Adolescents on Music PDF
Preview Adolescents on Music
Adolescents on Music Adolescents on Music Why Music Matters to Young People in Our Lives ELIZABETH CASSIDY PARKER 1 3 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2020 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-i n- Publication Data Names: Parker, Elizabeth Cassidy, author. Title: Adolescents on music : why music matters to young people in our lives / Elizabeth Cassidy Parker. Description: New York : Oxford University Press, 2020. | Includes bibliographical references and index. Identifiers: LCCN 2019039392 (print) | LCCN 2019039393 (ebook) | ISBN 9780190671358 (hardback) | ISBN 9780190671365 (paperback) | ISBN 9780190671389 (epub) Subjects: LCSH: Music and teenagers. | Music—Social aspects. | Teenage musicians—Case studies. Classification: LCC ML3916 .P35 2020 (print) | LCC ML3916 (ebook) | DDC 780.835—dc23 LC record available at https://lccn.loc.gov/2019039392 LC ebook record available at https://lccn.loc.gov/2019039393 1 3 5 7 9 8 6 4 2 Paperback printed by Marquis, Canada Hardback printed by Bridgeport National Bindery, Inc., United States of America For Sara and Theo: May you always feel heard Contents Preface xiii Acknowledgments xvii 1. Opening Ideas 1 Why do you make music? 1 Who Are Adolescents? 2 Why the Title Adolescents on Music? 2 Who Are These Adolescents on Music? 3 Being Musical 7 Three Key Ideas Related to This Definition of Musical Identity 9 Who Are “We” and Other Pronoun Matters 12 Focusing on the Here and Now 12 Wrap Up: How Adolescents on Music Is Organized 13 I. WHO I AM Part I Overview 15 Interlude: Jacob 17 Interlude: Mark 18 2. Musical Identity 20 How do you describe your musical development? 20 Active Construction (Beginnings to Approximately Age 7) 21 Early Musical Identities 24 Emerging (Approximately Ages 8– 12) 27 Parent and Teacher Influence 27 Private Lessons and Community Music 29 Peer Presence and Sibling Influence 31 Challenges to Emerging Identities 32 Leadership and Independence 33 Emerging Musical Selves 34 Developing (Approximately Ages 13– 15) 35 Increased or Initiating Participation 36 Pivotal Moments: Identity Confirmation, Confusion, and Reclamation 39 Watching and Learning from Other Artists 43 Transitions in Identity 45 Musical Identity as Feeling Musical 47 viii Contents Focusing (Approximately Ages 16– 19) 47 Decisions and Specialization 48 My Artistic Voice 49 My Unified Sense of Self 52 Wrap Up: Feeling Musical as a Dynamic Process 55 Interlude: Mariam 58 Interlude: Lee 60 3. How I Think 61 How do you learn to musick? What is difficult about learning music? 61 Brain Growth 62 Challenges to Adolescents’ Brains 66 Self- Determination Theory 68 Basic Needs 69 Internalization 71 A Brief Intersection: Creative Thinking 74 Self- Theories 76 Wrap- Up: Communication and Modeling 78 Interlude: Amy 81 4. How I Feel 83 What does music mean to you? What challenges have you faced in your musical development? 83 Building Blocks to Musical Agency: Perseverance and Vulnerability 83 Musical Agency 88 Self- Regulation, or “Working It Out” 89 Self- Transformation 91 Connecting Self and World 94 Wrap Up: Holistic Teaching, Purpose, and Spark 95 Part I Summary 99 II. MY SOCIAL SELF Part II Overview 101 Interlude: Leonardo 103 Interlude: Luke 105 5. Finding Belonging 107 What is it like to musick with others? 107 The Need to Belong 107 Relational Bonding and Attachment to Key Individuals 108 Bonding with Peers 109 Initiating Friendships 111 Contents ix Feeling Alone 112 Developing Relationships with Educators and Mentors 113 Responsibility to Others 116 Opportunities to Musick in Ways that Elevate Shared Experience 118 Developmental Assets 120 Wrap Up: Developmental Assets Exercises 124 Interlude: Jay 126 Interlude: Zoe 127 6. Experiencing Community 129 Describe the social aspects of your musicking. How do you involve other people in your musicking? 129 Community Psychology 130 Membership 131 Influence or Trust 133 Integration and Fulfillment of Needs or Trade 134 Shared Emotional Connection 135 Communitas 136 Normative Communitas 137 Ideological and Spontaneous Communitas 138 Communities of Practice 140 Mutual Engagement 141 Joint Enterprise 141 Shared Repertoire 142 Levels of Participation 143 Challenges to Community and Ways Forward 145 Wrap Up: What Are Musicking Communities? 147 Interlude: Claudio 149 Interlude: Caroline 151 7. Growing Social Identity 153 What is it like to musick in a group? 153 What Is Social Identity, and Why Is It Important? 153 Categorization and Social Comparison 155 Working Out Identity Questions 156 Musicking In and Out of School 157 Who Is a Musician? 160 Social Mobility, Social Change, and Social Creativity 163 Ways Forward: Positive Social Identity 165 Wrap Up: Community Values 168 Interlude: Olivia 172 Interlude: Lynne 173 Part II Summary 175
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