ABSTRACT

In this study I conduct a dramaturgical analysis to examine the performance of social identity among the members a competitive high school jazz band located in the western United States. Using dramaturgical theory (Goffman, E. 1959. The Presentation of Self in Everyday Life. Anchor Books.), which uses a metaphor with the theatre to interpret human interactions as manufactured social performances, I seek to dissect the underlying motivations concerning the band’s practice of musical humility (Coppola, W. J. 2019. “Musical Humility: An Ethnographic Case Study of A Competitive High School Jazz Band.” Bulletin of the Council for Research in Music Education 222: 7–26. doi:10.5406/bulcouresmusedu.222.0007). Specifically, I seek to understand the seemingly paradoxical presence of humility during performances and rehearsals alongside transient acts of arrogance as shared during interviews and observed behind-the-scenes. I present my findings through an arts-based storytelling approach divided into three parts: Act I, which explores the onstage symbiosis of the Grant Jazz Band; Act II, which focuses on backstage behaviours occurring during rehearsals and sectionals; and Act III, which examines offstage communications resulting from one-on-one interviews and other interactions occurring off the bandstand.

摘要

在这项研究中，我进行了戏剧分析，以研究位于美国西部的一支竞争激烈的高中爵士乐队成员之间社会认同感的表现。我使用戏剧理论（戈夫曼，E。1959年，《日常生活中的自我的介绍》，《锚定书》），该理论使用剧院的隐喻将人际互动解释为虚假的社会表演，我试图剖析与乐队实践有关的潜在动机。谦卑感（Coppola，WJ2019。“谦逊：竞争性高中爵士乐队的民族志案例研究。”音乐教育研究委员会公告）222：7–26。doi：10.5406 / bulcouresmusedu.222.0007）。具体来说，我试图了解在表演和排练中谦卑的自相矛盾的存在，以及在访谈中分享并在幕后观察到的短暂的傲慢行为。我通过基于艺术的故事讲述方法介绍了我的发现，该方法分为三个部分：第一幕，探讨格兰特爵士乐队在舞台上的共生关系；第二幕，第二章。第二幕，侧重于彩排和节段中发生的后台行为；和法III，其检查台下从一个对一访谈和发生断音乐台其他相互作用造成的通信。