Hilary McQueen

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.

The role of musical possible selves in supporting subjective well-being in later life

There is now an accepted need for initiatives that support older peoples well-being. There is increasing evidence that active engagement with music has the potential to contribute to this. This paper explores the relationship between musical possible selves and subjective well-being in later life. The research reported here formed part of a larger project that focused on how active music-making could support positive cognitive, social and emotional outcomes. The research comprised three UK case study sites, each offering diverse musical activities. A sample aged 50+ (total N = 398), some of whom were novices and others who are more experienced, was recruited to complete questionnaires that included open questions and measures of well-being. In addition, individual interviews (n = 29) and focus groups (n = 15) were carried out, where participants in musical activities reflected on the meaning and function of music-making in their lives. The interpretation presented here suggests that through music many older people found a means by which they were able to formulate well-understood and highly esteemed versions of their possible future selves. This, in turn, may have been a significant factor in helping to navigate the process of ageing in later life with enhanced subjective well-being, including a sense of purpose, a significant degree of autonomy and a strong sense of social affirmation.

Does active engagement in community music support the well-being of older people?

Background: There is considerable evidence that participating in music making can have benefits for children and young people. This research explored how participation in making music might support the social, emotional and cognitive well-being of older people. Methods: Comparisons were made between older people participating in a wide range of musical and other activities in relation to their responses to questionnaires and psychological needs scales (the CASP-12 and the Basic Needs Satisfaction Scale; Deci & Ryan, 2000). Comparisons were also made between those older people participating in the musical activities who were in the third and fourth ages. Results: Factor analysis of responses 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 between those participating in the music groups and those participating in other activities revealed statistically significant differences on all three factors with the music groups giving more positive responses. There was also no deterioration in responses in the music groups between those in the third and fourth ages as might have been expected except in relation to purpose. Conclusions: Actively participating in making music has beneficial effects on the well-being of older people. Further research is needed to identify the mechanisms through which music is able to achieve these effects.

Scaffolding, organizational structure and interpersonal interaction in musical activities with older people

The research reported here focuses on the organizational structure and facilitator strategies observed in musical activities with older people. The observations formed one part of the Music for Life Project, funded by the ESRC New Dynamics of Ageing Programme (http://www.newdynamics.group.shef.ac.uk/), which investigated the social, emotional and cognitive benefits of participation in community music making, amongst older people. Three hundred and ninety eight people aged 50+ were recruited from three case study sites offering diverse musical activities. Observations of 33 groups were analysed. Approximately half of the observed time was spent with participants engaged in practical music-making, supported by facilitators who sang or played along, conducted or accompanied. Facilitators spent a relatively small amount of time providing non-verbal modelling and very little participant discussion or facilitator attributional feedback was observed. The findings suggested that facilitators could develop their practice by a) making more extensive use of non-verbal modelling; b) creating space for open questioning and discussion, where participants are encouraged to contribute to setting goals; c) making more extensive use of attributional feedback that empowers learners to control their own learning; and d) vary the organizational structure and style in order to meet a range of diverse needs within groups of older learners.

The Characteristics of Older People Who Engage in Community Music Making, Their Reasons for Participation and the Barriers They Face.

There is now an accepted need for initiatives that support older peoples health and well-being. There is increasing evidence that active engagement with music has the potential to contribute to this. This research aimed to explore the characteristics of older people who participated in active music making with a view to identifying the groups that currently do not participate. The research comprised three UK study sites, each offering a variety of musical activities. At each site a sample of people aged 50+ (total N = 398), some of whom had recently begun musical activities and others who were more experienced, were recruited to complete questionnaires that asked for a range of information about musical and other activities. Those participating were predominantly female, white British and from professional occupations. A substantial proportion had been engaged in musical activities prior to their current involvement, the majority rating themselves as average on their instruments and having only a basic level of reading music. They also participated in a wide variety of other non-musical activities, tended not to practise at home, although they listened to music at home, played it in the background and tended to prefer classical music. The predominant reason for participating in musical activities was enjoyment. The findings are discussed in terms of what might be needed to widen participation.

The facilitator of community music-making with older learners: Characteristics, Motivations and challenges:

Although there is now an accepted need for initiatives that support older people’s well-being, little attention has been paid to the role of those facilitating such activities. This research explored the benefits and challenges for those working in facilitating musical activities with older people. The research was undertaken at three UK case study sites, and involved 14 music facilitators who completed questionnaires and were interviewed about their work. The findings showed that there were many rewards in working with older people but also considerable challenges in terms of venues, resources, and a lack of initial and ongoing training opportunities.

The Perceptions of Non Music Staff and Senior Management of the Impact of the Implementation of the Musical Futures Approach on the Whole School.

This research aimed to provide an account of the impact of the Musical Futures approach on the wider school community in Musical Futures ‘Champion Schools’. Questionnaires were completed by 344 non-music teachers. Interviews were undertaken with members of senior management teams. The majority of staff indicated that Musical Futures had had a positive impact on student motivation, well-being, self-esteem and confidence and had encouraged students to work together. There was less agreement that it had improved student concentration, organisation and students’ attitudes towards learning and academic progression. The interviews provided deeper insights into the issues relating to implementation.

Different Ways of Experiencing Music-Making in Later Life: Creative Music Sessions for Older Learners in East London.

There has been a gradual increase in the body of literature regarding seniors’ musical preferences, learning approaches, development, and creativity. This literature dispels existing myths that perceive older people as a homogeneous group, characterized by decrepitude and diminishing capacity, and with a passive contribution to society. A phenomenographic approach has been taken in this article to explore the different ways that 11 participants experienced creative music sessions delivered by the Connect Programme of the Guildhall School of Music & Drama, London, UK, as part of the Music for Life Project. The analysis revealed five distinct categories of engagement. Two of these categories of engagement are described in detail and demonstrate how music learners in late Fourth Age can achieve in music given sufficient opportunity, motivation, and support from the music facilitators and their environment. The article concludes with some practical suggestions for music facilitators who wish to lead musical activities with seniors.

A philosophical perspective on leading music activities for the over 50s

The basis of this article is findings from the Music for Life Project which investigated the benefits and challenges of music activity participation for the over 50s in three case study sites in the United Kingdom. The paper uses a philosophical lens to explore the leaders’ and participants’ views on the purpose of the activities, how learners are characterised, the role of the activity leader, and the use of assessment. Data from 147 participant and 13 activity leader questionnaires, from 28 participant and 13 activity leader individual interviews, and from 15 participant focus groups were analysed within a philosophical framework that refers to six approaches: liberal, progressive, behaviourist, humanistic, radical and analytic. NVivo and SPSS assisted with the quantitative and qualitative analyses. The analyses indicated that humanism was prevalent although other approaches, particularly behaviourist and progressive, were evident. Activity leaders’ emphasis on humanism might lead to more concern with the comfort side of participation than with musical progression. There was very little use of formal assessment or feedback to support progression. There was some discrepancy between purposes for participation between leaders and participants. There might be a need to clarify purpose, particularly if activities are part of adult education rather than adult social groups.