Factors Influencing Participation in Community Bands

Abstract

Abstract The purpose of this investigation was to assess factors influencing 401 adults' participation in ten community bands from Texas, Michigan, and California. Results indicated that typical community band member is over 35 years old, college educated, professional, earns a middle income, and lives in suburbs. Results indicated that community band members are highly motivated to pursue music activities outside of organized rehearsals. Subjects indicated that most enjoyable aspects of community band were the music they play, satisfaction, and interaction. Most community band members stated that enjoyment, fun, and social interaction were important reasons for participating in band after high school. One terminal goal of music education is to provide opportunities for music students to master music making in such a way that will allow them to independently pursue lifelong learning and fulfillment. Most adults' group performance experiences end abruptly at graduation from high school (Boswell, 1992). Indeed, few students make transition from school performance ensembles to any type of adult music making. In this regard, little has changed since Bancroft (1964), Peterman (1954), and Lawrence and Dachinger (1967) investigated influences contributing to post-school musical activities of and independently found that most high school graduates do not continue playing their instruments. Several researchers have examined school music participation and found that participation in school music programs decreases as students get older and become more involved in other activities (Anthony, 1974; Austin, 1988; Brown & Alley, 1983; Clothier, 1967; Frakes, 1984; Martignetti, 1965; Rawlins, 1979; Wragg, 1974). Patchen (1986), Bowles (1991), and Coffman (1996) established that prior instrumental experiences, particularly during high school years, were linked to music participation in later life. Patchen found that childhood musical activity was best predictor of current music activity. Bowles surveyed adult music-performance attendees and created a profile of prospective participants in adult music education. Coffman investigated music backgrounds and interests of active older adult band members who participated in several different Midwest New Horizons beginning band programs. Several music researchers have examined adult participation in music activities (Brown, 1981; Burley, 1982; Coates, 1984; Darrough, 1992; Davidson, 1980, 1982; Ernst & Emmons, 1992; Gibbons, 1982,1985; Kellman, 1986; Tanner & O'Briant, 1980). Many community music programs have been concerned with meeting special needs of growing elderly population and providing adaptations for physical, mental, and social problems of elderly (Davidson, 1980). The literature described musical, social, mental, and physical benefits seniors receive through participation in music activities. Gilbert and Beal (1982) surveyed preferences of elderly individuals for selected music education experiences. They found that elderly people prefer inactive experiences such as music listening or observation to experiences involving participation that is more active. Darrough (1990) developed a profile of over 400 older adult choral music participants by surveying their background, motivation, and preferences. In contrast to Gilbert and Beal's study, Darrough found that participants favored performing over listening. Darrough's survey also assessed motivation factors and reasons for adult choral participation. The subjects ranked musical reasons for participation over social, therapeutic, and recreational motives. In a study conducted by Robertson (1996) that investigated music learning activities of senior citizens, he found that participants most preferred rehearsing music and least preferred being lectured about music. In Cooper's (1996) investigation into adults' perceptions of piano study, she stated that adults who have continued to play express positive attitudes toward music as a worthwhile pursuit for personal satisfaction and a sense of accomplishment, but those who are past players or nonplayers have expressed regret for not having kept up or not having learned to play an instrument (p. …