Adult Music Student

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

• DedicationForthcomingList of FiguresOrganization of the BookAcknowledgementsTable of ContentsPrelude: Introduction to Making Music Throughout the LifespanIntroductionSection One: Characteristics of Adult Learners: Andragogy, Lifespan Development, Physical Traits & CognitionChapter 1: Learning Music as an Adult: Andragogy in Action Opening Vignette68-year-old Semi-retired Therapist and Aspiring PianistIntroductionAndragogy 101Instructor as FacilitatorConsiderations for the Music StudioNeed to Know, Self-Concept and Prior Musical ExperiencesMax, the violinistReadiness, Orientation and Motivation to LearnChloe, the pianistConclusionsAndragogy in ActionNotesReferencesChapter 2: Contemporary Adults Making Music: Process or Product?Opening VignetteCassie: 58-year-old GuitaristIntroductionLearning Throughout AdulthoodNonformal LearningInformal LearningFormal LearningLifelong Learning and Serious Leisure LearningMotivation for Learning: Process versus ProductPerformance Can Be a GoalTransformational LearningConclusionsAndragogy in ActionReferencesChapter 3: Lifespan Development and Learning Theory: Does Life Stage Matter?Opening VignetteLucy: 65-year-old Retired LibrarianIntroductionDevelopmental Stages of Adults and Lifespan TheoryPsychosocial Lifespan Stages for Music ParticipationMusicking Across the LifespanConclusionsAndragogy in ActionReferencesChapter 4: Cognition & Processing: Similarities and Differences Across the LifespanOpening VignettesElizabeth: Cello Student in her Late 60sDottie: Piano Student in her 70sIntroduction to Cognition and LearningPerception and AttentionProcessing: Working MemoryLong-Term Memory and RetrievalMemory and AgingPlasticityFluid and crystallized IntelligenceWord Recall and Processing Text, Prose and SpeechStimulating PlasticityAdapting for the Aging Brain in the Music StudioConclusionsAndragogy in ActionReferencesChapter 5: Physical Skills and Abilities: Age-related Changes That Impact Music Learning and ParticipationOpening VignetteAnjelica: Cellist in her late 70sIntroductionKnowing Through the Body: Embodied or Somatic LearningSpirituality in Adult Learning and Music MakingPhysical Changes as We AgePhysical Characteristics of Emerging and Young AdultsPhysical Characteristics of Mid-age AdultsPhysical Characteristics of Third-age AdultsPhysical Characteristics of the Fourth AgePractical Application in the Music StudioConclusionsAndragogy in ActionNotesReferencesSection Two: Motivation in Adult Music LearningChapter 6: Wlodkowski, Houle, Knowles and Adult Motivation to LearnOpening VignettesSherry: Divorced Piano Student in her 50sSusan: Married Piano Student in her 50sIntroductionMotivation Theories to Frame Adult Motivation to Pursue Musical ActivitiesIntrinsic Motivation, Competence and AutonomyCreating Meaningful Learning ExperiencesIdentifying an Adult’s Orientation to Learning Taps into Personal MotivationBarriers to Motivation During AdulthoodMcClusky’s Theory of Power-Load-MarginConclusionsAndragogy in ActionNotesReferencesChapter 7: Technology as a Tool for Self-Directed and Assisted Music LearningOpening VignettesExcerpts from Emails of Adults Taking an Asynchronous Online Piano CourseIntroductionSynchronous Lessons: Enhancing Accessibility Adults Taking Online LessonsTechnology to Assist with In-Person and Synchronous Online LearningTechnology to Enhance Student LearningInformal and Nonformal Independent Learning: Providing Accessible ResourcesInformal and Nonformal LearningAsynchronous Music learningConclusionsAndragogy in ActionNotesReferencesChapter 8: Facilitating Learning: Learning Contracts, Negotiating Learning Outcomes and Reframing Musical GoalsOpening VignetteRebecca: Retired Administrative Assistant, Age 62IntroductionUnravelling Rebecca’s CommentsPreparing the Adult Learner for Music StudyFirst Contact and InterviewPrivate StudioGroup Classes and EnsemblesDiscovering Goals for Music StudyThe Facilitator’s Goals for StudentsCo-creating the Learning PlanConclusionsAndragogy in ActionReferencesChapter 9: Methods, Music and More: Do These Matter with Adults?Opening VignetteLaura: 20-year Piano Class ParticipantAdult Music MaterialsEditions and LevellingSupplemental Accompaniments and Backing TracksBeginning MethodsDuets and Ensemble MusicVarious Anthologies and Specialized Skill BooksEvaluating Materials for Adult Lessons and ClassesConclusionsAndragogy in ActionReferencesSection Three: Strategies to Facilitate Adult Music Making & Learning Across the LifespanChapter 10: Qualities of Outstanding Adult Music Facilitators and LeadersOpening VignetteBill: 41-year-old NurseDoug: 45-year-old Choral ConductorIntroductionCommon Characteristics of Effective FacilitatorsExpertiseRespect, Empathy and FlexibilityClarityConclusionsAndragogy in ActionReferencesChapter 11: Private Lessons in the Second AgeOpening VignettesCarli: Young Adult and Intermediate FlutistJon: Mid-age Adult and Beginning Tenor SingerThe Second Age of AdulthoodConsiderations for Working with Emerging and Mid-aged AdultsConclusionsAndragogy in ActionReferencesChapter 12: Group Lessons in the Second AgeOpening VignettesBeginning Piano Class for Pre-retirement AdultsSforzando Singers: Young Adult Performing EnsembleWorking with Second-age Adult in Group SettingsClassesEnsembles and RehearsalsConclusionsAndragogy in ActionReferencesChapter 13: Private Lessons in the Third Age and BeyondOpening VignettesTed: 83-year-old Retired Engineer and Piano EnthusiastSandra: 61-year-old Cellist Taking Online LessonsCommon Experiences of Music StudyEffective Facilitation on the Private Music LessonsThe Role of Personality, Life Experiences and Age-Related Declines in Private Music StudyPersonality and Preferred Learning StylesLife ExperiencesAge-related DeclinesQuality of Musical Performance During the Third AgeExitsConclusionsAndragogy in ActionReferencesChapter 14: Group Lessons and Music Making in the Third Age and BeyondOpening VignettesThird-age Piano Class: A (Mostly) Serious GroupFourth-age Singing Group: Making Music in Assisted LivingThemes Common in Effective Group Music0Making Experiences for Older AdultsMusical, Physical and Cognitive ImpairmentPsychosocial Improvement and Increased MotivationEffective Group Facilitation Strategies Employed in Older Musical GroupsConclusionsAndragogy in ActionReferencesCoda: The Facilitator’s LifespanOpening VignetteJane: 20-year Adult Music EducatorsIntroductionPreventing BurnoutReconnect with Your InstrumentLearn Something NewMove (Preferably Outside)Engage with Teachers in Your CommunityTake Well-planned BreaksSeek Professional Help as NeededConclusionsClosing VignetteQuote from Nancy’s Diary: 68-year-old Retired Therapist and Aspiring PianistAndragogy in ActionReferencesFull Reference ListIndex