The Adult Music Student

The Adult Music Student addresses this gap, equipping music educators and professional musicians with the skills to provide optimal learning environments for adult music-makers, and exploring the process of learning and making music across the entire adult lifespan.

Pamela D. Pike is the Herndon Spillman Professor of Piano Pedagogy at Louisiana State University.

Dedication Forthcoming List of Figures Organization of the Book Acknowledgements Table of Contents Prelude: Introduction to Making Music Throughout the Lifespan Introduction Section One: Characteristics of Adult Learners: Andragogy, Lifespan Development, Physical Traits & Cognition Chapter 1: Learning Music as an Adult: Andragogy in Action Opening Vignette 68-year-old Semi-retired Therapist and Aspiring Pianist Introduction Andragogy 101 Instructor as Facilitator Considerations for the Music Studio Need to Know, Self-Concept and Prior Musical Experiences Max, the violinist Readiness, Orientation and Motivation to Learn Chloe, the pianist Conclusions Andragogy in Action Notes References Chapter 2: Contemporary Adults Making Music: Process or Product? Opening Vignette Cassie: 58-year-old Guitarist Introduction Learning Throughout Adulthood Nonformal Learning Informal Learning Formal Learning Lifelong Learning and Serious Leisure Learning Motivation for Learning: Process versus Product Performance Can Be a Goal Transformational Learning Conclusions Andragogy in Action References Chapter 3: Lifespan Development and Learning Theory: Does Life Stage Matter? Opening Vignette Lucy: 65-year-old Retired Librarian Introduction Developmental Stages of Adults and Lifespan Theory Psychosocial Lifespan Stages for Music Participation Musicking Across the Lifespan Conclusions Andragogy in Action References Chapter 4: Cognition & Processing: Similarities and Differences Across the Lifespan Opening Vignettes Elizabeth: Cello Student in her Late 60s Dottie: Piano Student in her 70s Introduction to Cognition and Learning Perception and Attention Processing: Working Memory Long-Term Memory and Retrieval Memory and Aging Plasticity Fluid and crystallized Intelligence Word Recall and Processing Text, Prose and Speech Stimulating Plasticity Adapting for the Aging Brain in the Music Studio Conclusions Andragogy in Action References Chapter 5: Physical Skills and Abilities: Age-related Changes That Impact Music Learning and Participation Opening Vignette Anjelica: Cellist in her late 70s Introduction Knowing Through the Body: Embodied or Somatic Learning Spirituality in Adult Learning and Music Making Physical Changes as We Age Physical Characteristics of Emerging and Young Adults Physical Characteristics of Mid-age Adults Physical Characteristics of Third-age Adults Physical Characteristics of the Fourth Age Practical Application in the Music Studio Conclusions Andragogy in Action Notes References Section Two: Motivation in Adult Music Learning Chapter 6: Wlodkowski, Houle, Knowles and Adult Motivation to Learn Opening Vignettes Sherry: Divorced Piano Student in her 50s Susan: Married Piano Student in her 50s Introduction Motivation Theories to Frame Adult Motivation to Pursue Musical Activities Intrinsic Motivation, Competence and Autonomy Creating Meaningful Learning Experiences Identifying an Adult's Orientation to Learning Taps into Personal Motivation Barriers to Motivation During Adulthood McClusky's Theory of Power-Load-Margin Conclusions Andragogy in Action Notes References Chapter 7: Technology as a Tool for Self-Directed and Assisted Music Learning Opening Vignettes Excerpts from Emails of Adults Taking an Asynchronous Online Piano Course Introduction Synchronous Lessons: Enhancing Accessibility Adults Taking Online Lessons Technology to Assist with In-Person and Synchronous Online Learning Technology to Enhance Student Learning Informal and Nonformal Independent Learning: Providing Accessible Resources Informal and Nonformal Learning Asynchronous Music learning Conclusions Andragogy in Action Notes References Chapter 8: Facilitating Learning: Learning Contracts, Negotiating Learning Outcomes and Reframing Musical Goals Opening Vignette Rebecca: Retired Administrative Assistant, Age 62 Introduction Unravelling Rebecca's Comments Preparing the Adult Learner for Music Study First Contact and Interview Private Studio Group Classes and Ensembles Discovering Goals for Music Study The Facilitator's Goals for Students Co-creating the Learning Plan Conclusions Andragogy in Action References Chapter 9: Methods, Music and More: Do These Matter with Adults? Opening Vignette Laura: 20-year Piano Class Participant Adult Music Materials Editions and Levelling Supplemental Accompaniments and Backing Tracks Beginning Methods Duets and Ensemble Music Various Anthologies and Specialized Skill Books Evaluating Materials for Adult Lessons and Classes Conclusions Andragogy in Action References Section Three: Strategies to Facilitate Adult Music Making & Learning Across the Lifespan Chapter 10: Qualities of Outstanding Adult Music Facilitators and Leaders Opening Vignette Bill: 41-year-old Nurse Doug: 45-year-old Choral Conductor Introduction Common Characteristics of Effective Facilitators Expertise Respect, Empathy and Flexibility Clarity Conclusions Andragogy in Action References Chapter 11: Private Lessons in the Second Age Opening Vignettes Carli: Young Adult and Intermediate Flutist Jon: Mid-age Adult and Beginning Tenor Singer The Second Age of Adulthood Considerations for Working with Emerging and Mid-aged Adults Conclusions Andragogy in Action References Chapter 12: Group Lessons in the Second Age Opening Vignettes Beginning Piano Class for Pre-retirement Adults Sforzando Singers: Young Adult Performing Ensemble Working with Second-age Adult in Group Settings Classes Ensembles and Rehearsals Conclusions Andragogy in Action References Chapter 13: Private Lessons in the Third Age and Beyond Opening Vignettes Ted: 83-year-old Retired Engineer and Piano Enthusiast Sandra: 61-year-old Cellist Taking Online Lessons Common Experiences of Music Study Effective Facilitation on the Private Music Lessons The Role of Personality, Life Experiences and Age-Related Declines in Private Music Study Personality and Preferred Learning Styles Life Experiences Age-related Declines Quality of Musical Performance During the Third Age Exits Conclusions Andragogy in Action References Chapter 14: Group Lessons and Music Making in the Third Age and Beyond Opening Vignettes Third-age Piano Class: A (Mostly) Serious Group Fourth-age Singing Group: Making Music in Assisted Living Themes Common in Effective Group Music0Making Experiences for Older Adults Musical, Physical and Cognitive Impairment Psychosocial Improvement and Increased Motivation Effective Group Facilitation Strategies Employed in Older Musical Groups Conclusions Andragogy in Action References Coda: The Facilitator's Lifespan Opening Vignette Jane: 20-year Adult Music Educators Introduction Preventing Burnout Reconnect with Your Instrument Learn Something New Move (Preferably Outside) Engage with Teachers in Your Community Take Well-planned Breaks Seek Professional Help as Needed Conclusions Closing Vignette Quote from Nancy's Diary: 68-year-old Retired Therapist and Aspiring Pianist Andragogy in Action References Full Reference List Index