The role and impact of radio listening practices in older adults' everyday lives

Previous research has indicated older adults value listening to music as a leisure activity. Yet, recent research into listening practices broadly has often focused on younger adults and the use of newer, digital listening technologies. Nonetheless, the radio, which is familiar to older people who grew up with it at the forefront of family life, is important to consider with regard to listening practices and the potential associated well-being benefits. This research investigated older adults’ everyday radio listening practices, in order to begin to understand how the radio fits into their daily lives and how it might influence their sense of well-being. Twenty-five Australian residents (aged 66–87; 56% female, 44% male) participated in semi-structured, one-to-one interviews. The results of a qualitative thematic analysis revealed themes concerning listening preferences, listening routines, access, and motivations/outcomes. While personal preferences (concerning content, stations, and presenters) were diverse, individuals clearly communicated these as well as their established listening routines and habits. Listener motivations varied: some people focused on the enjoyment that listening to the radio creates while some noted benefits to their well-being, such as relaxation, modifying their mood, and feelings of comfort and community. Radio listening practices can be defined in terms of differing engagement styles, as characterized using continua ranging from passive to active, or focused, listening as well as generalized or specific listening. Based on participants’ experiences, a proposed engagement space model links how people engage with the radio to the possible outcomes mentioned. Importantly, benefits to well-being can result from varied engagement styles. The findings presented provide an in-depth understanding of how the radio fits into older adults' everyday life, with implications for considering how the radio might be used as a widely accessed, low-cost tool for maintaining and enhancing quality of later life

Music as a mirror?: popular music lyrics and the COVID-19 health pandemic

Research on the relationship between significant global, socioeconomic developments and lyrical themes in pop music have indicated that deteriorating conditions are associated with an increase in negative emotional content and reproductive themes. The present research considers the presence of lyrical themes in charting pop music during the COVID-19 pandemic. We hypothesise that top-ranked weekly singles on the USA, UK and Australian charts throughout the COVID-19 pandemic would contain more negatively valenced lyrics than the charting songs during corresponding periods in previous years. Diction 7.0 software, a text analysis program designed to analyse content of a wide variety of social discourse, was used to analyse the song lyrics. A dataset was created based on the song lyrics of the top 5 weekly songs in the USA, UK and Australia from March-August 2020 and the songs charting between March-August of 2015-2019. Results from statistical analyses that consider the hypotheses will be discussed in the presentation. The findings are expected to broaden our understanding of the relationship between significant global events (i.e., health pandemics) and trends in popular music. Moreover, implications concerning how people use music as a comforting tool will be considered

An exploratory study of historical representations of love in an art gallery exhibition

Visitor responses to art exhibitions vary depending on visitor traits, the exhibition context, as well as the sensory engagement between visitor and exhibition. The present investigation explored visitors’ experiences of Love: Art of Emotions, a curated exhibition shown at the National Gallery of Victoria in 2017, which comprised a variety of artworks from the early modern period selected to address the broad theme of love. This article reports on a mixed-methods research project using a short survey and brief exit interviews with visitors to consider how the visitor experience was characterized, the factors that influenced this experience, and how the exhibition content was perceived, with particular focus on the emotional content portrayed in the exhibition’s collection of artworks. Results of quantitative analyses indicate that familiarity with artworks and their historical period combine with motivations for attending the exhibition (such as being motivated by the exhibition’s theme) and have a clear positive influence on one’s emotional experience of the exhibition overall. The results of thematic analyses pertaining to the interview responses provide evidence that visitors processed both the emotional and historical content in the exhibition—indicative of having contemplative experiences and often processing the exhibition content in relation to themselves. These findings have implications for designing future exhibitions and contribute to our broader understanding of how modern-day audiences perceive and respond to historical art exhibitions and the work they comprise

Transactional culture of the portfolio career chamber musician: A case study

The literature and case study data presented in this chapter explore the micro- (interpersonal) and macro-level (organisational/cultural) experiences between professional chamber musicians, the venues that engage them, and the audiences in attendance. They are explored in terms of a series of transactions—acts of giving and receiving and embracing the need to compromise. From this perspective, emergent themes include the delicate balancing of economic, esteem, and diversification values for both performers and venue in planning; music cohesion and interpersonal social interaction as important at all levels and across all stages of planning and executing performances; and considerations of the balance between familiar and novel encounters, informality, and experiences of social inclusion regarding interactions amongst performers and audience members. It is clear that both specific and subtle transactions shape the motivations, planning, and execution of ensemble performances. While stakeholders all inevitably have different and varied experiences, their transactions contribute to the virtuous cycle of the embedded environmental social, cultural, material, and technological factors and the action afforded that constitutes chamber music performance. The “art of ensemble performance” seems to be a distributed process that is dependent on critical interdependent transactions amongst all stakeholders

Collaboration, cognitive effort, and self-reference in United Kingdom top 5 pop music lyrics 1960–2015

This research investigated associations between the lyrics of every song to have reached the weekly U.K. Top 5 singles chart from 1960 to 2015 and the number of people responsible for recording each song. Following computerized content analysis of the lyrics of the 4,534 unique songs, the results showed that the number of musicians involved was negatively related to use of cognitive terms, consistent with previous research on social loafing, and was also negatively related to instances of self-reference and use of language concerning social interaction, arguably in reflection of the inherent constraints on such that arise from collaborating with others

A uses and gratifications approach to considering the music formats that people use most often

With many ways for consumers to access and consume music, little is known about why people choose to listen to music via one format over another. Using a uses and gratifications approach, the present research used an online questionnaire (N =440) to examine people’s format use, concerning six particular formats. The results suggest that eight dimensions, namely usability and intention to use, discovery, functional utility, flexibility, connection, social norms, value for money, and playback diversity, define the uses and gratifications that particular formats serve. When considering whether format use was related to broader music engagement behaviours, results indicated different associations between music engagement variables and format use suggesting that different formats allow listeners to engage with music in unique ways. Findings have implications for future research that examines how and why people engage with music listening in everyday life, elaborating further our understanding of how selection of particular formats can lead to different listening experiences

Emotions, singing, and well-being

The work of emotion where music has been used for explicit well-being outcomes has been understudied. For example, the successful use of choral singing with marginalised groups is well established, but it has been most typically reported as means of providing opportunity for improved health particularly related to physical outcomes such as improved breath control or social activity. The work of emotion in expressing and managing feelings as well as expanding sense of self in relation to maintaining and expanding social relationships has been less investigated. By focusing on emotion, the current study purposefully aimed to expand the scope of the discourse and understanding of music’s role in well-being outcomes for individuals, small groups and the broader community. Two case study choirs were explored: a same sex and gender diverse youth chorus and a community senior choir. Thematic analyses of these rich data revealed the importance of emotions as corporeal, relational, socio-political and performative experiences, and emphasised the centre role of emotions across different age groups and group contexts. The research highlights the need to consider the work of emotions in social group contexts and also the power of emotions when experienced in musical contexts in particular. The present results highlight the significant and central role of emotions in gaining at least some of the well-being benefits associated with singing. Drawing on the PERMA model of well-being as a lens to interpret the results, implications arise when considering how to design and facilitate group singing opportunities for older adults

A qualitative exploration of aged-care residents' everyday music listening practices and how these may support psychosocial well-being

Strategies to support the psychosocial well-being of older adults living in aged-care are needed; and evidence points toward music listening as an effective, non-pharmacological tool with many benefits to quality of life and well-being. Yet, the everyday listening practices (and their associated specific psychosocial benefits) of older adults living in residential aged-care remain under-researched. The current study explored older adults' experiences of music listening in their daily lives while living in residential aged-care and considered how music listening might support their well-being. Specifically, what might go into autonomous listening activities? 32 Australian residents (aged 73–98) living in two Australian care facilities participated in semi-structured interviews. The results of a qualitative thematic analysis revealed three themes pertaining to "previous music experiences and interest," "current music listening," and "barriers to listening." While an interest in and access to music did not necessarily result in everyday listening practices, of those participants who did listen to music, perceived benefits included outcomes such as entertainment, enjoyment, relaxation, and mood regulation. Drawing on Ruud's notion of music as a "cultural immunogen" supporting well-being and Self-Determination Theory, theoretical implications of the findings are addressed, relating to how to create and support music activities in aged-care facilities so that they are engaging, meaningful, and promote emotional regulation, community, and well-being

The transactional culture of chamber music performance now and into the future

Background: Professional chamber musicians, the venues that engage them and the audiences in attendance interact, deploying values related to artistic skill and endeavour, public engagement and entertainment, prestige and financial viability. Plans, actions and responses feed the scope, quality and outcomes of the experience and require indepth understanding particularly as we grapple with the challenges COVID-19 presents to the live music performance ecology. Aim: This study investigates the experiences of professional chamber ensembles as they encounter musical and social demands, manage communications and deliver performances in a concert series within a premier venue. It aims to offer insights into micro (interpersonal) and macro (organisational/cultural) experiences between musicians, venue and audiences. Method: Case study data come from 15 chamber ensembles (each comprising 2-5 players) participating in a concert series in a renowned Australian live music venue. These were first collected across 2019 and included: contextual information provided by the venue and the ensembles via email; field observations of the performances; and focus group discussions with performers, venue staff and audiences. Data were prepared (transcribed where necessary) and analysed using Interpretative Phenomenological Analysis. Additional data have been collected following the first two waves of COVID-19, to offer insights into prospects for the ensembles and the venue entering the 2021 concert season. Results: Emergent themes include the delicate balancing of economic, esteem and diversification values for both performers and venue in planning and accepting the work. Music cohesion offers a further point of emphasis, the ‘art of the ensemble’ being a key value for all stakeholders. A related theme of importance is interpersonal social interaction, at all levels and across all stages of planning and executing the performances. Pivotal factors surrounding the audience experience include depth of emotional experience, a balance between familiar and novel encounter, informality and experience of social inclusion. Conclusion: Specific and often subtle transactions shape the motivations, planning and execution of ensemble performances. While stakeholders inevitably have different and varied experiences, their interactions are pivotal in determining satisfaction and continue the virtuous cycle of transactions that constitutes chamber music performance. Implications: Fluid and responsive transactions seemingly sustain stakeholders in seeking routes to realise a ‘Covid Normal’ future in which the culture of ensemble performance can continue, now to be moderated using socially distanced, no-interval live performance and online variants suitable for potential lockdowns

Effective Educational Strategies to Promote Life-Long Musical Investment: Perceptions of Educators

While research has broadly considered the wide-ranging intellectual, social, personal, and physical benefits of active musical participation across the lifespan, there is little research that explores how music educators work to promote participant investment inside school and beyond. The present research, therefore, aimed to investigate the practices employed by leading music educators within a range of cultural and pedagogical contexts that facilitate investment toward life-long engagement in music. Interviews with North American, European, and Australian music educators with both practitioner and research expertise from within school as well as higher education institutions were undertaken to gather reflections on participants’ own practices and beliefs. Content analysis of the interview transcripts revealed deep knowledge and skills relating to teaching music, education philosophy and pedagogy, and strong recognition of the support of peers, supervisors, institution/school, and local community. It was clear that interviewees were deeply influenced by local, national, and cultural trends. Further, the advice they offered for new/beginning music educators was to think beyond the structure of their own music education and to explore culturally diverse educational experiences for students. Educational approaches that fostered co-production were favored, thus guiding students in their pursuits in learner-directed environments. While the beliefs and practices described are not “new” – echoing well-established educational philosophies – all interviewees argue for a shift from the prevailing pedagogical practice based on expertise training to the promotion cultural connectedness and sharing in and through musical experience. These findings are discussed in terms of Self-Determination Theory, to provide a framework for how music educators can facilitate long-term musical investment through the development of autonomous engagement to generate personal meaning and value in music, which can translate to deeper, longer musical investment. Exploring these pedagogical practices and beliefs in terms of Self-Determination Theory is a significant addition to the literature, enabling the consideration of the type of motivation required to stimulate and develop long-term interest in music