Brief, User Friendly Research Summary

A growing trend

A poll of Americans found that 85% of adults wished they played an instrument and 69% would like to learn how to play one (Nathan, 2018). More and more adults are pursuing their musical dreams to learn (or relearn) how to play an instrument. Currently, it is estimated that 12% of adults play a musical instrument (Nathan, 2018).

Music teachers and programs have seen a rise in demand for instruction for adults, particularly for senior citizens, defined as age 60 and over. Hartogh (2016) reports music programs have seen the enrollment of students over the age of 60 double since the year 2000. Music schools are responding to the increasing demand for music instruction by seniors by including geragogy, "musical education for the elderly" (Hartogh, 2016) to their curriculum. Additionally, many community programs around the world have been created to meet the demand for playing opportunities (New Horizons International Music Association). However, adults still face barriers to musical opportunities. A violinist I interviewed to inform this proposal, said one of her challenges has been “the lack of places to get together and play as groups, to experience the group and orchestra, learning the nuances of listening and watching the director.”

An aging population, wealth, and health

Researchers have contributed the rise of senior citizen instrument players to an aging population, a growing understanding of the ability to learn new skills at any age, an increased willingness to learn new things, and the fact that seniors have more money and better health than previous generations (Hartogh, 2016). A growing scientific understanding of the biological, social, and emotional benefits music can bring to adults (Creech & Hallam, 2015) also helps explain why more adults are following their musical dreams late in life.

The rise of the Internet

The boom in popularity and accessibility to Internet websites such as YouTube, Facebook, Reddit, and other social media platforms over the past decades have influenced how adults interact with music and other musicians. Online resources can now replace or supplement traditional one-on-one or group instruction. Musicians can access free or low-cost instructional videos created by both professional and amateur musicians through YouTube, websites, and apps. Music lessons can be taken with teachers hundreds of miles away through Zoom, without leaving one’s home. People can find almost any song they are learning and hear how it ought to sound, or even practice alone with a YouTube video. They can also post videos of themselves playing on social media and get virtually instant feedback on how to improve. The Internet and social media have created accessibility to music education for people who in the past may have lacked access to traditional education due to location, time constraints, income, health, and transportation barriers. The Internet has also made it possible for ordinary, amateur musicians to interact with and learn from famous, world-renowned musicians. For example, violinist Ray Chen posts technique and masterclass videos on YouTube that budding violinists can access for free.

Everyone was makin' music in the 19th century

Why is playing a musical instrument principally viewed as something children, teens, and professionals do? In his book, Performing Music in the Age of Recordings, Philip (2004) details how the invention of audio recording and broadcasting forever changed the making of and consumption of music. Before the early twentieth century, the only option to enjoy music was to create it yourself or to attend live performances. Performances by professional musicians were hard to come by. Amateur music-making within homes and communities was a popular past time, and professionals often collaborated with amateurs. In describing German concert-goers in the 1890s, the musician Artur Schnabel stated, “There was probably not one in these audiences who was not involved, actively or passively, in home music-making- and without any fuss made about it. It was part of family life, old and young co-operating (Philip 2004, p.5).

Audio recording- and how it changed the music scene

As technical advancements in audio recordings and broadcasting made prerecorded music easily accessible, people no longer relied on creating music within the community. Technical musical standards increased for performers, and it became hard for amateur music-making to match the quality and conveniences of highly produced professional audio recordings. The professionalization of the music industry decreased the role of amateur music-making (Philip, 2004). This cultural shift may be a historical factor for why playing an instrument is primarily considered an educational activity reserved for children and highly trained professionals.

Positive aging, stress relief, and dreams deferred

More adults are playing musical instruments today than a few decades ago. The increase is primarily contributed to an aging population and specifically the Baby Boomers reaching retirement age. According to Hartogh (2016), seniors have a desire to enrich their lives with leisure activities, are more willing to learn new skills, and are more interested in self-development than past generations. Senior citizens are thought to have more energy, time, money, and better health than previous generations. Media representation of aging is shifting, redefined ideas of life after retirement, resulting in seniors rejecting traditional roles of aging (Hartogh, 2016). Stephanie Patterson (Contrabass Conversations, 2019), an upright bass teacher who specializes in adult learner states, states adults musicians pursue their “dreams deferred.”

For her book, Making Time For Music, Amy Nathan (2018) surveyed or interviewed over 350 adult musicians about their motivation, challenges, joys, and practical considerations of fitting music into their lives. Many respondents said they play for enjoyment, stress relief, and social connection. JD, age 44, thinks people in her generation are seeking musical experiences because, “I feel our generation is more spiritual, and we are seeking more knowledge, and more connection to people...and I think music is another way to do that, another way to share energy with each other.” One researcher said, “in regard to artistic education, it is usually a change of pace in one’s life that triggers an interest in art; it is to say that most adults turn to art in general and music in particular to enjoy themselves and to release stressful situations (Dascalu, 2014, p.312).

Brain neuroplasticity and healthy aging

Scientific understanding of brain neuroplasticity has promoted the idea that people of any age can learn a musical instrument. With proper support and motivation, adults can achieve the same level of musical skill as youth (Creech & Hallam, 2015). Continued education is advocated as a way to support seniors from mental decline, depression, and anxiety (Creech and Hallam, 2015). Research is illustrating that music can help people with dementia and those living in nursing homes. There are social-emotional benefits of music-making for older adults. Music can provide control and autonomy to the aging if given “opportunities for self-directed and self-regulated learning, collaborative dialogue and reflection, and for real and sustained development of knowledge, skills, and wisdom” (Creech & Hallam, 2015).

What do adult music leaners need?

Adult musicians have many of the same needs from teachers and music facilitators as younger musicians but differ in some ways. Adults benefit from building rapport and trust with their teachers. During my interview with JD, she spoke about her barriers to starting private violin lessons. She said, “it feels embarrassing. It’s embarrassing a little bit… somebody will actually know how well or how badly you play.” She then went on to say that a non-judgmental teacher is a must. Adults want knowledgeable, patient, and encouraging teachers. Adult musicians can be driven and competitive but typically want a relaxed and fun atmosphere, free of shame or ridicule. Adults desire autonomy in their lessons. They often prefer to play familiar tunes or tunes that have significant meaning to them (Schoen, 2018). They tend to have their own goals, such as playing hymns in church, and teachers need to tailor lessons to meet their goals, challenges, and strengths (Creech & Hallam, 2015).

What advantages and strengths do adult music leaners have?

Adults have several advantages while learning music. Adults have had time to refine their musical interests, know what they like, know which instrument they prefer, and where they want to play and perform (Dascalua, 2014). Adults can understand the theoretical aspects of music faster than younger students but can struggle with the physical dexterity of playing (Bugos, 2014). They can learn music more quickly because they have a lifetime of musical exposure. Adult students are usually highly motivated to practice and can self-correct, and problem solve while practicing. However, some may struggle to find the time and discipline to practice consistently (Bugos, 2014).

Community playing opportunities

Some musicians may feel nervous and ambivalent about playing in front of others, while others desire to play in the community (Schoen, 2018). The most common types of community musical ensembles for new or returning adult musicians are intergenerational groups or groups specifically for older individuals. Intergenerational groups are open to people of all ages and commonly have high school students and adults of all ages. Arundel Community Strings is an example of an intergenerational group in the area because it welcomes players of all ages. New Horizon groups located in Hagerstown and Churchton Maryland are examples of groups for 50+-year-olds. Music groups that tailor to older adults typically focus on the joy of making music instead of perfection. They deal with physical and age-related issues carefully, such as allowing players to stop playing at any time to listen to the creation of the music happening around them (Hartogh 2016).

Literature Review

This literature review will engage in the field of Music Geragogy and Generational Differences. Music Geragogy will inform the project by expressing what is known about the motives, trends, and needs of adult music learners over the age of 60. Generational Differences will inform the project about larger cultural trends of adults seeking leisure activities. It will provide insights to the needs, motivations, and desires of the younger adults who are seeking music engagement in their lives.

Music Geragogy

Music Geragogy is the field of study that focuses on adult music learners over the age of 60. It concentrates on the motivations and the needs of this population compared to children. It also explores the social-cultural underpinnings that explain the growing phenomenon of adults seeking musical experiences in higher numbers since the early 21st century.

In Adult Perspectives of Learning Musical Instruments by Kathryn Roulston and Peter Jutras (2015), the authors state the growing trend of adult music learners is in proportion to an aging population, increased life span and older adults’ desire for recreational activities. Individuals have complex "social, emotional, cognitive, and physical" (p. 332) reasons for learning and playing a musical instrument. Adults enjoy having control over the learning process and having goal-orientated, recreational tasks. Adult music learners are "critical consumers" and shop around for teachers and experiences to meet their goals. Adult music learners should be viewed in the context of their lifespan. Teachers should embrace the advantages and disadvantages that come with age and life experiences and tailor teaching methods to incorporate best practices of adult education.

In Music Geragogy, Elemental Music Pedagogy and Community Music- Didactic Approaches for Making Music in Old Age, the author Theo Hartogh discusses how and why music is impacting older individuals. He states not only is life expectancy longer but seniors are healthier, have more time and money, and are more active than past generations. Traditional ideas of aging and the role of aging is changing and expanding. Older adults value leisure activities, are willing to learn new skills into old age, desire to stay mentally and physically active, and want to make social connections. Hartogh also states that music has shown to be beneficial for the very old and for dementia patients. An increasing number of nursing homes and social workers are incorporating music-making into their work with older people. Music also can interlock groups of people from diverse backgrounds and ages, thus building social connections on an individual and community level. Hartogh expresses the need for music teachers and professionals to incorporate teaching strategies that are unique to adults and their lifespan. For example, many ensembles for older musicians focus on the joys of making music rather than concentrating on challenging repertoire or complicated techniques.

Jennifer Bugo (2014) also writes about the potential of music to aid older adults in "successful aging." Her research centered around a cognitive training program for older adults with no musical background. The study found that 60% of participants found their cognitive abilities (such as memory, attention, and concentration) improved from participating in the program. Other benefits noted were improved emotional status, making new friends, and achieving personal goals and wishlist items. She notes that to maintain motivation and discipline to continue studying an instrument, adults need to exert discipline. Adults need to perceive a benefit from their music, specifically that it aids them in successful aging, to keep creating and striving for music goals.

In Critical Geragogy: A Framework for Facilitating Older Learners in Community Music, researchers Andrea and Susan Hallam (2015) point out that lifelong learning is believed to be an essential part of aging. Actively learning into the decades after retirement age has been found to slow cognitive decline, lower anxiety, and decrease depression. Music is particularly suited for lifelong learning and has been found to assist the elderly in maintaining autonomy and self-control in their lives. The creation of music by seniors can enhance their interaction with the arts and the pursuit of other creative endeavors. Music can provide a sense of identity and purpose in a time of life when a person's identity can be questioned due to retiring from the workforce and diminished family responsibility. They note that rigorous studies and theoretical frameworks of teaching music to older adults have been neglected. They propose this lack of research stems from the long-standing myth that adults cannot learn new skills and the marginalization seniors experience by society. Music professionals and institutions should strive to incorporate approaches of teaching adults that incorporate their unique learning needs. However, they caution that older adults are not homogeneous, with a variety of goals, experiences, and learning needs.

For her book Making Time for Making Music (2018), author Amy Nathan interviewed over 300 adult musicians about their motivations and experiences with music, some of which were brand new to music. She found that adults come to music for many reasons, some of the prominent ones being for stress relief, to meet new people, and because they finally had the time and resources to try something they always wanted to do. She found that performance anxiety, low confidence, time constraints, and negative self-talk were hurdles many adult musicians face during their musical journey. Many also face a lack of information on available community-based resources such as ensembles, or they do not have access to music programs or teachers in their community.

Music Geragogy Conclusion

Music Geragogy has contributed much to the field of adult music learners by exploring the underlying social changes and motivational factors that have spurred adults to follow musical dreams. It has investigated and informed professional teachers on the best practices of working with adults because adults' needs and expectations differ greatly from children. However, the field heavily focuses on adults over the age of 60 and neglects to investigate why younger adults are also seeking music instruction. As this trend will likely continue, it may be beneficial to seek a more nuanced approach to understanding why younger adults are seeking music recreation before retirement age and if their needs differ from those over 60 years old.

Generational Differences

To expand on music geragogy, this project will also interact with the Generational Differences theoretical framework. A generation is a cohort of people born around the same time who share common social, political, and historical experiences through their formative years and share common cultural and lifestyle elements (Parry and Urwin 2017). There is no one agreed-upon definition for each generation, but a common one is as follows: Babyboomers (1946-1964), Generation X (1965-1981), and Millennials (1982-1994, GenMe for short.) As this project focuses on people ages 30 and above, these are the three generations I will discuss. The idea of generational differences, or generation gaps, is a common belief in American society that is widely touted by popular media and many fields in academia have also studied, particularly with an emphasis on workplace and managerial methods (Twenge 2010; Rudolph and Zacher 2018).

Jean Twenge, Stacy Campbell, Brian Hoffman, and Charles Lance (2010) state that Generation X and Millennials desire more leisure time and increased extrinsic rewards (such as pay and status) than Baby Boomers. This shift in work values has led to the notion that the younger generation feels entitled, is overconfident, and explains a rise in narcissistic characteristics observed in society. However, they note the younger generation's focus on leisure may be connected to the realities of the work culture in the United States. Work hours have increased over the last 30 years ago, unlike the majority of other countries which have seen work hours decrease. The younger generation has also seen the need for dual incomes for financial survival. These factors may explain their passion for leisure time.

Shen-Hshiung Tsaur and Chang-Hua Yen (2018) examined how generational differences impacted workers in the highly demanding tourism and entertainment industry. They found that when work demands interfere with leisure activities, Baby Boomers view this conflict as part of a demanding job and reported higher levels of job and leisure satisfaction and psychological well-being. The two younger generations report lower mental health and job satisfaction if work interferes with leisure. They note the more youthful generation values balancing work and leisure well before starting families.

Jean M. Twenge (2010) states that the work ethic of GenX and GenMe is lower than the Baby Boomer generation. Work is less important in their lives compared to Baby Boomers and they focus on work-life balance and leisure time. However, Twenge points out that these changes in value is part of a long term linear trend. Each generation builds upon the previous generation's attitudes. The Baby Boomers valued leisure more and valued work less than their parent's generation (The Silent Generation) and Generation X and the Millenials are continuing this societal trend.

Emma Parry and Peter Urwin (2017) question the validity of empirical studies about generational differences. They feel the methodology of many studies are fundamentally flawed and suggest a more vigorous way to study the issue of generational values. They also propose that the changing values of each generation are not a "generational gap" but rather a long term society trend. With this in mind, it would seem valid to hypothesize that because Baby Boomers are seeking music instruction at retirement age that Generation X and Millennials will continue this trend and may attempt to learn an instrument earlier in adulthood.

Cort W. Rudolf and Hannes Zachar (2018) also question the methodology and scant empirical research that examines generational differences of work values and outcomes. They point out that empirical studies have both affirmed and debunked generational differences in work values. They call for a stop of studies within the current methodology framework and instead suggest research that focuses on the Lifespan Perspective of Aging. This approach views individuals as whole people who are continually changing and adapting throughout the lifespan, and who are influenced by many factors from within and from the environment. It is essential to recognize each individual is a complex individual who is always changing and adapting to their age and environment.

Generational Differences Conclusion

There are competing thoughts and opinions within the Generational Differences field. However, this field illustrates that adults may vary in their motivation, experiences, and goals when it comes to playing an instrument based on their age and life experience. As American society continues to seek more leisure opportunities and work-life balance, music geragogy may benefit from exploring how teaching methods may or may not need to be tailored to younger adults. These two schools of thought will help this project by taking a more nuanced approach to investigating adult music learners, one that acknowledges societal trends in motivation, goals, and needs and one that always recognizes the uniqueness of each individual.