Equity And Diversity In Music Education: Toward A Critical Trait Theory Raymond Reimer Uy, Jr. Hanover Township Public Schools raymond.uy@hanovertwpschools.org
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mong the solutions to subvert oppression in education is the use of dialogue (Freire, 2005). When viewing equity through the lens of trait theory, however, Bowman’s (2009) assertion, that “Every ‘solution’ (resolution?) creates new conditions that in turn implicate new problems” (p. 6), becomes manifest. Dialogical actions between students and teachers as a solution for oppression in a choral ensemble, for example, might create different inequities and discourage a diversity of personality. Following is a preliminary attempt to overlay a trait theory filter on a critical pedagogy lens. To Whom Do We Listen? New questions and problem statements emerge when dialogue is implemented in a classroom: To whom are we listening? What are the subordinate and superordinate groups in a choral ensemble? Teachers might unwittingly prioritize groups based on personality factors. Before understanding how students with certain personality profiles are oppressed in a vocal music classroom, it is first necessary to define some of the principal components of trait theory and delineate its role in music and education. Trait Theory Psychologists use trait theory to frame various dimensions of personality. Jung’s (1923) research provided some of the earliest examples of organization and classification of personality traits in the field of psychology. Each of the personality types that Jung described involves some form of introversion or extraversion attitude, coupled with additional functions. Following Jung, many psychologists have contributed to human personality research through a trait theory framework. Kemp (1996) noted that extraversion-introversion is the personality dimension that is most researched (p. 36) and most widely accepted in psychology (p. 35). Trait Theory In Music Kemp (1996) found that musicians usually show a tendency toward introversion, characterized by an inward focus of energy and an emotionally sensitive nature that undoubtedly plays a role in interpreting and performing music. With regard to rehearsal, introverts prefer to practice privately and independently in solitude (Kemp, 1996; Cain, 2012). These “sweet spots” (Cain, 2012, p. 124) are restorative niches (Little, 2000) for students, suggesting clues about how educators might construct their classroom to optimize the learning environment for students of diverse personality types.
Trait Theory In Education Since few in the classroom might have the responsive extravertedstable personality that will actively engage in dialogue (Myers, 1996), teachers will often overlook the views of the remainder of the students. Cain (2012) suggested that education does not traditionally support introverted personality types. The emphasis on group projects, termed “the new groupthink” (p. 75) can lead to “social loafing” (p. 89), in which some students will cede the bulk of the workload to others. Independent work, however, allows introverts to communicate with others on their own terms using individual creativity (Storr, 1976, p. 80). Many secondary music education programs, however, are still constructed using a large ensemble template. Trait Theory In Music Education A majority of voice students fit under personality profiles associated with extraversion (Ray, 1999). Extraverts tend to have outgoing and group-dependent underlying traits (Cattell, 1973) that traditional music programs support. At the secondary level, MacLellan (2011) found significantly higher rates of extraversion among high school choir students when compared to high school norms. Students with this personality type might have a positive emotional response to public performance situations, and favor the group work dynamic inherent to choral ensembles. Although researchers identified extraversion among vocal music students (MacLellan, 2011; Ray, 1999), Kemp (1996) recognized introversion as a common personality trait among musicians. At first glance, these conclusions might seem incongruous. The separate assertions regarding extraverted voice students and introverted musicians, however, do not contradict one another. Rather, these findings might suggest that some characteristic in vocal music programs precludes many introverted musicians from participation. Personality-Based Inequities In The Choral Classroom Traditional choral environments feature directors who often serve as authoritarians during rehearsal and performance. They interpret the music and tell students how it should be performed. The director is ultimately the performer, and the student singers are merely the instruments that the director plays. Inequities are readily apparent. Dialogic solutions can create new problems. Implementing dialogue to subvert oppression might only prioritize those who fit a specific personality profile. In a choral classroom, dialogical contributions by the extraverted-stable group are more likely to be heard by the teacher, while many other voices fall silent. Although intended to be a democratic practice that includes student voices, dialogue can unintentionally create additional hierarchical levels. The voices at the
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