From Dropping Out to Dropping In: Exploring Why Individuals Cease Participation in Musical Activities and the Support Needed to Reengage Them
AuthorKrause, AE; Kirby, ML; Dieckmann, S; Davidson, JW
Source TitlePsychology of Aesthetics, Creativity, and the Arts
PublisherAmerican Psychological Association
AffiliationFine Arts and Music
Melbourne Conservatorium of Music
Document TypeJournal Article
CitationsKrause, A. E., Kirby, M. L., Dieckmann, S. & Davidson, J. W. (2019). From Dropping Out to Dropping In: Exploring Why Individuals Cease Participation in Musical Activities and the Support Needed to Reengage Them. Psychology of Aesthetics, Creativity, and the Arts, 14 (4), pp.401-414. https://doi.org/10.1037/aca0000268.
Access StatusOpen Access
Continued participation in music has been associated with well-being outcomes, yet many either fail to begin or cease musical participation after limited exposure. The current research examined why individuals cease participating, focusing on identifying barriers to participation and the support needed to reengage in musical activities. A sample of 190 Australian residents (Mage = 26.87; 75.80% female) who had ceased previous musical participation completed an online questionnaire in which they rated the degree to which 15 items reflected their reasons for ceasing musical participation and answered an open-ended question regarding their requirements for reengagement. An exploratory factor analysis of the quantitative responses identified 4 components relating to cessation: "access and opportunity," "activity experience," "obligations," and "difficulty with practicing." A grounded theory analysis concerning the support required for reengagement indicated 4 key themes: "personal investment," "requirements of the musical activity," "personal qualities," and "no interest in reengagement." Collectively, these results provide an in-depth understanding of factors external to music itself as influences on continued musical participation. With implications for facilitators and educators, these results suggest a need for collaboration and interaction between music facilitators and participants.
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