The Adult Music Student: Making Music throughout the Lifespan

Contents

• 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