Does engaging in informal, participatory music-making affect adults’ perceptions of their own musicality and their likelihood of engaging in particular musical activities in the future?
What did the researchers do?
Woody, Fraser, Nannen, Yukevich engaged a group of 35-40 individuals in a participatory music-making session at a summer camp/retreat for adults. Unlike presentational music-making, in which there is a clear distinction between performers and audience-members, participatory music groups include everyone present as a participant who is expected to contribute to the music-making (Turino, 2008).
Before the session, 31 adults completed a questionnaire, which included items prompting them to rate their own musicality, how likely they would be to engage in various musical activities, the degree to which musical skills are a result of experience and/or innate talent, and the degree to which various musical skills are something anyone or only a musician can do. Two of the researchers then engaged the participants in the hour-long participatory music-making session, which involved using ukulele and various percussion instruments to play/sing the song “Hey Jude” and focused on enjoyment rather than correctness. Immediately after the session, participants were asked to complete the same items rating their own musicality, likelihood to engage in various musical activities, and beliefs about talent, as well as two additional open-ended questions about the experience. Based on the participants’ open-ended responses, the researchers categorized participants as lower, moderate, or higher self-efficacy regarding the participatory music-making experience.
The participants who had formally studied an instrument considered themselves more musical than those who had not, but they were no more likely to engage in various musical activities overall. (There were no differences between those who had sung in a school choir and those who had not.) Those who had formally studied an instrument were more likely to have lower self-efficacy for the participatory music-making experience, while those who had not formally studied an instrument were more likely to have moderate or high self-efficacy for the participatory music-making.
In comparing the pre- and post-test responses, the researchers only found increased likelihood of engaging in one musical activity—playing a musical instrument informally with family or friends. Those who were categorized as having moderate or high self-efficacy for the experience showed gains in their self-ratings of musicality, while those who were categorized as having low self-efficacy for the experience showed a decrease in their self-ratings of musicality.
What does this mean for my classroom?
“Our results may provide some useful insights for those of us in the music education profession who wish to encourage greater music-making among people. Rather than trying to convince people that they are in fact musical as a precursor to them behaving more musically, perhaps they just need to be engaged in music activities with the assurance that ‘being musical’ is not needed. As they enjoy the artistic, social, and individual rewards of that activity, that behaviour will naturally be reinforced.” (p. 326)
The fact that the musical activity rated as most attainable for the general population was “playing a fretted instrument (e.g. guitar, ukulele, banjo)” and the overall self-reported likelihood of “playing a musical instrument informally with family or friends” increased suggests that informal experiences with playing these instruments may be effective means for helping more people engage with music. According to the authors, participatory music-making “can help encourage a society that better values lifelong musicianship for everyone” (p. 327).
For more on distinctions between participatory music and presentational music-making, see this chapter from Thomas Turino’s (2008) book Music as Social Life.
“Come on, athletes!” shouts Murph, the trainer leading class at Title Boxing. My gloves pound the bag. Sweat drips down my forehead as my muscles work. “Let’s do this, athletes! Give it everything you’ve got!” I respond by punching harder, never doubting my power. I am an athlete.
Until my mid-30s, “athlete” was never a label I would’ve applied to myself. Growing up, I was always the fat kid. When tasked with running a mile around the block in high school P.E. class, I hitched a ride in a passing classmate’s car just to avoid the ordeal. (In case you’re wondering, yes, I did get caught—and detention.) Running and all other forms of exercise were not something I saw as “for me,” and any time I couldn’t avoid being subjected to these activities, I felt embarrassed and ashamed of my ineptitude. I thought it was the result of something lacking inside of me. I was fat, so sports were just not my “thing.” Once I was no longer required to participate in physical education in school, I rarely engaged in exercise, and when I did, it was usually to punish myself for being overweight. Exercise was a torture that I couldn’t wait to escape.
Fast-forward to 2013, when a bathroom renovation left me without a shower for several weeks. I discovered a Groupon for a local gym that only offered group fitness classes. In order to use their shower, I would need to first show up for a 45-minute kickboxing or boot-camp class. After a while, I could see and feel muscles I didn’t even know I had, and I was actually enjoying it! Six years and two gyms later, I’m still working out because it makes me feel strong, healthy, and powerful. Am I going to the Olympics? No. Will anyone pay me to participate in a sport? No. Am I an athlete? Yes. Even when I can’t quite keep up with a certain combination, I still keep trying. It doesn’t matter what someone else thinks of me or how I compare to other people or the fact that I will never box at a professional level. I do it because I enjoy it! I may not be a professional athlete, but I’m an athlete nonetheless. Just ask Murph…
As a music teacher, my experiences in Murph’s boxing classes got me thinking about students’ experiences in school music classes. So often music educators (whether they know it or not) send the message that music is for some people and not others. This can be implied via one’s teaching philosophy, such as when a teacher says their goal is to help students become intelligent audience-members and consumers of music (implying that only some can become music makers). The message that music is not “for them” may be communicated implicitly to students—such as when they are not accepted into particular school performing groups—while for others, the message is communicated explicitly, such as being told by a music teacher not to sing or simply not being called on for singing.1 Even the notable music education scholar Edwin E. Gordon was labeled by his elementary school music teacher as one of the “blackbirds”—students who were instructed to sit in the back of the classroom and listen to the “bluebirds” sing and were told to move their lips but not actually sing during performances.2 With the exception of Gordon, the end result is usually the same, whether the judgement is explicit or implicit: most individuals who believe they have been deemed “unmusical” tend to give up on music and cease music-making for the rest of their lives.
Sadly, I witness this firsthand in my university teaching on a regular basis. I teach a required music course for undergraduate (non-music) education majors, and every semester I encounter students who believe they are not musical, can’t sing, or are “tone-deaf.” Many of them feel the same dread toward singing that I used to feel toward exercise!
Despite what many people think, music is not an innate talent that resides in some people but not in others. Like language, music is a human activity, and every person is born with the potential to make music. Just as we are all hardwired to be responsive to language and eventually think and become fluent in our native language, every infant is born with the capacity to respond to music and eventually think in musical sound and become fluent in their native music. Ethnomusicologists have studied a number of cultures around the world in which there is no concept of musical ability as an “innate talent.”3 Instead, people in these cultures believe every individual has the potential to become a competent music-maker—and virtually everyone does!
In addition to dispelling the myth that music is an innate talent, we need to develop another concept of what it means to be “a musician.” In a recent research study of the musical ability beliefs and musical self-concepts of fourth-grade students,4 I found that they were hesitant to call themselves “musicians” because they made mistakes or were not “the best”—in other words, because they believed they were not good enough to be professionals. These students seemed to be oblivious to the idea of being an amateur musician, that making music for yourself as a part of your daily life can be incredibly fulfilling and enjoyable and that ANYONE can do it!
Instead of perpetuating the idea that only those who perform for an audience are worthy of making music, we need to develop an additional definition of what it means to be “a musician” based on what ethnomusicologist John Blacking referred to as “average musical ability”:
If average linguistic ability is taken to refer to the fact that almost every member of every known human society is able to communicate with [others] in at least one language, average musical ability should refer to a similarly universal ability to communicate in music.5
In this conception of musical ability, you do not have to be a highly-skilled performer to be considered musically competent and to engage in making music as a valuable and meaningful part of your daily life.
We experience the idea of “average linguistic ability” every single day: Virtually everyone learns to speak competently and express themselves through their native language, regardless of whether public speaking will be a part of their career, because we just assume that everyone will. As I learned in Murph’s boxing class, everyone can be an athlete, in that we all can develop “average athletic ability.” Everyone can move their body, build muscle, and get fit. Similarly, musical potential does indeed lie in every human being, but in order to realize it, we must foster an appreciation for the musicality of which everyone is capable.
Maybe you don’t sing or play well enough that people would pay to listen to you. Maybe you’re not going to become the next Beyoncé. But every single human being can learn to sing or play an instrument. We can all be “musicians” if we recognize that, while a career in music may not happen for everyone, we can all develop everyday musical competence. And this “everyday musicality” is enough.
– Heather Shouldice is an Associate Professor of Music Education at Eastern Michigan University.
Carlos R. Abril, “I Have a Voice But I Just Can’t Sing: A Narrative Investigation of Singing and Social Anxiety,” Music Education Research 9, no. 1 (2007): 1-15; Eve Ruddock, “Sort of in Your Blood: Inherent Musicality Survives Cultural Judgement,” Research Studies in Music Education 34, no. 2 (2012): 207-221; Nicola Swain and Sally Bodkin-Allen, “Can’t Sing? Won’t Sing? Aotearoa/New Zealand ‘Tone-deaf’ Early Childhood Teachers’ Musical Beliefs,” British Journal of Music Education 31, no, 3: 245-263; Colleen Whidden, “Hearing the Voice of Non-singers: Culture, Context, and Connection,” in Issues of Identity in Music Education: Narratives and Practices, ed. Linda K. Thompson and Mark Robin Campbell (Charlotte, NC: Information Age Publishing, 2010), 65-90.
Edwin E. Gordon, Discovering Music from the Inside Out (Chicago, IL: GIA Publications, 2014).
John Blacking, “Towards a Theory of Musical Competence,” in Man: Anthropological Essays Presented to O. F. Raum, ed. E. J. Jager (Cape Town, South Africa: C. Struik, 1971), 19-34; Lisa Huisman Koops, “‘Denuy jangal seen bopp’ (They Teach Themselves): Children’s Music Learning in The Gambia,” Journal of Research in Music Education, 58, no. 1 (2010): 20-36; Kedmon Mapana, “The Musical Enculturation and Education of Wagogo Children,” British Journal of Music Education, 28, no. 3 (2011): 339-351; Joan Russell, “A ‘Place’ for Every Voice: The Role of Culture in the Development of Singing Expertise,” Journal of Aesthetic Education 31, no. 4 (1997): 95-109; Thomas Turino, ” The Coherence of Social Style and Musical Creation Among the Aymara in Southern Peru,” Ethnomusicology 33, no. 1 (1989): 1-30.
Heather Nelson Shouldice, “An Investigation of Musical Ability Beliefs and Self-Perceptions Among Fourth-Grade Students” (research poster presentation, 7th International Conference on Music Learning Theory, Chicago, IL, July 31, 2019).
John Blacking, “Towards a Theory of Musical Competence,” in Man: Anthropological Essays Presented to O. F. Raum, ed. E. J. Jager (Cape Town, South Africa: C. Struik, 1971), 22.
What is the nature of adults’ anxiety toward music/singing, and what do they feel is the root of this anxiety?
What did the researcher do?
Abril conducted a narrative inquiry to examine singing anxiety among three adults who expressed fear of singing and claimed they lack musical ability. These young women (who were enrolled in a university music methods course for non-music majors taught by the researcher) participated in multiple interviews and kept journals to reflect on their experiences with music/singing.
What did the researcher find?
These adults believed that success in music, specifically singing, is the result of a natural “gift” or “talent.” According to one participant, “the ability to make music is something that comes to you when you are really young … you just have it or you don’t. It’s not like other subjects in school because those you can work at and get better” (p. 8). Because they felt they lacked “musical talent,” they believed they were incapable of singing.
All three participants recalled negative musical experiences from their childhood, in which they received the implicit message from their music teachers that they were not musical. One participant began to feel she lacked musical ability when she tried out for the school choir in fifth grade but didn’t make the cut, saying, “It really hurt my self-esteem regarding my musical ability” (p. 8). Another participant described a similar experience of not being accepted into the school choir in sixth grade. She shared, “I was devastated! I quit singing after that because I figured. . . my music teacher was the expert! That really shattered my musical self-image. Since then I’ve felt pretty incapable” (p. 6). The third participant recalled an instance during childhood in which her music teacher was upset because someone was singing “wrong notes.” Worried that it was her, she stopped singing and soon after quit the choir. This participant said, “It was that bad experience that has stifled me. Since then I haven’t developed or grown in music. I don’t think teachers realize the great impact they have” (p. 10).
What does this mean for my classroom?
A teacher’s words and actions have tremendous power. Music educators should be aware that many students may attribute success in music to innate talent, and the perception of a lack of talent can be damaging to one’s musical self-concept and motivation to engage in music-making. Rather than perpetuate the myth of musical ability as the result of innate talent, we can emphasize the importance of effort and practice and work to communicate the powerful message that anyone can become a competent music maker and enjoy making music in their daily lives.
What do elementary students believe it means to be a “good musician” and to what extent do they perceive themselves to be “good musicians?”
What did the researcher do?
Shouldice (2014) individually interviewed 347 students in grades one through four. The students answered questions pertaining to the kinds of things a good musician can do, how one knows if a person is a good musician, and who can be a good musician. At the conclusion of each interview, each student was asked to choose the statement that best described him/herself (see scale in Figure 1) and explain why.
What did the researcher find?
While students across all grade levels most commonly described a “good musician” as someone who plays an instrument, practices, and/or sings well, other characteristics fluctuated across grade levels, suggesting that students’ perceptions of what it means to be a “good musician” may change over time in relation to their own experiences. Statistical analysis showed that students in grade one perceived themselves as better musicians than did students in upper grade levels, indicating that elementary students’ perceptions of their own musical ability may diminish as they get older.
Qualitative analysis of the data revealed that some children’s ability self-perceptions were based on how they believed others perceived their abilities, such as a first-grade girl who knew she was a good musician “because my [music] teacher always picks me first” (p. 336), or were reached as a result of comparing themselves to others. A number of students believed that innate musical talent is necessary in order for a person to be a “good musician;” their comments included the belief that “only some people are born with the talent” and “either you got it or you don’t” (p. 339). Additionally, responses from some students implied the belief that skill in certain musical genres or modes of music making do not qualify one as a “good musician,” such as one second-grade boy’s statement that rappers and beat-boxers cannot be good musicians and that he himself was not a good musician despite describing himself as a “rapping pro.”
What does this mean for my classroom?
Elementary music teachers should be aware of the tendency for students’ musical ability self-perceptions to diminish over time and work to help students maintain positive musical identities as they get older. Teachers also should be aware of the ways in which they might inadvertently communicate their own judgments of students’ musical abilities and/or beliefs about the value of certain musical genres or modes of musicking. Additionally, teachers can encourage students to focus on effort and practice as determinants of musical ability rather than emphasizing innate musical talent.
Note: Text featured in this post was originally published in the following article:
Shouldice, H. N. (2016). Research to ‘real life’: Implications of recent research for elementary general music. Michigan Music Educator, 53(2), 23-26.