Effects of an Intergenerational Choir for Community-Based Seniors and College Students on Age-Related Attitudes

Intergenerational Choir: A Qualitative Exploration of Lived Experiences of Older Adults and Student Music Therapists

The purpose of this phenomenological study was to explore the essence of an intergenerational choir experience for older adults and student music therapists. Data were gathered through a series of open-ended individual interviews with older adult participants (n = 10) and student participants (n = 5). Analysis of data revealed four emerging themes common to both older adults and students: mutual learning, social bonding and support, feelings of accomplishment, and appreciation and enjoyment. Emerging themes unique to the older adult community members were that (a) participation challenges came from differences in musical culture; (b) intergenerational choir promoted experience of emotional health and helped maintain an active lifestyle; and (c) community members were passionate about recruiting new members to expand the choir. Emerging themes unique to the student music therapists were that (a) intergenerational choir provided unique ensemble experiences and (b) students reported positive changes in perception of older adults. Implications of intergenerational music engagement for music therapy clinical practice, research, and education are discussed.

Examining Cross-Age Experiences in a Distance-Based Intergenerational Music Project: Comfort and Expectations in Collaborating With Opposite Generation Through "Virtual" Exchanges

There has been an increase in the number of music-based intergenerational programs conducted by music therapists as part of wellness and intergenerational music therapy programs. Research has shown that intergenerational music therapy programs have improved cross-age attitudes, interactions, and older adults' psychosocial well-being. Anecdotal evidence indicates that one of the challenges for creating music-based intergenerational programs is finding agencies that serve younger and older generations within close proximity to one another. We sought to remedy this problem with the integration of "virtual" technology. The purpose of this study was to examine changes in cross-age comfort, expectations after experiencing "virtual" exchanges, and preconceived notions of older and younger persons enrolled in a distance-based intergenerational project. A secondary purpose was to determine what intergenerational project factors were most enjoyable for older and younger participants. Eighteen older adults (61 through 79 years old) from an intact music-therapy choir along and 14 younger children from an intact community choir (9 through 14 years old) served as participants for the current study. All participants experienced the 4-week distance-based intergenerational program that consisted of: (a) two group "virtual" exchanges, (b) two reflective journals related to the "virtual" exchanges, (c) an in-person half-day music-therapy intergenerational workshop, and (d) a joint performance. Cross-age comfort, preconceived notions, expectations, and preference factors were examined through pre-test and post-test measurements. Results indicated an increase in older adults' comfort level collaborating with children after participation in the intergenerational music project. The majority of younger (64%) and older (69%) participants indicated that their preconceived notions about the other generation were different and positive from what they initially thought prior to the project. Both generations indicated an improvement in cross-age attitudes and interactions due to the collaboration process ("virtual" exchange, workshop, and joint-performance) and the cross-age interactions during the project. These findings suggest that music therapists can foster cross-age interactions and relationships between generations that are not within close proximity of one another by using a combination of "virtual" and "live" interactions as an intervention for enhancing the overall quality of life among older adults.

Is there musical life after graduation? Mining the resources of an understudied population

The preponderance of published research in the music education literature concerns the teaching, musical responses, or preferences of people who encompass kindergarten through baccalaureate levels of formal school settings. This may be understandable, in that most people whose profession is `music education' spend many hours each day working with a school population. Nevertheless, `music behavior' is not limited to people who are youthful and, in fact, music education's commitment to lifelong learning can be enhanced by stretching the parameters of the populations and research questions included in our research. The stereotype that music educators are only interested in, and only qualified to discuss, school/university bands, choruses, or general music needs to be put to rest, and research may offer an excellent venue for opening all our minds a bit. This paper offers rationales and suggestions for including nontraditional participants into research projects, with special emphasis on adults in midlife and in senior years. Topics discussed include: (1) an argument in favor of expanding music research to a population not yet studied extensively, (2) an overview of which people constitute the `geriatric' population, (3) research questions of particular relevance, (4) identifying where these people may be studied and enlisting participation, (5) special considerations when dealing with these populations, and (6) ways in which research projects may enhance community musical participation. Citations of extant studies are used to sow ideas, with a strong emphasis on thinking `outside the box' in developing music education research agendas.

The power of music in the lives of older adults

A compelling body of research demonstrates that music continues to offer powerful potential for enhancing health and well-being in old age. Active music-making has been found to provide a source of enhanced social cohesion, enjoyment, personal development, and empowerment, and to contribute to recovery from depression and maintenance of personal well-being throughout these latter stages of adult life. Within a context where life expectancy at age 65 years is rising rapidly and yet where increasing numbers of older people are reported to be living in isolation or suffering from depression, this body of research has important implications for understanding how access to active music-making may enhance the lives of older people. This article reviews a body of literature relating to specific benefits of active participation in music-making amongst older people. A case study is presented, illustrating some of the key points from the literature. Some barriers to participation are identified and implications for older people and their carers are discussed.

Active music making: a route to enhanced subjective well-being among older people

Aims:

This research explored the relationship between active music making and subjective well-being, in older people’s lives. The research focused on how participation in making music might enhance older people’s social, emotional and cognitive well-being, through meeting the basic psychological needs identified in earlier research.

Method:

The research comprised three case studies, each offering a variety of musical activities to older people. In each case study a sample of older people were asked to complete questionnaires and psychological needs scales related to autonomy, competence, relatedness and self-realisation before and after a substantial period of active engagement with music.

Results:

Principal components analysis (PCA) of responses to the CASP-121 and the Basic Needs Satisfaction scale2 revealed three factors: purpose (having a positive outlook on life; autonomy and control; and social affirmation (positive social relationships, competence and a sense of recognised accomplishment). Comparisons of those engaged in music making with those participating in other activities revealed statistically significant differences on all three factors with the music groups giving more positive responses.

Conclusions:

The enhanced subjective well-being found among participants in music may have been due to the potential for music to provide a sense of purpose through progression in music and creative expression. Control and autonomy may be supported by the holistic nature of musical engagement, whereby meeting new musical challenges involves physical and cognitive engagement. Finally, social affirmation may be supported through social interaction; giving and receiving peer support; and performance, which confers status, a sense of giving something back to the community, pride and opportunities for positive reinforcement. Further research needs to identify the mechanisms through which music is able to achieve these effects.