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'I've Sat in Your Seat Before': A Study of the Experiences of Three Black Women Music Educators

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Title: 'I've Sat in Your Seat Before': A Study of the Experiences of Three Black Women Music Educators
Language: English
Authors: Marjoris Regus (ORCID 0000-0003-1136-2835), Kate R. Fitzpatrick (ORCID 0000-0002-9175-6932), Sean Grier
Source: Journal of Research in Music Education. 2025 72(4):442-470.
Availability: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com
Peer Reviewed: Y
Page Count: 29
Publication Date: 2025
Document Type: Journal Articles
Reports - Research
Education Level: Higher Education
Postsecondary Education
Descriptors: Females, Women Faculty, African American Teachers, Teaching Experience, Music Teachers, Resilience (Psychology), Preservice Teacher Education, Mentors, Persistence, Capital (Sociology), Teaching Methods, Culturally Relevant Education, Music Education
DOI: 10.1177/00224294241229073
ISSN: 0022-4294
1945-0095
Abstract: This descriptive collective case study explored the experiences of three Black women music educators through the framework of community cultural wealth. Analysis of data collected through Seidman's three-stage phenomenological interview model revealed three themes. The first, "path to teaching," represented the formative experiences that shaped participants' development, including a deep level of embodied musical knowledge in multiple genres and the development of resilience. The second, "navigating the academy," represented the experiences of participants during their collegiate programs, including mentorship and support they had received, perseverance through difficult challenges, and intersections of their experience with existing and often problematic structures in music schools. The final theme, "pedagogical approach," represented the ways that participants wove aspects of their individual capital and experience into their pedagogical approach, including knowledge of families and community, ethnoracial representation for their students, culturally responsive approaches to pedagogy, and passing along tools for navigational success to their students. Alignment of the data with the framework of community cultural wealth is discussed, emphasizing participants' prominent uses of both navigational and resistant capital and the development of "Black musical capital." Implications for music education are discussed.
Abstractor: As Provided
Entry Date: 2025
Accession Number: EJ1457532
Database: ERIC
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  Value: <anid>AN0182244051;3ug01jan.25;2025Jan17.04:27;v2.2.500</anid> <title id="AN0182244051-1">"I've Sat in Your Seat Before": A Study of the Experiences of Three Black Women Music Educators </title> <p>This descriptive collective case study explored the experiences of three Black women music educators through the framework of community cultural wealth. Analysis of data collected through Seidman's three-stage phenomenological interview model revealed three themes. The first, "path to teaching," represented the formative experiences that shaped participants' development, including a deep level of embodied musical knowledge in multiple genres and the development of resilience. The second, "navigating the academy," represented the experiences of participants during their collegiate programs, including mentorship and support they had received, perseverance through difficult challenges, and intersections of their experience with existing and often problematic structures in music schools. The final theme, "pedagogical approach," represented the ways that participants wove aspects of their individual capital and experience into their pedagogical approach, including knowledge of families and community, ethnoracial representation for their students, culturally responsive approaches to pedagogy, and passing along tools for navigational success to their students. Alignment of the data with the framework of community cultural wealth is discussed, emphasizing participants' prominent uses of both navigational and resistant capital and the development of "Black musical capital." Implications for music education are discussed.</p> <p>Keywords: music education; Black women; community cultural wealth; music teaching; higher education</p> <p>The (in) visibility of Black women educators throughout U.S. schools and within the scholarly literature base threatens to erase Black women's powerful contributions to their individual communities and students, their recognition within educational institutions, and access to leadership positions ([<reflink idref="bib30" id="ref1">30</reflink>]; [<reflink idref="bib78" id="ref2">78</reflink>]; [<reflink idref="bib86" id="ref3">86</reflink>]; [<reflink idref="bib91" id="ref4">91</reflink>]). The underrepresentation of Black women educators is particularly worthy of consideration given that Black women make up only 6.8% of the public school teaching population, in contrast to the population of Black students, who make up 15.8% of public school students ([<reflink idref="bib11" id="ref5">11</reflink>]). This shortage of Black women educators is an ongoing reminder of the impact of structures of power, access to resources, and racism embedded in the U.S. educational system ([<reflink idref="bib24" id="ref6">24</reflink>]; [<reflink idref="bib86" id="ref7">86</reflink>]). According to [<reflink idref="bib18" id="ref8">18</reflink>]:</p> <p>The research and scholarship on teachers mask, ignore, and overlook the unique experiences of African American women teachers who bring a unique angle of vision to their work among historically underserved populations.... The pedagogy of Black women teachers provides much needed insights that can inform the practices of all teachers. (p. 805)</p> <p>The marginalization of Black women educators in P–12 education settings mirrors historical conflicts within the U.S. education system and is reflective of the many challenges Black women face throughout various stages of their own educational journeys ([<reflink idref="bib22" id="ref9">22</reflink>]; [<reflink idref="bib24" id="ref10">24</reflink>]; [<reflink idref="bib68" id="ref11">68</reflink>]; [<reflink idref="bib88" id="ref12">88</reflink>]). Research on the experiences of Black women teachers in general education highlights their exceptional and often unrecognized contributions, especially emphasizing themes of caring and othermothering ([<reflink idref="bib6" id="ref13">6</reflink>]; [<reflink idref="bib27" id="ref14">27</reflink>]; [<reflink idref="bib42" id="ref15">42</reflink>]; [<reflink idref="bib50" id="ref16">50</reflink>]; [<reflink idref="bib80" id="ref17">80</reflink>]), community reciprocity ([<reflink idref="bib16" id="ref18">16</reflink>]; [<reflink idref="bib44" id="ref19">44</reflink>]; [<reflink idref="bib45" id="ref20">45</reflink>]; [<reflink idref="bib60" id="ref21">60</reflink>]), and powerful pedagogical approaches that align with culturally responsive philosophies ([<reflink idref="bib17" id="ref22">17</reflink>]; [<reflink idref="bib43" id="ref23">43</reflink>]). Black women educators often endure disproportionate emotional, intellectual, psychological, and physical costs due to the challenges faced during their teaching careers ([<reflink idref="bib33" id="ref24">33</reflink>]; [<reflink idref="bib56" id="ref25">56</reflink>]; [<reflink idref="bib85" id="ref26">85</reflink>]), which have been found to impact academic and social successes and retention within the teaching profession ([<reflink idref="bib23" id="ref27">23</reflink>]; [<reflink idref="bib36" id="ref28">36</reflink>]).</p> <p>Scholarship specifically examining the work of teachers of color within schools serving a predominately Black, Brown, and/or Indigenous student population points to unique possibilities within the teacher/student/community relational triad ([<reflink idref="bib1" id="ref29">1</reflink>]; [<reflink idref="bib49" id="ref30">49</reflink>]; [<reflink idref="bib73" id="ref31">73</reflink>]; [<reflink idref="bib84" id="ref32">84</reflink>]). For example, teachers of color often (a) maintain an ideological and personal commitment to the broader communities they hail from/identify within ([<reflink idref="bib1" id="ref33">1</reflink>]; [<reflink idref="bib20" id="ref34">20</reflink>]; [<reflink idref="bib49" id="ref35">49</reflink>]; [<reflink idref="bib65" id="ref36">65</reflink>]; [<reflink idref="bib66" id="ref37">66</reflink>]; [<reflink idref="bib93" id="ref38">93</reflink>]), (b) hold a strong sense of responsibility for the academic and social success of their students ([<reflink idref="bib49" id="ref39">49</reflink>]; [<reflink idref="bib52" id="ref40">52</reflink>]; [<reflink idref="bib63" id="ref41">63</reflink>]; [<reflink idref="bib82" id="ref42">82</reflink>]), and (c) carve spaces for themselves as critical mentors for students ([<reflink idref="bib28" id="ref43">28</reflink>]; [<reflink idref="bib69" id="ref44">69</reflink>]).</p> <p>Within the field of music education, the dearth of information on the experiences of Black women music teachers in particular is even more apparent ([<reflink idref="bib54" id="ref45">54</reflink>]). There is a limited amount of literature that specifically examines the experiences of Black women educators in music education. For example, [<reflink idref="bib62" id="ref46">62</reflink>] narrative inquiry into the experiences of seven Black current or retired secondary or collegiate women band directors found that these women experienced both racial and gender discrimination in their roles, developed resilience through challenging times, looked to mentors for support, and expressed their deep devotion to their programs and students. Similarly, [<reflink idref="bib87" id="ref47">87</reflink>] investigated the experiences of 17 African American female band directors and the ways they utilized counterspaces within their programs to affirm and empower their African American female band students and to counter negative stereotypes and forms of oppression. [<reflink idref="bib67" id="ref48">67</reflink>] presented an intrinsic case study of a female African American music educator, describing her contributions to her community, the influence of her ethic of care and orientation to "othermothering," and use of music as a vehicle for empowering students. [<reflink idref="bib74" id="ref49">74</reflink>] presented their study of the experiences of Celeste, an African American woman, who describes feelings of tokenism and isolation within the primarily White, male field of band directing in Texas. Celeste's efforts to claim a space for Black women in the profession include the development of an online space to forge connections between Black women band directors. Finally, [<reflink idref="bib54" id="ref50">54</reflink>] article discussed her concerns about being perceived as the "Angry Black woman" while studying at a Primarily White Institution (PWI).</p> <p>While music education researchers have called for the increasing diversification of the music teacher workforce ([<reflink idref="bib21" id="ref51">21</reflink>]; [<reflink idref="bib25" id="ref52">25</reflink>]) and curriculum ([<reflink idref="bib3" id="ref53">3</reflink>]; [<reflink idref="bib38" id="ref54">38</reflink>]; [<reflink idref="bib47" id="ref55">47</reflink>]) to better reflect and serve historically marginalized students and communities, these calls have primarily resulted in greater attention to the preservice experience for students of color in general. For instance, studies examining collegiate-level experiences in music programs suggest that marginalized university students navigate barriers to admission and retention ([<reflink idref="bib2" id="ref56">2</reflink>]; [<reflink idref="bib26" id="ref57">26</reflink>]; [<reflink idref="bib76" id="ref58">76</reflink>]) and cultural hurdles, such as social disconnect with peers and lack of mentorship, that impact their academic and social success ([<reflink idref="bib13" id="ref59">13</reflink>]; [<reflink idref="bib34" id="ref60">34</reflink>]; [<reflink idref="bib53" id="ref61">53</reflink>]; [<reflink idref="bib55" id="ref62">55</reflink>]; [<reflink idref="bib75" id="ref63">75</reflink>]). There is a need for research that investigates the lived experiences of Black women music educators, particularly how Black women music educators navigated their own P–12 and collegiate education on the path toward becoming music educators. Furthermore, in alignment with past research ([<reflink idref="bib1" id="ref64">1</reflink>]; [<reflink idref="bib20" id="ref65">20</reflink>]; [<reflink idref="bib49" id="ref66">49</reflink>]; [<reflink idref="bib63" id="ref67">63</reflink>]; [<reflink idref="bib65" id="ref68">65</reflink>]; [<reflink idref="bib66" id="ref69">66</reflink>]; [<reflink idref="bib73" id="ref70">73</reflink>]; [<reflink idref="bib82" id="ref71">82</reflink>]; [<reflink idref="bib84" id="ref72">84</reflink>]), there is an increased need to understand the experiences of Black women music educators who have taught in communities of color, especially as viewed through asset-based approaches. Therefore, using [<reflink idref="bib89" id="ref73">89</reflink>] framework of community cultural wealth as a lens, the purpose of this study was to examine the experiences of three Black women music educators.</p> <hd id="AN0182244051-2">Theoretical Lens</hd> <p>[<reflink idref="bib89" id="ref74">89</reflink>] conceptualization of community cultural wealth challenges previous deficit-based narratives (specifically, Bourdeieuean cultural capital theory; [<reflink idref="bib8" id="ref75">8</reflink>]) that often suggest that students of color enter schools with cultural deficiencies. Viewed through these narratives, schools become spaces where students "disadvantaged" due to race and class must acquire the social and cultural capital required for social mobility ([<reflink idref="bib7" id="ref76">7</reflink>]). In contrast, Yosso presents the concept of community cultural wealth, which is "an array of knowledge, skills, abilities and contacts possessed and utilized by Communities of Color to survive and resist macro and micro-forms of oppression" (p. 77). Yosso articulates six forms of cultural capital that often go unrecognized for students of color:</p> <olist> <item> Aspirational capital refers to the ability to maintain hopes and dreams for the future, even in the face of real and perceived barriers; 2) Linguistic capital includes the intellectual and social skills attained through communication in multiple languages and/or language, styles (including communication through art, music, poetry, theatre, and dance); 3) Social capital can be understood as networks of people and community resources; 4) Navigational capital refers to skills in maneuvering through social institutions. Historically, this implies the ability to maneuver through institutions not created with Communities of Color in mind; 5) Familial capital refers to those cultural knowledges nurtured among familia (kin) that carry a sense of community history, memory, and cultural intuition. 6) Resistant capital refers to those knowledges and skills fostered through oppositional behavior that challenge inequality. (pp. 77–81)</item> </olist> <p>Overall, Yosso's theory proposes a shift from deficit-laden conceptualizations of communities of color to instead position them as locations rich in community assets and cultural wealth.</p> <p>Researchers and education scholars continue to consider the implications of community cultural wealth in educational contexts ([<reflink idref="bib4" id="ref77">4</reflink>]; [<reflink idref="bib39" id="ref78">39</reflink>]; [<reflink idref="bib65" id="ref79">65</reflink>]; [<reflink idref="bib83" id="ref80">83</reflink>]; [<reflink idref="bib90" id="ref81">90</reflink>]; [<reflink idref="bib92" id="ref82">92</reflink>]). In this study, we utilized community cultural wealth as a lens to view our participants and to center their knowledge and strengths. This theoretical lens intersected with the selection of our participants, the design of our interview protocol, and the interpretation of our findings.</p> <hd id="AN0182244051-3">Research Design</hd> <p>The methodological design for this study was a collective descriptive case study design ([<reflink idref="bib58" id="ref83">58</reflink>]) intended to illuminate the experiences of three Black women music educators who taught in communities of color and were noted for their reputation for developing strong relationships and rapport with their students and community. The case was bounded by the experiences of each teacher on their path to teaching and within their teaching practice. According to [<reflink idref="bib41" id="ref84">41</reflink>], "Case study research can be situated within different paradigms or designed with an array of methods" (p. 9). We assumed a phenomenological orientation to case study research ([<reflink idref="bib9" id="ref85">9</reflink>]; [<reflink idref="bib15" id="ref86">15</reflink>]; [<reflink idref="bib58" id="ref87">58</reflink>]; [<reflink idref="bib59" id="ref88">59</reflink>]; [<reflink idref="bib72" id="ref89">72</reflink>]; [<reflink idref="bib81" id="ref90">81</reflink>]) in that we were focused on "describing how people experience their world and what it is like to be in that world" ([<reflink idref="bib81" id="ref91">81</reflink>], p. 870). [<reflink idref="bib79" id="ref92">79</reflink>] state that in its broadest sense, phenomenology "is a theoretical point of view advocating the study of individuals' experiences... rather than objective, physically described reality that is external to the individual" (p. 1292). Phenomenology can be utilized as a philosophy, a methodology, or an approach to study or research ([<reflink idref="bib79" id="ref93">79</reflink>]). In this case study, we borrowed from phenomenology as a philosophical approach rather than a methodological one, prioritizing a focus on the lived experiences of our participants. We also utilized some phenomenological research techniques ([<reflink idref="bib64" id="ref94">64</reflink>]), including a reliance on phenomenological interviewing ([<reflink idref="bib77" id="ref95">77</reflink>]) as our primary source of data collection in order to prioritize our participants' own description of their experiences and the use of bracketing within the process of data analysis to better understand how our own experiences as researchers intersected with those of our participants.</p> <p>Data collection included three semistructured, in-depth interviews with each participant (<emph>M</emph> = 46.41 minutes in duration), utilizing [<reflink idref="bib77" id="ref96">77</reflink>] three-stage phenomenological interview model to understand the experiences of our participants. Within this interview model, the first interview was geared at exploring past experiences, the second interview was geared at focusing on specific details of the participant's present experience, and the third interview was focused on asking participants to reflect on the meaning of their experience. We utilized bracketing ([<reflink idref="bib40" id="ref97">40</reflink>]; [<reflink idref="bib64" id="ref98">64</reflink>]) in an effort to frame our own experiences with—and investment in—the central phenomenon.</p> <p>Our data analysis procedures aligned with [<reflink idref="bib58" id="ref99">58</reflink>] procedures for case study analysis, which includes an initial within-case analysis of each teacher's interview data followed by an inductive cross-case analysis of common themes found across the three cases. While we did not utilize community cultural wealth ([<reflink idref="bib89" id="ref100">89</reflink>]) as an explicit coding framework, we did make note of instances where we noticed alignment between the teachers' experiences and approaches with the different forms of cultural capital. Trustworthiness ([<reflink idref="bib58" id="ref101">58</reflink>]) was addressed through the use of member checks, rich and thick description, acknowledgment of researcher positionality, and analyst triangulation ([<reflink idref="bib70" id="ref102">70</reflink>]).</p> <p>We aimed to examine the experiences of three Black music educators who were identified through a mix of personal knowledge and referrals from trusted music educators in both the Midwest and East Coast regions of the United States. Although we did not initially seek a sample of Black women music educators, when these three participants were recommended to us, we agreed as a research team that the inclusion of three Black women's stories could help center the perspectives of a grossly underrepresented community in music education. Subsequently, our research focus evolved significantly in order to center the intersectional nature of our participants' lived experiences as Black women.</p> <p>Through criterion sampling ([<reflink idref="bib71" id="ref103">71</reflink>]), we sought to include female-identifying, experienced (greater than 5 years of teaching) Black music teachers who taught in communities of color and were noted for their reputation for developing strong relationships and rapport with their students and community. We employ the term "communities of color" to refer to the schools and surrounding cities of our participants—each of which are comprised of predominantly Black, Brown, and/or Indigenous students and residents. Table 1 presents demographic data related to our three participants.</p> <p>Table 1. Participants.</p> <p>Graph</p> <p> <ephtml> <table><colgroup><col align="left" /><col align="char" char="." /><col align="char" char="." /><col align="char" char="." /><col align="char" char="." /><col align="char" char="." /><col align="char" char="." /></colgroup><thead><tr><th align="left">Pseudonym</th><th align="center">Years Teaching</th><th align="center">Self-Identification</th><th align="center">School Level</th><th align="center">Specialization</th><th align="center">Instrument</th><th align="center">City</th></tr></thead><tbody><tr><td>Monica</td><td>9</td><td>Haitian American, African American, Black</td><td>Elementary</td><td>General music, choir</td><td>Voice</td><td>Metropolitan region, East Coast</td></tr><tr><td>Alicia</td><td>13</td><td>African American, Black</td><td>K–8</td><td>General music, band</td><td>Flute</td><td>Midsize city, Midwest</td></tr><tr><td>Lisa</td><td>16</td><td>African American</td><td>High School</td><td>Harp/vocal music</td><td>Piano and harp</td><td>Midsize city, Midwest</td></tr></tbody></table> </ephtml> </p> <hd id="AN0182244051-4">Researcher Positionality</hd> <p>Marjoris Regus identifies as a Spanish-English bilingual AfroLatina who grew up compartmentalizing languages, behaviors, and musical interests. Like some of the participants of this study, Marjoris participated in predominantly White music programs in the United States and grew accustomed to being the "only one" in classes and ensembles. This study served as a reflective process for Marjoris to consider their own experiences as a Black female music educator. Marjoris Regus teaches music education at the collegiate level and has taught high school band, orchestra, and choir. Kate Fitzpatrick is a White woman who teaches music education at the collegiate level and has a background as a high school band director serving a community of color. Sean Grier identifies as a White, cisgender male who is entering the field of higher education after teaching secondary choral music for 9 years. We acknowledge that these positionalities offered us each different insights into the experiences of the participants, and we worked to consider the ways in which these positionalities, especially when combined within the format of a collaborative research team, intersected with our efforts to analyze the data. To address the complexity of the ways in which our identities and experiences intersected with those of the participants, we used commenting features built into our shared word processing software and discussions embedded within our weekly research meetings in order to acknowledge and challenge our positionality with regard to the data being analyzed. For example, we utilized these opportunities to reconsider the ways in which we framed and prioritized our discussion of Black musical capital, and our discussions surrounding our collective understandings of our participants' experiences led to our decision to highlight several forms of cultural capital in our discussion section.</p> <hd id="AN0182244051-5">Participant Introductions</hd> <p></p> <hd id="AN0182244051-6">Monica</hd> <p>Monica has been teaching general music and choir for 9 years in two districts in a metropolitan region of the East coast. Monica's musical journey began at a young age as a member of her church choir, which was led by her father. Growing up, she enjoyed listening to gospel music, R&B, and jazz. Her early musical experiences were primarily based in the oral/aural tradition, which she described as having positively impacted her approach to music teaching and learning. Monica pursued a bachelor of music education at a Historically Black College and University (HBCU) in the southern region of the United States, followed by a master's in vocal pedagogy at a PWI in the northeastern region of the United States and subsequent completion of an online teaching certificate. Monica describes herself as a teacher who prioritizes her students and ensures that they know that she believes in them. She works hard to include aspects of students' home culture within her pedagogy—including heritage music and language, Kodaly and Orff pedagogies, and traditional music of Haiti, Brazil, and the Spanish-speaking Caribbean. As a music educator, Monica hopes to act as a guide to students as they define their own musicianship.</p> <hd id="AN0182244051-7">Alicia</hd> <p>Alicia is in her 13th year of teaching and has taught both elementary general music (grades K–5) and beginning band classes (grades 4–8) in a midsize city in the midwestern region of the United States. Alicia grew up in a home where music was valued and began playing the flute in the fifth grade, continuing throughout middle and high school, where she participated in a locally renowned band program. Alicia attended a small, private, predominately White liberal arts college in the Midwest. As a music educator, Alicia is devoted to providing her elementary and middle school students with strong musical foundations. She wants to make sure that her students have deep knowledge of certain fundamentals—music theory, solfège, music reading capacities, and familiarity with a variety of music styles—that she believes are needed to be a well-rounded musician. Alicia has developed a curriculum that spans a variety of genres, intentionally programming songs and activities reflective of blues, classical, hip-hop, jazz, and pop traditions. She describes herself as devoted to the development of her students.</p> <hd id="AN0182244051-8">Lisa</hd> <p>Lisa is in her 16th year of teaching at Louis Center High School in a midsize city in the Midwest. She is a harp teacher who teaches within a high school harp and vocal music program with a long tradition of innovation and success. Lisa started taking private piano lessons at the age of 4 and continued with these lessons for 9 years, until she started playing the harp as a student at the same high school where she now teaches. She attended a large PWI in the midwestern region of the United States about an hour away from where she grew up. Lisa describes herself as a music teacher who holds very high expectations for her students and who views it as her responsibility as a graduate of the program where she teaches to maintain these high expectations through a level of truthfulness and no-nonsense student interactions. As someone who came from the same school district and school where she now teaches, she describes her deep knowledge of her students and her desire to pass along to her students the knowledge she has gained through her experiences as a musician.</p> <hd id="AN0182244051-9">Cross-Case Themes</hd> <p>Analysis of the interview data resulted in the development of three cross-case themes that relate to the lived experiences of our participants: "path to teaching," "navigating the academy," and "pedagogical approach." These themes and their associated subthemes are presented in Table 2.</p> <p>Table 2. Themes and Corresponding Subthemes.</p> <p>Graph</p> <p> <ephtml> <table><colgroup><col align="left" /><col align="char" char="." /><col align="char" char="." /></colgroup><thead><tr><th align="left">Path to Teaching</th><th align="center">Navigating the Academy</th><th align="center">Pedagogical Approach</th></tr></thead><tbody><tr><td>Embodied musical knowledge</td><td>Existing structures in music schools</td><td>Knowledge of families and community</td></tr><tr><td>Development of resilience</td><td>Mentorship and support</td><td>Representation for students</td></tr><tr><td /><td>Preseverance</td><td>Culturally responsive approaches</td></tr><tr><td /><td /><td>Passing down tools for navigational success</td></tr></tbody></table> </ephtml> </p> <hd id="AN0182244051-10">Path to Teaching</hd> <p>The first theme, path to teaching, represents the journey of the participants to becoming music teachers and centers the formative experiences that not only shaped their development as future teachers but also the community cultural wealth that they were building along the way. The theme includes two subthemes that emerged from the data: "embodied musical knowledge" and "development of resilience."</p> <hd id="AN0182244051-11">Embodied musical knowledge</hd> <p>All participants described rich childhood experiences with music, including experiences with classical music, Black popular music, and music of the Black church. For example, Lisa's family provided a rich foundation of classical music knowledge that would later help her greatly as a harpist:</p> <p>Because of my father's influence and having to study piano for 9 years before I discovered a passion for playing the harp, because my dad listened to Metropolitan Opera on Saturday mornings and because it was something that I was good at, I found a security in performing that type of music. (Interview 2)</p> <p>Lisa had a more complicated relationship with Black music. As a harpist, her choice of instrument intersected with the identities of those who surrounded her and thus influenced the ways she experienced musical life as an African American child, high schooler, and an adult: "I mean, really, how many harpists are there, and how many African American harpists are there?... There was not another Black harpist with me ever" (Lisa, Interview 2). She describes the divide between the predominantly White classical music world and her identity as African American as being challenging for her and something that she is still navigating as an adult: "Culturally, I felt so separated" (Lisa, Interview 2).</p> <p>Alicia and Lisa both discussed their own strong school-based musical experiences as students, describing their school music programs and teachers as especially influential. Alicia felt that her formative musical experiences in an active, performance-based school band program prepared her to thrive in collegiate music study. Specifically, her high school band teacher provided her extensive experiences with band repertoire from the Western, classical tradition and also required her to prepare a flute jury each year. Lisa also described thriving in her high school music experiences at a magnet school in an urban school system that prioritized music education at the time: "The music department was phenomenal. Absolutely phenomenal. We had students who would graduate and go straight into major orchestras, Metropolitan Opera, [Midwestern] Symphony" (Lisa, Interview 2).</p> <p>Monica grew up listening to Haitian music and U.S. R&B artists such as Whitney Houston. Monica's formative experiences were very centered in the music of the church because her father was a pastor in Haiti. Notably, she sang in what she called a "girl group" with Haitian friends in high school that did some studio recordings and also secured professional management. Monica discussed her experiences as a teacher drawing on the multifaceted foundational musical knowledge that was formed in her youth, telling her students:</p> <p>I can do your classical music, but I too was a Black child growing up in the "hood." And I know the hits from back in the day and I can sing contemporarily because that's how I grew up listening to the radio.... So yes—we like the 24 Italian arias, we like that and we sing them and we can. But then also, if you put on this artist, yes, I will put the lock down and I put my runs in there and we sing together and they're just like, all right, Miss Monica. And I'm like, all right. (Interview 3)</p> <p>Monica's formative experiences with a variety of musical styles and genres enriched her ability to musically engage with her students in her classroom.</p> <hd id="AN0182244051-12">Development of resilience</hd> <p>Along their path to teaching, all three participants described having to become resilient. While the term "resilience" is often interpreted as representing a positive quality, the participants described the development of their own resilience as necessary, rather than optimal, and as a quality that emerged from encounters with deeply challenging and devastating obstacles often related to their identity as Black women. Monica describes her development of resilience as follows:</p> <p>I find that to be resilient, you have to go through a lot of hard and harsh things. And I would rather not go through the hard and harsh things... but coming to the United States when you look different, different faith, different—just being different, not being of the majority culture or whatever—everybody's not so kind. Resilience has just had to come—it just becomes embedded in your experience—who's going to tell them that you go from being this beautiful child with all of this energy and joy and hope for life—and then you step into some rooms and people will already just have a perception of you.... Unfortunate, but it's a byproduct of being alive in the United States for me—being Black in America, being the child of immigrants in America, growing up in poverty in America. (Monica, Interview 3)</p> <p>Alicia similarly discussed her own resilience and expressed gratitude that she had learned from her mom how to not only work hard and set high expectations for herself but also to not get discouraged when things do not go as expected: "So, even if I fail, I'm fine with failing forward" (Alicia, Interview 1). Lisa similarly discussed developing resilience in the face of numerous challenges in higher education and how this affected her desire to pass on her knowledge and lived experiences to help her own students. Monica summarized the lessons that she had learned about persevering through inequality by describing what advice she would give to her younger self:</p> <p>I think I would definitely tell myself to keep on singing and not ever allow anyone to stop that, recognizing that people have their own personal problems that don't have anything to do with the brilliance that I have to offer. Sometimes people are even intimidated, and that's okay. That has nothing to do with the skills and just the qualities that I bring into an educational space, into my voice lessons, my experiences. (Monica, Interview 3)</p> <p>For all three participants, the development of resilience, although hard earned, helped them navigate various challenges in their lives.</p> <hd id="AN0182244051-13">Navigating the Academy</hd> <p>The theme navigating the academy details the experiences of participants as they progressed through their collegiate music programs. Their experiences are summarized in three subthemes: (a) "existing structures in music schools," (b) "mentorship and support," and (c) "perseverance."</p> <hd id="AN0182244051-14">Existing structures in music schools</hd> <p>Participants considered the existing structures at collegiate music schools to be outdated and a form of gatekeeping for students of color. Some also felt that music school culture made it difficult to make genuine connections with their peers. Monica, for example, defined the academy as "tricky" to navigate due to the hidden expectations for admission and success. Monica believed that her strong background with rich, oral/aural musical traditions would be an advantage for music studies but during the college audition process, quickly realized that fluency with Western music notation was emphasized instead. Due to this, she was placed in remedial music theory courses. For her undergraduate music audition, Monica was required to prepare a song in a language other than English. She stated the following:</p> <p>Typically, when you apply for a voice program, they ask you for a foreign language piece. And typically, the expectation is that it's going to be something Italian or something in Latin, French, or German. I didn't know anything about this world. But what I did was perform a hymn in Haitian Creole, and that's what I had to offer. And I was very, very proud of that, and that's what I brought. That was me bringing myself but then also me not necessarily knowing the expectations.... Whose tradition is it? It's unfortunate because it's the ultimate gatekeeper. These programs [focus on] notation, and there is a lack of diversity in how we music, how we teach, how we should be teaching. (Monica, Interview 1)</p> <p>Participants also discussed the importance of representation in their educational experiences within the academy, especially as related to ethnoracial matching ([<reflink idref="bib5" id="ref104">5</reflink>]; [<reflink idref="bib10" id="ref105">10</reflink>]; [<reflink idref="bib51" id="ref106">51</reflink>]). For example, in college, Alicia was one of only two students of color who completed their music education degree programs her senior year. Being the only student of color in many of her classes left Alicia feeling like "the spokesperson for all Black people" when race became a discussion topic in classes. She continued,</p> <p>I grew to know that I would be angry walking into class because they would look at me and say, "Well, what do you think as a Black person from [Urban City]?" Just because I'm Black doesn't mean I'm from [Urban City]! (Alicia, Interview 2)</p> <p>Such experiences created feelings of nonbelongingness for Alicia, which then encouraged her to seek support and guidance outside of music education through the college's Black Student Alliance (BSA). Similarly, Alicia was surprised that little to no Black music was mentioned in her music history classes. During her sophomore music history class, Alicia spoke with her professor regarding the lack of Black repertoire. She stated,</p> <p>I asked my professor, "I know we have to start with Gregorian chants, right? But can you add a little bit more of our music [Black music] because we're here."... At what point do you cater to African American students? (Alicia, Interview 1)</p> <p>In contrast to Monica and Alicia, Lisa was aware before she entered higher education of the existing structures of collegiate schools of music and had a clear understanding of the pedagogies and repertoire that would be presented in her degree programs. She stated, "I was just not prepared to be away from home and was not making the connections with the people who could have mentored me or walked me through all of that" (Lisa, Interview 2). Lisa also described difficulties in finding community within her music program. She heavily relied on the support of other faculty of color and the few students of color within other departments at the music school.</p> <hd id="AN0182244051-15">Mentorship and support</hd> <p>The mentorship participants experienced during their collegiate programs played an essential role in shaping their perceptions of music education and higher education overall. Some participants specifically sought mentorship with Black and/or African American faculty/staff at their institutions. As a member of the university's BSA group, Alicia volunteered at various after-school programs and established working relationships with K–12 educators. Alicia considered BSA to be her "safe place" outside of the School of Music. She stated, "I would go to my BSA meetings, and that was my time to get things off my chest" (Alicia, Interview 1). As a participant in the BSA, Alicia gained organizational and team-building skills. These competencies later greatly benefited the development of her teacher identity.</p> <p>Monica attended an HBCU in the southern region of the United States. Monica described her experiences at Gabriel College, an HBCU, as distinctly different from her experiences at her PWI graduate institution, feeling that Gabriel was nurturing, warm, and supportive. As a student at Gabriel College, Monica frequented the Office of Diversity, Equity, and Inclusion (ODEI) in order to be surrounded by Black women because it was important for Monica to connect with women of color for support in healing from damaging experiences she felt throughout her undergraduate career. She stated, "I wasn't an ODEI student at Gabriel, but it was an office of two Black women... they were like a healing space for me, even though I wasn't in the program" (Interview 1). Although Monica did not mention a specific mentor from Gabriel College, she spoke highly of the mentorship and mission embedded in HBCUs more widely:</p> <p>The teachers—they were very generous... there's a lot of free labor, in a sense. You know, you have your lesson time, but if you needed help to get to the next level... I know my voice teacher in particular, if I needed to work in the summertime, he was ready, he was there. And I don't necessarily get that, with other voice teachers or other professors that are not Black.... It's a familiar nurturing, an academic nurturing. It's a "Come here Black child, we love you" nurturing. And I would not trade that experience for the world... they taught like our lives depended on it and the future depended on it. (Monica, Interview 2)</p> <p>Monica described the mentoring she received at Gabriel as resembling the mentorship she had previously experienced in her home and church environments, giving her the lifelong tools (such as empowerment and self-love) that continued to impact her teaching philosophy and pedagogy well beyond her collegiate years.</p> <p>Lisa's principal source of mentorship during her graduate program was her harp teacher. The rapport that developed between Lisa and her harp professor was an affirming cultural experience. Being the only African American student in the harp studio, Lisa's harp professor made certain she performed music by Black composers. Lisa retold an experience during her master's program that was especially meaningful for her:</p> <p>My harp professor was affirming in the different things that I wanted to do. As a master's student, I was able to perform a chamber piece written by William Grant Still. It was the closing piece of the last program of the American Harp Society Conference, which was held on the campus. I felt affirmed at that moment. (Lisa, Interview 2)</p> <p>Mentorship for participants played an important role in their successes during their degree programs. These experiences shaped the way they subsequently mentored others and persevered in their careers.</p> <hd id="AN0182244051-16">Perseverance</hd> <p>Participants emphasized how perseverance defined much of their collegiate degree programs and beyond. While visiting her future university home, Ester College, as a high school student, Alicia identified few collegiate students of color in the music school and understood that if she attended this school, she would be the only or one of few Black students in the music education program:</p> <p>I felt like it was a testament to me persevering and putting my neck out there at Ester. I could have been like, "I know Black folks aren't going to be there, it's just me." I'm glad I stuck it out and attended Ester, because I was able to show them the color of your skin doesn't matter. It's just how you play, your ability. (Alicia, Interview 3)</p> <p>Monica had difficulties transferring from her HBCU (Gabriel College) to a PWI (West York University) for vocal pedagogy, which included long commutes to campus. Eventually, Monica moved back to her hometown to lessen the financial burden that comes with attending college. She stated, "I was a super commuter—2 and a half hours in, 2 and a half hours out. That was really, really difficult" (Monica, Interview 1). As a commuter, Monica faced challenges in establishing supportive relationships with colleagues and professors. Attending an HBCU taught Monica the value of community and its impact on academic/social success, and she desired a similar experience in her new school (the PWI), which unfortunately did not happen. Nevertheless, Monica was determined to complete her degree, saying, "In my culture, there's no such thing as failure. The attitude is, you go in and you do what you have to do and then you get out. There's no extra time" (Monica, Interview 1).</p> <p>Lisa similarly persevered despite difficulties during her master's degree program. Being the only African American student in the harp studio left Lisa feeling as if her admission was not related to her abilities but instead related to "meeting a quota." Such feelings prompted Lisa to temporarily leave the program during the second semester. Despite this, Lisa returned and was committed to successfully completing her studies and ensemble requirements. Upon returning to her master's program, despite her confidence that she would be placed in the university's most prestigious orchestra, Lisa was not selected for the ensemble. She described feeling confused and concerned, especially because she received little feedback from professors when compared to other peers in her harp studio. Ultimately, Lisa said that she believed she was held to a different standard than her studio mates. To continue in her program, Lisa often reminded herself of future goals of performing and teaching in her hometown. Lisa was determined to "get away from that culture and back to the people I knew" (Lisa, Interview 2).</p> <hd id="AN0182244051-17">Pedagogical Approach</hd> <p>The third emergent theme, pedagogical approach, relates to how participants described weaving aspects of their individual capital and experience into their pedagogical approach, particularly with regard to interactions with students, knowledge of the communities wherein they teach, and curricular decision-making. This broad theme specifically includes the following subthemes: (a) "knowledge of families and community," (b) "representation for students," (c) "culturally responsive approaches," and (d) "passing down tools for navigational success."</p> <hd id="AN0182244051-18">Knowledge of families and community</hd> <p>Participants discussed how holding an understanding of—and investment in—the communities where they taught was crucial to their pedagogical approach. Both Alicia and Monica taught in communities different from where they grew up and thus emphasized the importance of learning about the broader ecosystems surrounding their current schools: "I grew up in the suburbs, so, what I've learned about this city, I've learned through teaching in this city." Alicia continued, stating: "There are some things that some of the kids will say, and I'm like, 'I don't know what you're talking about, but tell me.' That's how I can relate to them" (Alicia, Interview 1). Conversely, Lisa made the conscious decision to return home to teach in the community she grew up in. She expressed that teaching in the same high school she attended held a unique impact on her students: "I think being from where your students are from gives you access to what the student needs," she shared. "That is extremely valuable" (Lisa, Interview 3). Alicia similarly suggested that shared cultural understandings between her, her students, and their families often positively established a certain level of trust regarding how she approached interactions in the classroom:</p> <p>It may seem like I'm harsh or strict, but I know that kids thrive on structure... and a lot of parents say that they know, and love, that I love their kids and am there for them, but that they also appreciate that I am not their students' friend. I'm there to teach them and give them that structure. (Alicia, Interview 2)</p> <p>Alicia also stated that this sense of trust often heightened her capacity to communicate with family members about student behavior and/or academic performance and curriculum, whether via email, phone, at meetings, in the car line after school, or through district online learning management platforms.</p> <p>Even though Monica grew up in a different community than where she ended up teaching, she describes her move to her current school as being very purposeful due to her desire to give back to her community and teach students whose experiences were like her own:</p> <p>When I think about all the amazing teachers that I had and how much they changed my life with the instruction that they gave—I came from a family that had to build themselves from the ground up, and I wanted to be in an urban district. When I think about some of the injustices that happen and the inequality—the issues that happen when it comes to what our students deserve—what our beautiful, beautiful students deserve—we fight to get everything that our children deserve. So, I find it to be more than teaching when it comes to working with our students. (Monica, Interview 2)</p> <p>For each of the participants, their own knowledge of the communities in which they taught and the families with whom they engaged was an important aspect of their practice that greatly benefited their students.</p> <hd id="AN0182244051-19">Representation for students</hd> <p>Participants shared that they consider various implications of representation within their practice. Specifically, participants spoke about the significance of students having a school music teacher who shares elements of their racial, cultural, and/or socioeconomic identities. Lisa suggested that her shared racial identity with many students and parents sometimes allowed her an increasingly nuanced relational foundation approach:</p> <p>I think that there's a much better rapport when they're [students and parents] dealing with someone of the same race.... They feel a level of comfort, and I think that's good, especially when they know what your standards and expectations are and that they are meant for the good of their child. (Lisa, Interview 3)</p> <p>Alicia also described similarities between herself as a teacher and the community that she served as being beneficial for her students and recognized that these similarities went beyond race and ethnicity and into realms such as hair, dress, and musical preference. "My kids look like me. I look like my students. I have parents and other teachers that look like me. For my students to see that, it's helpful for them" (Alicia, Interview 2).</p> <p>Monica expressed the joy experienced by students and their parents when they became aware of her Haitian identity given that many students attending her school also have a Haitian background. Monica shared what it meant for her students to have a Black educator for the first time:</p> <p>They [the students] were not used to seeing a Black educator. One of my students told me they told their mom the new music teacher was Black, just like her. They were really excited about that. Then they realized not only was I Black, but being Haitian and able to speak Creole—the parents had a field day.... I had trust with the parents, especially my Haitian parents. (Monica, Interview 2)</p> <p>Monica elaborated further about the potential magnitude of sharing racial identities with her students:</p> <p>First, I believe that all of our students, whether Black or another demographic, need somebody who loves them, who really just loves them. But there's an added layer when you understand where they are coming from. It's like, "Well, I've sat in your seat before and I understand what it's like to navigate that racial identity, and, you know, economic or socioeconomic identities."... Having teachers that love the students and really care, but then also have that extra "I understand where you're coming from and what you need" is important. (Monica, Interview 3)</p> <hd id="AN0182244051-20">Culturally responsive approaches</hd> <p>Participants discussed how dimensions of representation informed their curricular decision-making—often in ways that mirror principles of culturally responsive teaching ([<reflink idref="bib29" id="ref107">29</reflink>]; [<reflink idref="bib57" id="ref108">57</reflink>]). In addition to efforts to understand students and their out-of-school communities, participants expressed a commitment to ensuring that their in-class music curriculum met the cultural interests and needs of their students. For example, Alicia discussed her own approach to embedding a wide range of musical and cultural perspectives within her elementary general music classroom:</p> <p>I don't want to only teach Orff.... I'll do Motown and Disney music, especially now that they're starting to remake all the Disney classics into Black versions. I also did a throwback nineties concert with artists like TLC. But I'll do it all. I want students to know there's more than just the rap and pop that they hear on the radio. There's more than just Bach and Beethoven—there's all this in between that they don't know about. And I want them to be exposed to it all because they may not be exposed to it all at home. (Alicia, Interview 2)</p> <p>Alicia shared that this commitment manifested not only in the selection of repertoire but also in ensuring that posters, wall art, and curricular materials posted throughout her classroom were representative of diverse racial, cultural, and musical perspectives. For example, Alicia explained that in her classroom, images of Ella Fitzgerald and Motown artists were positioned alongside the faces of Mozart and Beethoven.</p> <p>Monica similarly conveyed that she was dedicated to programming repertoire that amplifies a variety of languages, cultures, and styles while at the same time seeking repertoire that is representative of her students' specific cultural perspectives. Monica also spoke of her efforts to increasingly bring elements of her personal identity into her teaching:</p> <p>I'm getting more in touch with my Haitian culture—it never really leaves you because it's just who you are... so I have been starting to program music from Haiti as a representation of myself. And I've been doing a lot of research lately on composers who are Haitian born, composers that have taken Haitian folk music and created and wrote it in a choral style. (Monica, Interview 1)</p> <p>Monica also shared that her efforts to bring forth the intersections between her and her students' identities emerged not only within curricular choices but also in how she facilitated that curriculum: "It is not uncommon for me to start teaching and speaking in Creole or for me to have Spanish-speaking students and say to them, 'Okay, what is this word?' And then we incorporate that in the classroom" (Monica, Interview 2). For example, Monica spoke about her attempts to acknowledge and incorporate her students' varied forms of linguistic capital when teaching the International Phonetic Alphabet (IPA):</p> <p>We found words in Spanish and Haitian Creole to go with the IPA syllables and vowels that they were learning and made a chart. The kids are trying to understand something that I'm teaching them in English... and we're going to get it together. There is never a "You don't speak English so you can't be here." No. I allow students to do activities in whatever language they want... if you want to say your numbers in Creole or in Spanish, that's what we do. (Monica, Interview 2)</p> <p>Lisa shared that she similarly considers her and her students' culture when selecting music. "You borrow ideas from your culture. You expound on them and maybe bridge the gap between genres and... the material that is a part of your history" (Lisa, Interview 3). She further suggested that a responsive and representative curriculum often solely relies on the simple willingness to commit to such a pedagogy:</p> <p>Whether it's hip hop or jazz or gospel, whatever your ethnic identification may be, whatever that culture... just being able to think outside of the box and coming up with something that's fresh and meaningful to the student is important. (Lisa, Interview 3)</p> <hd id="AN0182244051-21">Passing down tools for navigational success</hd> <p>The final subcategory in this theme emphasizes participants' efforts to pass down tools for navigational success to their students. Both Lisa and Alicia emphasized a desire to ensure that their students had a high-level education regarding "musical basics" such as music reading, music theory, and history. Knowing from their own experiences that their students of color would likely encounter discrimination should they not be sufficiently prepared in these ways, they described their teaching approaches as being different than their White colleagues in music education in that they hoped to prepare students more rigorously with regard to these "basics" of music. For example, Lisa consistently spoke about the importance of providing students with a high-level musical education, including aspects of music theory, that would prepare them for a potential future in music:</p> <p>If the students don't want to do it, I'm not going to try and make them do it. They cannot ask me to give them a grade. You must earn it. You may not get the grade you want but you will get the grade you earned, the one you achieved.... If they can't tell me that a key signature goes with the scale of the same name—and I've been pushing it into you for a month—then you're not ready for the next level and you're going to struggle. (Lisa, Interview 2)</p> <p>Lisa expressed the belief that her approach was critical in conveying realities of the musical world, and while some students may not see the benefits of such instruction while in her classroom, "a few years down the road it may open doors that they need to have opened" (Lisa, Interview 2).</p> <p>Alicia had a similar perspective when discussing how she perceives the links between the foundations established in her classroom and her students' musical futures. Like Lisa, Alicia felt it was important to prioritize elements of music theory and music reading skills within her instruction: "Many Black general music teachers tend to make sure we're teaching theory... because most likely we never got it in school. So, I'm super 'theory happy' in my kindergarten class" (Alicia, Interview 1). Alicia considered ways that this approach might be different from her White colleagues:</p> <p>It's definitely different being a Black music teacher, especially going to [state/national] conferences and seeing my colleagues, listening to them. All of the Black music educators that I know are very theory based, composer based, you're going to learn about music history, whereas my [White] counterparts are very movement based, and you're going to learn how to folk dance and waltz.... And I said, "That's what dancing and PE is for. You're not coming to my class to dance around." (Alicia, Interview 2)</p> <p>While Lisa and Alicia considered carefully how to prepare their students for the existing realities of the academic musical world, Monica took a different approach, hoping to transform the nature of her students' learning experiences in music in ways that center their own musical knowledge. Monica explained that she seeks to create musical spaces in her classroom that instill layers of validation and affirmation for her students in advance of the potentially less-validating musical worlds of certain higher education institutions:</p> <p>I just want to let them know that they are the prize, and they come with a wealth of knowledge, a wealth of experience, a wealth of skills... I have this burden with the students that I work with now in the sense that we have to get this right for their sake. We cannot just model the patterns that have broken a lot of people of color in conservatories and university music programs. We cannot do that to our students because when they get out there, there's enough of that. This [her classroom] is their love zone. This is their space. And we prepare them for it, but not by traumatizing them before they even get out there. (Monica, Interview 3)</p> <p>Monica, then, strives to be a change agent in the lives of her students by pushing back against existing narratives that diminish her students' sense of worth and by ensuring that they recognize their own strengths within her classroom. In doing so, she hopes to prepare them to navigate future experiences with a positive sense of self and an understanding of their own value.</p> <hd id="AN0182244051-22">Discussion</hd> <p>The findings of our study suggest that along the path to teaching, our participants developed rich musical capital and personal resilience. During their time in the formal academy, they persevered through exclusionary musical and academic structures with varying levels of support and mentorship. And as music teachers, they implemented culturally responsive approaches with deep knowledge of their families and communities, powerful mirroring of ethnoracial identity with students, and purposeful efforts to pass down tools for navigational success.</p> <p>Findings from this study echo those from previous literature. For example, our participants each purposefully sought out teaching positions in communities of color due to a commitment to giving back ([<reflink idref="bib1" id="ref109">1</reflink>]; [<reflink idref="bib20" id="ref110">20</reflink>]; [<reflink idref="bib49" id="ref111">49</reflink>]; [<reflink idref="bib65" id="ref112">65</reflink>]; [<reflink idref="bib66" id="ref113">66</reflink>]; [<reflink idref="bib93" id="ref114">93</reflink>]) and described the ways in which the alignment of their ethnoracial identities with that of their students and community allowed them to powerfully engage with students both musically and interpersonally ([<reflink idref="bib1" id="ref115">1</reflink>]; [<reflink idref="bib49" id="ref116">49</reflink>]; [<reflink idref="bib73" id="ref117">73</reflink>]; [<reflink idref="bib84" id="ref118">84</reflink>]). Their devotion to passing along navigational tools for success within both musical and nonmusical realms reflects their deep commitment to the success of their students, in alignment with other studies of teachers of color teaching in communities of color ([<reflink idref="bib49" id="ref119">49</reflink>]; [<reflink idref="bib52" id="ref120">52</reflink>]; [<reflink idref="bib63" id="ref121">63</reflink>]; [<reflink idref="bib82" id="ref122">82</reflink>]). The three music teachers in our study described their experiences in ways that demonstrate their wisdom, commitment to caring, deep knowledge of their subject matter, and pedagogical excellence. This echoes previous findings about the transformative contributions of Black women within the teaching profession ([<reflink idref="bib6" id="ref123">6</reflink>]; [<reflink idref="bib16" id="ref124">16</reflink>]; [<reflink idref="bib17" id="ref125">17</reflink>]; [<reflink idref="bib27" id="ref126">27</reflink>]; [<reflink idref="bib42" id="ref127">42</reflink>]; [<reflink idref="bib43" id="ref128">43</reflink>]; [<reflink idref="bib44" id="ref129">44</reflink>]; [<reflink idref="bib45" id="ref130">45</reflink>]; [<reflink idref="bib50" id="ref131">50</reflink>]; [<reflink idref="bib54" id="ref132">54</reflink>]; [<reflink idref="bib60" id="ref133">60</reflink>]; [<reflink idref="bib67" id="ref134">67</reflink>]; [<reflink idref="bib74" id="ref135">74</reflink>]; [<reflink idref="bib80" id="ref136">80</reflink>]) and suggests a need to prioritize more impactful recruitment and retention of Black women teachers within music education.</p> <p>Our participants also discussed experiences within the academy that were stigmatizing, isolating, and even openly hostile, with very few opportunities to celebrate the types of knowledge they brought to these academic environments—types of knowledge that would later lead to their successes as music teachers in communities of color. These findings align with those from previous studies in music education suggesting pervasive challenges faced by students of color in preservice music teacher education programs ([<reflink idref="bib2" id="ref137">2</reflink>]; [<reflink idref="bib13" id="ref138">13</reflink>]; [<reflink idref="bib26" id="ref139">26</reflink>]; [<reflink idref="bib34" id="ref140">34</reflink>]; [<reflink idref="bib53" id="ref141">53</reflink>]; [<reflink idref="bib55" id="ref142">55</reflink>]; [<reflink idref="bib75" id="ref143">75</reflink>]; [<reflink idref="bib76" id="ref144">76</reflink>]), including persistent devaluing of culture-based aspects of their musicianship ([<reflink idref="bib19" id="ref145">19</reflink>]; [<reflink idref="bib26" id="ref146">26</reflink>]; [<reflink idref="bib46" id="ref147">46</reflink>]; [<reflink idref="bib48" id="ref148">48</reflink>]; [<reflink idref="bib75" id="ref149">75</reflink>]). The experiences of our participants align with [<reflink idref="bib33" id="ref150">33</reflink>] finding that the challenges Black women teachers face enact high costs, such as attrition from the teaching workforce. Indeed, [<reflink idref="bib11" id="ref151">11</reflink>] found that such challenging experiences may lead to the disproportionately low numbers of Black women teachers in the profession.</p> <hd id="AN0182244051-23">Alignment With Theoretical Lens</hd> <p>Viewed through the lens of community cultural wealth ([<reflink idref="bib89" id="ref152">89</reflink>]), the participants' experiences provided an understanding of the strengths they bring to the communities in which they taught. Although many of the forms of capital described by Yosso (aspirational, linguistic, familial capital, social, navigational, and resistant) were seen in the participants' descriptions of their experiences, especially prominent in the data were instances of navigational capital and resistant capital. Navigational capital "refers to skills in maneuvering through social institutions. Historically, this implies the ability to maneuver through institutions not created with Communities of Color in mind" ([<reflink idref="bib89" id="ref153">89</reflink>], p. 80). As previously discussed, each of our participants described their own experiences in the music academy as being hostile in some way. All three participants excelled in their studies despite these conditions, demonstrating tremendous navigational capital and resilience, naming the importance of mentors, social communities, and family support as sources of encouragement. The participants also discussed the many ways that they work to pass down their navigational capital to their students as teachers.</p> <p>Similarly, participants discussed prominent uses of resistant capital. According to [<reflink idref="bib89" id="ref154">89</reflink>], "<emph>Resistant capital</emph> refers to those knowledges and skills fostered through oppositional behavior that challenge inequality" (p. 81). Monica, in particular, epitomizes this form of capital within how she views and celebrates her students and their brilliance, teaching them that they do not have to fit into oppressive structures to succeed but, rather, that they can craft their own paths forward within systems that are often hostile. For Alicia, resistant capital is evident in her rejection of the standard general music curriculum through a rigorous and "back to basics" approach, including her work to ensure that her students appreciate and celebrate Black music in contrast to the standard canon. For Lisa, her story of being a Black harpist demonstrates resistant capital at all stages in terms of her personal experiences challenging what the classical music world expected a harpist to be. Resistant capital is thus another form of community cultural wealth that is seen prominently in our participants' experiences.</p> <p>We encourage reconsideration of the prominence of musical and other artistic capital within [<reflink idref="bib89" id="ref155">89</reflink>] framework, especially for teachers in the arts. Although Yosso's original conceptualization of linguistic capital is inclusive of communication through art forms such as music, we find this conceptualization inadequate to represent the significance of our participants' rich musical knowledge and experience as enacted within their teaching practice. Within this study, the wealth of musical knowledge discussed by the participants is notable, especially because it drew not only from the classical forms demanded by the broader music academy but also from rich Black musical traditions they learned throughout their youth. Indeed, the participants' experiences with Black popular and religious music seemed especially formative and became foundational not only to their own identities but also to the ways they described approaching teaching. The richness of these musical experiences aligns with the concept of "communal funds of knowledge" ([<reflink idref="bib31" id="ref156">31</reflink>]; [<reflink idref="bib32" id="ref157">32</reflink>]), or the types of knowledge and skills people gain from their home- and community-based experiences. The participants' emphasis on their foundational experiences with Black music and its importance in their development as music teachers is notable and perhaps suggests that "Black musical capital" may be an additional domain of music-specific community cultural wealth worthy of study and consideration within music education. Indeed, we wonder how such capital might be considered, recognized, and elevated with regard to music teacher education.</p> <hd id="AN0182244051-24">Implications for the Profession</hd> <p>Preservice teachers from historically marginalized backgrounds bring with them a depth of community cultural wealth that informs their personal belief systems, pedagogical philosophies, and teaching practice ([<reflink idref="bib4" id="ref158">4</reflink>]; [<reflink idref="bib39" id="ref159">39</reflink>]; [<reflink idref="bib61" id="ref160">61</reflink>]; [<reflink idref="bib65" id="ref161">65</reflink>]; [<reflink idref="bib89" id="ref162">89</reflink>]; [<reflink idref="bib90" id="ref163">90</reflink>]; [<reflink idref="bib92" id="ref164">92</reflink>]). Thus, how might preservice music teacher education be better conceptualized to identify, celebrate, and promote these types of knowledge and musicianship? How might programs of music teacher education better support students of color? For example, our participants described the following as being most influential to their academic journey: (a) the presence of supportive staff and faculty members of color, (b) curricula that represented Black musical knowledge, (c) affinity groups for students of color, and (d) the presence of encouraging mentors. Monica's discussion of her HBCU experience as being supportive is especially notable in light of [<reflink idref="bib14" id="ref165">14</reflink>] finding that graduates of HBCUs and Hispanic Serving Institutions account for almost one-third of all Black and one-fourth of all Latino music education graduates. More research is needed to understand the experiences of preservice teachers of color in undergraduate HBCU music education programs and the broader impact of HBCUs on the diversification of the music teacher workforce more generally.</p> <p>When considering how to support both preservice and in-service teachers of color, we find it important to reconsider the implications of terms such as "resilience" and "perseverance." Such terms were identified by our participants as aligning with much of their experiences in academia and in teaching, yet the nuances of the participant stories help us understand their complexity. Taken at face value, such terms celebrate the ability of teachers such as our participants to overcome challenging circumstances and continue on to achieve success. Certainly, we wish to celebrate the many ways in which our participants successfully navigated challenging circumstances. However, similar to [<reflink idref="bib35" id="ref166">35</reflink>], we highlight the ways that our participants described their journeys as emphasizing the problematic nature of the structures that caused them to need to be resilient and to persevere. For example, Monica's description of having to be resilient when switching from the supportive, encouraging structure of an HBCU to the challenging, unsupportive structure of the PWI she attended helps us understand how problematic some aspects of the educational journey can be—including the design of mentorship structures, lack of caring relationships, and presence of racial and gendered microaggressions. When teachers of color are identified as being "resilient" or "persistent" within music education degree programs, we encourage critical examination of the structures that require resilience and persistence in the first place and institutional commitments to change those problematic structures.</p> <p>We wish to recognize the importance of our participants' identities as Black women and highlight the overall lack of research on Black women music teachers' experiences within our profession. As a population whose stories are tremendously underrepresented within our field, we wish to encourage future research on Black women's experiences, especially as framed through asset-based frameworks. Our participants also encourage a deeper look at intersectionality ([<reflink idref="bib12" id="ref167">12</reflink>]) within their experiences, with their stories suggesting that their identities as Black women are rich and multifaceted. For example, Monica's background as a Haitian Black woman requires us to consider that Black identity is not monolithic ([<reflink idref="bib75" id="ref168">75</reflink>]). Relatedly, we wish to recognize the contributions that Black women have made to the profession and field of music education and consider the weight that they have historically carried within our profession. For example, each of our participants discussed the importance of working with other Black women through their journey as mentors, colleagues, friends, and teachers. The lack of representation of Black women in our profession may lead to disproportionate amounts of service-based responsibilities and exceptional levels of responsibilities as caregivers for others in the profession, a phenomenon termed "identity taxation" by [<reflink idref="bib37" id="ref169">37</reflink>]. We suggest further examination of the heavy service load carried within music education for Black women and discussion of ways in which they might be better supported and recognized in their work.</p> <p>We also note the benefits of utilizing an asset-based framework such as community cultural wealth ([<reflink idref="bib89" id="ref170">89</reflink>]) within this study to help us as researchers focus on identifying and celebrating forms of knowledge, skills, and social networks that often go unrecognized within our field. According to [<reflink idref="bib89" id="ref171">89</reflink>], "the main goals of identifying and documenting cultural wealth are to transform education and empower People of Color to utilize assets already abundant in their communities" (p. 82). We encourage further use of such transformative research frameworks within music education to challenge the deficit lenses so often prevalent in education research and to call attention to the cultural wealth communities of color bring to our field.</p> <p>The stories of our participants provide insight into their experiences as Black women music educators. When viewed through the lens of community cultural wealth, we recognize the tremendous body of knowledge, skills, and abilities that our participants offered to the communities in which they teach. Their journeys to—and through—the music teaching profession help us understand the need to better support, encourage, and recognize women of color through their time in the academy and beyond. 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Books like me: Engaging the community in the intentional selection of culturally relevant children's literature. Children Education, 91(1), 24–34. https://doi.org/10.1080/00094056.2015.1001661</bibtext> </blist> </ref> <ref id="AN0182244051-26"> <title> Footnotes </title> <blist> <bibtext> The authors declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.</bibtext> </blist> <blist> <bibtext> The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was financially supported by the University of Michigan School of Music, Theatre & Dance.</bibtext> </blist> <blist> <bibtext> Marjoris Regus</bibtext> </blist> <blist> <bibtext>Graph</bibtext> </blist> <blist> <bibtext>https://orcid.org/0000-0003-1136-2835 Kate R. Fitzpatrick</bibtext> </blist> <blist> <bibtext>Graph https://orcid.org/0000-0002-9175-6932</bibtext> </blist> </ref> <aug> <p>By Marjoris Regus; Kate R. Fitzpatrick and Sean Grier</p> <p>Reported by Author; Author; Author</p> <p></p> <p>Marjoris Regus is assistant professor of music education at Rutgers, The State University of New Jersey. Her research includes culturally responsive pedagogy, musical and behavioral codeswitching, reggaetón, the bicultural competencies of Latina/o/é music students, and qualitative research.</p> <p>Kate R. Fitzpatrick is associate dean of undergraduate academic affairs and associate professor of music education at the University of Michigan School of Music, Theatre, and Dance. Her research includes arts equity, urban music education, culturally responsive pedagogy, gender and motherhood in the academy, and mixed-methods research.</p> <p>Sean Grier received his PhD in music education from the University of Michigan. An educator-scholar with 15 years of teaching experience in secondary choral music settings and higher education, Sean is committed to examining music education's intersections with issues of equity and access, the creation of affirming music learning communities rooted in racial and social justice, and the importance of human connection and belonging in learning environments.</p> </aug> <nolink nlid="nl1" bibid="bib30" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib78" firstref="ref2"></nolink> <nolink nlid="nl3" bibid="bib86" firstref="ref3"></nolink> <nolink nlid="nl4" bibid="bib91" firstref="ref4"></nolink> <nolink nlid="nl5" bibid="bib11" firstref="ref5"></nolink> <nolink nlid="nl6" bibid="bib24" firstref="ref6"></nolink> <nolink nlid="nl7" bibid="bib18" firstref="ref8"></nolink> <nolink nlid="nl8" bibid="bib22" firstref="ref9"></nolink> <nolink nlid="nl9" bibid="bib68" firstref="ref11"></nolink> <nolink nlid="nl10" bibid="bib88" firstref="ref12"></nolink> <nolink 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  Data: 'I've Sat in Your Seat Before': A Study of the Experiences of Three Black Women Music Educators
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  Data: <searchLink fieldCode="AR" term="%22Marjoris+Regus%22">Marjoris Regus</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0003-1136-2835">0000-0003-1136-2835</externalLink>)<br /><searchLink fieldCode="AR" term="%22Kate+R%2E+Fitzpatrick%22">Kate R. Fitzpatrick</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0002-9175-6932">0000-0002-9175-6932</externalLink>)<br /><searchLink fieldCode="AR" term="%22Sean+Grier%22">Sean Grier</searchLink>
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  Data: <searchLink fieldCode="SO" term="%22Journal+of+Research+in+Music+Education%22"><i>Journal of Research in Music Education</i></searchLink>. 2025 72(4):442-470.
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  Data: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com
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  Data: 29
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  Data: This descriptive collective case study explored the experiences of three Black women music educators through the framework of community cultural wealth. Analysis of data collected through Seidman's three-stage phenomenological interview model revealed three themes. The first, "path to teaching," represented the formative experiences that shaped participants' development, including a deep level of embodied musical knowledge in multiple genres and the development of resilience. The second, "navigating the academy," represented the experiences of participants during their collegiate programs, including mentorship and support they had received, perseverance through difficult challenges, and intersections of their experience with existing and often problematic structures in music schools. The final theme, "pedagogical approach," represented the ways that participants wove aspects of their individual capital and experience into their pedagogical approach, including knowledge of families and community, ethnoracial representation for their students, culturally responsive approaches to pedagogy, and passing along tools for navigational success to their students. Alignment of the data with the framework of community cultural wealth is discussed, emphasizing participants' prominent uses of both navigational and resistant capital and the development of "Black musical capital." Implications for music education are discussed.
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      – SubjectFull: African American Teachers
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