Intergenerational Music Making

2011 ◽  
Vol 59 (4) ◽  
pp. 339-356 ◽  
Author(s):  
Peter de Vries
Keyword(s):  
Young People ◽  
Music Education ◽  
Social Engagement ◽  
Phenomenological Study ◽  
Active Engagement ◽  
Perceived Benefits ◽  
Music Making ◽  
Positive Attitudes ◽  
Musical Interactions

Three older Australians’ active engagement in music making with children was examined in this phenomenological study. Intergenerational music engagement was explored, focusing on the perspectives of the older Australians engaged in these musical interactions and, in particular, perceived benefits in being part of these musical interactions. Data were gathered through a series of open-ended, one-on-one interviews. Analysis of the data revealed five key themes about intergenerational (IG) music engagement: (1) IG music experiences promoted social engagement; (2) IG music experiences fostered the development of positive attitudes about young people; (3) choice in music making was valued in the IG music experiences; (4) involvement in IG music experiences resulted in the older Australians feeling valued and respected; and (5) there was the perception of reciprocity in the learning that occurred in the IG music experiences. Implications of intergenerational music engagement for music education are discussed.

scholarly journals Jammin’ the Blues: Experiencing the “Good Life”

2021 ◽  
Vol 12 ◽  
Author(s):  
Ruth A. Debrot
Keyword(s):  
Music Education ◽  
Good Life ◽  
Well Being ◽  
Subjective Well Being ◽  
Active Engagement ◽  
Music Learning ◽  
Music Making ◽  
Research Questions ◽  
Musical Growth ◽  
Conceptual Foundations

The purpose of this study was to examine the characteristics, attitudes, and perceptions of older musicians who participated regularly in a local blues jam. Six core dimensions of eudaimonic well-being and their conceptual foundations provided a framework for examining the way that music-making contributes to subjective well-being during the lifespan of an individual. The following research questions guided this investigation: (1) In what ways do biographical factors and engagement with music influence the lives of older adult blues/rock musicians who participate in a local blues jam? (2) What implications for subjective well-being with regard to music learning might be used to inform music education practices? Interviews and observations over a 2-month period provided data for understanding how lived experiences impacted personal well-being, and musical growth and development over time. Findings suggested that eudaimonic well-being is the result of active engagement in human activities that are goal-directed and purposeful, and a good life involves the self-realization of individual dispositions and talents over a lifetime. Implications for music education include individualized pedagogical approaches that encourage learners to discover a sense of well-being in and through music.

Musical Creativity and Well-Being

2021 ◽  
Author(s):  
Raymond MacDonald ◽  
Graeme Wilson ◽  
Felicity Baker
Keyword(s):  
Music Education ◽  
Music Therapy ◽  
Social Engagement ◽  
Spinal Injury ◽  
Well Being ◽  
Community Music ◽  
General Music ◽  
Beneficial Effects ◽  
Music Making ◽  
Musical Engagement

Participating in musical activities involves an immersive spectrum of psychological and social engagement. Connections between musical participation and health have been discussed for centuries, and relationships between the processes of music making and well-being outcomes have garnered considerable research interest. This chapter reviews studies investigating such associations to identify how creative aspects of musical engagement in particular can be understood to enhance health. The chapter begins by offering some suggestions about why these processes may have beneficial effects. Three key contexts for beneficial musical engagement (music education, music therapy, and community music) are examined: an organization (Limelight) that delivers music activities for individuals from disadvantaged groups; group improvisation music therapy sessions for individuals with cancer; and songwriting sessions for individuals following spinal injury. The relative contributions of creative process and creative product are considered, and psychological concepts such as identity, flow, agency, and scaffolding are suggested as important. The discussion extrapolates wider implications of this work to include general music making beyond clinical, educational, and community contexts.

scholarly journals “It all makes us feel together”: Young people’s experiences of virtual group music-making during the Covid-19 pandemic

2021 ◽  
Author(s):  
Maruša Levstek ◽  
Rubie M. Barnby ◽  
Katherine L. Pocock ◽  
Robin Banerjee
Keyword(s):  
Young People ◽  
Music Education ◽  
Psychological Needs ◽  
Basic Psychological Needs ◽  
Special Educational Needs ◽  
Children And Young People ◽  
Music Production ◽  
Music Making ◽  
Virtual Group ◽  
The Uk

We know little about the psychological experiences of children and young people who have participated in virtual group music-making during the Covid-19 pandemic. Adopting a mixed-methods design, we worked across three music education hubs in the UK, with a total 13 virtual music groups. These included a range of mainstream ensembles, inclusive ensembles targeting young people with special educational needs and/or disabilities, and inclusive music production spaces, targeting young people from lower socio-economic backgrounds. Reported progress in intra- and inter-personal psychological outcomes was investigated using quantitative and qualitative staff session reports, which were collected since before the pandemic (n for in-person sessions = 87, n for virtual sessions = 68), and surveys distributed to tutors, young people, and their parents during the first and second UK national lockdowns (n for qualitative responses = 240, n for quantitative responses = 96). Satisfaction of three basic psychological needs of self-determination theory and their relation to joint music-making in virtual spaces was also observed in real time by the researchers performing quantitative checklist observations on 16 separate occasions. Findings indicated that virtual music groups represented a meaningful psychological resource for the participating children and young people, especially considering the lack of opportunities offered by their schools and other extra-curricular activities. Through their participation with virtual group music-making activities, young people used music as a tool for self-expression and emotion management, restored lost musical identities and confidence, and preserved treasured social connections. Virtual alternatives to group music-making appear to indirectly nurture the sense of belongingness, mediated by supportive staff behaviours, but their direct connection, which has been widely reported for in-person group music-making experiences, has not been observed in virtual music groups.

scholarly journals “It All Makes Us Feel Together”: Young People's Experiences of Virtual Group Music-Making During the COVID-19 Pandemic

2021 ◽  
Vol 12 ◽  
Author(s):  
Maruša Levstek ◽  
Rubie Mai Barnby ◽  
Katherine L. Pocock ◽  
Robin Banerjee
Keyword(s):  
Young People ◽  
Music Education ◽  
Psychological Needs ◽  
Basic Psychological Needs ◽  
Special Educational Needs ◽  
Children And Young People ◽  
Music Production ◽  
Music Making ◽  
Virtual Group ◽  
The Uk

We know little about the psychological experiences of children and young people who have participated in virtual group music-making during the Coronavirus disease (COVID-19) pandemic. Adopting a mixed-methods design, we worked across three music education hubs in the UK, with a total 13 virtual music groups. These included a range of mainstream ensembles, inclusive ensembles targeting young people with special educational needs and/or disabilities, and inclusive music production spaces, targeting young people from lower socio-economic backgrounds. Reported progress in intra- and inter-personal psychological outcomes was investigated using quantitative and qualitative staff session reports, which were collected since before the pandemic (n1 for in-person sessions = 87, n2 for virtual sessions = 68), and surveys distributed to tutors, young people, and their parents during the first and second United Kingdom (UK) national lockdowns (n3 for qualitative responses = 240, n4 for quantitative responses = 96). Satisfaction of three basic psychological needs of self-determination theory and their relation to joint music-making in virtual spaces was also observed in real time by the researchers performing quantitative checklist observations on 16 separate occasions. Findings indicated that virtual music groups represented a meaningful psychological resource for the participating children and young people, especially considering the lack of opportunities offered by their schools and other extra-curricular activities. Through their participation with virtual group music-making activities, young people used music as a tool for self-expression and emotion management, restored lost musical identities and confidence, and preserved treasured social connections. Virtual alternatives to group music-making appear to indirectly nurture the sense of belongingness, mediated by supportive staff behaviors, but their direct connection, which has been widely reported for in-person group music-making experiences, has not been observed in virtual music groups.

Playing (in) the Digital Studio

2017 ◽  
pp. 382-396
Author(s):  
Ethan Hein
Keyword(s):  
Young People ◽  
Music Education ◽  
Hip Hop ◽  
Music Technology ◽  
Digital Tools ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

When schools address music technology, they tend to focus on the nuts and bolts of the technology itself, rather than its creative applications. But to truly engage new digital tools for creative music making, we must address their most culturally significant context: electronic dance music and hip-hop. This music falls well outside the canon of what is widely considered suitable music for the classroom. Nevertheless, such music should be included, and not (only) because young people enjoy it. Rather than “dumbing down” music education, the inclusion of popular dance music would significantly enrich the curriculum, particularly in areas traditionally neglected: groove, timbre, and space.

Problems with school music in Finland

2010 ◽  
Vol 27 (3) ◽  
pp. 241-253 ◽  
Author(s):  
Mikko Anttila
Keyword(s):  
Young People ◽  
Music Education ◽  
Contemporary Music ◽  
Empirical Studies ◽  
Child And Adolescent ◽  
Self Esteem ◽  
Music Listening ◽  
Music Making ◽  
School Music ◽  
Negative Effect

Almost every Finnish child and adolescent takes an interest in music in some form. However, many young people feel dissatisfaction with what music education institutions provide and fail to find them motivating. According to the results of a series of empirical studies, school music education can have a negative effect on many pupils and undermine their musical self-esteem. At the music education institutions where this research was undertaken, music was narrowly defined and there was an absence of contemporary music cultures. Forms of music making were limited and active music listening absent from lessons. Assessment too was a problem with many pupils feeling that the evaluation of their work lacked legitimacy and fairness.

The National Festival of Music for Youth as an Index of Musical Acitivity in Schools and Music Centres in England and Wales

1985 ◽  
Vol 2 (3) ◽  
pp. 285-310
Author(s):  
Andrew Peggie
Keyword(s):  
Young People ◽  
Music Education ◽  
National Level ◽  
Educational Levels ◽  
England And Wales ◽  
Music Making

From its inception in 1971, the National Festival of Music for Youth has grown to become the largest regular platform for young musicians in Europe (over 700 entries in 1984, amounting to some 20,000 performers). Its development and growth has closely paralleled the rise of in-school instrumental tuition in England and Wales, and in recent years entries to the Festival have included activities from almost every aspect of music making by young people at all educational levels.This article will outline from both statistical and observational bases the evolution of the NFMY, arguing that, far from merely reflecting trends in music education, it has become a positive means of influence.The author has been privileged to hear all performances at national level since 1977 (with exceptions from 1982 when multiple venues and simultaneous performances were introduced). He has been present at most of the regional auditions since 1982.

A Consumer Behavior-Influenced Multidisciplinary Transcendent Model of Motivation for Music Making

2017 ◽  
Author(s):  
Valerie L. Vaccaro
Keyword(s):  
Consumer Behavior ◽  
Music Education ◽  
Well Being ◽  
Social Needs ◽  
Self Identity ◽  
Music Making ◽  
Self Actualization ◽  
Psychic Energy ◽  
Self Transcendence

This chapter reviews multidisciplinary research from the fields of consumer behavior, humanistic and positive psychology, music education, and other areas to develop a new Transcendent Model of Motivation for Music Making. One’s “extended self” identity can be defined partly by possessions and mastery over objects, and objects can “complete” the self. Music making involves a person’s investment of “psychic energy,” including attention, time, learning, and efforts, and is a creative path which can lead to peak experiences and flow. Music making can help satisfy social needs, achieve self-actualization, experience self-transcendence, enhance well-being, strengthen spirituality, and improve the quality of life.

Could There Be Deleuzian Assessment in Music Education?

2019 ◽  
pp. 121-136
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Assessment Practices ◽  
Continuous Assessment ◽  
Education Policies ◽  
Philosophical Inquiry ◽  
Music Making ◽  
Musical Practices ◽  
Contemporary Education

Authors of contemporary education and arts education policies tend to emphasize the adoption of formal, summative assessment practices. Poststructuralist philosopher Gilles Deleuze’s emphasis on ongoing differing and imaginative possibilities may at first glance appear incompatible with these overarching, codified assessments. While Deleuze criticizes the increasing use of ongoing assessments as a form of control, he posits a more nuanced explanation of measurement. This philosophical inquiry examines four measurement-related themes from Deleuze’s writings and explores how they might inform concepts and practices of assessment in various music teaching and learning contexts. The first theme suggests that each group of connective relations, what Deleuze terms a “plane of immanence,” demands its own forms of measurement. Second, Deleuze emphasizes varieties of measurement. Third, those with power, what Deleuze terms the “majority,” always set the standard for measurement. Fourth, Deleuze derides continuous assessment. His writings suggest that music educators might consider that assessments created for one musical practice or style should not transcend their own “plane of immanence,” that a variety of nonstandardized assessments is desirable, that the effect of measurement on “minoritarian” musical practices must be examined carefully, and that it is essential to ponder the potentials of unmeasured music making.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

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