Keeping Instruments Out of the Attic: The Concert Band Experiences ...

Music Education Research International, Volume 5, 2011… where more than one person is working onthe analysis, it is helpful to have each persondevelop the coding scheme independently, thencompare and discuss similarities anddifferences. Important insights can emerge fromthe different ways in which two people look atthe same set of data, a form of analyticaltriangulation. (p. 464)Using the coding strategies suggested byPatton (2002), we began by looking for “recurringregularities” (p. 465), or patterns, within bits of therespondents’ answers that we then sorted intocategories. As recurring regularities occurred, we putthese bits of data into categories, constantly asking,“What does this answer mean in terms of thisperson’s experience in Campus Band?” Next, stillseparately, we sorted through the bits of data that wehad divided into categories and checked to see if theyseemed consistent, inclusive, and credible (Guba,1978). We then traded our lists of categories, and thedata bits within, to see if they were “reproducible byanother competent judge … verify that (a) thecategories make sense … and (b) the data have beenappropriately arranged in the category system … thecategory system ‘fits’ the data and that the data havebeen properly ‘fitted into’ it” (Patton, 2002, p. 466).After creating the category system using thequestionnaire data, we used the interview transcriptsas data and categorized participants’ responses in thesame way. Co-mingling questionnaire and interviewdata helped us create a fuller picture of the campusband experience for these participants. We havecollapsed our categories into larger subsets, which wesynthesize in the Findings section.24FindingsParticipantsWe considered ways in which we mightexplore important elements of the participants’musical lives. We thought learning more about theirmost memorable musical experiences would be a wayto begin to understand the satisfaction and motivationunderlying these students’ participation in musicalactivities. One of the ways we attempted to gleaninformation about our participants was by promptingthem to describe in writing their “most memorablemusic experience,” in- or out-of-school: the firstquestion on our questionnaire. We found it importantto keep in mind that “most memorable” does notnecessarily equate to a memory that is “favorite” or“most enjoyable.” We thought asking for their mostmemorable experience would help us identifyunforgettably important moments in theseparticipants’ lives, rather than the more run-of-themilltypical positives and negatives that occur indaily experiences. To present a fuller picture of thecampus band participants, we chose to analyze theirwritten responses to this first question in detail. In thenext section we explain and quantify their answers tothe prompt: “Describe your most memorable musicexperience (can be in- or out-of school).” This isfollowed by the findings related to each researchquestion, organized thematically.Most memorable musical experiences: outof-school.Thirty-six participants cited an out-ofschoolcontext for their most memorable musicalexperiences. We defined out-of-school groups as anyensemble that was not part of the typical school dayor dependent upon enrollment in school groups (i.e.,honor bands). These out-of-school experiences weremostly oriented toward large-ensemble participation,and often had an aspect of competition and/orselectivity: “I was selected part of the AmericanMusic Abroad tour … earning the solo.” Themajority described performing groups that went ontour to special places, competed in special events, orplayed exceptional repertoire. In these selectiveensembles, membership was often sought out by themusicians themselves, and the purpose was specificand goal-oriented, as in: “Playing in Carnegie Hallwith my youth orchestra and traveling to the Far Eastand Europe for charity tours.”Several participants said their mostmemorable musical experience had been performingin their hometown community bands. Only a fewparticipants cited experiences that exist outside thelarge ensemble, for example, gigging with a rockband, taking private lessons, recording in a studio, orperforming at a nursing home. Two participants saidtheir most memorable musical experience had beenattending a concert.Most memorable musical experiences: inschool. Sixty-one participants described their mostmemorable musical experience as in, or related to,formal music education in school. Note thatresponses did not total 100 as some did not answer allquestions and some gave more than one answer. Afew students merely cited being a part of a group asmemorable: “being in high school band,”“performing in general and getting to make music,”“playing in marching band in high school wasamazing,” or “playing in jazz band.”Thirty-nine of these 61 memorable in-schoolexperiences related to being adjudicated or winningcompetitions: “My high school band scored anoutstanding rating for the first time in five years andour school won best overall” or “At a heritage musicfestival, we took first place twice.” Twenty-one wrotespecifically about competitive marching band as their

Music Education Research International, Volume 5, 2011most memorable musical experience thus far, forexample: “Winning State Champions with mymarching band my junior year of high school” or “Iloved when our marching band in high school broke arecord score.”Sixteen participants wrote about specificperformances, pieces, or venues as most memorable.Some of these overlap with theadjudication/competition category, as in: “playing inFestival … it was a very challenging piece and wehad just perfected it after nine months of practice”and “marching at Disney World at night with myhigh school marching band.” However, somerespondents described concerts as memorablebecause of repertoire or venue: “performing atSymphony Hall,” “playing ‘Stars and Stripes’ on thepiccolo,” or “playing percussion in the pit orchestraalongside professionals for our high schoolproduction of ‘West Side Story.’” In this category,we are also including those participants (11) whoindicated that their most memorable experience wasperforming in auditioned, all-state or -county solo orgroup festivals in this group, as membership wasusually reliant on the participant being member of aschool music organization: “for several years I wasselected to play in the Area All State Band/Orchestra.It was fun getting to play with dedicated musicians.”Research Question One. How and to what degree didthe band members perceive the campus bandexperience as contributing to their musical lives?In answering this question, we found themost frequently occurring answers could be collectedinto four categories. The band members credited thecampus band experience for contributing (a) joy andbeauty, (b) skills and understanding, (c) a musicalopportunity, and/or (d) a positive atmosphere to theirmusical lives.Joy and Beauty. When asked their primaryreason for joining Campus Band, or what they likedmost about it, participants most frequently gaveanswers that we coded “love to play.” These indicatea strong fondness for music, for their specificinstruments, or for playing music in general or in alarge ensemble: “I really enjoy music and playing mytrumpet whenever I have the time;” “I like music, Ilike playing;” “Playing in a large ensemble is myfavorite activity;” and “I love being in a band and Ilove music.” When asked to share their expectationsfor the coming year in Campus Band, typical answerswere, “Play fun pieces and have fun while playingmusic;” “To have fun and continue playing;” and “Ihope to have a fun, enjoyable, musical experience.”Beyond having fun, participants alsoprovided deeper, more meaningful explanations of25how campus band contributed to their musical lives.A frequent appearance in the coding was what welabeled “the potential for an aesthetic musicalexperience,” which to us indicated the desire ofparticipants to have satisfying musical encounters.For example, to the question “What suggestions doyou have for Campus Band?” one participantresponded, “to be more emotionally connected to themusic;” other participants were less specific butwrote about “having good rehearsals,” “playingbeautiful music,” and “mak[ing] some good music.”Follow-up interviews with selectedparticipants confirmed these ideas of joy and beauty.For example, we asked one participant what had beenso enjoyable about campus band for her. She said:It was incredibly fun. The best part I liked aboutit was performing. I really do enjoy getting upon stage. So it’s fun to be able to take an entiresemester’s worth of work and be able to be on[Name] Hall stage, which is kind of rare for anon-music major.Another participant said, “[the conductor]conducted about loving the music. He made it so thatwe would be more passionate about the music. And Iloved that.”Skills and Understandings. A large numberof participants wrote on questionnaires about thedesire to not just “keep playing” but improve theirskills on their instruments or their musical knowledgebase: “I hope to improve my flute skills and tone,”“Continue to grow as a musician,” “To get myfingers back in gear,” “To develop better techniqueand to practice more to be able to play with moreconfidence,” and “Grow on my instrument andencounter a wide variety of music and composers.”Others seemed to be content with merelymaintaining their ability on their instrument: “Keepup my skill level,” “Keep playing at a recreationallevel,” and “I just want to make music and maintainmy skill level.” In interviews, participants describedthe campus band as a group where both groups ofstudents, those highly motivated and the morerecreational, can coexist quite successfully: “It wasprobably comparable as far as skill level to a highschool level band. So it is really a welcomingenvironment for anyone of any skill level.” Anotherparticipant said:I can miss a note or two because I’m pretty suresomebody in this room is missing one. It wasjust comfortable being around people that arenot bringing perfection to the band … Themusic was the appropriate level, and this is the

Music Education Research International, Volume 5, 2011only opportunity that I have to pull the clarinetout of its case every week.Opportunity. In a number of cases,participants wrote that campus band had become partof their musical lives because it was convenient,easy, and accessible to non-music majors: “I forgot toaudition for [another] ensemble,” “It’s an Easy A,”“Campus Band fits in my schedule this year,” and “Idon’t have time to devote to any of the higher musicensembles.” In an interview, we asked a participantto elaborate more on why he joined campus band. Hementioned his major, and scheduling: “The reasonwhy I enjoy campus band is because I majored in thesciences. The reason I’m not in ensembles regularlyis that I am in the lab or science building most daysof the week.” He said he enjoyed the once-a-weekrehearsal pace with 16 weeks to prepare a concert.Another participant in an interview said:I really need to play my instrument and feelempty without playing my instrument. Playingin campus band definitely helped me to fulfillthat. And I knew when I came to [Name]College that I wanted to try out for one of themajor ensembles or play in campus band, andcampus band is what fit into my schedule, so Iwas very thankful to have that and will continueto use it whenever I can.Atmosphere. Returning members of campusband frequently credited the relaxed atmosphere assomething they liked most, writing comments like:“It’s very open and engaging,” “It’s a way for me tokeep playing without having to stress,” and “I loveplaying … but not at the level of an intense band.”Many participants wrote about their desire for abalance between challenge or competition and asupportive atmosphere, as in one participant whowrote she expected to “be challenged, but notstruggle.” Similarly, another musician desiring hardermusic, also indicated that she expected “relaxed, lowstressrehearsals.” The “fun, not too stressful, buthigh expectations” sentiment was expressedfrequently.We asked several participants in follow-upinterviews to explain what they meant by “lowstress”and why it is desirable. One said:I feel like it [the stressful nature of his previousexperiences] was the expectations … the stressof having to prepare a concert. The expectationsfor the Campus Band was to come in, you playas well as you can and that’ll be our concert. Idon’t even recall if there was a grade attachedto it, but you weren’t in campus band for a26grade, you were in there because you wanted toplay.Another participant stated:It’s just more low key. The challenges of themusic fit into that very nicely. On our first runthroughs,I was missing notes. I had to practiceonce or twice or multiple times depending onthe piece. At the same time, it wasn’t like I wasslaving over it, and I didn’t feel that pressurethat I had to get everything right.Research Question Two. How could the experiencesand understandings of the band members prior toand during participation in the ensemble contributeto our knowledge of lifelong participation in music?In answering the second research question,we found most of the data related to the bandmembers’ continued participation in music fell intoone of three categories: (a) participants’ comfort andfamiliarity with, even nostalgia for, the band genre;(b) their satisfaction with being a part of a musicalcommunity; and (c) their strong desire to keepplaying their instruments.Familiarity, comfort, or nostalgia. Notsurprisingly, specific band experiences weredescribed in detail when participants were asked toshare their most memorable experience. Beyond that,it was also not uncommon for participants to recallfond memories of past band experiences when askedto share their primary reason for joining: “I playedthroughout high school, I need band in my life;”“Band was my favorite class in high school;” and “Iloved concert band in high school” were commonresponses.Participants also seem to see the campusband as an opportunity to recreate or replicate theseformer band experiences, as in the participant whowrote: “I dropped band in 8th grade and alwaysregretted it,” or the band member who wrote, “it[band] was hard in high school because not manypeople cared.” Another participant, in response to thequestion, “what do you like most about campusband?” wrote, “it reminds me of my high school bandexperience, which I do miss at times.” When askedwhy they wanted to join, participants frequentlylisted the ensembles that they were a part of in thepast, as in this response: “Throughout middle schooland high school I’ve been a part of marching band,jazz band, and concert band.” For many people, theprimary reason for joining the group was the fact thatthey’ve done it for a long time; as one person wrote,“it’s because I’ve played in band since fourth grade!”

Music Education Research International, Volume 5, 2011In an interview, a participant said band inhigh school filled an important niche, and that ifcampus band weren’t available to her a void wouldopen up:I would miss the opportunity to be able to play.Part of high school, playing the flute and beingin band made a world of difference in makingfriends and how my whole high school was.The flute was a part of my life all throughouthigh school, and it’s just been a part of me that Ireally enjoy. There would be somethingmissing.Community. Many participants voiced anappreciation or desire for the element of communitythey associate with playing in band, which oneparticipant described as “feeling the familyatmosphere.” Another wrote, “I love the atmospherein campus band. People keep the spirit of the bandalive.” Some participants cited existing friendshipsas a plus: “I enjoy being in an ensemble with myfriends.” Others stated their wish to meet otherpeople with similar interests: “it brings togetherpeople from all majors across campus to meet peoplethey may not have ever run into” and “[I like] thechance to play with other people who love music andenjoy playing it!” A more ineffable aspect ofcommunity, that of being a part of something biggerthan one individual, seemed to be verbalized byparticipants in responses like, “I just always enjoyperforming and just playing with a group of peers,”and those who looked forward to “playing new musicwith a new group of people,” “hearing the ensembledevelop as a whole,” and “just enjoying theensemble.”In an interview, one participant talked aboutmeeting people in campus band:It [knowing people in campus band] made itmore fun, and we could all relate to things.After the next semester, I had kids from campusband in one of my classes, so I knew them andthat was good.Desire to continue. As indicated in much ofthe data already described, many participants have asincere interest in continuing to play their instrumentafter leaving high school, but not commit to major inmusic in college. A total of 57 participants mentionedspecifically that their primary reason to play was to“continue to play [their] instrument.” This theme wasmore prevalent than any other that emerged duringthe coding process.27It was not uncommon for a participant towrite that not only do they wish to continue playingtheir instrument, but that they “miss having music inmy life,” “want to keep music in my life,” or “needmusic in my life.” These responses may suggest thatcampus band is the only opportunity for them to playtheir instrument and without campus band, they feelthey would lose music, as in, “I love playing, and Ireally didn’t want to have to give it up.” Otherexamples of these type of responses are: “I want tokeep making music and not lose touch with makingmusic,” “I love music and can’t see myself notcontinuing to play,” “I love to play the flute and needto keep music in my life,” and “I can’t imagine mylife without music.”Follow up interview data provided additionalinformation on this finding. One participant wrote onhis questionnaire, “Need an ensemble to play in. Imiss music in my life.” We asked him to explain, andhe talked about why music is important to him:I do not have the opportunity to play backhome. Being in band just helps me use otherparts of my brain. I think it balances me out androunds me out as a person. Playing in band isfun. It’s something I can do to relax.Another participant stated campus band was the onlyway she knew to keep up on her instrument:I think I enjoyed the most, just being able tokeep up with playing my instrument because if Ihadn’t done that [campus band] I wouldn’t havehad any other way to keep playing. And I’vebeen playing since 3rd grade.One participant said in an interview that heknew how to play in bands, and on trips home couldseek out the bands with which he formerly played,but had little additional outlets at college forperforming:I always have the opportunity to play with thegroups that I played with during high schoolwhen I’m at home. So I have a very similaropportunity for me at home, but definitely notany other opportunities like that for me atschool.DiscussionAnalyses from both the written responsesand follow up interviews provide evidence that thecampus band is indeed a special opportunity for themembers of this campus who wish to continueplaying their instruments. It is clear that the ensemble

Music Education Research International, Volume 5, 2011satisfies a variety of needs on both individual andcollective levels. These data also provide support forthe continued presence of ensembles for non-majorsin all college and university settings. Not only dostudents enjoy and benefit from participating in theensemble in a variety of ways, but the institution ofhigher education itself can also benefit by having aninclusive ensemble on campus as part of the cultureof the college experience. It is important to note thatthe participants in this study were not randomlypicked nor were they representative of all non-majorband members everywhere.Beyond the individual and institutionalbenefits of the campus band experience, we believetwo conclusions can be drawn from the data thathighlight some deeper issues in music education.The first arises from findings that illuminate thenature of competitive experiences in high school. Thesecond provides insight on the nature of lifelongparticipation in music—these students clearly wish tocontinue playing their instrument, but do they havethe desire or ability to play in musical settings outsideof the concert band?CompetitionAn apparent paradox emerged when weexamined the most memorable experiences of thecampus band members. We approach these findingswith the acknowledgment and understanding that“most memorable” did not always mean “favorite” or“most enjoyable.” Indeed, researchers have foundthat problematic experiences may be stronger andlonger lasting than positive ones (Riessman, 2008).On the one hand, membership in selective groupsand/or highly competitive environments appear toleave indelible impressions upon young musicians inschool and are often considered more unforgettablethan other musical experiences prior to college. Onthe other hand, the vast majority of students, eventhose nostalgic of their earlier years in band, do notwish to recreate those experiences that werecompetitive. Both the written response and theinterview data indicate the overwhelming majority ofparticipants sought an atmosphere that lacked thecompetitive environment they recalled so strongly.Furthermore, words like “stress-free,” “relaxed,” and“fun, noncompetitive atmosphere” which appearfrequently in questionnaire and interview data seemto be at odds with these competitive, high-pressureexperiences in the past, as does the sentiment thatmany participants wish to just “keep up their chops”and keep playing at a recreational level. We theorizethe absence of competition and a relaxed atmospherewere among the most attractive aspects of the campusband environment for these participants.28Regardless of the manner in which the term“memorable” is defined in this context, the paradoxseems noteworthy. If these were indeed favoritememories of the students, then it seems odd that,given the opportunity to participate in a similarensemble, participants would wish to avoid therecreation of, or a return to, these competitive andselective environments. Alternatively, if for some ofthe participants, “memorable” has a negativeconnotation, then this would be further evidence thatcompetitive environments can have a detrimentalimpact both in general terms (Kohn, 1986) and inmusic education programs (Austin, 1990).While it is possible of course that a healthyparadigm of competition for performer and educatoralike does exist (e.g., Gallops, 2005), there isresearch that highlights the negative impactcompetition can have in music education settings.Findings from a recent study of the perceptions ofvalues, competence, and interest in music study (inschool versus outside of school) among 3,037 musicstudents in the United States suggest that a narrowemphasis on performance and competition may limitthe accessibility and appeal of school music to somestudents (McPherson & Hendricks, 2010). Thecompetitive emphasis common in North Americanmusic education programs has also been shown tolead to restrictions in learned repertoire, limitedopportunities for an elite minority of students, and afocus on achievement-centered rather than studentcenteredinstruction (Radocy, 2001).Competition and Lifelong LearningDoes this interpretation of competition shedany light upon our understanding of lifelong learningand continued participation in instrumental music inparticular? At the very least, for the participants inthis study, we theorize that the absence ofcompetition and a supportive environment were keycomponents in their desire to continue to play theirinstrument, as in this interview quote:My high school band was very strict. We had toput in hours and hours into practicing, whichwas good because we produced a lot of goodmusic, but at the same time it almostdiscouraged me from playing more because itbecame so much of something that I had to do.Compared to campus band, I thought thatcampus band was a lot more fun.The participants in the campus band alsoexplained that they play their instruments, not forgrades or accolades, but for the simple joy that itbrings to their life. Not coincidentally, these

Music Education Research International, Volume 5, 2011characteristics (i.e., lack of grades, lack ofcompetition, and music for music’s sake) are alsofound in many informal settings outside of the publicschool setting (Green, 2008). It seems logical then,that public school music educators may help fostercontinued participation in music if competition isdeemphasized, placing more attention on educationaloutcomes that emphasize individual expression,musical independence, and intrinsic growth overextrinsic large ensemble goals such as trophies,contest scores, and ribbons.Clearly, competition in some form is acomponent of professional and semi-professionalcareers in music. High-stress competitiveenvironments in high school then could be consideredvery good paradigms for future careers in the musicbusiness. The majority of students who participate inpublic school music programs however, do notchoose to pursue careers in the music business.Lifelong Learning—Preparation for Music MakingBeyond High SchoolIf lifelong learning in music is truly a goal ofmusic education then a greater percentage of studentswill need a skill set that allows them to participate insettings outside of school, where concert bands areless common. Perhaps more young students would beattracted to secondary school music educationprograms and continue to play their instrumentsbeyond graduation if a broader experience wasoffered in P-12 music education, one that providedmore opportunities for autonomous and self directedactivities in addition to the larger, more traditionalensembles so common in schools today. If morestudents enjoyed this varied experience in highschool, it is possible that more would graduate withthe skills and/or desire that would best prepare themto participate in a variety of settings.It was striking how many participantsindicated that they wanted to play in campus bandbecause if they did not, they would not have a placeto play. For them, the absence of a concert bandequated to an absence of further participation inmusic. Not a single person indicated that if thecampus band was not available to them, they wouldseek out other settings for music making. We askedthe 20 participants this very question in the follow-upinterviews and they responded flatly, like thisparticipant: “Most likely not. I don’t think so.”The frequency of questionnaire responseslike, “I would hate to have to give up the flute” leadus to believe that for many of these participants,campus band is not only the easy, logical means fortheir musical participation but perhaps the only viableone. Interview data support this, as in the participant29who said, “If I weren’t in campus band I don’t reallyknow where I’d get a chance to use my saxophone.”Another said: “My skills, although I did play in highschool and since 5th grade, it’s not like I am all thatfantastic. So, if it wasn’t campus band, it would benothing really. That’s about it.”Due to the narrow skill set acquired by thesestudents, their ability to make music beyond highschool seems predicated upon the presence of a veryspecific ensemble: a concert band. If this is indeedthe case, then our theory is what these participantsexperienced in high school could more accurately bedescribed as a “concert band education,” more sothan the broad comprehensive music educationreflected in the National Standards for MusicEducation and promoted by the National Associationfor Music Education (MENC, 1996).People who have experience learning musicon their own outside of school learn music in waysunlike the approach found in traditional musiceducation programs (Green, 2001). In vernacularsettings, learners often choose music themselves,they copy recordings by ear, learning takes place inunsupervised or peer led locations, and the skills oflistening, composing, performing, and improvising,are integrated and favored over reproduction.According to Green (2008), these skills are acquiredin “haphazard idiosyncratic and holistic ways,starting with ‘whole,’ ‘real-world’ pieces of music”(p. 10). In contrast, skills acquired in traditionalmusic education settings involve purposefullycomposed music, and students follow a plannedprogression and curriculum under the supervision ofa teacher.In an attempt to document some of theindividual differences between vernacular and formal“classical” musicians, Woody and Lehmann (2010)found that formally trained musicians were lessefficient and less accurate than musicians withvernacular training in playing by ear. Furthermore,playing by ear has been regarded as the mostfoundational of musical skills, contributing to theability to sight-read, improvise, play from memory,and perform rehearsed music (McPherson &Gabrielsson, 2002). Although these skills were notassessed among the participants of this study, webelieve that their responses regarding their inabilityto play in settings outside of the concert band supportthe possibility that they too lack these proficiencies.We also believe that the findings from our studysupport a recent recommendation of Woody andLehmann who suggest,The skills of vernacular musicianship may bemore facilitative of active participation among

Music Education Research International, Volume 5, 2011adults once they have graduated beyond thestructured environment of school musicprograms. Without published arrangements oflarge ensemble pieces, a director to rehearsethem, and regularly scheduled rehearsal times,young instrumentalists may be unequipped toengage in music making. (p. 113)Important lessons can be gleaned from thevoices of students who, at a time when others maystop making music, chose to pursue a relativelyformal, serious involvement with a musical group oncampus. If more is known about the experiences ofnon-music majors in a campus band, music educatorsat the secondary level and in higher education mayacquire a better understanding of the factorscontributing to lifelong participation in music.REFERENCESAustin, J. A. (1990). Competition: Is music education the loser? Music Educators Journal, 76(6), 21-25.Bergee, M. J., Coffman, D. D., Demorest, S. M., Humphreys, J. T., & Thornton, L. P. (2001). Influences oncollegiate students’ decision to become a music educator. Report sponsored by MENC: The NationalAssociation for Music Education, Retrieved Sept, 17, 2009 fromhttp://www.menc.org/networks/rnc/Bergee-Report.html.Bowles, C. (1991). Self- expressed adult music education interests and music experiences. Journal of Research inMusic Education, 39(2), 191-205.Bright, J. (2006). Factors influencing outstanding band students' choice of music education as a career.Contributions to Music Education, 33(2), 73-88.Casey, P. F. (1994). A status study of nonselective concert bands at selected colleges and universities. (Doctoraldissertation, The Ohio State University). Dissertation Abstracts International, A 54/08, p. 2936.Flowers, P., & Murphy, J. (2001). Talking about music: Interviews with older adults about their music education,preferences, activities, and reflections. Update: Applications of Research in Music Education, 20(1), 26-32.Gallops, W. (2005). Developing a healthy paradigm for performers and teachers. Journal of Music TeacherEducation, 15, 15-22.Green, L. (2001). How popular musicians learn: A way ahead for music education. London and New York: AshgatePress.Green, L. (2008). Music, informal learning, and the school: A new classroom pedagogy. London and New York:Ashgate Press.Guba, E. G. (1978). Toward a methodology of naturalistic inquiry in educational evaluation. CSE MonographSeries in Evaluation No.8. Los Angeles: Center for the Study of Evaluation, University of California, LosAngeles. Retrieved August 2, 2010 from www.cse.ucla.edu/products/monographs/cse_monograph08.pdf.Isbell, D. (2008) Musicians and teachers: The socialization and occupational identity of preservice music teachers.Journal of Research in Music Education, 56(2). 162-178.Kohn, A. (1986). No contest: the case against competition. Boston: Houghton Mifflin.Leonard, C., & House, R. (1972). Foundations and principles of music education. (2nd ed.). New York, NY:McGraw Hill Book Company.Moustakas, C. (1994). Phenomenological research methods. Thousand Oaks, CA: Sage.Myers, D. (2005). Freeing music education from schooling: toward a lifespan perspective on music learning andteaching. International Journal of Community Music, 4. Retrieved Oct. 5, 2009 fromwww.intljcm.com/articles/Volume%204/Myers%20Files/Myers.pdf..Patton, M. Q. (2002). Qualitative research and evaluation methods (3rd ed.). Thousand Oaks, CA: Sage.Poland, M. (1987). Is band outmoded? Music Educators Journal, 73, 47.Revelli, W. D. (1937). The school band movement. Music Educators Journal, 23, 32-34.Riessman, C. K. (2008). Narrative methods for the human sciences. Thousand Oaks, CA: Sage.McPherson, G. E., & Gabrielsson, A. (2002). From sound to sign. In R. Parncutt & G.E. McPherson (Eds.), Thescience and psychology of music performance: Creative strategies for teaching and learning (pp. 99-115).New York, NY: Oxford University of Press.McPherson, G. E., & Hendricks, K. S. (2010). Student’s motivation to study music: The United States of America.Research studies in music education, 32, 201.Radocy, R. E. (2001). North America. In D. J. Hargreaves & A. C. North (Eds.), Musical development and learning:The international perspective (pp.120-133). London: Continuum.30

Music Education Research International, Volume 5, 2011Woody, R. H., & Lehmann, A. C. (2010). Student musicians’ ear-playing ability as a function of vernacular musicexperiences. Journal of Research in Music Education, 58, 101-111.Appendix AThis semester, in collaboration with faculty at the [name of institution], I will be conducting a study designed touncover information about the experiences of non-music majors in college instrumental ensembles. Please answerthe following questions as honestly as possible. You have the right to refuse to participate. Take as much time asyou need to provide thoughtful responses. (use an additional sheet of paper if necessary)1. Describe your most memorable music experience (can be in- or out-of school)2. What is (are) your primary reason(s) for joining Campus Band?3. What are your expectations for this coming year in Campus Band?For those that are returning members:1. What suggestions do you have for Campus Band?2. What do you like most about the Campus Band experience?31

Music Education Research International, Volume 5, 2011Appendix BInterview Guide• Introduce yourself, you’re working with [name of researcher]• Last year you participated in a study during Campus Band. You answered questions on a survey during the firstday of class about non-music majors in college ensembles. Would you be willing to answer 4 more questions?This should take 5-10 minutes.1. What was campus band like for you last year?2. What did you enjoy most from last year’s campus band?3. If there were no campus band, would you play your instrument anywhere else? If so, where would that be andwhy?4. I’d like to read to you your response to a question you answered on a survey at the start of the campus semester.Can you please provide a more detailed response?5. Is there anything else you would like to share about Campus Band?32

Music Education Research International, Volume 5, 2011CHINESE ABSTRACT中 文 摘 要重 拾 舊 時 樂 器 : 非 音 樂 專 業 大 學 生 參 加 校 樂 隊 後 的 經 歷 與 感 受Dan Isbell,Ithaca College—U.S.A.Ann Marie StanleyUniversity of Rochester—U.S.A.很 多 音 樂 教 師 都 希 望 學 生 們 在 高 中 畢 業 之 後 能 繼 續 參 加 音 樂 活 動 。 在 最 近 幾 十 年 的 音 樂 教 育 研 究 文 獻 裏 ,人 們 一 直 在 討 論 和 研 究 這 個 問 題 。 本 文 將 探 討 非 音 樂 專 業 學 生 在 大 學 期 間 繼 續 參 與 音 樂 學 習 的 動 機 。 一 百名 大 學 樂 隊 成 員 書 面 描 述 了 他 們 在 樂 隊 裏 的 經 歷 和 感 受 。 二 十 名 隊 員 與 研 究 者 進 行 了 面 對 面 的 訪 談 。 本 文的 研 究 問 題 是 : 隊 員 們 怎 樣 看 待 自 己 樂 隊 演 奏 經 歷 ? 瞭 解 這 些 隊 員 的 經 歷 會 不 會 幫 助 我 們 理 解 終 生 音 樂 學習 的 原 因 與 動 機 ? 很 多 被 訪 問 的 同 學 都 在 充 滿 競 爭 的 環 境 中 學 習 過 音 樂 , 但 是 他 們 都 希 望 能 在 大 學 校 園 裏享 受 低 壓 力 、 非 競 爭 的 音 樂 活 動 。 他 們 喜 歡 學 校 樂 隊 的 學 習 環 境 與 風 氣 。 大 多 數 參 與 研 究 的 隊 員 希 望 繼 續學 習 樂 器 , 認 爲 樂 隊 爲 他 們 提 供 了 校 園 裏 唯 一 能 够 享 有 的 音 樂 學 習 機 會 。33