Abstract
The marching arts hold a unique and favorable place in America's music education and entertainment system. Through a rise in popularity over the past century, marching bands and their counterparts have evolved to look and sound very different based on the style that they choose to use. Within the United States, two of the most popular styles that marching arts ensembles utilize is HBCU-style (sometimes referred to as show-style) and corps-style. Using the theoretical framework of critical race theory and social constructivism, this study asks: how do HBCU-style participants view corps style traditions and techniques and vice versa?; how do marching band performers in the United States who have participated in both HBCU-style and corps-style traditions compare the two experiences?; and how do marching band performers who participate in both HBCU-style and corps-style ensembles transition between the two social environments? Data was collected using multiple case study methodology, which included survey data gathered from HBCU-style and corps-style participants, interviews with participants who had experiences using both styles, and through in-person and online observations. Qualitative research from this study found tension from perceived hierarchies between the styles and uncovered four themes from participants who had experienced both styles: introductions, traditions, motivations, and connections. Findings from this study have implications for marching arts educators, participants, and organizations. Recommendations include increasing exposure to both styles within teaching training programs, viewing performances from styles that are less familiar by participants, and creating inclusive competitions and festivals with appropriate procedures to evaluate all styles fairly.