The purpose of this qualitative study was to explore collegiate musicians’ lived experiences with democratic rehearsal procedures in a concert band setting. A constructivist worldview and phenomenological framework were used to examine participants’ experiences using their own words through weekly written reflections, pre- and post- questionnaires, rehearsal interactions, and semi-structured interviews. Participants (N = 42) were members of a co-directed, non-auditioned university concert band at a large midwestern university. Data collection took place during an eight-week concert cycle which included scaffolded democratic experiences such as (a) selecting music for performance, (b) participating in collaborative score study/preparation during rehearsal, (c) identifying and selecting music segments for rehearsal, (d) identifying and describing opportunities for individual and ensemble performance improvement, (e) analyzing, discussing, and making decisions regarding how the music should be performed, (f) participating in student-led sectionals, and (g) participating in student-led full ensemble rehearsal. Themes associated with participants’ experiences included (a) the value of multiple perspectives, (b) ownership and musical agency, (c) engagement, and (d) providing feedback. Participants indicated that the democratic rehearsal cycle was generally a positive experience. Application of democratic rehearsal procedures may aid students in developing their agency, musicianship, and musical independence.

这项定性研究的目的是探索大学音乐家在音乐会乐队环境中使用民主排练程序的生活经验。建构主义世界观和现象学框架被用来通过每周的书面反思、前后问卷调查、排练互动和半结构化访谈来检查参与者使用自己的话的经历。参与者（N = 42）是中西部一所大型大学的联合导演、未经试镜的大学音乐会乐队的成员。数据收集在为期八周的音乐会周期中进行，其中包括脚手架式民主体验，例如 (a) 为表演选择音乐，(b) 在排练期间参与合作乐谱研究/准备，(c) 识别和选择用于排练的音乐片段， (d) 识别和描述个人和合奏表演改进的机会，(e) 分析、讨论和决定如何演奏音乐，(f) 参与学生主导的部分，以及 (g) 参与学生-带领全团排练。与参与者体验相关的主题包括（a）多视角的价值，（b）所有权和音乐代理，（c）参与，(d) 提供反馈。与会者表示，民主排练周期总体上是一次积极的经历。民主排练程序的应用可以帮助学生发展他们的能动性、音乐才能和音乐独立性。