| Discovering the attitudes and perceptions that non-professional adult musicians hold regarding their participation in instrumental ensembles may help improve instruction as well as the ability to more fully understand the meanings and implications of lifelong music making in society. Consequently, the teaching and learning strategies associated with adult learning provided me with the notion of investigating the methods that adults use in learning to play music instruments. Thus, this dissertation investigates the historical ideologies of andragogy with a contemporary application of its tenets to Canadian and American models of music learning among adults.;This research is based on inferences derived from ethnographic research conducted with adult students and teachers from the Cosmopolitan Music Society in Edmonton, Alberta, Canada, and from the New Horizons Band in East Lansing, Michigan. Specifically, this research focuses on (1) telling the stories of Canadian and American adult musicians who have been motivated to perform in an instrumental ensemble, (2) suggesting that what we know and learn about adult learning may be used in fostering pre-adult learning functions among school music students, and (3) providing the impetus for lifelong learning by discussing teaching approaches for bridging the gap between schools and communities.;Results indicated that group dynamics were key factors in sustaining music participation. The degree to which individuals were satisfied with musical experiences depended on musical difficulty, instructors' teaching styles, belonging to a larger community, and a strong awareness of reciprocity. Participants in this study also reported that they continue to search for creative, self-directed ways to overcome issues of time management, as fellow musicians depend on their readiness to perform.;Based on these results, I identified several ways in which school teachers can apply lessons drawn from adult learning, including recognizing the need for structured music lessons; acknowledging and embracing the social characteristics of being in a music ensemble; deepening musical awareness through critical thinking activities; decreasing reliance on notation for beginners; encouraging chamber ensemble experiences; investigating ways in which to include non-traditional school music students in music; and encouraging the advancement of community music and the notion of lifelong learning through music participation. |
