feet
• Compromise • Be collegial
• Find middle ground • State reasons for request's
• Be creative importance
• Find a way to make it work • Seek admin's understanding of
• Even when opposed, accept importance
proposed compromises

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Appendix O: Role of the Parents

Role of the Parents

Subcategories
Director • Buy-in to vision • Share in the program vision
related • Support program in achieving • Support director
vision goals • Assist where/when needed
• Understand director’s • Trust in director’s vision
philosophy
Parent to • Mentoring new parents • Support each other
Parent related • Team members

Support • Supporting role • Supportive

related • Fundraising
• Financial support
• Help with administrative support
Other • Understand program’s heritage
• Respect the complexities of the
program
• Understand how important the
program is to their child
• Raise funds
• Support the group not just their
child
• Not decision makers
• Not policy makers
• Understand their role
• Consider longer range plans
• Transportation
• Logistics

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Appendix P: Support of Small Group/Private Lessons for Sustained Program Success
Support of Small • Enables director time to improve
Group/Private ensemble performance level
Lessons for • Provides students opportunities
Sustained for self-improvement
Program Success • Allows ensembles to perform
higher grade of music
• Computers will never be a valid
substitute for real one-on-one
instruction with a person
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238
• Value students and their
leadership capabilities
• Frees director to work on
musicality not just technique
• Enables ensemble to focus on
conveying a composer’s vision
for the music