The purpose of this study was to examine invited orchestras and their selected repertoire at the Midwest Clinic from 1990 through 2019. A majority of invited orchestras (N = 261) were from the United States and primarily consisted of high school musicians. The most performed piece for full orchestra was "Symphony No. 8, op." 88 by Dvorák…

The purpose of this study was to develop a deeper understanding of repertoire performed by youth orchestras in the United States. Through an online survey, youth orchestra administrators (N = 39) provided information about repertoire performed by their program's premier orchestra during their 2015-2016 season. Orchestras performed 302 different…

Recent decades have seen gender and feminist research emerge as major fields of enquiry in musicology and to a far lesser extent, music education. While these fields have increased awareness of the issues confronting women and other marginalised groups, the pedagogical practices and curricular design that might support aspiring women composers are…

American music education is focused primarily on music written by White men (Baker, 2003). However, women are more likely to believe they can find success in a career in the arts when they have positive female role models (Quimby & DeSantis, 2006). Similarly, college students are more likely to name career role models who match their own…

This study deals with the meaning that musicians and non-musicians attach to two contemporary railway noise compositions as conveyed through verbal and audio-graphic responses. The purpose of this mixed-method study was twofold: (1) to examine similarities and differences between musicians and non-musicians in their responses to contemporary…

The purpose of this study is to explore smartness and talent as social constructs. Drawing on Holland et al.'s (1998) figured identities, this article explores the figuring of abilities by elucidating the voices of African American high school chorus students. Critical Race Theory (CRT) helps to unpack normalized language and practices that…

We focus on the music students at a conservatoire (A) that only trains performers and composers (performers/composers); a conservatoire (B) that also trains classroom teachers (education students); and a university (C) with only education students. We used a questionnaire to compare the experience and beliefs as instrumental teachers of the…