Adult Musicians' Experiences in a Homogeneous Ensemble Setting.

Abstract

The purpose of this study was to describe the experiences of adult musicians in two longstanding flute choirs. Data were collected through observations, field notes, and in-depth interviews with 16 ensemble members. Salient statements were grouped into meaning units and clustered into 5 themes: Serendipity, Rewards, Challenges, Directors' Leadership, and Identity. Results indicated that serendipity played a substantial role in people's initial musical pursuits as well as their continued study. Most participants engaged in music only when invited by others, but once involved, they flourished and began to embrace musicianship as a meaningful part of their individual and group identity. Director leadership styles and a non-competitive atmosphere allowed for supportive, informal learning as participants assumed varying roles to assist each other. Challenges associated with flute choir membership included reestablishing previously learned skills, coping with the physical effects of aging, and fighting fatigue after long work days. Adults today have a multitude of choices with which to spend their leisure time, some which can be accessed passively with relative ease (e.g., watching television or surfing the Internet) and others which demand active, committed participation to nurture ongoing skill development (e.g., membership on intramural sports teams or musical ensembles). For busy adults who would like to include music in their daily lives, finding time to do so can be challenging (Kruse, 2007). Yet, many studies have documented positive rewards associated with active adult musicianship (Bailey & Davidson, 2005; Clift & Hancox, 2001; Coffin, 2005; Coffman & Adamek, 1999; Coffman & Levy, 1997; Dabback, 2008; Ellis, 1996; Ernst & Emmons, 1992; Faivre-Ransom, 2001; Forrester, 1975; Hartley, 2003; Heintzelman, 1988; Juttas, 2006; Olseng & Burley, 1987; Rohwer, 2002, 2009, 2010; Shansky, 2010). In order to understand the experiences of those who have chosen to participate in lifelong music learning, researchers have conducted studies in a variety of settings. Several studies have shown that adult amateur musicians in community music ensembles are often well-educated individuals with upper middle class status (e.g., Cavitt; 2005; Coffman, 2008; Coffman & Adamek, 1999; Heintzelmann, 1988; Rohwer, 2010; Rohwer & Coffman, 2006). Likewise, these individuals often recount positive musical memories associated with school performing ensembles (Cavitt, 2005; Coffman, 1996; Rohwer, 2002), informal listening venues (Rohwer, 2002), and supportive home environments (Bowles, 1991). In addition, professionals working with adults in community ensembles have reported high levels of motivation among amateurs, with the intrinsic satisfaction of music and social interaction both serving as important components of participation (Cavitt, 2005; Coffman, 1996; Coffman & Levy, 1997; Cope, 2005; Ernst &. Emmons, 1992; Forrester, 1975; Palmer 2008, Rohwer, 2002). The value adults place on musical skill development and social interaction seems to vary according to personal circumstance. Several researchers have reported that although adults place high value on social interaction, musical progress often serves as their primary motivation for participation (Coffin, 2001; Coffman &. Adamek, 1999; Darrough, 1990; Faivre-Ransom, 2001; Heintezlman, 1988; Juttas, 2006; Olson, 1997; Shansky, 2010). Yet, the emotional impact of social benefits should not be dismissed. In a study examining senior adult band members, Coffman and Adamek (2001) found that bonds created among musicians were as strong as those established years earlier with friends and neighbors. Similarly, Dabback (2008) found that relationships forged in adult ensembles may foster meaningful identity: Identities emerge from and are shaped by the social interactions among members in the ensemble setting. Players form new musical identities, reclaim identities that were important in their youth, or revise existing identities by taking up new, social instruments. …

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