Natalie A. Roese and Julia Merrill
Amateur Ensemble Music Making: Between Self and Community, and Experience and Result
Amateur musicians describe tensions between personal goals, collective experience and the work of sustaining an ensemble.
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Natalie A. Roese and Julia Merrill
Amateur musicians describe tensions between personal goals, collective experience and the work of sustaining an ensemble.
Daisy Fancourt
A broad arts-and-health book provides routes into underlying research that must be assessed in its own setting.
Michael J. Bradley, Phoebe Robertson and Taylor Iery
A supplementary narrative synthesis connects formal music education with continued community band involvement.
Kent C. Grover
Navy musicians describe identity, adjustment and mentorship during the transition into military life.
Aoife Quinlan; Keelin Leahy; Jane O’Dea; James McGarry
Adult learners describe the value of supportive teaching and the difficulty of making space for practice.
Annie O. Mok
Non-formal music learning is examined as part of cultural identity and the development of musical selves.
Justin K. Stanton
National Guard musicians who also teach describe connections between their military and school band roles.
Nicole Espinosa and colleagues
An exploratory memory-clinic imaging study finds some brain differences but no significant cognitive difference between musician groups.
W. Scott Barger
A history of Oklahoma community bands supplies local stories and leads for further archival work.
Kristin Bloska; colleagues
Choir access research highlights an important gap between understanding current members and understanding people who never join.
Waterman, Parkes, Cimon & Stewart
An inclusive online ensemble offers practical examples of adapted participation and the limits of technology.
Elizabeth H. MacGregor; Stephanie E. Pitts
Choir participants’ attitudes reveal a gap between a general welcome and who actually gains access.
E. White; Stephanie E. Pitts
Young adults’ experiences after school point to the importance of musical fit, social entry and access to instruments.
Lei Zhang; Bernhard Ross; Yi Du; Claude Alain
Brain imaging compares speech-in-noise processing among older lifelong musicians, older nonmusicians and younger adults.
José Cidade; Alexandra Sá Costa; João Caramelo
A Portuguese civil wind band survey finds that fellowship, musicianship and the conductor all matter to current members.
Andrea Creech; Colin Enright, editors
Later-life music learning calls for responsive teaching, meaningful choices and attention to who can take part.
Worschech et al.
A piano trial reports small relative changes in selected quality-of-life domains, with limits to its later follow-up.
Sara D’Amario; Laura Bishop
Advanced music students describe moments of togetherness alongside uneven or disappointing ensemble experiences.
Edward A. Roth
A small improvisation feasibility study explores reported flow and connection without establishing a treatment effect.
Helen English; Suzanne Lewis; Jane Davidson; Nicholas Goodwin
A review of community music in later life maps reported positive change and the conditions surrounding participation.
National Endowment for the Arts; National Archive of Data on Arts and Culture
State-level arts participation estimates provide a broad setting for questions about musical opportunity.
Robin Hake and colleagues
Professional and amateur orchestral musicians report hearing concerns and uneven use of protection.
National Endowment for the Arts
National survey data place arts participation and social connectedness in a wider United States context.
Brydie-Leigh Bartleet; Emma Heard
Community music can support individual experiences of inclusion while wider inequalities persist.
José Cidade; João Caramelo; Alexandra Sá Costa
International civil wind band literature covers social, civic and educational questions beyond musical instruction.
Emilie Louise Anderson
Seven interviewees reflect on wellbeing, growth and relationships in an intergenerational symphonic band.
Audrey-Kristel Barbeau
An eight-person rehearsal pilot does not establish a stress or immune benefit from band playing.
Gaia Vetere; Gareth Williams; Clive Ballard; Byron Creese; Adam Hampshire; Abbie Palmer; Ellie Pickering; Megan Richards; Helen Brooker; Anne Corbett
A United Kingdom aging-cohort analysis links musical experience with selected cognitive scores, without measuring a slower rate of decline.
Florian Worschech and colleagues
A year of piano instruction is examined through motor performance and its relationship to cognition and brain structure.
Jessica Piso
Flute ensemble directors describe repertoire, instrument access and ways of adapting musical parts.
Kristin Jünemann and colleagues
A piano trial examines changes in functional brain connectivity after one year.
Guiyue Ma; Xiaoqin Ma
An evidence map organizes reviews of music interventions for older adults, with substantial clinical and dementia-related coverage.
Damien Marie and colleagues
Brain and working-memory outcomes are examined after two forms of music activity in older adults.
Megan K. E. Lummiss
Eastern Ontario band members describe musical identity through social comparison and continuity during the pandemic.
Christopher Long
A composer’s work with amateur ensembles explores trust, challenge and flexible creative roles.
Jessica A. Williams
Two Army band settings provide accounts of leadership, morale and civic performance.
Aline Chacur; Rodrigo Serrat; Feliciano Villar
A wide arts review finds much more attention to benefits than to barriers and participation across the life course.
Audrey-Kristel Barbeau; Mariane Generale; Andrea Creech
Online band activity maintained some contact while exposing limits of technology and shared music making.
Jennifer A. Bugos and Yan Wang
A piano trial finds selected executive-function and self-efficacy changes, without an overall stress or immune biomarker effect.
Arafa et al.
Three observational cohorts suggest an association between instrumental activity and lower dementia incidence, without proving prevention.
Jennifer Gumble
College marching band alumni reflect on skills and relationships they associate with their participation.
Ann M. Harrington
New Horizons members describe belonging through rehearsal, performance and everyday communication.
Florian Worschech and colleagues
Speech-in-noise results from a music trial varied by listening condition and participant group.
Xia Guo and colleagues
A keyboard-harmonica program reports selected verbal-memory improvements, with several design constraints.
Huan Zhu; Stephanie E. Pitts
Amateur musicians describe disrupted rehearsals, lost contact and varied responses to online music during lockdown.
Jennifer MacRitchie, Matthew Breaden, Andrew J. Milne and Sarah McIntyre
A small older-adult piano program produces mixed performance findings alongside accounts of achievement and social experience.
Stephanie E. Pitts
Amateur music groups’ local relationships involve shared resources, educational connections and volunteer demands.
Studer et al.
A comparison of high-brass players and other musicians does not establish better lung function from playing.
Andrew Goodrich
Continuing players in one auditioned band describe musical challenge and friendship within the demands of work, travel and everyday life.
Wesseldijk, Ullén & Mosing
A large twin study complicates simple claims that playing music either improves or harms mental health.
Victoria J. Williamson; Michael Bonshor
Brass band members report friendship, purpose and musical challenge alongside pressures and physical concerns.
Andrew John Schultz
Seven returning players describe the relationships and life circumstances that helped them resume band participation.
Duwayne Clark Dale
Kentucky community band members describe engagement and psychological needs within selected active ensembles.
Joshua Eric Long
Long-standing participation in one community band is explored through invitation, family connections and musical emotion.
Stephen Sanford Murray
Six older musicians show how confidence, choice and relationships interact in a New Horizons ensemble.
Sarah E. Wilson
One concert band’s members describe a sense of community alongside dissatisfaction with parts of the musical experience.
Debbie Rohwer
Adult band members describe difficulty, practice choices and confidence while preparing specific music.
Stephanie E. Pitts; Katharine Robinson
Musical experience can retain value after someone stops performing in an ensemble.
Susan Hallam and Andrea Creech
Music for Life participants reported higher wellbeing at baseline, but the study did not find significant improvement over time.
William Leonard Dyer
Retired musicians describe different ways of maintaining identity across community ensembles.
Stephanie E. Pitts; Katharine Robinson
Continuing and stopping amateur music can involve changes in fit, confidence, support and life circumstances.
Daisy Fancourt; Rosie Perkins; Sara Ascenso; Livia A. Carvalho; Andrew Steptoe; Aaron Williamon
A group drumming study reports promising psychological changes, with important limits to its comparison design.
Stephanie E. Pitts; Katharine Robinson; Kunshan Goh
Accounts of leaving and continuing show that ensemble membership depends on a changing relationship between music and everyday life.
Department of the Army, Center of Military History
The official 77th Army Band document records organizational lineage and honors relevant to Fort Sill history.
Sofia Seinfeld and colleagues
A small piano study reports mixed cognitive, mood and quality-of-life findings after four months.
Lee Higgins
A conceptual account of community music emphasizes hospitality, facilitation and cultural democracy.
Tammy L. Kuntz
Adult amateur musicians’ self-descriptions offer context for participation, with important sampling and measurement limits.
Pamela G. Taylor
Members of a New Orleans concert band describe identity through shared music and attainable challenge.
Kenneth A. Douglas
New Horizons participants describe musical, social and practical needs within adult ensembles.
Gary Cook
An institutional history traces the Percussive Arts Society museum’s development and move from Oklahoma to Indiana.
Brenda Hanna-Pladdy and Alicia MacKay
Older adults with different musical histories show differences on selected cognitive measures.
Kate A. Gee
Brass musicians’ lives and careers are explored through social identity across amateur and professional settings.
William M. Dabback
Musical identity can develop through beginning, returning or changing instruments, without everyone adopting the same label.
Roger Mantie
An Ontario band survey draft is listed as a research lead while its published counterpart is checked.
Tyler C. King
Central Ohio band members describe how enjoyment, leadership, repertoire and travel relate to their participation.
Nathan B. Kruse
Adult learners’ preferences challenge the assumption that everyone wants the same amount of self-direction.
Martha Jayne Griffith
New Horizons learners describe varied interests and needs for practical accommodation.
Timothy S. Brophy
A short editorial is retained as a bibliographic lead, separate from the studies it introduces.
Don D. Coffman
Adult band members in Tasmania describe how instruments, encouragement and graded opportunities shape their musical experience.
Michael Hartz
A historical account of American community bands offers a starting point for following local organizations and their sources.
William David Spencer
A large survey documents attitudes among active members of adult community bands in the 1990s.
Richard Charles Dugger
An interview-based historical dissertation examines Bohumil Makovsky’s interpersonal influence in Oklahoma band music.
James Aubrey Jarrell
A 1971 Oklahoma dissertation documents practices and achievement in selected high school band programs.
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