AdderleyCecilMaryWilliamBerz. 2003. “‘A Home Away from Home’: The World of the High School Music Classroom.” Journal of Research in Music Education51 (3): 190–205. doi:10.2307/3345373.
2.
CampbellPatricia ShehanConnellClaireBeegleAmy. 2007. “Adolescents’ Expressed Meanings of Music in and out of School.” Journal of Research in Music Education55 (3): 220–36. doi:10:1177/002242940705500304.
3.
CulverRobert. 1999. “How to Develop Community-Wide Support for String Study.” American String Teacher49 (1): 48–54. doi:10.1177/000313139904900109.
4.
HendricksKarin S.HicksAnn M.2016. “Socio-Musical Connections and Teacher Identity Development in a University Methods Course and Community Youth Symphony Partnership.” String Research Journal7 (1): 99–116. doi:10.1177/194849921600700105.
5.
MacLeodRebecca B.McKoyConstance L.2012. “An Exploration of the Relationships between Cultural Background and Music Preferences in a Diverse Orchestra Classroom.” String Research Journal3 (1): 21–40. doi:10.1177/194849921200300102.
6.
ParkerElizabeth Cassidy. 2016 “The Experience of Creating Community: An Intrinsic Case Study of Four Midwestern Public School Choral Teachers.” Journal of Research in Music Education64 (2): 220–37. doi:10.1177/0022429416648292.
7.
RohwerDebbieRohwerMark. 2009. “A Content Analysis of Choral Students’ Participation Perceptions: Implications for Lifelong Learning.” International Journal of Community Music2 (2–3): 255–62. doi:10.1386/ijcm.2.2-3.255_1.
8.
SinekSimon. 2009. Start with Why: How Great Leaders Inspire Everyone to Take Action. New York: Penguin.
9.
WaldronJaniceKariVeblen. 2008. “The Medium Is the Message: Cyberspace, Community, and Music Learning in the Irish Traditional Music Virtual Community.” Journal of Music, Technology & Education1 (2–3): 99–111. doi:10.1386/jmte.1.2and3.99_1.
10.
WengerEtienne. 1998. Communities of Practice: Learning, Meaning and Identity. Oxford: Oxford University Press. doi:10.1017/CBO9780511803932.
11.
WilliamsBlair. 2018. “‘Who’s Drivin’ This Bus? The Learner-Centered String Class.” American String Teacher68 (2): 26–31. doi:10.1177/0003131318760287.