The Process of Social Identity Development in Adolescent High School Choral Singers: A

Grounded Theory
Author(s): Elizabeth Cassidy Parker
Source: Journal of Research in Music Education , April 2014, Vol. 62, No. 1 (April 2014),
pp. 18-32
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for
Music Education

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 UHM Nat'ona' Association
for Music Education
Article

Journal of Research in Music Education

2014, Vol. 62(1) 18-32
The Process of Social Identity © National Association for
Music Education 2014

Development in Adolescent Reprints and permissions:

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High School Choral Singers: DOI: 10.1177/0022429413520009

jrme.sagepub.com

A Grounded Theory USAGE

Elizabeth Cassidy Parker1

Abstract

The purpose of this grounded theory study was to describe the process of ado
choral singers' social identity development within three midsized, midw
high school mixed choirs. Forty-nine interviews were conducted with 36 dif
participants. Secondary data sources included memoing, observations, and int
with the choir teachers. The data analysis revealed an eight-stage process beg
with the student's choice to audition and remain involved to the final s
desire to give back to the community. The central phenomenon of social ide
was identified as team. Contextual conditions, including time, intensity, and
group, strengthened participant experiences substantively. Social cliques and
emerged as intervening conditions that impeded social identity development. S
individuals influenced participant social identity including peers, parents, sch
community members, as well as the choir teacher. A temporal matrix is prese
well as propositions illustrating the development of social identity.

Keywords
adolescence, choir, social identity, grounded theory

Adolescence is a pivotal time for identity development, as the childhood self

to integrate with important peers as well as adults (Erikson, 1968). Within a
vidual's social identity, belonging to a peer group is paramount (Newman, Lo
& Newman, 2007; Tarrant, MacKenzie, & Hewitt, 2006). Peer groups all

'Columbus State University, Columbus, GA, USA

Corresponding Author:
Elizabeth Cassidy Parker, Schwöb School of Music at Columbus State University, 4225 University
Avenue, Columbus, GA, 3 1 907, USA.
Email: elizabethcparker@gmail.com

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 Parker 1 9

adolescent
adolescents
Alienated te
school and
Engel, & M
hostility, an
Berendt, 20
Social identi
they be larg
peer group
includes not
also the emo
participants
individual's behavior.
Authors of extant studies do not appear to have investigated directly musicians'
social identity development. However, identities in music have been studied within the
context of ensemble dynamics, the democratic process of rehearsals, and resultant
friendships (Blank & Davidson, 2007; Mieli & Littleton, 2008; Murningham &
Conlon, 1991). Researchers reported the considerable struggle and compromise
needed to make musical decisions democratically. In all studies, music-related deci-
sion making engendered shared music knowledge and meaning. Music was the
medium by which self-identity was constructed.
Adolescents' music listening and playing preferences have been found to act as a
"badge of identity" outside of school (North & Hargreaves, 1999; Tarrant, North, &
Hargreaves, 2000). Furthermore, students' levels of ownership and autonomy influ-
enced out-of-school engagement and motivation (Hargreaves & Marshall, 2003).
Research findings indicated that female adolescents tended to use music for mood
regulation, while males used music to help create positive impressions with others
(North, Hargreaves, & O'Neill, 2000).
Related studies in school music and community choral ensembles have focused on
belonging, meaning, motivation, and ensemble singing as providing therapeutic ben-
efit (Adderley, Kennedy, & Berz, 2003; Arasi, 2006; Cohen, 2009; Freer, 2009, 2010;
Hylton, 1981; Parker, 2010). Authors of studies exploring meaning have posited that
music making is socially integrative and acts as a vehicle to self-development, and
that participants' feelings of competency motivated them to continue their participa-
tion. Participants experienced psychological benefits as well as enhanced personal
qualities, such as responsibility and self-discipline. Specific to Adderley et al. 's
(2003) study, the motivation to join school music ensembles included family encour-
agement, earlier experiences in music, and the balance that ensembles provided in the
academic schedule. Students attached labels to their own participation as well as
wore badges of participation, including uniforms. Freer (2009, 2010) articulated that
boys' decisions to participate in choir were individual rather than collective. They
were influenced by the choral teacher's approach to the changing voice, mentorship
from older male singers, and personal reasons to make music with others.

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20 Journal of Research in Music Education 62(1)

Singing also offers therapeutic benefits for adult members. For in

viduals, Cohen (2009) reported participants' well-being measures in
ral participation, and Silber (2005) discussed musical cooperatio
backup as a form of support. Bailey and Davidson's (2002, 2005) stu
peutic benefit included releasing emotions and experiencing gr
effects of choir and audience reciprocity were important to margin
because they felt that they were contributing something to the larger
Past studies provide valuable context and support for this study. Th
the need for a study focused on how adolescents develop social ident
school choral experience. The purpose of this grounded theory study
the process of adolescent choral singers' social identity development
sized, midwestern high school mixed choirs. Research questions inc
school students describe their social identity development, what actio
influence their development, what strategies they use to develop soc
intervening conditions get in the way, and what consequences result
students' social identity development. It is my hope that this study m
administrators and policymakers to gain a greater understanding of
ences help to facilitate adolescent social identity within the classroo

Method

Grounded theory was chosen as a systematic, qualitative approach that focuses on an

analytical schema of a substantive process (Creswell, 2007, p. 63). The goal o
grounded theory is to explain a process when existing theories do not fit or have no
been created (Creswell, 2008). A theory grounded in the data provides a better expla
nation than does one borrowed "off the shelf' because it fits the context, is responsiv
to the complexities of the topic, and works in practice (Creswell, 2008, p. 432).
Glaser and Strauss (1967) began the grounded theory approach in efforts to buil
theory inductively rather than deducing hypotheses based on already developed theories
Strauss and Corbin's (1990) focus on procedures and placing data into preconceived
categories came under scrutiny from grounded theorists, including Charmaz (2006) an
Glaser (1992). Charmaz argued that theorizing is a social action, and constructivist
grounded theory requires researchers to reflect on the social production of the theor
itself. In response to Charmaz and others, Corbin and Strauss 's (2008) most recent te
sought to reflect constructivist writings on grounded theory. Corbin and Strauss acknow
edged that researchers' interactions with data are constructive because they seek t
understand the lived experiences of individuals. Furthermore, according to Corbin an
Strauss, consequences cannot exist within a vacuum because they are always connecte
to contextual conditions, actions, and interactions (Corbin & Strauss, 2008, p. 91).
In this study, I utilized Corbin and Strauss's (2008) grounded theory as a series o
tools in order to systematically interrogate data. The goal was to discover inductivel
the process of adolescent choral singers' social identity development, including iden-
tifying actions and interactions, intervening conditions, a central phenomenon, an
consequences. Seeking to dimensionalize the categories with properties on a

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Parker 2 1

continuum
Finally, uti
heightened

Data Collec
Three schoo
2002). Diver
bodies, (b) lo
sity, (c) refl
istering cho
data collecti
the Online A
.sagepub.com
types, memb
through eth
The initial w
choir partic
(Patton, 200
the hall fro
using MAX
participants
ing in order
properties a
leads to theo
The second
views with
analysis pr
resulting di
continuum a
ries (Corbin
as well as c
(Creswell, 2
central phen
(Strauss & C
The third w
students (L
spoke strong
Participants
and proposit
Secondary d
a total of 16
observations
teacher-to-s

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22 Journal of Research in Music Education 62(1)

Table I. Emergent Social Identity Categories, Properties, and Dimensiona

Category Properties Dimensionalized examples

Overall contextual Time Less than an Several hours a day

conditions hour a day
Participate for Participate for 4
a few months

Size of group 1 5 90
Intensity Sharing donuts Performance for conv
and a movie

Choosing to audition Past music Unmotivating Pushing me forward

and remain experiences
involved Family Uninvolved Parents as career musicians
Friends They don't I'm here because of my peers
know I'm
here

Singing It would be fun I need to sing for me

Desire to join A break in the Desire to contribute
something school day
Being chosen ln-group and Cliques in choir Everyone is open
out-group
Privilege of It is a class It is an honor
membership
Reputation No one knows Choir singers are achievers
about choir

Singing with others Teacher role Unrelenting Complimentary

Accountability Become a good Become a better singer to support
singer others
Risk taking Put yourself Honesty in front of o
out there

Leadership Informal Intentional leadership

mentorship development
Common Sing in harmony Communicate through the
experience together repertoire
Giving oneself Give to one Give to community audience
another

Team Music family Extended family Brothers, sisters, teacher as

parent
Everyone is Love of music Shared action and musical
there for one understanding
reason

We will all be You can't have Having your back

together choir without
people

(continued)

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 Parker 23

Table I. (co

Category Properties Dimensionalized examples

Acknowledged and Friends and Don't show up Attend and acknowl
accomplished the larger
school
community
Family Don't get it Videotape every performance
Mixed choir Good job Supportive of one another
community
Pride Earned it Hard work I am proud of myself
myself
Choral group External Proud to be part of a team
awards and
honors

School Representing Adding to school reputation

your school
Who I am Career goals Future Musician or music teacher
audience
member

More at peace Staying out of Overall self-acceptance

trouble

Singing goals Better singer Increased involvement

Learn more Better music Better thinker/creator
about music reader

Social person More outgoing More friendships

Desire to give back Feelings of To the choir To the larger commun
responsibility
Performance Give to Give to humanity
selected
individuals

Leadership Leading by Formal leadership roles

roles example
I can say I was Looking Interaction with prog
part of that back on high school
involvement

Findings
The grounded theory of social identity development revealed an eight-stage process
(see Figure 1). Contextual conditions, including time, intensity, and size of group,
substantively influenced participants' experiences. Participants' identity development
process began with the initial decision to audition and remain involved in choir; pro-
gressed through the central phenomenon, team; and ended with the last category, the
desire to give back to the community.

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24 Journal of Research in Music Education 62(1)

Figure I. Temporal matrix of adolescent social identity development.

Actions and Interactions

Within Corbin and Strauss's (2008) grounded theory approach, actions or interactions
act as factors of the central phenomenon. Actions and interactions in this study,
depicted on the left side of Figure 1, included the following categories: (a) choosing to
audition and remain involved in choir, (b) being chosen, and (c) singing with others.
The intervening conditions that impeded team included cliques and egos. Categories
and their properties are presented in Table 1 with dimensionalized examples (exam-
ples that demonstrate the continuum of responses). Dimensionalized examples
emerged from interview data and help to explain participants' range of experience.
Participants chose to audition for different reasons and received varied levels of
support for their decision to do so. Influential others, including teachers, family mem-
bers, and friends, were instrumental in their decision to join, supported the audition
process, and helped participants continue choral participation. Previous music teach-
ers appear to have been influential, although participant experiences were varied,
including unmotivating and highly motivating previous school music experiences.
Several participants discussed difficulty finding the choral program. Nicole said, "I
wasn't in women's choir in ninth grade because I didn't know how to apply for it.
They don't say, 'Hey go out for choir.' It's just there ... an exclusive kind of thing,

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 Parker 25

you have t
separate wi
A pivotal m
gain entry
the choral
ing in the
learning o
knowledge
ing to the
another on
you to hit t
going to ge
ther suppor
Participant
risks to sup
ing in unco
their music
fied the in
that it was
to take a h
the person
on to be be
tations, we
of her choi
we have to do this.'"
For all three choirs, findings revealed that leaders created a unified team and helped
keep the group together. Accountability, risk taking, and leadership were evolutionary
processes taught by veteran members to newer members. Emily said, "You mirror
what your role models are. I find myself acting more like the seniors that have passed
more than I thought I would have. You look up to them, then you become them, and
others look up to you." Leaders helped to create continuity even as veteran members
graduated and new members began within the ensemble.

Intervening Conditions

The intervening conditions found, identified as cliques and egos, are depicted in
Figure 1 with dotted lines. Many participants described having friends in the group,
yet a few articulated the presence of social cliques and egos as a point of personal
struggle in the choral experience. Even though participants described mixed choir as a
place where membership was deserved because of the audition process, they also indi-
cated the presence of smaller groups. This is one area where the diversity of sites
became apparent. Rebecca, from Downtown High School, stated, "When you get
together in a group, you always see that odd person out." Stefania, from City High,
also discussed her own personal struggle with cliques: "I just want to fit in so I'm not

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26 Journal of Research in Music Education 62( I )

an outcast or standing off to the side while everyone is having fun." A

School, however, participants viewed everyone as integral to the cho
Warren said, "You all basically love each other like a family ... it's lik
tionship between everyone in there." As strategies to overcome these
ticipants discussed confronting students when it was necessary, talkin
them, and working through issues together.

Central Phenomenon

In every interview, participants articulated the central phenomenon, te

that exact term. Team unity in choir was similar to a music family
shared experience of singing together. Several participants remarked
team fostered feelings of belonging. Ruthie said, "Choir is a place to b
stated, "I feel like I have found my place." A few likened choir to a
where each part was required for the entire machine to function. The
acted as a team within the team, and choir teachers fortified each smaller
their intentional and individualized work with sopranos, altos, tenors
Proximity aided the sectional team. Participants discussed becoming
their folder partners or with others within their row. Although par
referred to having "choir friends," they also stated that folder-partner
not continue outside of the classroom. Emily said,

There was a girl I sat by last year who told me all of this stuff about her ho
we would go in the hallway and wouldn't say a word to each other. But in he
be friends.

Participants also expressed a shared action in their pursuit of singin

well as a common love of music. The unified purpose of excellent
guided them toward strong teamwork and required them to rely on o
that end, many participants spent time differentiating the choir team fr
contexts. For example, Alison indicated that a choir's success should be
full group rather than by individual players, explaining,

In choir, it's you, but it's not you at all. You can't really say I hit that no
why we got that chord. So it's the fact that it is individual, but it is also ev
same time.

Participants articulated that the delicate balance of individual and collective responsi-
bility helped to develop as well as sustain the choral team.
Contextual conditions, such as time spent together, the size of the group, and the
intensity of rehearsal, also appeared to play a role in the strength of the team. The more
time choir participants spent with one another, the smaller the size of the group, and
the greater intensity of rehearsals and performances helped to create a stronger team.
The intensity of the three contextual conditions helped to create an environment for
participants' social identity development.

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 Parker 27

Conseque
In this stu
pants' soci
Figure 1, i
(d) the desi
related to t
munity we
varied grea
choir" to a
field notes
congratulat
Participant
(a) the daily
formances,
from impo
pride they
Examples i
from other
of the part
With respe
experience
are, and de
their futur
that partic
hear an ope
Education c
to be succe
you sing, y
Participants
more self-a
At the end
community
selves as a
the import
it acted no
community
wants us to
on their hi
an alumnus
school had
their chora
that you w
ing in."

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28 Journal of Research in Music Education 62( I )

Propositional Statements
Propositional statements made by the researcher unify the grounded
and act as a theoretical explanation of the data (Corbin & Strauss, 20
relationships to be proposed that have been developed from rigorous
(Strauss & Corbin, 1990). Based on my analysis of the data (for ad
regarding data analysis and findings, please see Parker, 2009), the foll
ositions are offered regarding the social identity process of adolesce
choral singers: (a) Adolescent choral singers who are acknowledged f
by important others are more likely to continue and increase their sc
ticipation over time and potentially hold leadership roles, (b) Adolesce
ers' social identity development is strengthened by a variety of contex
including short- and long-term time commitment, the size of the sin
rehearsal and performance intensity, (c) The act of singing with anoth
as a form of interpersonal communication and helps to break down bar
ship. (d) While many experience friendships within the mixed choir c
friendships normally do not extend to the outside school environmen
dent is a part of an additional smaller ensemble, such as chamber sin
choir, (e) Pride in their accomplishments helps participants make be
breeds competency into other areas of their lives, (f) A main conseq
choir participation is greater self-acceptance and self-understanding.

Discussion

The process of singing with others consistently over time, with varying intensit
rehearsals and performances, contributes to participants' experiences of mixed ch
as an in-group, reflecting Tajfel's (1978, 1981) social identity theory. Through the
of singing with others, involvement in choir reaches beyond membership into bel
ing and peak experiences. This reflects the findings of Newman et al. (2007), w
reported that membership was not enough within a group because participants m
experience belonging to gain attending benefits, such as a stronger self-concept.
Participants whose identities are strongly attached to mixed choir also may c
sider choir their primary place of social categorization (Tajfel, 1978, 1981) and w
to "secure a positive evaluation of the in-group" (Tarrant et al., 2006, p. 137) thro
comparing themselves with other groups in the school. Furthermore, participants
of music as a "badge of identity" is congruent with findings by North and Hargre
(1999) and Tarrant et al. (2000), who discovered that adolescents used music to e
cise their individuality.
The identification of team as a category in this study resonates with the descrip
of choir as a place of affiliation and social integration (Adderley et al., 2003; Baile
Davidson, 2005; Hylton, 1981; Parker, 2010). Participants' increased amount
rehearsal time, out-of-school performances, and small group size reportedly heig
ened their social interactions. They engaged future aspirations for music involvem
as well as a wide range of social expectations because of their choral participatio

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 Parker 29

Themes of s
munication
Hylton (198
experience a
viduals sing
Participant
et al. (2003)
considered
choir mem
Participants
to act purpo
My analysis
played a con
were highly
encouraged
shared exper
music when
p. 7). The de
also helped
Littleton's (
challenge th
largely outsi
tities as mu
conclusions
Similar to
Littleton, 2
egos, were p
positions th
actions to se
were both s
(Holland, La
ing and bein
space where
sistently sin
the choral p
the beginni
products of
schools as alumni.
One implication of this research is that the choral classroom is identity defining and
assists adolescent social development through the music-making experience.
Adolescents are building considerable peer groups and expanding their ideas of who
they are as social people within the school environment. The identity-defining process
of choral participation may act protectively to aid adolescents as they enter new and
more challenging stages of development. Choir teachers can build upon these findings

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 30 Journal of Research in Music Education 62(1)

by creating smaller singing groups that heighten participant belong

retreats to fortify the choir team, and acknowledge that intense rehea
have a positive social impact. Healthy adolescent development is cruc
identity (Erikson, 1968) and may help to reduce alienation, which can
consequences for adolescents (Rutter & Berendt, 2004). Music educati
ers and practitioners should consider the importance of social develo
advocacy plans at local, regional, and national levels.

Author's Note

This article is based on the dissertation "Understanding the Process of Social I

Development in Adolescent High School Choral Singers: A Grounded Theory," com
the University of Nebraska-Lincoln in 2009.

Declaration of Conflicting Interests

The author declared no potential conflicts of interest with respect to the research, au
and/or publication of this article.

Funding
The author received no financial support for the research, authorship, and/or publication of this
article.

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Author Biography
Elizabeth Cassidy Parker is assistant professor of music education at the S
Music at Columbus State University. Her research interests include the social
development of adolescent choral singers as well as the emerging identities of
educators.

Submitted October 3, 2012; accepted February 7, 2013.

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