{"id":{"repo_id":"houston","oai_identifier":"oai:uh-ir.tdl.org:10657/20886"},"canonical_url":"https://search.dev.ndltd.org/etd/houston/oai:uh-ir.tdl.org:10657/20886","repository":{"repo_id":"houston","name":"University of Houston","base_url":"https://uh-ir.tdl.org/server/oai/request"},"display":{"title":"Code-switching Through Music and Performance: An Exploration of How Black High School Band Directors Navigate Dual Expectations","abstract":"This study examines the experiences and challenges faced by Black high school band directors who utilize HBCU-influenced marching and performance traditions. Grounded in the conceptual framework of code-switching, the research explores how these directors navigate tensions between culturally authentic HBCU practices and Westernized, corps-style norms often privileged in predominantly White educational and adjudication systems. HBCU-style marching emphasizes high-energy choreography, bold brass sounds, and community-rooted musical expression, whereas corps-style marching prioritizes precision, restrained movement, and European-derived musical standards. Black directors may engage in musical and professional code-switching, strategically adjusting repertoire, visual presentation, and pedagogical practices, to maintain legitimacy, foster student engagement, and negotiate professional expectations without fully compromising their cultural identity. Using a survey-based methodology, this study investigates the prevalence, forms, and perceptions of code-switching, as well as the systemic barriers that influence these experiences. Specifically, it addresses the following research questions: (1) Do Black band directors who utilize HBCU marching band styles code-switch? If so, how often do they engage in musical and professional code-switching? (2) In what ways does musical and professional code-switching manifest among Black band directors navigating between HBCU traditions and Corps-style marching band expectations? a. What are the perceptions of Black band directors about their use of code-switching? (3) Do systemic barriers (school district, experience, audience, Marching Band MPA adjudication structure) influence the experiences of Black band directors who use code-switching as a strategy? Findings aim to provide insights for teacher preparation programs, adjudicators, and curriculum designers, promoting more inclusive practices that validate diverse musical traditions and address persistent systemic biases. A mixed-methods design combined quantitative analyses, including exploratory and confirmatory factor analyses (EFA, CFA), reliability estimates, ANOVAs, and regression models, with thematic analysis of open-ended survey responses. Participants (N = 109) were predominantly Black (92.9%), male (85.8%), and graduates of HBCUs (89.4%), representing a wide geographic range of teaching contexts across the South. EFA supported a three-factor model of code-switching: (1) Bicultural Engagement & Validation, (2) Navigating White-Centered Environments, and (3) Cultural Authenticity & Resistance. CFA provided partial support for this structure, with acceptable consistency for the first two factors and weaker empirical fit for the third, though retained for its theoretical and practical significance. Group comparisons revealed no significant differences in bicultural engagement, but women reported higher levels of adaptive codeswitching in White-centered environments. Regression models confirmed gender as the only significant predictor, while years of experience, age, and ethnicity were not associated with factor scores. Item-level analyses highlighted the dual strategies of adaptation and authenticity: directors frequently adjusted communication, repertoire, and presentation to align with evaluator expectations, yet consistently resisted erasure by affirming HBCU-rooted practices in their programming. Collectively, the findings reveal that code-switching operates as both a survival strategy and professional competency, while cultural resistance underscores directors’ commitment to authenticity. This study underscores the systemic pressures that shape music education spaces and calls for adjudication and institutional practices that validate diverse cultural traditions.","abstract_html":"This study examines the experiences and challenges faced by Black high school band directors who utilize HBCU-influenced marching and performance traditions. Grounded in the conceptual framework of code-switching, the research explores how these directors navigate tensions between culturally authentic HBCU practices and Westernized, corps-style norms often privileged in predominantly White educational and adjudication systems. HBCU-style marching emphasizes high-energy choreography, bold brass sounds, and community-rooted musical expression, whereas corps-style marching prioritizes precision, restrained movement, and European-derived musical standards. Black directors may engage in musical and professional code-switching, strategically adjusting repertoire, visual presentation, and pedagogical practices, to maintain legitimacy, foster student engagement, and negotiate professional expectations without fully compromising their cultural identity. Using a survey-based methodology, this study investigates the prevalence, forms, and perceptions of code-switching, as well as the systemic barriers that influence these experiences. Specifically, it addresses the following research questions: (1) Do Black band directors who utilize HBCU marching band styles code-switch? If so, how often do they engage in musical and professional code-switching? (2) In what ways does musical and professional code-switching manifest among Black band directors navigating between HBCU traditions and Corps-style marching band expectations? a. What are the perceptions of Black band directors about their use of code-switching? (3) Do systemic barriers (school district, experience, audience, Marching Band MPA adjudication structure) influence the experiences of Black band directors who use code-switching as a strategy? Findings aim to provide insights for teacher preparation programs, adjudicators, and curriculum designers, promoting more inclusive practices that validate diverse musical traditions and address persistent systemic biases. A mixed-methods design combined quantitative analyses, including exploratory and confirmatory factor analyses (EFA, CFA), reliability estimates, ANOVAs, and regression models, with thematic analysis of open-ended survey responses. Participants (N = 109) were predominantly Black (92.9%), male (85.8%), and graduates of HBCUs (89.4%), representing a wide geographic range of teaching contexts across the South. EFA supported a three-factor model of code-switching: (1) Bicultural Engagement & Validation, (2) Navigating White-Centered Environments, and (3) Cultural Authenticity & Resistance. CFA provided partial support for this structure, with acceptable consistency for the first two factors and weaker empirical fit for the third, though retained for its theoretical and practical significance. Group comparisons revealed no significant differences in bicultural engagement, but women reported higher levels of adaptive codeswitching in White-centered environments. Regression models confirmed gender as the only significant predictor, while years of experience, age, and ethnicity were not associated with factor scores. Item-level analyses highlighted the dual strategies of adaptation and authenticity: directors frequently adjusted communication, repertoire, and presentation to align with evaluator expectations, yet consistently resisted erasure by affirming HBCU-rooted practices in their programming. Collectively, the findings reveal that code-switching operates as both a survival strategy and professional competency, while cultural resistance underscores directors’ commitment to authenticity. This study underscores the systemic pressures that shape music education spaces and calls for adjudication and institutional practices that validate diverse cultural traditions.","abstract_has_math":false,"creators":["Redding, Kedrick Lamar 1980-"],"institution":"University of Houston","degree_name":"Doctor of Musical Arts","degree_level":null,"degree_discipline":"Music Education","degree_department":null,"school":null,"contributors":[],"advisors":["Meals, Cory"],"committee_chairs":[],"committee_members":["Derges, Julie","Bertman, David","McGinnis, Emily"],"year":2025,"date_issued":"2025-12","date_published":"2025-12","updated_at":"2026-07-24T02:31:52Z","subjects":["HBCU Marching Band Traditions","HBCU Marching Bands","Cultural Hierarchy Theories","Black Music Aesthetics","Musical Code-Switching","Black Band Directors","Code-switching"],"languages":["English"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/10657/20886","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Meals, Cory"]},{"key":"dc:contributor.committeemember","label":"Committee Member","values":["Derges, Julie","Bertman, David","McGinnis, Emily"]},{"key":"dc:creator","label":"Author","values":["Redding, Kedrick Lamar 1980-"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2026-02-08T06:02:03Z"]},{"key":"dc:date.issued","label":"Date","values":["2025-12"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music Education"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Musical Arts"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Houston"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["HBCU Marching Band Traditions","HBCU Marching Bands","Cultural Hierarchy Theories","Black Music Aesthetics","Musical Code-Switching","Black Band Directors","Code-switching"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["English"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/10657/20886"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This study examines the experiences and challenges faced by Black high school band directors who utilize HBCU-influenced marching and performance traditions. Grounded in the conceptual framework of code-switching, the research explores how these directors navigate tensions between culturally authentic HBCU practices and Westernized, corps-style norms often privileged in predominantly White educational and adjudication systems. HBCU-style marching emphasizes high-energy choreography, bold brass sounds, and community-rooted musical expression, whereas corps-style marching prioritizes precision, restrained movement, and European-derived musical standards. Black directors may engage in musical and professional code-switching, strategically adjusting repertoire, visual presentation, and pedagogical practices, to maintain legitimacy, foster student engagement, and negotiate professional expectations without fully compromising their cultural identity. Using a survey-based methodology, this study investigates the prevalence, forms, and perceptions of code-switching, as well as the systemic barriers that influence these experiences. Specifically, it addresses the following research questions: (1) Do Black band directors who utilize HBCU marching band styles code-switch? If so, how often do they engage in musical and professional code-switching? (2) In what ways does musical and professional code-switching manifest among Black band directors navigating between HBCU traditions and Corps-style marching band expectations? a. What are the perceptions of Black band directors about their use of code-switching? (3) Do systemic barriers (school district, experience, audience, Marching Band MPA adjudication structure) influence the experiences of Black band directors who use code-switching as a strategy? Findings aim to provide insights for teacher preparation programs, adjudicators, and curriculum designers, promoting more inclusive practices that validate diverse musical traditions and address persistent systemic biases. A mixed-methods design combined quantitative analyses, including exploratory and confirmatory factor analyses (EFA, CFA), reliability estimates, ANOVAs, and regression models, with thematic analysis of open-ended survey responses. Participants (N = 109) were predominantly Black (92.9%), male (85.8%), and graduates of HBCUs (89.4%), representing a wide geographic range of teaching contexts across the South. EFA supported a three-factor model of code-switching: (1) Bicultural Engagement & Validation, (2) Navigating White-Centered Environments, and (3) Cultural Authenticity & Resistance. CFA provided partial support for this structure, with acceptable consistency for the first two factors and weaker empirical fit for the third, though retained for its theoretical and practical significance. Group comparisons revealed no significant differences in bicultural engagement, but women reported higher levels of adaptive codeswitching in White-centered environments. Regression models confirmed gender as the only significant predictor, while years of experience, age, and ethnicity were not associated with factor scores. Item-level analyses highlighted the dual strategies of adaptation and authenticity: directors frequently adjusted communication, repertoire, and presentation to align with evaluator expectations, yet consistently resisted erasure by affirming HBCU-rooted practices in their programming. Collectively, the findings reveal that code-switching operates as both a survival strategy and professional competency, while cultural resistance underscores directors’ commitment to authenticity. This study underscores the systemic pressures that shape music education spaces and calls for adjudication and institutional practices that validate diverse cultural traditions."]},{"key":"dc:format.mimetype","label":"Dc Format Mimetype","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Code-switching Through Music and Performance: An Exploration of How Black High School Band Directors Navigate Dual Expectations"]}]}],"canonical_facts":{"dc:contributor.advisor":["Meals, Cory"],"dc:contributor.committeemember":["Derges, Julie","Bertman, David","McGinnis, Emily"],"dc:creator":["Redding, Kedrick Lamar 1980-"],"dc:date.accessioned":["2026-02-08T06:02:03Z"],"dc:date.issued":["2025-12"],"dc:description.abstract":["This study examines the experiences and challenges faced by Black high school band directors who utilize HBCU-influenced marching and performance traditions. Grounded in the conceptual framework of code-switching, the research explores how these directors navigate tensions between culturally authentic HBCU practices and Westernized, corps-style norms often privileged in predominantly White educational and adjudication systems. HBCU-style marching emphasizes high-energy choreography, bold brass sounds, and community-rooted musical expression, whereas corps-style marching prioritizes precision, restrained movement, and European-derived musical standards. Black directors may engage in musical and professional code-switching, strategically adjusting repertoire, visual presentation, and pedagogical practices, to maintain legitimacy, foster student engagement, and negotiate professional expectations without fully compromising their cultural identity. Using a survey-based methodology, this study investigates the prevalence, forms, and perceptions of code-switching, as well as the systemic barriers that influence these experiences. Specifically, it addresses the following research questions: (1) Do Black band directors who utilize HBCU marching band styles code-switch? If so, how often do they engage in musical and professional code-switching? (2) In what ways does musical and professional code-switching manifest among Black band directors navigating between HBCU traditions and Corps-style marching band expectations? a. What are the perceptions of Black band directors about their use of code-switching? (3) Do systemic barriers (school district, experience, audience, Marching Band MPA adjudication structure) influence the experiences of Black band directors who use code-switching as a strategy? Findings aim to provide insights for teacher preparation programs, adjudicators, and curriculum designers, promoting more inclusive practices that validate diverse musical traditions and address persistent systemic biases. A mixed-methods design combined quantitative analyses, including exploratory and confirmatory factor analyses (EFA, CFA), reliability estimates, ANOVAs, and regression models, with thematic analysis of open-ended survey responses. Participants (N = 109) were predominantly Black (92.9%), male (85.8%), and graduates of HBCUs (89.4%), representing a wide geographic range of teaching contexts across the South. EFA supported a three-factor model of code-switching: (1) Bicultural Engagement & Validation, (2) Navigating White-Centered Environments, and (3) Cultural Authenticity & Resistance. CFA provided partial support for this structure, with acceptable consistency for the first two factors and weaker empirical fit for the third, though retained for its theoretical and practical significance. Group comparisons revealed no significant differences in bicultural engagement, but women reported higher levels of adaptive codeswitching in White-centered environments. Regression models confirmed gender as the only significant predictor, while years of experience, age, and ethnicity were not associated with factor scores. Item-level analyses highlighted the dual strategies of adaptation and authenticity: directors frequently adjusted communication, repertoire, and presentation to align with evaluator expectations, yet consistently resisted erasure by affirming HBCU-rooted practices in their programming. Collectively, the findings reveal that code-switching operates as both a survival strategy and professional competency, while cultural resistance underscores directors’ commitment to authenticity. This study underscores the systemic pressures that shape music education spaces and calls for adjudication and institutional practices that validate diverse cultural traditions."],"dc:format.mimetype":["application/pdf"],"dc:identifier.uri":["https://hdl.handle.net/10657/20886"],"dc:language.iso":["English"],"dc:subject":["HBCU Marching Band Traditions","HBCU Marching Bands","Cultural Hierarchy Theories","Black Music Aesthetics","Musical Code-Switching","Black Band Directors","Code-switching"],"dc:title":["Code-switching Through Music and Performance: An Exploration of How Black High School Band Directors Navigate Dual Expectations"],"dc:type":["Thesis"],"thesis:degree_discipline":["Music Education"],"thesis:degree_name":["Doctor of Musical Arts"],"thesis:institution_name":["University of Houston"]},"updated_at":"2026-07-24T02:31:52Z"}