Ninth-grade pupils' significant experiences in aesthetic areas: the role of music and of different basic modes of confronting music

Abstract

Fifteen-sixteen years old Fenno–Swedish compulsory school pupils' written descriptions of ‘strong’ experiences were used for comparing (a) the frequency of experiences related to music and to other aesthetic areas (literature, drama etc.) and (b) the frequencies of music experiences related to different basic modes of confronting music: receptively (listening to live or technically reproduced music) or by productive activities (performing etc). In at least moderately urbanised regions, music was the art area most frequently evoking experiences. The ‘non-art’ area of nature was also important especially in some female and rural subgroups. Most music experiences related to listening, but a fifth involved performance activities. Among other things, attention was directed to the role of the school in preparing its pupils for music experiences, to the importance of productive activities, and to some problems regarding the efficiency of audiovisual media to evoke music experiences.

Making sense of music: Meanings 10- to 18-year-olds attach to experimenter-selected musical materials

“…Research has provided insight into children and adolescents’ music preferences and tastes (e.g. Getz, Chamorro-Premuzic & Roy, 2010; Hargreaves, North, & Tarrant, 2016), uses of music, including self-regulation (Larson, 1995; Miranda & Claes, 2009; Saarikallio & Erkkilä, 2007), skill development (Deliège & Sloboda, 1996; Lamont, 2016; Schubert & McPherson, 2016), and subjective experiences of listening to and making music (Campbell, 2010; Finnäs, 2006; Gabrielsson, 2011; Herbert, 2012). However, very little research has specifically addressed children and adolescents’ holistic understanding of music when listening.…”