The purpose of the current study was to examine music performance anxiety and self-reported reasons for participation among members of older adult community bands. We asked 35 New Horizons Band members aged 65+ questions about their musical experience in face-to-face interviews, after which we administered two questionnaires: the Performance Anxiety Inventory for Musicians and the State-Trait Anxiety Inventory. We found a statistically significant difference in performance anxiety between participants suffering from trait anxiety (also called general anxiety) and those who did not. Utilizing the Novelty, Unpredictability, Threat to the Ego, and Sense of low control recipe (NUTS) for stress as a framework, we performed interview and questionnaire analyses that revealed that participants were concerned with issues associated with novelty, unpredictability, and lack of control in contexts of public performances (e.g., new pieces, lack of preparation, or challenging repertoire selected by the conductor). Participants perceived threats to their ego (such as feeling exposed, judged) as a major contributing factor of music performance anxiety. Participants reported the perceived benefits of musical involvement outweighed their negative (i.e., stressful) aspects.
Music participation has been shown to have many positive effects on older adults, including on perceived health, mental well-being and social interactions. However, researchers have yet to explore the experience of older adults who are just starting their musical journey. This study’s goal was to determine the extent to which participating in a community band had an impact on the quality of life (QoL), mental health and physical health of beginner musicians 60+ years old. The theoretical framework used for this project was the biopsychosocial model, which posits that health is influenced by the interactions between biological, psychological and social factors. Using a quasi-experimental design, the researchers followed eight participants over four months of music instruction and compared them to a control group of eight non-musicians. Interviews, questionnaires and physiological tests were carried out pre- and post-intervention. Results were analysed using the biopsychosocial model’s factors and thematic analyses. Physically, subjects reported self-perceived improvements in breathing and physical endurance. Psychologically, benefits included increased well-being, cognitive stimulation, sense of purpose and identity, as well as overall enjoyment. Socially, positive outcomes identified were being part of a group, meeting new people, and keeping in touch or reconnecting with friends. Band members reported a high level of satisfaction, which is in keeping with findings from the literature. Further pedagogical considerations are discussed.
At the beginning of the pandemic, many music ensembles had to stop their activities due to the confinement. While some found creative ways to start making music again with the help of technologies, the transition from “real” rehearsals to “online” rehearsals was challenging, especially among older amateur musicians. The aim of this case study was to examine the effects of this transition on three community band conductors and three older amateur musicians. Specific objectives were to explore (1) intergenerational relationships to support online group music-making; (2) digital literacy and access in later life; and (3) online music-making in a COVID-19 context. Semi-structured interviews were conducted and theoretical thematic analysis was undertaken (Braun and Clarke, 2006). Results were analyzed from the conductors’ and older musicians’ perspectives, and common trends were combined to facilitate interpretation. The first theme showed that being part of an intergenerational ensemble contributed positively to the learning experience online. The second theme demonstrated that because both conductors and musicians were new to the online rehearsals, it contributed to attenuate the age-related digital divide that may have been observed in other studies. Regarding access in later-life, older musicians reported benefits associated with rehearsing online, specifically in terms of distance/commute, time, energy, and cost. However, for those who did not already have internet and electronic devices, the cost of acquiring all the necessary equipment to make music online could have been too high. Finally, the third theme revealed that musicians appreciated the opportunity to make music online and indicated that it was definitely better than having nothing, especially for its social aspects. In conclusion, while participants noted several challenges associated with online music-making (e.g., zoom fatigue and technological issues), they were also appreciative of the opportunity to continue making music at a time when in-person rehearsals were not possible. Pedagogical implications are discussed, specifically the importance of the support network, of meeting people where they are, of learning to adapt, and of collaborative teaching.
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