Self-Perceived Influences on Musically Active Nonmusic Majors Related to Continued Engagement

Abstract

This study investigated influences encouraging active music engagement beyond the high school and college years among nonmusic majors who are actively engaged in music. A web survey yielded a 50% response rate (N = 476) from nonmajor students enrolled in performing organizations at a large Midwestern public university, whose responses addressed music activities in and out of school environments, influences on starting and continuing participation during high school and college, and whether ensemble directors promoted continued engagement. Results indicated high amounts of intrinsic motivation in both settings and active diverse curricular and noncurricular participation in music during high school. However, respondents indicated limited music activity outside of the college ensemble; indeed, a majority said they would not have sought a way to continue had it not been for the availability of a university ensemble that welcomed nonmajors. High school directors provided more encouragement to continue than college directors.

Keywords

adult engagement continued engagement life span nonmusic major postschool

It has long been assumed that a major goal of music education is to inspire, foster, and prepare individuals for a life of engagement in music. The expressed concern of music education leaders as early as the 1920s and of the National Association for Music Education (formerly MENC) about the issue of fostering lifelong engagement during the school years is ongoing—influential American music educators are still articulating the need for a lifelong perspective in school music education (Bowles, Dabback, & Myers, 2013; Jellison, 2000; Jones & Langston, 2012; Myers, 2008). The National Association of Schools of Music is specific about the role of college music programs in fostering lifelong engagement in music among all college students, both music majors and nonmusic majors (National Association of Schools of Music, 2012), and the International Society for Music Education (http://www.isme.org/) represents itself as an organization that strives “to understand and promote music learning across the lifespan.”

Yet, in spite of the proclamations of key music education leaders and organizations that fostering lifelong engagement is an important goal, it is commonly recognized that participation in school music programs does not necessarily result in lifelong engagement. Researchers examining carry-over of music engagement in recent years have found little change from earlier studies confirming that music participation in middle school, high school, and college school experiences is not necessarily predictive of lifelong engagement. Arasi (2006) interviewed adults who had participated in a respected high school choir, and found that lifelong influence was a “foreign concept” to most participants in the study (p. 207) and that they viewed their experience as something that happened during a finite period. A sense of finality of the high school experience was also expressed by students in studies by Rohwer and Rohwer (2009) and Mantie and Tucker (2008). In the latter study, former high school students now playing in bands did not view their high school learning as part of “real, ‘in-the-world’” social practice. Ayling and Johnston (2005) found that almost 18% of college students surveyed who had sung for 4 years in high school choirs said that their experiences had not affected them in a way that they could see themselves singing beyond college.

The three researchers involved in this study share the conviction that lifelong learning and continued active engagement are important goals of music education at all levels, and that it is crucial for music educators to understand the factors influencing continued participation in order to effectively promote and incorporate activities that are most likely to encourage continued and lifelong engagement. In the current study, we focused on nonmusic majors participating in music school ensembles at a large Midwestern university in the United States. Of the many areas of interest related to this population, we each chose an interest area: (1) music activities of engaged students in high school and college, (2) general influences on initial and continuing engagement in high school and college, and (3) the role of high school and college ensemble directors in encouraging and preparing students for continued engagement. The following review explores the literature related to the three interest areas.

Review of Literature

Music Activities

Several studies have found that specific early music activities may be predictive of carry-over engagement into adulthood. Green (2002) found that teenagers involved in popular music independently of school are more likely to continue those activities in adulthood, perhaps because they have taken more responsibility for their own learning. This confirms an earlier study by Lawrence and Dachinger (1967) indicating that people who are self-taught are more likely to play as adults. On the other hand, Stewart (2007) emphasized the importance of retaining students in ensembles as a means of promoting lifelong involvement in music. Bowles, Duke, and Jellison (2007) found that adult participation in instrumental organizations is more strongly related to college participation than at other levels, supporting an earlier finding by Waggoner (1972) that college music performance participation is a stronger predictor of adult participation than high school participation.

Several studies have explored extracurricular music activities that potentially influence continued participation. Corenblum and Marshall’s (1998) survey of ninth-grade band students found participation in extracurricular music experiences to be a predictor of intent to continue into high school, and Stewart (2005) found that middle school students saying they want to continue in high school also like to play in functions and circumstances outside of school. Studying privately appears to be a strong factor in continued participation (Delano & Royse, 1987; Stewart, 2005), as does performing in solo and ensemble events (Delano & Royse, 1987; Mountford, 1978). Mountford’s longitudinal survey of high school band students during high school and again during college indicated that participation in community ensembles was an important variable in the decision to play in college, and Rohwer and Rohwer (2009) indicate that the link between high school and community music is pivotal in encouraging music-making as a lifelong learning endeavor. Myers, in his essay “Freeing Music Education from Schooling” (2008), presents a profound argument for the essential partnership of community and school music for both the survival of school music and the goal of lifelong music engagement.

General Influences on Engaged Students

A number of studies have focused on influences on initial and continued engagement in music activities during the school years. Parental support appears to play a very strong role in initial engagement, especially during the middle and high school years (Adderly, Kennedy, & Berz, 2003; Corenblum & Marshall, 1998; Davidson, Sloboda, & Howe, 1995/1996). The study by Davidson et al. (1995/1996) of a range of students across ability levels and ages indicated that “Initial motivation for the persistent learners was extrinsically provided by the parent, but children’s motivation over time became increasingly intrinsic and self-sustaining” (p. 44). Adderly et al. (2003) found that in addition to parental encouragement (and sometimes sibling influence), both musical and nonmusical reasons were important in initial and continued engagement. As for continued music participation in college, Delano and Royse’s (1987) survey of freshman participants and nonparticipants in college instrumental ensembles found that participants received more encouragement from their high school directors (highest effect levels), significantly enjoyed their high school experiences, and received more parental encouragement for continuing in college than did nonparticipants. McDavid’s (2006) survey of freshman students who played in high school but not in college indicated that the quality of high school experiences highly influenced the decision to play or not play, and that parents were not a notable influence on the decision to play in college.

Ensemble Director Role

The role of the director in promoting and facilitating concurrent and continued music activity has been given substantial consideration in the literature. In spite of the findings cited above that extracurricular music activities affect the decision to continue, several studies have found that high school directors give little information about community opportunities. Cavitt’s (2005) survey of adult community band members indicated that only 13.5% had first heard about community band from their school music teacher. Kuntz (2011) also found that ensemble directors did not share information about community ensembles, and that students were more encouraged by family members and friends than by directors to participate beyond school. Rohwer and Rohwer (2009) suggest that school and community directors work together for students “to reap the benefits that are inherent in adult music learning environments” (p.261).

Given that the decision to play or not to play in college appears to be made before graduation from high school (Delano & Royse, 1987; McDavid, 2006; Milton, 1982; Mountford, 1978; Stewart, 2007), an examination of the role of the ensemble director in this decision-making process is warranted. Mantie and Tucker (2008) found that little conversation from the high school director takes place once students indicate that music is not a career plan.

Several studies show that lack of information from directors about continuing to play in college can have a significant effect on nonparticipants (Ayling & Johnston, 2005; Delano & Royse, 1987; McDavid, 2006; Mountford, 1978), and nonparticipation at the college level is predictive of nonparticipation in adulthood (Bowles et al., 2007; Stewart, 2007). McDavid (2006) suggests that school and college directors work together to facilitate the perception among high school students that college participation is important and should be encouraged as part of the collegiate experience. Ayling and Johnston (2005) indicate that directors at both the high school and college levels should examine how they might overcome factors that negatively influence student participation at the college level and beyond, and then foster positive perceptions about continuing into adulthood.

As for preparing students for lifelong engagement, several authors and researchers are concerned that music teachers and ensemble directors are not providing skills that transition into adulthood (Arasi, 2006; Jellison, 2000; Myers, 2008; Stewart, 2005). Lawrence and Dachinger (1967) found that adults with musical training who no longer play cited lack of sufficient skill as the most common reason, and both McDavid (2006) and Stewart (2007) found that nonparticipants in college music ensembles had a negative perception of their own proficiency that influenced the decision to not play in college. Mountford (1978) found that the development of personal performance skills on one’s instrument appears to be essential to continued participation beyond high school. Adults who had participated in a respected choir in high school felt the lack of knowledge in theory, history, composition, and improvisation may have contributed to inability to continue independently with musical activities in adulthood (Arasi, 2006).

Jellison (2000) advocates for transition as a principle for guiding curricular and instructional decisions that increase the probability that meaningful school experiences will continue in adulthood: “The more school music experiences are similar to music experiences that are valued for adult life, the higher the probability of transfer and the more successful the transition” (p. 125). Students in Kuntz’s (2011) study saw skills gained in the band and multiple school activities (e.g., jazz band/choir, theater, chamber groups, solo, and ensemble) giving confidence for music participation in different venues, styles, and on other instruments. Similarly, Stewart (2005) indicates that students must learn to transfer skills learned in school to other contexts, and that creative directors can find ways to incorporate these skills into the school day. Arasi (2006) recommends that a balance between performance education and developing skills for composition and improvisation is important in encouraging musical independence.

Finally, Myers says that school music programs in the United States are more concerned with preparing for large ensemble performances than providing people with the skills they need for life-long musical involvement:

We must transform school models that are based exclusively on self-perpetuating structures and that are inconsistent with the musical worlds most people participate in outside of school . . . the focus must be on engaging children in independent and authentic music making that is consistent with their developmental capacities, and that will grow with them into and through adulthood. As adults, they are then empowered to choose those musical experiences most consonant with their own desires and capacities. If, in addition, we provide opportunities for adults to begin and/or continue this same process, we move toward a firm foundation for lifelong music learning and participation. (Myers, 2008, pp. 55–56)

The purpose of the current study was to investigate self-perceived influences and activities that encourage continued engagement in music beyond the high school and college years among those who actively engage in music but do not expect to pursue music as a career. The primary research questions for this investigation were:

In what active music experiences do students participate both in and out of the high school environment and university ensemble?

What or who are the most significant influences during the high school and college years on continued active engagement?

Do high school and college ensemble directors include language or activities that encourage students to continue active participation in music beyond high school and college?

Are specific activities included in the high school and college ensemble curriculum that students feel are aimed at making them capable and independent musicians for continued engagement?

Method

The project was conducted at a large Midwestern university in the United States having a respected School of Music following approval by the institutional review board. School of Music ensembles having 50% or more nonmusic major participation were determined and verified, and included four choirs, two string orchestras, three concert bands, and the marching band (in the spring, the academic semester during which the study was conducted, the marching band functions as a voluntary band, performing at athletic events and in concert).

A questionnaire was developed to explore the primary study areas of students’ prior and current music activities during high school and college, influences on their engagement in high school and college, and the role of the ensemble director related to encouragement and self-perceived capability for continued engagement after formal schooling. The questionnaire required primarily yes/no or multiple-choice responses. For some questions, respondents had the option to give specific comments or descriptions in free response. At the end of the questionnaire, respondents were given the opportunity to add any comments that would contribute to the purpose of the investigation.

The questionnaire was piloted with a university ensemble director and a university music education professor from different institutions, a high school ensemble director, a college nonmusic major ensemble participant, and a community nonprofessional musician for clarity and to determine an approximate response time (10 minutes). Following minor revisions, the 24-item questionnaire was submitted for administration by the campus Web Survey Center.

The researchers read a script during a rehearsal for each selected ensemble inviting only nonmusic major students to participate in the project. Those students received a consent form describing the project and their rights as participants under institutional review board guidelines, and a signature line and date. Students (944) who returned the consent forms were sent an additional invitation and link to the web-based survey. As an incentive for participation, the students were assured that that the researchers would donate 10 minutes of personal time to an educational community music endeavor for each survey completed.

Students were given a two-week window to complete the survey. A reminder was sent to nonrespondents at the start of the second week, and a second reminder was sent two days prior to the close of the survey. A thank-you message was sent to all respondents following the close of the survey.

Results

A total of 476 undergraduate nonmusic major students responded to the survey, a 50% response rate. In addition to responding to survey questions, 116 students provided additional commentary at the end of the questionnaire. Of the respondents, 21% participated in university choirs, 22% participated in orchestras, 27% participated in concert bands, and 30% participated in marching band. Seventy-two percent of respondents were aged 19 to 21 years and 83% were undergraduates. Forty-five percent pursued academic majors in the Arts and Humanities, 28% in the Biological Sciences, 17% in the Physical Sciences, and 10% in the Social Sciences.

The following results are organized around the four primary research questions.

1. In what active music experiences do students participate both in and out of the high school environment and university ensemble?

High School

Eighty-five percent of the respondents reported taking private lessons or participating in a music ensemble prior to high school. Students were asked to report music activities both as part of and outside their high school curricula. Only 1% reported not participating in any experiences within a high school curriculum. Whereas large percentages of students participated in traditional large ensembles (68% concert band, 58% marching band, 35% orchestra, 32% concert choir), many students reported engagement in other music activities as a part of the school curriculum, including private lessons (55%), jazz ensembles (48%), classical chamber groups (21%), academic music classes (17%), and show choirs (16%). These and additional music activities within a high school curriculum are reported in Table 1.

Table 1.

Curricular High School Music Activities.

High school music participation	Percentage (N = 476)
Concert band	68
Marching band	58
Private lessons	55
Jazz ensemble	48
Orchestra	35
Concert choir	32
Other	26
Classical chamber ensemble	21
Academic music class	17
Show choir	16
Rock/pop band	8
Ethnic/world ensemble	2
Folk group	2
None	1

Although 17% reported no active participation in music outside high school, a majority of students reported engagement beyond their school curricula, including private lessons (62%), ensembles at religious institutions (36%), community-organized ensembles (31%), and self-organized ensembles with friends/family (19%; see Table 2).

Table 2.

Musical Activities Outside the High School Curriculum and the University Ensemble.

Musical experience	Percentage (N = 476)
Outside high school curriculum
Private lessons	62
Ensemble/religious institutions	36
Ensemble/community-organized	31
Ensemble/self-organized (friends/family)	19
None	17
Other	8
Academic music class	4
Outside the university ensemble
None	65
Ensemble/religious institutions	11
Ensemble/self-organized (friends/family)	10
Other	9
Ensemble/community-organized	8
Academic music class	4
Private lessons	4

College

Fifty-eight percent of the respondents said that had there been no college ensemble experience available they would not have sought another way to sing or play. Sixty-five percent reported no engagement in music-making activities beyond their university ensembles, and participation rates in outside activities were quite low (see Table 2). Only 4% reported taking private lessons during college.

2. What/who are the most significant influences during the high school and college years on continued active engagement?

High School

Respondents chose three primary factors affecting their initial decision to register for a music class or ensemble in high school from a list of options (see Table 3). Eighty-two percent reported self-motivation: “I thought it was important and wanted to do it for myself.” More than half were encouraged by parents (57%) or other family members (11%), and 49% stated that they joined because their friends did it. Respondents reported the same top factors for continued participation once they were engaged in high school music activities: self-motivation (88%), friends’ participation (53%), and parental encouragement (39%). When asked if they felt they would either stop playing/singing or continue after high school, 87% reported they would continue, whereas 13% stated they thought they would likely discontinue.

Table 3.

Motivating Factors During High School and College.

Factors	Percentage (N = 476)	Factors	Percentage (N = 476)
Initial high school motivation		Initial college motivation
Thought it important for me	82	Thought it important for me	82
Parental encouragement	57	Positive high school experience	74
Friends were doing it	49	Maintain music skills	66
Ensemble director encouraged it	20	Parental/family encouragement	24
Private teacher encouraged it	13	Friends were doing it	14
Other family encouraged it	11	Teacher/director encouraged it	10
Other	11	Easy “A”	10
Easy “A”	5	Friends encouraged it	9
Did not participate	1	Other	8
		Academic requirement	3
Continued high School Motivation		Continued college motivation
Thought it important for me	88	Enjoys performing in ensemble	69
Friends were doing it	53	Thought it important for me	51
Parental encouragement	39	Maintain music skills	45
Ensemble director encouraged it	26	Likes the director	42
Other	13	Enjoys social aspects	38
Private teacher encouraged it	11	Friends were doing it	18
Easy “A”	11	Parental/family encouragement	9
Other family encouraged it	5	Easy “A”	9
Did not continue	1	Other	4
		Friends encouraged it	2
		Academic requirement	1

College

When prompted to choose the three top motivating factors for initially enrolling in a university ensemble (see Table 3), 82% said they thought it was important to do so; a positive high school experience motivated 74%, and 66% declared their desire to maintain their music skills. As for continued participation, 69% said their enjoyment of ensemble performance was a primary motivation and 51% reported importance as a primary motivation. Furthermore, 45% said they continued because they wanted to maintain their music skills, 42% simply liked their director, and 38% said they enjoyed the ensemble’s social aspects (see Table 3).

Many students chose to provide additional commentary at the questionnaire’s conclusion, wherein many comments addressed motivation for engaging in an ensemble during college. Several respondents noted their ensemble directors’ influence (see below), and many commented on the importance of music in their lives, their love of the musical experience itself; their experiences being a relief from academic stress, and the ensemble functioning as a social home during college. The following comments represent these perspectives:

In high school, orchestra was a place for me to feel like I belonged and to feel that people cared about me . . . My participation in [university orchestra] has helped me to keep much of that sense of belonging while in college. I believe that being able to play in [university orchestra] was one of the aspects that helped me to make a comfortable transition to college. In fact, the opportunity to be able to continue playing in a nonaudition group as a non-music major was an important factor in my decision of where to go to college.

Although I am certain a science major is what is right for me, I know that music has and always will be an incredibly important part of my life, and can’t imagine going through life without it.

Music has always been fun for me. Making friends, making music, making memories. It has provided many opportunities and experiences that I otherwise would not have had . . . Without music, I have no idea who or where I would be.

I think [band] is one of the best experiences I have had so far at [the university], and I think that other universities should have bands for non-music majors, because we still want to play, but we may not be at the level of the music majors. This way, there is no pressure, and we can still have fun and make music.

I love staying in touch with my instrument even with a hectic college schedule as a non music major. I think it is really important to have an outlet such as [orchestra] to keep me playing at least once a week. . . . My playing would not be at the level I have been able to maintain through my college years without this group. I am extremely grateful to have it.

I think that music completes an education; nothing has made me grow more than music in school. Not only does it make an individual more musical, it makes an individual more responsible, and increases maturity by being a part of something larger than yourself.

When asked if they feel they will most likely stop playing/singing or find a way to continue after college, 78% stated they would continue whereas 22% would likely discontinue. Below are a few representative comments related to this issue:

Music is an enormous part of my life now and always has been. I wouldn’t be the person I am today without it . . . I will find a way to keep playing/singing the rest of my life, but playing in an ensemble will multiply my actual playing experiences, if I am lucky to find such an opportunity.

I want to continue playing, but am not sure how easy it will be in the real world to do so.

I really enjoy playing music and feel that it has been an important part of my education. It saddens me to know that after college I will most likely not be able to play music because I am not at a professional level of playing.

Music has always been an important part of my life. I can’t imagine not participating in some sort of musical ensemble . . . Though I know I am not the best musician, I am glad that there are opportunities out there for people like me.

I think I would be more likely to continue my music career after college if it were easier to find groups to join.

Each song means something different to everyone, but at the same time it reminds us that we aren’t alone in this world. Music literally saved my life and pulled me through some rough times. I can’t imagine my life without music and it is something that I will give up only when I’m dead.

3. Do high school and college ensemble directors include language or activities that encourage students to continue active participation in music beyond high school and college?

Apart from general motivation factors, students responded to questions related to their high school and college ensemble directors’ role in encouraging continued participation. Respondents were invited to freely report any specific articulation of or activities related to continued participation.

Encouragement by High School Directors

Sixty-eight percent recalled their high school directors talking to the ensembles about postgraduate participation; 31% did not recall directors encouraging them. Some respondents recalled specific activities that encouraged them to continue, such as: performing with community ensembles and university ensembles; listening to alumni speak about continuing; hearing various community ensembles play at schools; traveling to hear college ensembles; hearing college directors and ensemble members speak to them about continuing; and hearing nonmusic majors in visiting bands discuss their experiences and opportunities. Further, some respondents recalled their high school directors distributing information about various music schools and discussing their participation in a nonmajor ensemble or marching band in college, discussing their own participation in community ensembles after high school (exemplifying continuing engagement as a community musician), and the importance of what they do for themselves and for the community. Two comments were especially compelling:

He had his Alma Mater’s concert band come play for us. I remember that they were really good, and we all loved listening to them play. At the end he said to them, “Raise your hand if you’re a non-music major” and almost everyone did. At that moment, I saw my music path extended for another four years. From then on, a concert band full of non-music majors was the primary thing I searched for while I was looking for a college.

My band and choir teachers told us that we would be able to make music the rest of our lives. It would be something very special that we could share with others. Something like nothing else that we could experience. They also went a step short of begging us to not stop.

Encouragement by College Directors

Sixty-six percent reported that their current college directors never discussed continuing after college. Thirty-four percent reported that their directors spoke to them about the importance of continuing to play or sing after college. Themes emerging from an informal analysis of free responses related to this issue were the following: (1) articulating the importance of continuing to learn and making music throughout one’s life, (2) reinforcing the joy of playing and how it would be missed, (3) emphasizing enthusiasm for playing rather than perfection, (4) noting the multiple contributions one can make in continuing to play throughout life, (5) discussing students who chose to continue past college, and (6) discussing and exhibiting passion for music and the importance of music making for the director. Several students stressed the importance of encouragement from the director:

I think it would be good for ensemble directors/professors to give reasons why people should be involved with music, and why we should continue after college. This may inspire people.

I feel like the [directors] do not really give any additional information for graduating seniors as to how they can continue to perform in an ensemble . . . If they have any information, they should definitely give it to all students at the end of the semester, so that by the time they graduate, they will definitely know what the options are postcollege.

More information about how to keep singing/playing after graduation needs to be made available, and I would say, even pushed on students. The barrier to stay musical is too high!

4. Are there specific activities included in the ensemble curriculum that students feel are aimed at making them capable and independent musicians for continued engagement?

Students responded to questions related to their high school and college ensemble directors’ roles in increasing independent capability for continuing. Respondents were invited to freely report any specific articulation of or activities related to self-perceived capability.

Self-Perceived Capability: Post High School

When indicating their feelings about their abilities to maintain musical skills after high school, 41% reported they could have continued on their own while 59% indicated they felt they needed a teacher to continue. Twenty-seven percent recalled specific activities that they felt were intended to enable them to continue independently: solo and ensemble contests, ensemble competitions, college clinics/coaching, independently structured piano study, sight-reading, solfège practice, music theory, college audition preparation, running sectionals, and group lessons and individual lessons. Additionally, students reported that their directors explained how to practice difficult music independently, required weekly practice journals, encouraged performances with honors and area youth ensembles, expected students to set up their own chamber groups, and encouraged learning additional instruments.

Self-Perceived Capability: Post College

Although 82% stated they felt capable of finding ways to continue making music after college, only 55% reported that they felt comfortable continuing without a teacher, and 45% indicated that they would need guidance to continue. Indeed, 83% reported that their college directors present them with no specific activities they feel are intended to assist their continuing. However, some respondents noted activities they believed might be beneficial once they were on their own: performing warm-up activities and progressive breathing exercises, sight-singing, self-organization of chamber groups, reinforcing proper playing techniques, performing challenging music, and playing gigs.

Discussion and Recommendations

This study investigated self-perceived influences that encourage active engagement beyond the high school and college years among college students who are actively engaged in music but do not expect to pursue music as a career. Participants were undergraduate nonmusic major students playing or singing in university ensembles within the school of music of a large Midwestern institution in the United States. While the return rate for the survey was only 50%, 476 students did respond to the survey, providing valuable information related to their music activities during high school and college, factors that influenced music engagement during high school and college, perspectives on the encouragement by their ensemble directors to continue beyond the school years, and self-perceptions of their ability to continue beyond the school years.

Music Experiences

Ninety-nine percent of the respondents in this study said that they participated in music activities as part of the curriculum in high school, and although a majority reported participation in the traditional band, orchestra, and/or choir offerings, they also reported high participation rates in other curricular school music activities. A majority of students reported engaging in music experiences prior to high school and in activities outside of school during the high school years. Consistent with other studies of students of various ages (Corenblum & Marshall, 1998; Delano & Royse, 1987; Kuntz, 2011; Lawrence & Dachinger, 1967; Mountford, 1978; Stewart, 2005; Stewart, 2007), it appears that engagement in multiple music activities before, within, and outside of high school encourages continued participation.

More than half of these college ensemble musicians said that had the ensembles not welcomed nonmajors, they would not have sought a way to continue playing or singing while in college; indeed, 65% said that they are not engaged in music activities beyond the university ensemble. In free response comments, many expressed deep appreciation for the opportunity the university ensemble provided to continue in music; some were quite passionate about the importance of the experience in their lives as college students. It seems critical that colleges make ensembles and other musical activities available to nonmusic majors, not only because it is recommended in the guidelines of the National Association of Schools of Music (2012, p. 191), but because college participation is important for continued adult engagement (Bowles et al., 2007; Bowles & Jensen, 2012; Waggoner, 1972).

Motivation

Among these respondents, the primary motivating factor for enrolling in a music class or ensemble in high school and an ensemble in college was that they thought it was important and wanted to do it for themselves, indicating that students are intrinsically motivated to engage in music within a curriculum, whether high school or college, and given the opportunity, will do so.

The majority of students said they enrolled in the college ensemble because they had a positive high school experience, and the majority said that they continued to play or sing in a college ensemble once they started because they enjoyed it. In fact, in free response to the question of why they continued in music class in high school once they started, 33 out of 60 responses specifically mentioned the words “fun” or “enjoy,” and many others used similar terminology. Although enjoyment may be due to a variety of factors—love of making music, social engagement, break from academics, admiration for the director, sense of accomplishment—the importance of a positive experience at all levels is critical to continued engagement.

Parental encouragement was found to be a major motivator in high school for these students, indicating that parents play a significant role in initiating engagement and in keeping students engaged in music, at least through high school. Clearly, it is important that parents be made aware of opportunities available to young students, and be “encouraged to encourage” participation in music, whether within or external to the curriculum.

Director Encouragement

A large percentage of the participants in this study recalled their high school directors talking to them about continuing after graduation, and many described specific activities that encouraged them to continue, including distribution of information about college ensembles and having college ensemble members and alumni visit their classes to talk to them about continuing. Several indicated that their directors included activities that were community-related (rather than college-related), and that the directors themselves exemplified continued engagement as community musicians. It seems that the inclusion of activities that increase the expectation of continuing after high school graduation and presenting a broad spectrum of engagement opportunities may be effective in encouraging continuation.

Acknowledging that the number of college directors (nine) was both limited and proportionally much smaller than the number of high school directors influencing this study, it was nevertheless disappointing that the majority of respondents reported that their current university directors do not talk to them about continuing after college. Perhaps college directors assume students will continue and know how to find opportunities, but it is clear that encouragement and guidance are needed—particularly to address concerns about fitting music participation into an “adult” schedule and finding opportunities appropriate for self-perceived skill levels.

In free response modes, many students indicated that they had studied or wanted to study instruments that they could continue on their own without an ensemble, particularly piano or guitar, supporting Arasi’s (2006) suggestion that high school experiences include opportunities for individual music making. This makes sense, of course, if students are intent on continuing but lack confidence that they will be able to continue to engage with others after graduation. It seems important that opportunities to develop instrumental skills they can continue without an ensemble be made available within the school curriculum, or that independent study be highly encouraged.

Self-Perceived Capability for Continued Engagement

Less than half of respondents in this study felt they would have been able to keep up their music skills on their own after high school, and only half feel they will be able to continue on their own without a teacher after college. A large majority reported that they do not feel their college directors include activities that are intended to help them continue on their own. Perhaps college directors do include activities that will help maintain and develop skills, but students do not perceive them as such. Regardless, ensemble directors, especially at the college level, should give special consideration to activities that will equip their students for maintaining their personal musical skills on their own. Only 4% of these nonmajor ensemble students participate in private lessons during the college years, so it seems important that college directors recognize their role in providing guidance for developing skills for independence.

Specific activities perceived to build independence at both the high school and college levels included explanations of how to practice difficult music, providing music theory background, providing/encouraging private or group lessons, and having them play solos and ensembles, run their own sectionals, and organize their own chamber ensembles. It seems that if ensemble directors could visualize their current students in postschool settings and anticipate the skills they will need as independent musicians in communities with varying degrees of musical opportunity, an exciting array of activities could be incorporated to assist them in perceiving themselves as capable musicians. Such activities, coupled with words of encouragement that increase expectation of continued engagement and guidance as to the range of opportunities could be significant in the musical lives of many students as they leave the school environment (Bowles, Dabback, & Myers, 2013; Jones & Langston, 2012).

If a goal of the music education profession is for students to actively engage in music throughout their lives, teachers at all levels should be more proactive in providing specific encouragement and activities that increase the expectation of continued engagement, providing pragmatic skills for independent music-making in a postschool environment, ensuring that opportunities for amateur musicians are available during and beyond school environment, and providing guidance as to the range of opportunities possible in postschool communities (Bowles, Dabback, & Myers, 2013; Jellison, 2000; Jones & Langston, 2012).

Although this study is limited in that it is reliant on the memories and self-perceptions of the respondents and was conducted within one institution, insights gained from the study have the potential to generate program and curricular recommendations for music programs, particularly the importance of overtly teaching toward lifelong engagement. It also delivers a strong message to higher education about the value of providing opportunities for musical participation for nonmajors. Fulfilling that transitional function is an investment in not only the future of the nonmajor, but in the future of music and music education for everyone.

Footnotes

Declaration of Conflicting Interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author(s) received no financial support for the research, authorship, and/or publication of this article.

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