Music Learning as Youth Development

Brian Kaufman, Lawrence Scripp

• Publisher: Routledge
• Year: 2019
• Print ISBN: 9781138347694
• eBook ISBN: 9780429792502
• Topic: Education
• Subtopic: Education Theory & Practice

Music Learning as Youth Development explores how music education programs can contribute to young people's social, emotional, cognitive, and artistic capacities in the context of life-long musical development. International scholars argue that MLYD programs should focus in particular on the curiosity, energy and views of young people affecting the teachers, musicians, pedagogy, programs, and music with which young people interact. From fields of progressive music education, authors share their perspectives on approaches that can lead to new ways of enabling youth learners as they transition to adulthood.

A vast range of possible outcomes arising from in-school, afterschool, and community-based music programs are examined in order to highlight the aspects of youth development that music learning is particularly well-suited to support. Following an introductory essay that provides new perspectives on pursuing lifelong musical development, the volume is features two primary sections. The first focuses on case studies exploring several programs through the lens of the transitional stages of music learning as youth development, helping the reader understand key concepts and explore challenges for creating music learning as youth development programs. The second section addresses the broad implications and policy issues of programs described, including discussing why music learning should be conceived of as critical to formative stages of youth development that can lead to a productive and fulfilling life. The conclusion synthesizes the range of perspectives provided by eight contributors and offers implications for life-long human development through music in the 21st century.

Part I

Framing the Conversation about Music and Human Development

Introduction

Brian Kaufman and Lawrence Scripp

In 1904, G. Stanley Hall published Adolescence, marking the start of scientific study into adolescence. He described adolescence as a developmental phase within evolution that reflects the ethos of “when human ancestors went from being beastlike to being civilized” (Lerner & Steinberg, 2009, p. 3). This grotesque view of the adolescence stage of human development was further described by Hall as “a period of storm and stress” and as “a time of universal and inevitable upheaval” (Lerner & Steinberg, 2009, p. 3). Collectively, Hall’s descriptions provide a deficit view of youth, seeing developmental problems that need to be fixed or resolved before beginning adulthood. More than a century later, research characterizes adolescence in a substantially different way. Most youth development literature views youth through an assets-based lens—focusing on supporting youth in building strengths and promoting positive developmental outcomes as they grow. While adults, such as parents, teachers, and mentors, can support young people through these transitions, youth also shape their own development.

Music Learning as Youth Development

Music learning growing out of stages of human development is a relatively new concept. Until recently, music was colloquially thought of as a skill some possessed and most others didn’t. Parents were quick to discourage their children from taking up musical studies without proof of ability early on. Today we know that almost all infants develop musically, but by the time formal instruction starts in primary schools, irrevocable impressions of the presence or absence, or specious assessment, of musical “talent” often suppress the natural course of musical development during childhood. Once a child is deprived of more than a superficial education in music during childhood, the musical brain can prune away all early musical progress. The notion of lifelong human development through music argues for the human right to ongoing learning in and through music. Music learning as youth development encapsulates how this asset-based view of music learning can be reconstituted or repurposed as an important next step in musical development, especially when musical development is viewed through the lens of lifelong human development through music. The first chapter by Scripp and Gilbert articulates precisely and richly a Human Development Through Music framework that serves as the context for this book’s primary emphasis—Music Learning as Youth Development.

Youth music programs that embrace music learning as youth development do not exclusively focus on what adults and programs do for young people, but also focus on developing a mutual enterprise in which the presence, curiosity, energy, and views of young people affect the teachers, musicians, learning processes, programs, institutions, communities, and music with which young people interact. The contributing authors to this book explore how youth music programs can best contribute to young people’s social, emotional, cognitive, and artistic capacities and support youth in contributing to their communities and societies.

The contributions of actively making music during the intellectual, social, and personal development of youth have been researched and celebrated widely (Delorenzo, 2016; Edgar, 2017; Green, 2017; Hallam, 2015; Hallam & Creech, 2010; Heath, 2016; Mantie & Smith, 2017; McPherson, 2016). For example, Hallam (2015) offers a broad number of ways music learning can contribute to various aspects of young people’s human development, including:

• motivation and re-engagement with education
• social cohesion and inclusion
• pro-social behavior and teamwork
• empathy
• psychological well-being
• personal development and self-belief
• physical development
• health

(pp. 104–105)

However, such benefits appear to be contingent on the quality of the learning environment and the level of engagement of learners, findings that align with research on youth development and optimal learning environments (Shernoff, 2013). This book aims to redefine the purpose and goals of music learning throughout the lifespan as human development, to identify and discuss innovative approaches to music learning as youth development, and to explore the implications of such an approach for music learning in the twenty-first century.

Defining “Youth Development”

If the goal of many music educators and other stakeholders is to support music learning as youth development, it’s important to actually understand what the term “youth development” means outside of the context of music. Over the last two decades, significant progress has been made in the understanding of youth development through research (Ciocanel et al., 2016). In The Youth Development Handbook (2004), Hamilton and Hamilton discuss how youth development is defined throughout research in at least three ways.

1. Youth development can be viewed as a natural process: “the growing capacity of a young person to understand and act on the environment” (Hamilton & Hamilton, 2004, p. 3). These changes may be influenced by a range of factors including the cultural, social, and historical contexts in which young people live (Bronfenbrenner, 1979, 1994, 2006; Curtis, 2015). Within this meaning, the term “youth development” can be interchangeable with “adolescent development” and in some cases can also include “child development.” Descriptions of adolescence by researchers and youth development workers span ages 8–26 (Curtis, 2015; Eccles & Gootman, 2002), though the emphasis of “youth development” tends to be on the second decade of life. As relationships between youth and adults shift, adolescents take on new roles, build deeper friendships and intimacy, and lay the groundwork for future independence (Eccles & Gootman, 2002). There is an opportunity to support and enhance the personal growth of young people during adolescence as well as potentially prevent or diminish risk behavior (Ciocanel et al., 2016). Youth also have the capacity to contribute to their own development (Lerner, 2002).
2. Youth development is also defined in terms of principles, specifically “a set of principles, a philosophy or approach emphasizing active support for the growing capacity of young people by individuals, organizations, and institutions, especially at the community level. The youth development approach is rooted in commitment to enabling all young people to thrive” (Hamilton & Hamilton, 2004, p. 4). Key youth development principles appear to be “the emphasis on a positive approach, the goal of all youth thriving, the importance of healthy relationships and challenging activities that endure and change over time and that youth are fully engaged participants, not just recipients” (Hamilton & Hamilton, 2004, p. 10). Youth need to be recognized as having agency in their own learning and development.
3. Finally, youth development is also seen as a set of practices: “the application of the principles (Number 2) to a planned set of practices, or activities that foster the developmental process (Number 1) in young people” (Hamilton & Hamilton, 2004, p. 4). Development can take place in a wide range of contexts from families to schools to online environments, and while practices within these environments may vary, Hamilton and Hamilton (2004) argue that the principles behind such contexts remain the same.

This volume specifically explores processes, principles, and practices that connect with aims of supporting music learning as youth development.

Fostering Conversations about Music Learning as Youth Development

The book emerged from collaborative conversations among contributors about the ways in which intensive music learning can lead to tangible, positive outcomes for youth, their families, and their communities. A 2016 conference brought together contributing authors along with program leaders, researchers, teachers, funders, and other stakeholders in music learning that positively contributes to young people’s development. While most conference participants were engaged in issues specific to music learning, there were also a number of individuals from outside the field, including those in arts education, community activism, social justice, youth development, and social impact. These voices helped provide new perspectives that broadened the conversation and provided new insights to the scope of challenges and possibilities for music learning as youth development. Shared critical thought on our joint efforts to leverage music learning as youth development continued after the conference at future events and in private conversations as friends and colleagues. To us, it appeared there was a clear need to invite many more into this conversation, which ultimately led to the writing of this book.

In Chapter 1, Scripp and Gilbert provide an in-depth look into a framework for Human Development Through Music; they offer five distinct stages of music learning’s contribution to human development across the lifespan. Chapters 2 through 6 explore the music learning approaches employed in a range of youth music programs and offer connections and insights into how music learning in these local contexts appears to support youth development. In Chapter 7, Raiber examines the large music ensembles as a means to explore a framework for music learning as youth development. Chapter 8, by Kaufman, investigates how higher education music programs might support music students’ self-authorship, developing their internal voice during their transition from adolescence to adulthood; he further considers ways universities and conservatories might better leverage music as a means of supporting well-being during college years and beyond. In Chapter 9, Holmgren provides an ecological view of how different factors and stakeholders can and need to be catalysts to support and expand music learning as youth development. The conclusion reflects on and synthesizes learnings from these chapters and offers implications for the future of music learning as youth development.

This book aims to foster conversations between researchers, music educators, school and community youth music program leaders, parents, university faculty and students, young people, and other stakeholders invested in young people’s development about the purpose and role of music learning in their lives. In addition, contributors aim to inspire new research, practices, collaborations, opportunities, and visions for music learning as youth development in the twenty-first century.

References

Bronfenbrenner, U. (1979). The ecology of human development: Experiments by nature and design. Cambridge, MA: Harvard University Press.

Bronfenbrenner, U. (1994). Ecological models of human development. In International Encyclopedia of Education (Vol. 3, 2nd ed.). Oxford: Elsevier.

Bronfenbrenner, U., & Morris, P. A. (2006). The bioecological model of human development. In R. M. Lerner & W. Damon (Eds.), Handbook of child psychology: Theoretical models of human development (pp. 793–828). Hoboken, NJ: John Wiley & Sons.

Ciocanel, O., Power, K., Eriksen, A., & Gillings, K. (2016). Effectiveness of positive youth development interventions: A meta-analysis of randomized controlled trials. Journal of Youth and Adolescence, 46(3), 483–504.

Curtis, A. C. (2015). Defining adolescence. Journal of Adolescent and Family Health, 7(2), 2.

Delorenzo, L. C. (Ed.) (2016). Giving voice to democracy in music education: Diversity and social justice. New York: Routledge.

Eccles, J. & Gootman, J. A. (Eds.) (2002). Community programs to promote youth development. Washington, DC: National Academy Press.

Edgar, S. N. (2017). Music education and social emotional learning: The heart of teaching music. Chicago, IL: GIA Publications.

Green, L. (2017). Music education as critical theory and practice: Selected essays. New York: Routledge.

Hallam, S. (2015). The power of music: A research synthesis on the impact of actively making music on the intellectual, social and personal development of children and young people. London: International Music Education Research Centre.

Hallam, S. & Creech, A. (Eds.) (2010). Music education in the 21st century in the United Kingdom: Achievements, analysis and aspirations. London: Institute of Education, University of London.

Hamilton, S. F. & Hamilton, M. A. (2004). The youth development handbook: Coming of age in American communities. Thousand Oaks, CA: Sage Publications.

Heath, S. B. (2016). The benefits of ensemble music experience (and why these benefits matter so much in underserved communities). In C. Witkowski (Ed.), El Sistema: Music for social change. An inspirational collection of essays (pp. 73–93). London: Omnibus Press.

Lerner, R. M. (2002). Concepts and theories of human development (3rd ed.). Mahwah, NJ: Lawrence Erlbaum Associates.

Lerner, R. M. & Steinberg, L. (2009). The scientific study of adolescent development: Historical and contemporary perspectives. In R. M. Lerner & L. Steinberg (Eds.), The Handbook of Adolescent Psychology (3rd ed.) (pp. 3–14). Hoboken, NJ: John Wiley and Sons.

McPherson, G. E. (Ed.) (2016). The child as musician: A handbook of musical development (2nd ed.). New York: Oxford University Press.

Mantie, R. & Smith, G. D. (Eds.) (2017). The Oxford handbook of music making and leisure. New York: Oxford University Press.

Shernoff, D. (2013). Optimal learning environments to promote student engagement. New York: Springer.

1 Human Development Through Music

Lawrence Scripp and Josh Gilbert

Prologue

What are the Cumulative Measures of a Lifetime Imbued with Ongoing Musical Experience?

This chapter argues for a closer consideration of the growing impact significant learning experiences in music have on human development, health, and life satisfaction from early childhood forward.

From a twenty-first century perspective, humans have evolved to the extent that the near-universal ability to create and respond to music establishes musical growth as an inextricable and therefore essential part of human development. Music is known now to have far-reaching benefits neurologically, is ubiquitous culturally, and leads to an integrative understanding of interdisciplinary concepts and symbol systems. Yet, our society is limited by outdated ideas about music learning in the twentieth century and uninformed about advances in neuroscience, learning psychology, and mindset research learning in this century. Our society therefore remains uncertain about the long-term value of an education in music both for its own sake and for the sake of its contribution to learning and fulfillment in other forms of human development.

Parallels between Language and Musical Language Development

As imagined in this chapter, human development through the lens of an entire lifespan of musical growth sugg...

Table of contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Dedication
• Table of Contents
• List of illustrations
• About the contributors
• Acknowledgements
• PART I: Framing the Conversation about Music and Human Development
• PART II: Exploring Music Learning as Youth Development
• PART III: The Future of Music Learning as Youth and Human Development
• Index