From dropping out to dropping in: Exploring why individuals cease participation in musical activities and the support needed to reengage them.

Krause, Amanda E.; Kirby, Melissa; Dieckmann, Samantha; Davidson, Jane W.

doi:10.1037/aca0000268

Cited by 13 publications

(14 citation statements)

References 36 publications

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“…Krause et al (2020, p. 412) found that people's "assumption of what a music participant is or should be included the perception that an individual must possess specific qualities and/or skills in order to take part". Assumptions included a certain level of musical ability, and as Krause et al (2020) argued, music educators and facilitators must challenge held assumptions and ideologies to remove such barriers to musical participation.…”

Section: Discussionmentioning

confidence: 99%

“…These beliefs may be informed, in part, by portrayals in popular culture of "good singing". In an examination of the reasons for dropping out of musical activities, Krause et al (2020) found that participants made assumptions regarding what participation means, including a belief that a person must possess a certain level of skill or musical ability to participate in musical activities. Therefore, it is important to understand general perceptions of "good singing", as this is the likely benchmark against which people will judge whether they are able to participate in singing activities.…”

Section: Abstract: Singing Perception Performance Quality Singing Sty...mentioning

confidence: 99%

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Descriptions and Evaluations of "Good Singing" in the Age of 'The Voice'

Forbes¹,

Krause²,

Lowe-Brown³

2021

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What constitutes “good singing” can be hotly contested amongst singing voice pedagogues, yet little is known about what the general public considers to be “good singing”. Within a program of research on musical identity and singing self-concept, this mixed-methods pilot study considered how members of the public (N = 52) described and evaluated stylistically different versions of a sung melody to test a hypothesis that reality TV singing may be deemed as “good singing”. Participants were exposed to three versions of “Happy Birthday”: 1) amateurs singing “as they would normally sing”; 2) professionals performing a “plain” version; 3) the same professionals singing an embellished version in the style of The Voice reality TV show. Results indicate that both professional versions were considered “better singing” than the amateur singing. While respondents focused on the technical deficiencies for amateurs, descriptions of the professionals concerned style. Stated exemplars of “good singing” were split between the two professional versions—based on sophistication and creativity (“professional: embellished”) or vocal quality (“professional: plain”). While respondents’ preferred version largely matched their chosen exemplar of “good singing”, participants were more likely to sing along with the “amateur” version. Implications for singing voice pedagogy and engagement in singing activities for wellbeing are considered.

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Section: Discussionmentioning

confidence: 99%

Section: Abstract: Singing Perception Performance Quality Singing Sty...mentioning

confidence: 99%

Descriptions and Evaluations of "Good Singing" in the Age of 'The Voice'

Forbes¹,

Krause²,

Lowe-Brown³

2021

View full text Add to dashboard Cite

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“…The data used in this research were obtained as a part of a larger study considering musical participation (see also Krause, Kirby, Dieckmann, & Davidson, 2019;Krause, North, & Davidson, 2019). The present research employed the data concerning the named social-psychological variables, to quantitatively examine the differences between those who were currently participating in a musical activity and those who had ceased their participation.…”

Section: Participantsmentioning

confidence: 99%

Individual difference correlates of continuing versus ceasing musical participation

Krause

North

Davidson

2019

Psychology of Music

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While researchers have begun to examine how social and emotional investment in music is related to psychological well-being, very little research has considered how best to promote life-long participation in music across the lifespan. One particular gap in the existing literature concerns how and why individuals continue to participate or, instead, cease their participation in musical activities. The current research adopted a social-psychological approach to quantitatively examine the differences between 383 Australian residents who have ceased (44.40%) or currently participate in musical activity (55.60%). Responses to an online questionnaire indicated that current participation in music was associated positively with a preference for reflective and complex music and the World Health Organization–BREF’s psychological quality of life dimension, and that current participation in music was associated negatively with peer musical engagement when growing up. Moreover, gender, age, and measures of musical background and experience were not significantly associated with continuing to participate in musical activities. These findings have clear implications for educators’ attempts foster continued musical participation.

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“…A formal study of musical dropout was conducted by Krause, Kirby, Dieckmann, and Davidson (2019). They found four factors that tended to be responsible for dropout: "access and opportunity," "activity experience," "obligations," and "difficulty with practicing."…”

mentioning

confidence: 99%

Toward a triangular theory of love for one’s musical instrument

Sternberg

2020

Psychology of Music

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This article presents an application of a triangular theory of love as it applies to love for musical instruments. The triangular theory comprises three components: intimacy, passion, and commitment. Intimacy, which is primarily emotional, refers to feelings of closeness, connectedness, warmth, communication, and emotional support. Passion, which is primarily motivational, refers to feelings that one cannot live without another, that one needs another in one’s life, and that one cannot even imagine one’s life without the other. Commitment refers to the decision to love and to stay in the relationship indefinitely. These components are applied in the article toward love of musical instruments, and the theory is given as an account of some of the factors that may lead students of musical instruments either to stay with those instruments or to quit playing them. A measure is described that could be used to assess love of musical instruments (and that is currently being validated), and empirical findings from past studies on the triangular theory of love are presented.

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From dropping out to dropping in: Exploring why individuals cease participation in musical activities and the support needed to reengage them.

Abstract: From dropping out to dropping in: Exploring why individuals cease participation in musical activities and the support needed to re-engage them. Psychology of Aesthetics, Creativity, and the Arts, advance online publication.

Cited by 13 publications

References 36 publications

Descriptions and Evaluations of "Good Singing" in the Age of 'The Voice'

Descriptions and Evaluations of "Good Singing" in the Age of 'The Voice'

Individual difference correlates of continuing versus ceasing musical participation

Toward a triangular theory of love for one’s musical instrument

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