“Sort of in your blood”: Inherent musicality survives cultural judgement

Abstract

This article reports on lived experiences of a cohort of 20 self-perceived non-musicians. Their stories reveal culturally based perceptions that humans are inherently “musical” or they are not. While recent inquiries are beginning to investigate this phenomenon, instinctive musicality of self-perceived non-musical individuals remains an under-researched area. Presented in narrative form, participant experiences reveal impositions that thwart developing musicality of individuals growing up in a western cultural tradition. Although they have “learned” that they are not musical, these individuals reveal intrinsic musicality.

Misconceptions Underplay Western Ways of Musicking: A Hermeneutic Investigation

“…While the first point is not relevant to the discussion because this investigation does not consider individuals suffering from a neurological disorder, the remaining claims confirm the excluding influence of the notions of critical performance, judgement, and talent (Ruddock 2012). Bodkin (2004, 16) presents evidence to confirm Small's theory (1998) that such cultural assumptions affect many individuals' belief in their ability to engage in musicking, leaving many to learn that, like Harry, they are "non-musical."…”

“…While evidence from neuroscience research now confirms the instinctive nature of human musicality (Collins 2013) and qualitative research demonstrates it (Ruddock 2012), researchers in the area of musicking do not have to look far to find those who label themselves as non-musical. Although RM and Harry both listen to and respond to particular music, for instance, in their Western culture they define themselves as being non-musical.…”

“Everybody has something”: One teacher’s beliefs about musical ability and their connection to teaching practice and classroom culture

“…Specifically, the distinctions a music teacher makes between “musical” and “unmusical” students can damage the musical identities of students if they sense that the teacher does not believe they are “talented” (Lamont, 2002). Numerous studies tell the stories of individuals who were devastated as children when a music teacher told them they were tone-deaf, asked them not to sing, or denied them opportunities to participate in music due to perceived lack of ability or talent (Abril, 2007; Burnard, 2003; Ruddock, 2012; Ruddock & Leong, 2005; Swain & Bodkin-Allen, 2014; Whidden, 2008, 2010). For some, these judgments communicated by teachers were subtle, as was the case for one participant who explained, “I first realized I couldn’t sing when I was never picked for singing at school” (Ruddock, 2012, p. 215).…”

“…Numerous studies tell the stories of individuals who were devastated as children when a music teacher told them they were tone-deaf, asked them not to sing, or denied them opportunities to participate in music due to perceived lack of ability or talent (Abril, 2007; Burnard, 2003; Ruddock, 2012; Ruddock & Leong, 2005; Swain & Bodkin-Allen, 2014; Whidden, 2008, 2010). For some, these judgments communicated by teachers were subtle, as was the case for one participant who explained, “I first realized I couldn’t sing when I was never picked for singing at school” (Ruddock, 2012, p. 215). Perceiving that they lacked musical talent and thus were “unmusical,” most of these individuals unfortunately gave up their hopes of ever participating in music and ceased all music making in their lives.…”

An investigation of musical ability beliefs and self-concept among fourth-grade students in the United States

“…Belief in innate, selective musical talent can have profound negative effects on a person’s musical self-concept, particularly for those who feel they are not talented (Abril, 2007; Elmgren, 2019; Ruddock, 2012; Ruddock & Leong, 2005; Whidden, 2010). Judgments from teachers and/or family members can be powerful influences on one’s musical self-concept, and participants in numerous studies have recalled experiences in which a music teacher communicated to them that they were not musical (Abril, 2007; Elmgren, 2019; Ruddock, 2012; Ruddock & Leong, 2005; Swain & Bodkin-Allen, 2014; Welch, 2005; Whidden, 2010). Sometimes these judgments were expressed explicitly, such as a music teacher calling a student tone-deaf or asking them not to sing, but just as often judgments were implicit, such as a music teacher not choosing a student for singing opportunities or denying them entry into an ensemble.…”