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A crafted intergenerational district band: A bounded case study of participant experiences

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A CRAFTED INTERGENERATIONAL DISTRICT BAND:
A BOUNDED CASE STUDY OF PARTICIPANT EXPERIENCES

Richard Anthony Perez
A dissertation
Submitted to
USC Thornton School of Music
In partial fulfillment of the
Requirements for the degree of

Doctor of Musical Arts

University of Southern California
August 2018

Advisory Committee:
Dr. Beatriz Ilari, Chair
Dr. Susan Helfter
Dr. Peter Webster
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Dedication

To my parents, brother, and all those who encourage others.

“Now this is the Law of the Jungle – as old and true as the sky;
And the Wolf that shall keep it may prosper, but the Wolf that shall break must die.
As the creeper that girdles the tree-trunk, the Law runneth forward and back –
For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack.”

Rudyard Kipling, The Second Jungle Book

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Acknowledgements
My time at the University of Southern California has been a true blessing in my life. I
am sincerely grateful for the opportunities to study, learn, and grow amongst truly inspiring
people. The expertise, wisdom, and intellect of the faculty have been a great source of
inspiration for me. To my advisor Dr. Beatriz Ilari, I am thankful for your guidance and
patience. Thank you for the time and energy you devoted to helping me. To Dr. Susan Helfter, I
am grateful for the positive influence you had on this project. Thank you for broadening my
perspectives of what music education is and the endless possibilities of what it can be. To Dr.
Peter Webster, I appreciate your thoughtful feedback for improving this work. The USC
Thornton School of Music faculty has been a great source of musical, academic, and professional
role models for me.
I am incredibly fortunate to have had such wonderful classmates. The diversity in
thought and perspectives shared by this group of people has made me a better teacher and
person. Scott Burstein, Alissa Chitwood, Eun Cho, Matthew Cotton, Lisa Crawford, Chrissie
D’Alexander, Kathleen Janert, Tina Huynh, Yoo-Ji Hwang, Huei-Yuan Pan, Jihae Lim, and Jake
Vogel; each of you shared ideas that I had not previously considered. I am especially grateful for
the times when you challenged my preconceived beliefs. I know all of you will continue to make
meaningful contributions to the field of music education.
To all those who made this study possible, administrators, teachers, participants, and
parents, I am forever grateful. I realize it took a leap of faith. Thank you for your optimism,
commitment, time, and spirit of cooperation.
A very special thank you to my extended music family. Current students, former
students, parents of students, musician friends, audience members, and supporters of music in
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my community, I would not have been able to persevere without the tremendous amount of
inspiration and support you provide.
To my parents, thank you for being the most selfless and compassionate people I know.

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TABLE OF CONTENTS

Dedication ……………………………………………………….……………………………

Acknowledgements …………………………………………………………………………….

List of Tables ……………………………………………………………………………….…..

Abstract ……………………………………………………………………………….………..

Chapter One: Introduction …………………………………………………………………...
Theoretical Framework …………………………………………………………………
Intergenerational curricula ……………………………………………………...
Formulating identities …………………………………………………..
Education for the present ……………………………………………….
Respect the personhood ………………………………………………...
Continuity theory of aging ………………………………………………….…..
Theorizing Successful Intergenerational Programs …………………………………….
Repositioning generational hierarchies ………………………………………...
Including socially-marginalized groups ………………………………………..
Improving and developing trends ………………………………………………
Dialogue ………………………………………………………………………..
Intergenerational programming ………………………………………………...
Statement of the Irritants ….……………………………………………………….…...
Purpose of the Study …………………………………………………………..………..
Research Questions ……………………………………………..………………………
Definition of Terms ………………………………………………….…………………
Assumptions ……………………………………………………………………………
Limitations of the Study ………………………………………………………………..
Overview of Chapters ………………………………………………………………….

Chapter Two: Review of Literature …………………………………………………………
Intergenerational Music Programs in the “Real” World ………………………..……...
Descriptive studies ……………………………………………………………..
Quasi-experimental studies …………………………………………………….
Critical case studies …………………………………………………………….
Anticipated Musical Learning Experiences and Social Experiences…………………...
Chapter Summary ……………………………………………………………...……….

Chapter Three: Methodology ………………………………………………………………..
Study Design …………………………………………………………………………..
Study Context and Access ……………………………………………………………..
Researcher Positioning……………………………………………………………..…..
Role of the Researcher in the Study………………………………………………………
Recruitment and Ethical Considerations ………………………………………………
Participants …………………………………………………………………………….
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Students………………………………………………………………………...
Eighth-grade students …………………………………………………
High school students …………………………………………………..
Music teachers …………………………………………………………………
Community musicians ………………………………………………………...
College students ……………………………………………………….
Retired teachers ………………………………………………………..
Professional musicians ………………………………………………...
Hired professionals ……………………………………………………………
Pseudonyms …………………………………………………………………...
The Intergenerational District Band Experience ………………………………………
Instruments of Data Collection ………………………………………………………..
Observations …………………………………………………………………..
Interviews ……………………………………………………………………...
Participant questionnaire ………………………………………………………
Audience questionnaire ………………………………………………………..
Data Analysis and Coding …………………………………………………………….
Triangulation …………………………………………………………………..
Data Presentation: Narratives ………………………………………………………….
Chapter Summary……………………………………………………………………...

Chapter Four: Findings ……………………………………………………………………..
Narratives ……………………………………………………………………………...
Day one ………………………………………………………………………..
Sectionals ……………………………………………………………...
Follow up after day one: adaptation …………………………………………..
Day two ……………………………………………………………………….
Day three ………………………………………………………………………
Day four ……………………………………………………………………….
The concert ……………………………………………………………………
Eighth-grade focus group interview …………………………………………..
Musical learning experiences ………………………………………….
Repertoire and help ……………………………………………
Pacing and intensity …………………………………………...
Social experiences ……………………………………………………..
High school focus group interview ……………………………………………
Musical learning experiences ………………………………………….
Confidence …………………………………………………….
Repertoire …………………………………………………...…
Being challenged ………………………………………………
Social experiences ……………………………………………………..
College student interview ……………………………………………………..
Musical learning experiences ………………………………………….
Practice leadership …………………………………………….
Social experiences ……………………………………………………..
Attitudes ……………………………………………………….
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Pride …………………………………………………………...
Support …………………………………………………………
Most memorable experience ………………………………......
Music teacher interview ……………………………………………………….
Musical learning experiences ………………………………………….
Format ………………………………………………………….
Unwritten rules ………………………………………………...
Philosophical approach ………………………………………...
Adaptations …………………………………………………….
The new ………………………………………………………..
Social experiences ……………………………………………………..
Fun ……………………………………………………………..
Admiration ……………………………………………………..
Community musician interview ……………………………………………….
Musical learning experiences ………………………………………….
Format ………………………………………………………….
The challenge …………………………………………………..
The conductor ………………………………………………….
Philosophical approach ………………………………………...
Social experiences ……………………………………………………..
Gestures of caring ……………………………………………...
Admiration ……………………………………………………..
Accomplishment ……………………………………………….
Belonging ………………………………………………………
Suggestions …………………………………………………………………….
Participant Questionnaires ……………………………………….…………………...
Musical learning experiences ………………………………………………….
Performance techniques ……………….……..………………………..
Professionalism ……………………………...………………………...
Rehearsal techniques ………………………...………………………...
Social experiences ……………………………………………………………..
Community and belonging …………………...………………………..
Attitudinal changes …………………………………………………….
Relationships …………………………………....……………………..
Audience Questionnaires ……………………………....…...…………………………
Chapter Summary ……………………………………………………………………..

Chapter Five: Discussion and Conclusion …..……………...……………………………….
Theoretical Framework Revisited ……………………………………………………..
Intergenerational curricula …………………………………………………….
Continuity theory of aging …………………………………………………….
Contributions of the Study to Theories of Intergenerational Music Programs ………...
Returning to the study irritants ………………………………………………...
Research Questions ……………………………………………………………………
Concluding Thoughts ………………………………………………………………………….
Recommendations for Further Research and Practice in Music Teaching and
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Learning ……………………………………………………………………………… 149

References …………………………………………………………………………………… 153
Appendices ……………………………………………………………………………………
Appendix A – USC Institutional Review Board Approval ……………………………
Appendix B – Information Sheet ……………………………………………………...
Appendix C – Recruitment Letter to Adult Participants ………………………………
Appendix D – Recruitment Letter to Music Teachers for Student Nominations ……...
Appendix E – Eighth-Grade Student Invitation ……………………………………….
Appendix F – High School Student Invitation ………………………………………...
Appendix G – Participant Questionnaire ……………………………………………....
Appendix H – Audience Questionnaire ………………………………………………..
Appendix I – Observational Protocol ………………………………………………….
Appendix J – Focus Group and Interview Guiding Questions …………………...…...
Appendix K – Concert Program Notes ……………………………………………...…

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List of Tables

Table 1: Crafted Elements of the Intergenerational District Band…........................................
Table 2: Participant Groups and Subgroups…………………………………………………..
Table 3: Eighth-Grade Students with Instrumentation………………………………………..
Table 4: High School Students with Instrumentation…..…………………………………..…
Table 5: Music Teachers with Instrumentation.......………………………………………..…
Table 6: College Students with Instrumentation….…………………………………………..
Table 7: Professional Musicians with Instrumentation...……………………………………..
Table 8: Rehearsal Schedule...……………………………………………………………..…
Table 9: Concert Schedule…...………………………………………………………………..
Table 10: Participant Frequency Counts of Musical Learning Experiences……………….....
Table 11: Participant Frequency Counts of Social Experiences……..…………………...….
Table 12: Audience Frequency Counts of Who They Came to See..……………………..…..
Table 13: Audience Response to the Worthiness of the Endeavor……………………………

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Abstract
The purpose of this study was to investigate the experiences of eighth-grade students,
high school students, music teachers, and community musicians involved in an intergenerational
district band. Eight middle school music teachers from the same school district nominated
eighth-grade band students based on the criteria of being “hard working” and “deserving.” The
teachers were also asked to include high achievers and middle achievers in their nominations.
These eighth-grade students were then grouped with high school students, music teachers, and
community musicians that included college students, retired teachers, and professional musicians
to form an intergenerational district band. The ensemble had four rehearsals for 3 hours each
and one performance. Informed by observations and video transcriptions, I presented a narrative
to capture the experiences of the participants throughout all five meeting. I used interviews and
questionnaires as a means of triangulation to strengthen the data, which was rich in musical
learning experiences and social experiences.
The anticipated musical learning experiences derived from the literature include: 1)
wisdom, knowledge, and skills (Rotham, Dunscomb, & Dunlop, 1999); 2) multiple valid
perspectives on music performance (Antolini, 2013); 3) developing teaching practices (Burton &
Reynolds, 2009); and 4) elevated musical and emotional energy (Conway & Hodgman, 2008).
The new musical learning experience derived from the data was an exposure and exploration of
conflicting philosophical approaches to music teaching and learning.
The anticipated social experiences derived from the literature include: 1) formulating
identities (Heydon, 2013); 2) repositioning generational hierarchies (Heydon, 2013; Jarrott,
2007); 3) breaking down barriers or stereotypes (Alfano, 2008; Beynon & Alfano, 2013;
Rotham, et. al., 1999; Warnick & Drenning, 1994); and 4) gaining new positive attitudes toward
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differing age groups (Belgrave, 2011; Bowers, 1998; Darrow, Johnson, & Ollenberger, 1994).
The new social experiences derived from the data include the discovery of support, fun, gestures
of caring, and accomplishment. The implication for music education is that a wider population
of ages and abilities in this intergenerational district band provided meaningful and unique
musical learning experiences and social experiences.
Keywords: intergenerational district band, concert band, eighth-grade students, high
school students, college students, retired musicians and music teachers, professional musicians,
district band, honor band
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Chapter One: Introduction
I vividly remember sitting in my junior high concert band as a 14-year-old. Although I
had taken private piano lessons since I was 5 years old, I had only been playing trumpet for
about a year. I started playing the trumpet so I could be a part of the band. I wanted to belong.
Band class was always my favorite part of the day, but this day was special. We were playing a
concert band arrangement of a Beatles medley. The band had already learned the notes and
rhythms. On this day, my music teacher sat at the drum set and played along with us. The
energy and spirit that filled the room was magical. I felt chills. I got goosebumps. As my mind
stilled, I could feel the blood rush through my veins. I was at peace. I sensed that my friends felt
something too. I could see it in their faces. We were connected. When the song ended, there
was a moment of silence before the youthful energy returned. I looked over at my best friend
Ryan to make sure that this was real. He said, “I love when Mr. Pugh plays with us! Everyone
gets so into it.” Ever since, I have tried to recapture this feeling with successes and failures. As
I reflect back on my musical life, I realize that I have been blessed with many opportunities to
perform and spend time with older, more experienced musicians. These opportunities made all
the difference.
I have been a public school music teacher for 13 years. I have taught K-12 instrumental
music in the same district in Orange County, California, with most of my experience being at the
middle school level. I currently teach bands and orchestras full-time in a middle school. In my
experience, the prevailing culture of music teachers in this area is driven by the goal of music
performances at competitive events. I have observed that the institutionalized competitive
practice leads to teachers trying to distinguish themselves as better than their peers, while at the
same time needing their approval. This extends beyond the teacher to teacher relationship.
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School district to school district, the collective pride of district music programs is constantly
displayed, compared, and subsequently used to influence decisions that impact students and
teachers alike.
While much good can and does emerge from the spirit of competition, it is my belief that
institutions of education must be cognoscente of the potential ill effects of prioritizing
competition over values that I deem as more important, such as inclusion, bold musical
interpretations that are not reserved or too careful, challenging literature, and emotionally
moving performances. My experience with local music festivals have been inconsistent, at times
aligning and other times clashing with my values. I believe that results from competition
influence the public perception of music programs. By perception, I am referring to the quality
of education being provided by teachers as perceived by those outside of the classroom. Anyone
who is interested in passing judgment on the quality of teaching taking place within a school or
district, and who is also unable or unwilling to spend time observing instruction and examining
the context in which it is provided, is prone to the influence of such competitive results. This
includes parents and employees of other school districts, as well as members of the community at
large. The spirit of competition extends beyond school versus school, and has become prominent
between students within the same ensemble when the district auditions students for the honor
ensembles.
Another issue to consider is the nature of auditioned honor ensembles, which typically
excludes students who would like to participate but do not perform at a level considered to be
worthy of inclusion. While I believe that there is value in providing an experience for the
highest musical achievers in the district, I also think that experiences for all willing and
enthusiastic students should be considered; not just for the ones who hold a high level of music
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performance ability. Such belief has led me to the following questions: Who is being excluded?
If we, as a district, go through extraordinary lengths to provide the extra experience of honor
band and orchestra for our highest achievers, what extra experiences are we providing for our
middle achievers? If the answer is “nothing,” why is that? Is it possible to also provide extra
musical experiences that will serve and benefit a wider range of students?
One music performance pathway to consider is an intergenerational learning model,
because it can be aligned with the values that I hold dear, such as inclusion, bold musical
interpretation, challenging literature, and emotionally moving performances. After studying the
benefits of an intergenerational learning model in a high school environment (Alfano, 2008), it is
my belief that a diverse range of students could potentially benefit—musically and socially—
from participating in an intergenerational district band. An intergenerational experience could
also benefit participating adults by providing opportunities to feel valued and appreciated, learn
teaching strategies and concepts from other adults, strengthen relationships with colleagues, and
network with professional musicians. In the absence of competition, collaborative learning
opportunities may strengthen the relationships between students, teachers, and community
musicians, ultimately elevating music education in our community. This study focused on
crafting an intergenerational district band. Importantly, this intergenerational district band did
not seek to replace the current practices of festival and honor ensembles, but instead sought to
explore an additional music performance opportunity for a wider population: students, teachers,
and community musicians.
Theoretical Framework
This study was framed by the following theoretical components: 1) Intergenerational
Curricula; and 2) Continuity Theory of Aging. These two theoretical works, Intergenerational
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Curricula (Heydon, 2013) and Continuity Theory of Aging (Atchley, 1989), are presented here to
support the rationale and logic on which the study is framed. These works provide a lens in
which educators may reexamine current practices in public school music education honor
ensembles and support the rationale to offer an intergenerational district band experience.
Heydon’s (2013) Intergenerational curricula includes three key components that were central to
the current study: formulation of identities, education for the present, and respect of personhood.
Intergenerational curricula. In the book, Learning at the Ends of Life: Children,
Elders, and Literacies in the Intergenerational Curricula, Rachel Heydon (2013) wrote about the
pairing of pre-school aged children and the elderly in intergenerational learning programs in
Canada. Through a discussion of many examples of intergenerational programs, Heydon (2013)
offered three ideas that were relevant to the crafting of the intergenerational district band of this
study: 1) Intergenerational learning provides opportunities for participants to formulate their
identities through their knowledge, strengths, interests, and communication; 2) Education does
not need to be viewed solely through a lens of preparation for the future. Instead, education can
be viewed in terms of its value, significance, and meaningfulness to the participants in the
present; and 3) Intergenerational learning should respect the participants’ personhood, which
includes considering the meaning that the activity holds for the individual and the group. All
three ideas were seen in the intergenerational district band crafted for this study. As will be
discussed ahead, the experience influenced the identities of participants, who saw themselves in
new ways. Participation in the intergenerational district band had an inherent value, and there
was a concerted effort to value the personhood of all participants.
Heydon (2013) shared a collection of data from intergenerational learning programs in
her book. This section includes a review of three intergenerational learning programs that were
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central to the development of Heydon’s intergenerational curricula. The description of the
programs is followed by a discussion of the three key components from Heydon’s
intergenerational curricula that shaped this study.
Picasso was an elder care facility that rented space to Picasso Child, a child care center,
which combined to make an intergenerational site-shared program (Heydon, 2013). Heydon and
doctoral candidate Tara-Lynn Scheffel crafted an exploratory, intergenerational art course in
which they lead classes and then gradually handed over control to site practitioners who were
early childhood educators and recreation staff. Heydon and the research team provided a book of
project lesson plans, samples of projects, art supplies, modelling, and workshops for the Picasso
staff (2013). In 3 years’ time, the Picasso intergenerational program expanded beyond visual art
to include other forms of intergenerational relationship building, including singing (Heydon,
2013). Despite the growth and reported success stories, the team with Picasso Child viewed the
time spent preparing for the intergenerational program as being outside the educator’s
preparation time. In this case, the intergenerational program did not integrate into the
institutional policies (Heydon, 2013).
When Heydon began visiting a facility named Watersberg, the intergenerational learning
program was less than 5 years old (2013). Unlike Picasso, from its inception Watersberg had
both elder care and child care with a desire from both sides to develop intergenerational
programming. The operating philosophy was to create an environment that was “home-like,”
with the presence of children that extended beyond visiting. Intergenerational programming was
to be both planned and spontaneous, and during the time Heydon was visiting, the program was
still developing a curricular component. The series of activities that were being carried out at
Watersberg were disconnected, and missing the components that develop communication or
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relationships. The staff had difficulty coming up with ideas. This program, although initially set
up with the intention of intergenerational learning, did not have comprehensive professional
learning for its staff and was in need of access to intergenerational literature, as well as a staff
member to work exclusively in intergenerational programming (Heydon, 2013).
Initially a nursing home, Blessed Mother was a mature, shared-site intergenerational
learning program (Heydon, 2013). The site was reimagined and transformed into neighborhoods
that encouraged intergenerational relationship building and learning through the Generations
Together Learning Center. There, Heydon observed 400 adults ranging from 29 to 103 years
old, with the average age being 89, and 125 children ranging from 6 weeks to 5 years old. She
conducted numerous interviews with the center director regarding the innovative elder and child
care, and the intergenerational art class. The director expressed that she did not want the elders
to feel cut off from the community. The intergenerational arts studio and the intergenerational
glee club provided opportunities for elder to engage in meaningful activities with young children
and in the case of the choir, high school students, which many found to be fun and enjoyable.
Additionally, the way Blessed Mother was set up allowed for many informal interactions
between children and adults. According to the program director, the social communication and
learning opportunities created through the Generations Together Learning Center was rich in
problem solving and language. In the opening of Learning at the Ends of Life, Heydon (2013)
offers an account of one of the intergenerational art lessons from Blessed Mother. She reported
that every single person in the room was engaged in thoughtful and focused activity, choosing a
mystery item and using it to inspire a drawing. For an hour and a half, no one stopped working
until the staff broke them up. The researcher reported that colleagues were in disbelief that 4-
and 5-year-olds were capable of being on task for such a long time. This account stayed with me
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and heavily influenced this study. I too have encountered colleagues in disbelief of various
musical and social accomplishments of middle school-aged students.
Formulating identities. A first key component of intergenerational curricula is based on
the notion that generational diversity provides an opportunity to expand one’s communication
and identity options. Meaningful engagement in diverse groupings of generations is fundamental
to one’s learning, personhood, and well-being (Heydon, 2013). When participating in an
intergenerational learning program, participants may experience different identities, seeing
themselves in a different light, based on their own knowledge, strengths, and interests (Heydon,
2013).
Education for the present. A second key element in Heydon’s (2013) intergenerational
curricula lies in the notion that there is value and benefits of education in the present. An
intergenerational music learning experience in a public school system could provide balance to
the students it serves by valuing their experience in the present over the mere development of
skills for the future. Although Heydon (2013) focused on learners at both ends of life, the
rationale and many of the findings of her project could be extended to middle school aged
children, young adults, current music teachers, and community musicians. While education is
largely framed as a means to improve one’s future, it also impacts life in the present. As Heydon
argued, “learning is not about preparation for the future but about what it can add to today”
(2013, p. 39). This is relevant to participants of all ages. However, for older adults who are no
longer preparing to enter the workforce, ascend in their careers, and face other typical life
milestones, this viewpoint validates the want and need to continue to learn. Elderly people can
improve their quality of life by actively engaging in learning opportunities. An intergenerational
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learning model could provide such an opportunity, which is consistent with continuity theory of
aging (Atchley, 1989).
Respect the personhood. An education that focuses on the delayed positioning of
children in the future is dehumanizing and unethical (Heydon, 2013). Intergenerational curricula
emphasize the impact of learning today and insists on being relevant and meaningful to all
participants, regardless of age or position (Heydon, 2013). In the intergenerational district band
in this study, all participants were considered when the program was being developed.
Continuity theory of aging. Atchley (1989) introduced the Continuity Theory of Aging.
According to this theory, middle-aged and older adults continue to make adaptive choices based
on their past social lives and experiences, to preserve and maintain internal and external
structures. As one ages, an adaptive strategy to negotiate changing social circumstances and
individual preferences is ongoing. Within this theory, continuity is defined as the consistency of
patterns of time, which includes the change and evolution of aging adults compared to their
pasts. Continuity in this context is not static, but adaptive.
According to Atchley, internal continuity is foundational for effective day-to-day
decision making because it allows one to master and develop competencies in skills (1989). The
researcher provided the example of persistent cognitive knowledge, which is a significant factor
of one’s ability to interpret and anticipate (Atchley, 1989). In an intergenerational district band
setting, a retired music teacher could potentially continue to develop musical performance skills,
and social skills such as mentoring, encouraging, and networking. Internal continuity is
necessary for one’s ego and self-esteem. It also motivates one to meet important needs such as
food, housing, transportation, clothing, social interaction, and social support (Atchley, 1989). By
contrast, physical and social environments, relationship roles, and activities are examples of
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external continuity (Atchley, 1989). As one ages, the expectations of new environments will
promote adaptation. External continuity is known to influence social support, self-concept,
coping with physical and mental changes, and personal goals (Atchley, 1989). While change is
constant in one’s life, the autonomy to make decisions and adapt are also essential to promote
wellbeing, even in the latest stages of life. To deny an elder the ability to adapt to new changes
is to deny them personhood.
Older adults still need social interaction. Music therapists, who endorse the continuity
theory of aging, often employ the following three strategies: (1) offer choice of music and music
activities, (2) provide social roles that match the personalities of their clients, and (3) foster
social interaction that allows clients to maintain their social statuses, in ways that make it
meaningful to them (Cohen, 2014). In the intergenerational district band from this study, older
community musicians could feel included by choosing roles that were in alignment with their
pasts.
Theorizing Successful Intergenerational Programs
In this section, I describe the characteristics of successful intergenerational programs.
These are important to consider when proposing a new program like an intergenerational district
band. The characteristics covered in the section include the repositioning of generational
hierarchies (Jarrott, 2007; Heydon, 2013), inclusion of socially marginalized groups (Heydon,
2013), improving and developing trends (National Council for Accreditation of Teacher
Education, 1990), dialogue (Alfano, 2008; Gee, 1996; Heydon, 2013; Noddings, 1992), and
intergenerational programming (Friedman, 1997; Heydon, 2013; Jarrott, 2007; Loewen, 1996).
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Repositioning generational hierarchies. Intergenerational learning programs should
seek to reposition generational hierarchies toward equal group status, in which participant
relationships are reciprocal and meaningful to everyone involved (Jarrott, 2007; Heydon, 2013).
Education is often viewed as a means to prepare students for their future and potential economic
contributions, which undervalues the importance of education in the present, and the experience
of the learners themselves (Heydon, 2013). An intergenerational learning ideal is to value one’s
educational experience in the present or “in the moment.” Regardless of the learner’s potential
or current earning power, each human being can be valued and viewed as equal as generational
hierarchies are repositioned.
The emergence of intergenerational curriculum and pedagogy have created opportunities
for communication and learning within the context of relationships (Heydon, 2013).
Intergenerational education programs encourage the learning of skills and increase a body of
knowledge by drawing on the fellowship between younger and older participants (Manheimer,
1997). Heydon (2013) further suggested that generational diversity is fundamental to people’s
learning and social development, including wellbeing and the development of one’s personhood.
According to Heydon (2013) the power dynamic between teachers and students can
narrow the identity options and potential of the learners, while in a collaborative setting, the
inverse is true. Intergenerational models based on collaborative work empower participants,
which is contrary to the suppressive nature of some authoritarian teacher roles. The curriculum
plays a large role in allowing for options in which educators and students can develop
collaborative relationships. The development of relationships, in turn, allows for the emergence
of positive benefits such as feeling valued, appreciated, and cared for (Heydon, 2013).
11

Including socially-marginalized groups. Heydon (2013) investigated the learning,
communicating, and relationship-building of young children and older adults. Both groups are
often socially marginalized, or positioned as inferior or deviant (Heydon, 2013). Through the
use of intergenerational learning models, both groups were given the opportunities for learning
and social growth. The intergenerational district band in this study took inspiration from this
idea and purposefully asked the participating middle school music teachers to nominate one
eighth-grade band student that was “hard working” and “deserving,” but not likely pass an
audition into the honor band. These students were referred to as middle achievers. In the spirit
of inclusion, the middle school music teachers were also asked to nominate one high achiever,
which is a “hard working” and “deserving” student that was likely to pass an audition into the
honor band. This practice intended to negate the social and musical positioning of audition-
based opportunities, because the validation of intergenerational programs do not need to be based
on anticipated outcomes. Instead of evaluating the child, the curricula itself and the
opportunities it provides should be the objects of evaluation (Heydon, 2013).
There are many lenses through which one could view populations that are not afforded
the privilege of participating in special programs and groups like an audition-based honor
ensemble. Additionally, there are many factors that could influence a student’s musical
positioning. This study aimed to provide opportunity to a mixed demographic, including music
students that may have been excluded from the district honor band. A nomination format served
and valued previously excluded groups of students, which might have included
socioeconomically disadvantaged, underrepresented, or otherwise under-supported
demographics.
12

Improving and developing trends. The standards for improving and developing trends
in the preparation of new teachers of the National Council for Accreditation of Teacher
Education (1990) align naturally with intergenerational models. These include: 1) intellectual
vitality: questioning the status quo; 2) professional community: shared vision; and 3)
professional conscience: commitment to inquiry, to knowledge, to competence, to caring and to
social justice (Hall, 1990).
The intergenerational district band from this study addressed all three standards. First,
the intergenerational district band questioned the status quo of the existing honor band model and
its selection process of auditioning students. Second, the intergenerational district band aimed at
promoting a shared professional community among musicians of all ages and specifically among
music teachers. Art, music and exercise classes for older adults and young children are some
examples of intergenerational learning programs that have been designed to promote
communication skills and identity options while building relationships between ages (Heydon,
2013). In the intergenerational district band from this study, the communication across
generations aimed at forging a sense of community. Third, this intergenerational district band
was designed with a commitment to the caring of socially marginalized groups, following the
rationale that participants benefit from the promotion of community and belonging through
intergenerational learning programs (Heydon, 2013). A sense of belonging is also crucial for the
spirit and wellbeing of children and adults alike. Well-crafted intergenerational learning
programs may play a role in the sense of belonging for their participants through learning,
communication and relationship-building (Heydon, 2007). Meaningful relationships are also
known to develop naturally when people work with others toward a common goal. For the
13

intergenerational district band in this study, the common goal of preparing and performing
together in a concert was viewed as an opportunity for meaningful dialogue to take place.
Dialogue. Dialogue allows teachers to explain the “why” behind their intentions and
gives learners the opportunity to ask questions, strengthening connections between teachers and
learners and contributing to the maintenance of caring relationships (Noddings, 1992).
Importantly, dialogue can be verbal and/or nonverbal. Eye contact and body gestures are
examples of conductor-performer dialogue (Alfano, 2008), along with verbal, informal
conversations. Dialogue also allows for
a socially accepted association among ways of using language, other symbolic
expressions, and “artifacts,” of thinking, feeling, believing, valuing, and acting that can
be used to identify oneself as a member of a socially meaningful group or “social
network” or to signal (that one is playing) a socially meaningful “role” (Gee, 1996, p.
131).
That is, dialogue is also a means to develop a sense of belonging. Engaging with others that are
different from oneself further allows for the benefits of intergenerational learning to manifest.
Even within heterogeneous groups, differing ideas can be communicated (Heydon, 2013). In the
intergenerational district band from this study, opportunities to engage with different groups and
heterogeneous groups were provided. Unsurprisingly, dialogue is crucial in intergenerational
learning models.
Intergenerational programming. In many intergenerational learning models
participants often contribute to programming. This is critical because programming can provide
a meaningful and relevant experience for participants (Friedman, 1997). Relevancy, in turn,
creates buy-in. Longer-term programming, as opposed to a one-meeting occasion, is also known
to be more meaningful as it helps to “reduce ambiguities about… relationship[s], lessen social
distance, and support intergenerational solidarity” (Jarrott, 2007, p. 6). During the programming
14

phase, a common goal can be established. Working toward a common goal can help
intergenerational participants achieve equal group status, in which all members contribute and
gain from the experience (Jarrott, 2007).
Several scholars have theorized about the characteristics or criteria for the success of
intergenerational programming. Friedman (1997) suggested the following essential criteria for
intergenerational programming: 1) benefit all participants; 2) last a sufficient length of time to
establish relationships; 3) serve the community; and 4) contain a curricular component. Heydon
(2013) suggested the following five criteria for programming an intergenerational activity:
1. Creation of strategies to (re)acquaint participants with each other and foster community
and a sense of safety;
2. Location of a catalyst for that day’s project that could induce conversations and activate
schema related to the subject matter and/or media to be used;
3. Employment of explicated instruction, modelling, and support to use the media in the
project;
4. Use of sustained opportunities to work on the project and to draw on fellow participants
for support;
5. Fostering of opportunities for participants to share their work with an audience (p. 28).
Loewen (1996) offered five basic characteristics of intergenerational programs, namely,
curriculum-based, relationship-based, reciprocal relations, community-based, and authentic
work. A description of Loewen’s (1996, p. 32) five characteristics is presented below:
1. The value of the learning activity is validated because it is recognized by an existing
curriculum.
2. Relationship-based interaction between teacher to student and student to student impacts
one’s motivation to learn. Structure and the means to develop caring relationships must
be present. Dialogue is essential in the sharing of ideas and thoughts, and can be allowed
before, after and during a rehearsal.
3. Intergenerational programs with reciprocity, in which all generations are gaining from the
experience, are strongest.
4. Community-based interactions in which participants are engaged in a learning activity
can provide an opportunity for life experiences to be shared, thereby developing a better
understanding of the community.
15

5. Authentic work interaction must be present, which should be directed toward a final
project “pertinent and worthy of great mental and physical energy” (Loewen, 1996, p.
32).
According to Lowen, the more of these characteristics present in an intergenerational program,
the more successful the program will be for its participants. These five characteristics, along
with the ones offered by Heydon (2013) were validated through intergenerational programs
discussed in more detail in the following section.
Statement of the Irritants
Irritants are aspects of current music education practices from my local area that I found
troubling. In this study, I aimed to address three irritants: 1) the exclusionary nature of honor
ensembles in public school settings; 2) the lack of opportunity for music teachers to work
together and learn from each other; and 3) the underutilization in education of our ever growing
older population. Each irritant is addressed in more detail ahead.
The first irritant addressed in this study is the exclusionary of honor bands in many
public schools across the United States, which celebrate students who are high achievers in
music performance, therefore excluding those who do not meet a predetermined level of musical
proficiency. Students’ musical skills are seen as valuable to the teachers and schools. Students
who meet a certain level of musical skills—evaluated through auditions— receive an additional
honor ensemble experience and reciprocate by performing publicly. Through their performing,
students project a positive image to the community of the quality of teaching and learning taking
place in the school district. The irritant in this model is that it is exclusionary; the majority of
students do not get into honors bands. Some of these students face challenges that impact their
ability to practice their instruments such as facing discouragement at home, lack of practice
supplies, or living in a home where practice is not allowed (Perez, 2012). Other excluded
16

students excel in music outside of the Western art music, like high achieving students who play
Mariachi music, in districts that do not have Mariachi bands. Thus, it is safe to state that district
honor groups generally do not represent the overall student population.
The second irritant is the lack of opportunities for music teachers to share their expertise
and experiences with one another. In Southern California School District (pseudonym),
professional development and teacher training has recently focused on professional learning
communities known as PLCs. The intention of PLCs is to encourage teachers to work
collaboratively to learn from and support each other within the same school. At my school, I am
the only music teacher, as is the case at other schools in my district. Research has shown that
music teachers experience professional isolation to varying degrees (Sindberg, 2011). An
intergenerational district band provides an opportunity for music teachers to work collaboratively
toward a common goal, which meets the desired intentions of PLCs.
A third irritant refers to the increasing number of elders in our population. The elder
population of people 65 and over in the United States is projected to be 83.7 million by the year
2050, which is nearly double the 43.1 million found in 2012 (Ortman, Velkoff, & Hogan, 2014).
These adults could be contributing to the education and wellbeing of our youth, particularly as
the number of children requiring additional care out of the home is rising (Jarrott & Bruno, 2007;
McCain & Mustard, 1999). Elders are also becoming more educated (La Porte, 2000), healthier
(Thompson & Wilson, 2001), and increasingly being recognized as potential sharers of valuable
knowledge (Illinois Intergenerational Initiative, 1997). Some have argued that they could be
viewed as a valuable resource, with the potential for creating a positive impact on American
children and youth (Henkin & Kingson, 1999). Research has also shown that the relationships
between elders and children are reciprocal, and children draw out, motivate, help with idea
17

formation, and find a sense of purpose to the elders with whom they are learning (Heydon, 2005;
2007). Additionally, intergenerational relationships outside of a child’s family have been
associated with more positive attitudes of aging people (Jarrott, 2007). That is, children may
benefit from seeing examples of lifelong learning (Brummel, 1989), and may develop an
increased empathy towards older adults (Schwalbach & Kiernan, 2002).
Remaining active and having the opportunity to prove oneself are lasting sources of
motivation to participate in music for older people (Bruhn, 2002). After retirement, social
activities become more important. Goals such as participation and belonging can be met through
playing music (Bruhn, 2002). On that note, healthy older adults have reportedly enjoyed music
making in choral groups (Darrow, Johnson, & Ollenberger, 1994; Frego, 1995), bands (Coffman
& Levy, 1997) and piano clubs (Conda, 1997). Music listening and music making can also
influence the perceptions of older adults regarding their quality of life (Coffman, 2002).
Intergenerational district bands may offer opportunities for older people to interact with former
colleagues and students, and continue to make meaningful contributions to the musical education
of young people.
To summarize: There are music students who are being excluded from the honor band,
but are willing and able to participate. These students are not afforded the same opportunity as
the high achievers. At the same time, district middle school music teachers often lack the
opportunity to work collaboratively and support each other’s professional development, as
intended in PLCs. The growing population of elders in the United States, in turn, could serve as a
valuable resource in an intergenerational learning model, providing reciprocal benefits to all
involved. To partly address these issues, an intergenerational district band was created and
studied.
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Purpose of the Study
The purpose of this study was to investigate the experiences of eighth-grade students,
high school students, music teachers, and community musicians involved in an intergenerational
district band. Specifically, I investigated the possible promotion, enhancement, and expansion of
musical learning experiences and social experiences as expressed by the intergenerational district
band participants through interviews, surveys, and focus groups. The intergenerational district
band crafted for this study was unique in that every element was carefully considered including:
how participants were chosen, the repertoire, the conductor instructions, and the format of
rehearsals. Among these crafted elements, I ensured that there were musicians with expertise in
every section and ample time for dialogue across ages. Although much was learned by younger,
less experienced musicians, I was equally interested in elements of reciprocity, namely what the
musicians with expertise gained from the experience of rehearsing and performing with younger
musicians.
Research Questions
Two main questions framed this study:
1. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the musical learning experiences of its participants?
2. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the social experiences of its participants?
Definition of Terms
The following definitions of terms are employed in this dissertation.
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Community musicians – Adult musicians who are not currently enrolled or employed by
the district. Community musicians were subcategories as college students, retired
teachers, and professionals.

Dialogue – A socially accepted association among ways of using language, other
symbolic expressions, and “artifacts,” of thinking, feeling, believing, valuing, and acting
that can be used to identify oneself as a member of a socially meaningful group or “social
network” or to signal (that one is playing) a socially meaningful “role” (Gee, 1996, p.
131).
Facilitation – A conscious effort not to dominate the leadership responsibilities, but
instead to include the members of the group in dialogue, decision making, and problem
solving.

High achievers – Music students considered by their teachers to be near the top of their
class relative to their classmates.
Honor band – A district band in which students from all middle schools within the same
district may audition for the ensemble, but only the highest achievers relative to their
peers are accepted.
Intergenerational – Between generations; a mix of age groups representing more than
one generation. In this study, different ages within a same generation were represented,
including eighth-grade through twelfth grade, college, music teachers, community
musicians of various ages, and retired teachers.
Intergenerational learning model – A model of intergenerational learning that refers to
a type of structure, i.e. one-on-one, family, small group, school-based.
20

Intergenerational program – A planned and implemented ongoing program that
intentionally seeks the known benefits of intergenerational learning, i.e. an
intergenerational art class pairing young children with elderly adults based at a nursing
home.
Intergenerational project – Like an intergenerational program, but in the initial stage of
implementation and has not proven sustainability. i.e. this study, an intergenerational
district band.
Middle achievers – Music students considered by their teacher to be near the middle of
their class relative to their classmates, but unlikely to be accepted in the district honor
band.
Assumptions
I assumed that the participants’ responses in questionnaires and interviews were honest.
All questionnaires were anonymous; names were changed from interviews to maintain
anonymity and protect the privacy of study participants. The names of the school district and
middle school site were also changed to protect their identities.
I assumed that the participant experiences would fall under two categories: musical
learning experiences and social experiences. I also assumed that musical learning experiences
would include guidance, wisdom, knowledge and skills pertaining to: instrumental performance,
ensemble directing and conducting, the possibility of multiple valid interpretations, programming
a concert, professional decorum, and use of relevant technology. Social experiences, in turn,
were assumed to include: the repositioning of generational hierarchies, breaking down of barriers
and stereotypes, promotion of community and belonging, maintaining caring relationships, gains
21

in attitude, strengthening of family dynamics, bonding within a community across ages, races,
ethnicities, and socioeconomic statuses, and the reaching and valuing of socially marginalized
groups.
Additionally, I anticipated that adult participants that I invited would be cooperative and
try their best to contribute to the success of the ensemble. I assumed that the adult participants
would be kind and respectful toward each other and that the younger participants would copy
this behavior. It was also my expectation that the intergenerational district band would sound
mature because of the high quality musicians that were invited and the high quality literature that
was selected. Both of these elements led me to believe that the musical interaction across ages
would be rich and meaningful. I believe that in an intergenerational district band, young people
can better understand who they want to be as musicians by working with outstanding musical
role models. This experience differs from a typical public school setting because of the authority
dynamic teachers have over students.
Limitations of the Study
I had previously taught many of the high school students who participated in the
intergenerational district band, so despite the anonymity of the questionnaires, some of them
might not have felt comfortable offering criticism. The same could apply to the adult
participants with whom I had previous work relationships or friendships. The use of video
recording of rehearsals may have affected some participants’ willingness to ask questions or
verbally contribute to group conversations.
The limited amount of time of the study may have participants’ willingness to engage in
disagreements. If the study had extended beyond five meetings, four rehearsals and a
22

performance, the participants may have been less agreeable and willing to confront opposing
ideas.
I am also aware that findings from this study are not generalizable, but specific to this
context. That is, the elements used to craft the intergenerational district band described in this
study, will likely produce different findings when applied to a different context.
Overview of Chapters
In Chapter 1, I presented the background for the study, including the theoretical lens, the
theorizing of successful intergenerational programs, and the life experiences that lead me to this
project. This chapter also included the statement of irritants, purpose of the study, and research
questions, along with the definition of terms, assumptions, and limitations. Chapter 2 includes a
review of literature of intergenerational music programs in the “real” world. Chapter 3 offers a
description of the qualitative methodology used in this dissertation, including my choice of a
bounded case study, the study participants, the procedures and tools utilized for data collection
and analysis, and the use of narratives to describe events and interviews. Chapter 4 presents a
narrative concerning the story of the intergenerational district band rehearsals and concert,
followed by five individual narratives based on interviews with members from the five
subgroups, namely, eighth-grade students, high school students, a college student, a music
teacher, and a professional musician. Narratives are succeeded by a brief presentation of data
from the participant and audience questionnaires that are meant to serve as a means of
triangulation, to support the narratives. Chapter 5 provides an analysis of the findings, including
how they relate to the theoretical framework, along with implications for research and practice in
music teaching and learning.
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Chapter Two: Review of Literature
In this chapter, I review the literature on examples of intergenerational music programs in
the “real” world. The examples are presented to first support the exploration of intergenerational
learning as a worthy endeavor, then bring awareness to the positive traits of successful programs,
and to finally portray them in real world contexts.
Intergenerational Music Programs in the “Real” World
Examples of existing intergenerational music programs are described here to display the
types of structures and benefits to participants that can result from intergenerational learning
experiences. The intergenerational district band crafted for this study was inspired by and based
on the experiences and successes expressed by participants who attended the programs described
in this section. The programs were categorized according to their main research orientations:
descriptive studies, quasi-experimental studies, and critical studies, although there are some
overlaps between them.
Descriptive studies. In this section, I review studies that focused on describing specific
intergenerational music programs.
The Intergenerational Jazz Masters Experience was a collaborative project encompassing
the Southeast Florida Center on Aging, the Jazz Studies Program of Florida International
University and the local surrounding public schools (Rotham, Dunscomb, & Dunlop, 1999).
This project received funding from the National Endowment for the Arts, the Florida Council,
the Dade and Monroe counties agency on aging and the private sector. This particular
intergenerational project aimed to recognize the lifetime achievements and continuing
contributions of the jazz artists, to provide an opportunity for their wisdom, knowledge and skills
24

to be passed down to the next generations, and to recognize the ability for jazz to communicate
across complex racial, ethnic, cultural, gender, and intergenerational boundaries (Rotham, et. al.,
1999). Three very accomplished masters, who have made tremendous contributions to jazz
music, were chosen to participate: Clarke Terry, Ira Sullivan, and Nat Adderley. In this model
the jazz masters engaged in rehearsals with the FIU Jazz Band and combos, performed in three
public schools, two senior centers and public spaces. In the case of Ira Sullivan, he performed
with the public school jazz bands as well. African-American and Hispanic community
performances were intentionally included to address their goals, with programming reflecting the
audience’s heritage (Rotham, et. al., 1999). Question and answer time was planned for audience
members, and throughout the experience the FIU students were allowed some unstructured social
time with the jazz masters.
The bonding of a community is a recurring theme of intergenerational learning models.
Rotham, et. al., (1999) assessed the Jazz Masters Program at Florida International University
(FIU) through questionnaires, interviews and observations. Through exposures to many
audiences, the jazz masters were given opportunities to share their experiences, skills and
wisdom. Prior to their interactions, some students had not associated talent and expertise to
elderly people. Yet, after their interaction, students only complained that the time they had with
the jazz masters was too brief. The social time with the jazz masters was the most interesting
part of the experience for one FIU student (Rotham, et. al., 1999). Students became more aware
of the history behind the music that they played and the contributions of musicians like the
visiting jazz masters. Audiences of diverse ages, races, ethnicities and socioeconomic statuses
responded well to the performances put on by the project, suggesting the barrier breaking quality
25

of jazz music (Rotham, et. al., 1999). This project intentionally used music to bridge the
community together.
The Mozart Mentors’ Orchestra targeted the most talented students of the New England
Suzuki Institute to play alongside the faculty to provide accompaniment for the Bowdoin College
Chorus and the Down East Singers (Antolini, 2013). The mentoring model idea came to Noyes,
director of the New England Suzuki Institute, from the Marlboro Chamber Music Festival in
Vermont (Antolini, 2013). At this festival, one professional player in each chamber group would
perform as a member of the ensemble (Antolini, 2013). Working alongside professionals
allowed students to hear multiple valid perspectives, with different interpretations of balance,
dynamics, and rhythm being shared and embraced in the intergenerational orchestra (Antolini,
2013). In a setting with experts performing in the orchestra, the conductor was not the exclusive
decision maker. Students had the rare opportunity to experience and participate in dialogue with
professionals (Antolini, 2013). The mentors within the ensemble were encouraged to provide
suggestions on bowing. Points of controversy were discussed and resolved, with the conductor
having the final say. The students were able to learn about the process and the logic used to
make the final determinations. The enjoyment and camaraderie derived from rehearsals
manifested in a noticeable “warmth” in the performance (Antolini, 2013). Additionally, students
were exposed and adhered to professional decorum. Students gained pride in belonging to an
ensemble with professional musicians and were able to perform in unique venues (Antolini,
2013). They also developed a confidence from their deeper understanding of the music they
performed (Antolini, 2013). Professional musicians educated the conductor on topics, including
new bowings, phrasings, tempi, and articulations (Antolini, 2013).
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Increasing educational outreach programs could potentially benefit young musicians in
the community while renewing interest in the arts (Blasing, 1998). Many independent music
teachers have students that play in youth orchestras, and part of their training includes side by
side concerts with teachers and professionals performing in the same ensemble which could, in
turn rejuvenate an aging and declining audience (Blasing, 1998). Current college students
studying music education are potential candidates for mentors within an intergenerational music
model. Service-learning provides opportunities to develop teaching practices and teacher
identities (Burton & Reynolds, 2009). Personal and social integration into the field of education
are also possible through service-learning (Burton & Reynolds, 2009). Meaningful service-
learning provides value to the community and aligns with objectives from the students’
coursework (Burton & Reynolds, 2009). As the authors suggested:
Students respond to a community’s articulated need(s), apply what they are learning in
the classroom to a real-world setting or problem, reflect critically during and after
engagement, celebrate their accomplishments with members of the community, and –
ideally – emerge with a new or renewed sense of commitment to continued civic
engagement (Burton & Reynolds, 2009, p. 18).

An intergenerational district band may provide relevant reciprocal learning opportunities for this
demographic.
Conway and Hodgman (2008) paired college-aged choir students and community choir
members ages 33-71 to form a collaborative intergenerational performance experience over 4
months. The researchers also collected data through an initial focus group interview with eight
college choir participants (n = 8), and an initial focus group interview with eight community
chorus participants (n = 8). Additionally, all 16 of these participants were asked to write two
journal entries, one at the beginning asking about preconceived notions about the project, and the
other asking to tell the story of one specific interaction, moment or experience that was most
27

memorable. After the project was completed, individual interviews were conducted with each of
these participants. The teacher-researcher also kept a personal log of collaborative interactions.
The older members reported that the experience elevated their musical and emotional energy.
The talents and knowledge of both sub-groups helped the choir improve to culminate in one of
the best recordings either group had made, according to one participant (Conway & Hodgman,
2008). The college students expressed that they felt respected, both by the way they were treated
by the older members of the community choir and by the seriousness in which the community
choir had prepared (Conway & Hodgman, 2008). As a unified group, they formed an ensemble
of musicians, irrespective of age.
Another interesting initiative was Interlink, an intergenerational choir developed by the
Canadian Mental Health Association (Frego, 1995). This intergenerational choir connected
senior citizens with elementary school children. Interlink was adopted by the Canadian Mental
Health Association because it was believed to improve each generation’s awareness and
appreciation for the other, bringing positive change to the community, fostering multicultural
awareness, and promoting good mental health (Frego, 1995). Social elements of the program
included letter writing, which began with letters from children randomly passed out to seniors as
a way to establish pairings. Letter writing continued on a weekly basis from September to
December. The seniors and children learned their music separately with their choral directors.
In December, the children rehearsed with the seniors and had a meal together. After the initial
meeting, children and seniors began rehearsing together, with the children performing next to
their adult partners. Joint rehearsals continued, culminating in a public performance in May
(Frego, 1995). The pen pal writing took place throughout the experience and in conjunction with
28

the separate rehearsals, yielded an eager anticipation for participants to meet their pair and sing
together.
Quasi-experimental studies. In this section, I review three quasi-experimental studies
that aimed at examining the effects of intergenerational music programs.
In a study involving an intergenerational choir involving community-based seniors and
college students, Bowers (1998) found gains in attitudes toward differing age groups. The
intergenerational choir rehearsals followed an ABA form, beginning with big band songs,
followed by social time, and concluding with gospel songs. At the winter concert the group took
a photo together as a keepsake for all members, and the concert was videotaped. After the
concert, the group met to view the concert video and volunteers provided refreshments. This
study used a pre/post attitude survey which were completed before the initial meeting and during
the week after the concert (Bowers, 1998). The author used a formal attitude assessment called
Age Group Evaluation and Description Inventory (AGED), which involved ratings of Goodness,
Positiveness, Vitality, and Maturity using a Likert-type scale from 1 to 11. Gains in attitudes
were greatest for seniors, representing an increase in positivity toward college-aged students.
Seniors and college students also enjoyed the partnership created through the intergenerational
choir. The author concluded that the study provided opportunities for positive interactions, and
for youth and seniors to get to know one another, and appreciate different generations (Bowers,
1998).
Belgrave (2011) examined the effect of a music therapy intergenerational program on
children and older adults in which fourth grade children engaged in singing, structured
conversation, moving to music, and instrument playing with adults over 10 sessions that were 30
minutes each. Pretest and posttest measures for child participants were administered utilizing the
29

Children’s Attitudes towards the Elderly, CATE (Jantz, Seedfeldt, Galper, & Serock, 1976). This
5-point scale contains 10 bi-polar adjectives rated from 1 being the most negative to 5 being the
most positive. The sum of the score from the 10 adjectives produced the total score. The older
adults’ attitudes toward children were also collected by pretest and posttest measures. The adults
completed the Age Group Evaluation and Description (AGED) Inventory (Knox, Gekoski, &
Kelly, 1995). The AGED was modified to be appropriate for use with young children. This
measure used a 7-point Likert-type scale, with 1 being the most negative to 7 being the most
positive. There were 28 bi-polar adjectives and the sum of the responses produced the total
attitude score. Bi-weekly post-session questionnaires were also used to show perceived feelings
of usefulness and other benefits. Results indicated that fourth graders who worked with older
adults on music activities were on task for the majority of the sessions. The children’s attitudes
toward the older adults improved, though not significantly. However, there was a decrease in
negative descriptions of older adults and an increase is positive descriptions of older adults.
Older participants’ views of the children’s goodness and maturity level also increased (Belgrave,
2011).
An intergenerational choir in Kansas paired community elders with high school students,
meeting for 90 minutes a week for 16 weeks (Darrow, et. al., 1994). The ensemble performed 12
times throughout the experience. In addition to rehearsals and performances, the elders and
students participated in social activities and took a trip together. Participants completed the Age
Group Evaluation and Description Inventory (AGED) to measure attitudes in a pretest and
posttest for all groups, including their own: teen males, teen females, senior males, and senior
females. The attitudes of the male and female subjects toward themselves and each other
declined, but their attitudes toward senior males and females increased. The senior male and
30

female attitudes toward the teens increased, with the attitudes toward male teens increasing the
most. Strengths of the program included a bridging of the generation gap, an opportunity for
elders to learn and practice musical skills, and an expansion of musical repertoire from different
eras (Darrow, et. al., 1994).
Critical case studies. In this section, I review studies that had some clear political
agenda, or, that aimed to break down some kind of barrier (i.e., age, ability, cultural stereotype)
and promote social justice. The first study reviewed in this section is the Amabile Boys and
Men’s Choirs. These programs, which were part of a community-based organization in London,
Ontario, focused on intergenerational music learning as a way to break down age-related
stereotypes of young singers through dialogue and shared musical experiences (Beynon &
Alfano, 2013). Likewise, the stereotypes about the older singers being unapproachable or
arrogant were erased when the younger singers found them to be a source of encouragement and
positivity. The program was initially designed for 30 unchanged voices, but evolved into a large
group of singers that ranged from child, youth, young adult, middle-aged and senior adult males.
In this model, once a boy’s voice changed, he was no longer removed from the boys’ choir and
left without a place to sing. Instead, they could continue to sing in one of the older choirs.
Progressing members had opportunities to mentor the younger singers in the organization, to
guide them through their changing of voices, and to provide a place where their singing is valued
and supported. By making music and spending social time together, and through the mentoring
process, many members of the Amabile choirs have expressed the breaking down of an age
barrier (Beynon & Alfano, 2013). The young often viewed the old as helpful and supportive,
and the older members appreciated the musicianship and growth of the young. Beynon and
Alfano (2013) reported that a natural synergy develops through the process of singing in
31

intergenerational choirs. In the Amabile Boys and Men’s choirs described by Beynon and
Alfano (2013), a family dynamic also evolved as fathers who have progressed through the
program now have sons singing in the choir.
Intergenerational music programs can also strengthen family dynamics. Bates (2012)
conducted a study to examine pedagogical methodologies of family music in north England.
This study had three stages: 1) two case studies of family music projects; 2) the findings were
applied to new musical family project design; 3) outcomes from the new project were discussed
at a symposium (Bates, 2012). The first case study was a series of Hindustani vocal workshops
provided by South Asian Arts – UK, requiring participants to follow traditional notation. The
second case study was a Family Orchestra workshop, provided by BBC Proms, in which the
participants played by ear. Both case studies included elements of a formal learning style, with
participants following prescribed instruction, and the Family Orchestra also had informal
learning. An example of informal learning in the Family Orchestra was playing by ear
throughout. Both case studies had informal intentionality, in which participants of the
Hindustani vocal class intended to learn technicalities of the music and the participants of the
Family Orchestra with no instrumental experience joined the choir section and intended to sing
well. In both case studies, there was merging of formal and informal learning (Bates, 2012). In
stage two of the research project, two locations were selected for family music projects, one rural
in north England, setting A, and one in the inner-city of Leeds, setting B. The musical session
included musical theater, African drumming, jazz improvisation, and junk percussion. The
participants at both locations included children below 5 years, children 5 – 11 years, children 11
– 16, and parents. Both settings experienced successful outcomes with formal learning styles.
Informal learning styles were more successful in setting A than setting B. Parents in setting B
32

did not take the lead. Setting A parents perceived their role as supporters of their child’s
learning, while parents in setting B perceived their role as learner, alongside their child. Bates
(2012) concluded that appropriate methodologies, such as formal or informal learning, should be
based on the families’ level of access to music, musical experiences, and roles in music learning
projects should be identified and employed.
In a study by deVries (2012), adult participants acknowledged the reciprocal learning that
took place while making music with children. This phenomenological study examined three
older Australians’ music making with children. Through open-ended, one-on-one interviews, the
data collected showed five themes from intergenerational music engagement: 1) the promotion of
social engagement; 2) the development of positive attitudes about young people; 3) music choice
was valued; 4) the older Australians felt valued and respected; and 5) the perception of
reciprocity in learning. In one case, a 72-year-old rock musician learned about Pro Tools, a
music technology program with which he was unfamiliar. Other participants became familiar
with Finale Notepad and i-pods. DeVries concluded that since youth are often more aware and
inclined to embrace technology, they can be a great source of information for the elderly. One
participant was a grandmother who played piano with her granddaughter. In this case, the child
was in many ways more advanced than the adult, and when they played together the child would
take the role of teacher. The intergenerational learning models provided a way of being together.
The older participants expressed that music making with children alleviated feelings of
loneliness (deVries, 2012). One participant volunteered as a piano accompanist for the local
primary school choir, and reported creating an expanded social circle. Five themes from
intergenerational music experiences emerged from the data: 1) the promotion of social
engagement; 2) the development of positive attitudes about young people; 3) the value of choice
33

in music making; 4) older Australians feeling valued and respected; and 5) the perception of
reciprocity in learning (deVries, 2012).
Children of various ages in public schools in Ohio and a senior citizen center took part in
an intergenerational music program that was studied by Warnick and Drenning (1994). An
educator from the senior center and teachers from the schools met in the summer to select themes
for a school musical. In the fall, students conducted interviews collecting data for the dialogue
for an original play. Students, parents, and teachers wrote the dialogue. Seniors and students
learned the songs, and students learned the dances from seniors and parents. In May, a public
performance of the musical was presented. Teachers reported positive benefits of the program
through the metaphor of “figurative bridges” built between students and senior citizens, as well
as the breaking up of age-related stereotypes. Seniors were also said to have access to experience
what was happening in the music programs at the local schools in their communities (Warnick &
Drenning, 1994).
The community built through intergenerational programs often transcends age
boundaries. In Chapter 8 of Community Music Today, Beynon and Alfano (2013) wrote about
the experiences of senior citizens and middle-aged adults learning to play in an adult concert
band at LaSalle Secondary School in Kingston, Ontario. In this initiative, the adult band
frequently rehearsed and performed with the adolescent band at the public school. At first, the
adults expressed apprehension about being on a high school campus and were leery of walking
the hallways for fear of what the teenagers would think of them. However, after engaging in the
music learning process in the concert band, participants—young and old— acknowledged the
breaking down of stereotypes, developing more positive views of the other age group. This
process allowed for the humanizing of an age group that would normally be distant in society
34

outside of this intergenerational model. With adult and high school participants as equally-
valued group members, adolescents did not consider themselves as outsiders amongst seniors,
and vice versa. However, opportunities like this are perhaps necessary for young people to see
adults as part of the greater us, of humanity.
In an earlier article, Alfano (2008) explained in detail the intergenerational learning and
guiding framework for the program at LaSalle Secondary School. In 1994, Alfano initiated a
music instruction program for senior citizens and middle-aged adults. The program taught
instrumental performance on woodwind, brass, and percussion instruments in a concert band
setting. The program met for 2 hours in the morning for five days a week for the entire school
year. There were over 70 adult students and most were between 65 and 85 years old. Many of
the adult students were learning an instrument for the first time. High school students on campus
have enrolled in the adult band for credit, or for peer tutoring credit.
There are elements from many of the above example that were used to model the current
study. Alfano (2008) framed the LaSalle Secondary School intergenerational program through
Loewen’s (1996) five characteristics of intergenerational learning: curriculum-based interaction;
relationship-based; reciprocal relations; community-based; and authentic work. First, as in the
LaSalle Secondary School band, the intergenerational district band from this study took was
designed to take place on a school campus, in alignment with the school music instruction
curriculum, which Alfano (2008) suggested adds an impression of importance and legitimacy.
Second, in the intergenerational district band from this study, participants were encouraged to
shared ideas, thoughts, and dialogue before, after, and during rehearsals like in the LaSalle band.
This practice, which relates to Loewen’s (1996) relationship-based interactions, may promote a
sense of care (see Alfano, 2008). Third, the LaSalle band had adults learning as equals with
35

students, which led to reciprocal relationships. Loewen (1996) suggested that when focus on one
group is emphasized, then the intergenerational interaction is lacking in reciprocity. The
intergenerational district band in this study departed from this, as it was designed to be a more
inclusive honor experience for middle school students. As will be seen ahead, the eighth-grade
participants were nominated and the music was chosen to be assessable to their level of
musicianship. Fourth, Loewen (1996) suggested community-based interactions facilitate a better
understanding of the community. Alfano (2008) notated that adults shared life experiences with
adolescents. Participants in the intergenerational district band in this study were also encouraged
to share life experiences and many thought of the band as a community. Fifth, Loewen (1996)
emphasized the importance of working toward a final product with mental and physical energy,
which the LaSalle band did. Like the LaSalle band, the intergenerational district band from this
study worked toward the common goal of a concert performance.
But unlike the Alfano’s (2008) LaSalle band, the intergenerational district band included
a more diverse age groups, in my quest to address the research questions:
1. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the musical learning experiences of their participants?
2. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the social experiences of their participants?
The expanded participant range was chosen to contribute to furthering research on
intergenerational music learning. In the intergenerational district band from this study, multiple
age groups and multiple stages of musical development were selected to create a much more
diverse group than the ones previously studied. The mixing of these sub-groups would offer
36

insights into the potential of intergenerational learning models in the development of music
learning and social learning.
Also unique to this study, a great deal of care went into deciding who was invited to
participate alongside the children in the intergenerational district band from this study. I
anticipated musical learning and social learning to take place through the extended amount of
time spent together. The question that ran through my head while crafting this intergenerational
district band was the same question I heard British music educator and reverend June Boyce-
Tillman ask during a presentation at the meeting of the International Society for Music Education
(ISME) in 2012: “What kind of person is it good to be?” My personal values were reflected in
who I invited. Musically, it is good to be experienced, well learned, bold, and open minded.
Socially, I believe that it is good to be kind and gentle. Therefore, the students who spent time in
this intergenerational district band were participating with musical and social role models.
Anticipated Musical Learning Experiences and Social Experiences
Based on the literature reviewed in this chapter, the following musical learning
experiences were anticipated for the participants in this intergenerational district band: 1)
wisdom, knowledge, and skills (Rotham, et. al., 1999); 2) multiple valid perspectives (Antolini,
2013); 3) developing teaching practices (Burton & Reynolds, 2009); and 4) elevated musical and
emotional energy (Conway & Hodgman, 2008). The anticipated social experiences for the
participants of the intergenerational district band were derived from the theoretical framework
and section theorizing successful intergenerational programs, in addition to the literature
reviewed in this chapter. The anticipated social experiences included: 1) formulating identities
(Heydon, 2013); 2) repositioning generational hierarchies (Heydon, 2013; Jarrott, 2007); 3)
breaking down barriers or stereotypes (Alfano, 2008; Beynon & Alfano, 2013; Rotham, et. al.,
37

1999; Warnick & Drenning, 1994); and 4) gaining new positive attitudes toward differing age
groups (Belgrave, 2011; Bowers, 1998; Darrow, et. al., 1994).
Chapter Summary
In this chapter, I examined intergenerational learning through the presentation of
theoretical works, discussion of characteristics of successful programs, and descriptions of
intergenerational programs from the “real” world. The existing literature offered both
descriptions of successful programs and their main characteristics, and a rationale for adopting
intergenerational learning as a means to explore a special type of music performance opportunity
to a wider population: students, teachers, and community musicians. Furthermore, the literature
suggested that there was a limitation in the range of participants in intergenerational district
bands, which the proposed study attempted to address.

38

Chapter Three: Methodology
Study Design
In this qualitative study, I adopted a bounded case design and utilized narratives to
describe participants and events. As stated by Egbert and Sanden (2014), “a case study is
research that aims to provide description that enriches understanding about a specific individual,
situation, or phenomenon” (p. 79). As Creswell (2013) added, “a qualitative case study can be
composed to illustrate a unique case, a case that has unusual interest in and of itself and needs to
be described and detailed” (p. 98). With this study, I aimed to enrich the understanding of
intergenerational district bands within the context of a public school district. Identities,
relationships, and reciprocal learning were phenomena of interest, specifically from the
perspectives of the participants. A real-life, current context provides the setting for a case study
(Yin, 2009). In this case the setting was an intergenerational district concert band. With
structured rehearsals and a performance, this case was a bounded system, bounded by time and
place (Creswell, 2013). Over time, in-depth and detailed data were collected through multiple
sources, including: field notes, video review, focus group interviews of eighth-grade students and
high school students, interviews with a college student, music teacher, and professional
musician, participant questionnaires, and audience questionnaires. This study took place over
four rehearsals lasting 3 hours each, and culminating in a final performance.

39

Table 1
Crafted Elements of the Intergenerational District Band
Crafted elements Description
Conductor instructions Allow participants ample time for dialogue
and opportunities for input.
Adult participants Extend invitations to individuals known to be:
Great musicians
Kind and gentle
Eighth-grade students Nominated by teachers based on the criteria:
“hard working” and “deserving”
High achiever and middle achiever
Wider population District students: nominated eighth-graders
and high schoolers
Music Teachers
Community musicians:
College students, retired teachers, and
professionals

As shown in Table 1, this intergenerational district band was a unique case because many
elements were carefully crafted. These included creating special instructions for the conductor to
allow participants ample to time engage in meaningful dialogue; inviting adult participants based
on the band’s instrumentation needs, their musicianship, and who I considered to be socially kind
and gentle. Additionally, eighth-grade students were not chosen based of their musical ability
like in the traditional audition model, instead they were nominated by their teachers based on the
following criteria: being “hard working” and “deserving.” I asked the music teachers to use their
judgment, but described deserving students as those who appear to give their best effort and
model outstanding citizenship. When selecting students, music teachers were also asked to
nominate a high achiever student, an eighth-grade student near the top of their class in musical
ability, and a middle achiever student, or an eighth-grade student near the middle of their class in
musical ability, but unlikely to be accepted into the district honor band. These instructions were
40

intended to promote the inclusion of students with mixed abilities, who would still be capable to
perform the music. Lastly, I purposefully ensured a wider population in the intergenerational
district band, which included three groups: 1) students currently enrolled in the district, including
eighth-grade students who were high achievers and middle achievers, and high school students;
2) music teachers; 3) community musicians, including college students, retired teachers, and
professionals (see Table 2).
Table 2
Participant Groups and Subgroups
Participant groups Subgroups
40 Students Eighth-grade high achiever
Eighth-grade middle achiever
High school
7 Music Teachers None
17 Community Musicians College student
Retired teacher
Professional

All participants were socially positioned as equals working toward a common goal, although
their musical positioning ended up varying greatly depending on their ability and expertise.
I chose to target eighth-grade students because they are the oldest middle school grade
which expands the repertoire options for the ensemble. Such choice was also informed by my
experience teaching and programing for middle school ensembles. Additionally, eighth-grade is
the last year of music performance before entering the high school music programs, which often
have different philosophies and values than their middle school counterparts. I recruited high
school students from the two local high schools to help fill out the instrumentation needs of the
band. Initially, I had anticipated participation from all 12 schools in the district. However, some
41

of the middle schools in the district were unable to participate due to performance conflicts and
others were nonresponsive. I did not include my own middle school students for ethical reasons.
In order to have a complete instrumentation in the band, I recruited many of my former students
and their friends. Middle school band teachers from the 12 schools were recruited to participate.
The invitation was extended to all other band teachers in the district. Music teachers outside of
the district that I have personal relationships with and were close in proximity were also invited.
The community musicians fell under three subcategories: 1) college student; 2) retired
teacher; and 3) professional musician. The college students had an interest in music performance
or music education. It was hoped that these young adults had leadership opportunities and
inspired district students to continue making music beyond high school. Retired teachers were
welcomed because their inclusion would be valuable – musically and socially aligned with
continuity theory of aging (Atchley, 1998). Professionals were purposefully invited to provide a
fresh perspective to musical interpretations and performance that would be completely removed
from the competitive school music culture. It was hoped that their inclusion would inspire and
have a positive influence on all participants. Additionally, I hoped that reciprocal relationships
would develop through this collaborative experience, including performance opportunities and
clinician opportunities.
I presented and framed the data to represent the following five perspectives: 1) collective
group experience; 2) eighth-grade student – informed by a focus group interview with five
eighth-grade students; 3) high school student – informed by a focus group interview with two
high school students; 4) college student – informed by an interview; 5) music teacher – informed
by an interview; and 6) community musician – informed by an interview. Field notes, analysis
of video footage, and questionnaires offered insights into the collective group experiences.
42

Study Context and Access
This study was conducted in facilities in Orange County, California. Rehearsal for the
intergenerational district band were held at a school within the district. The final concert was
held at the same school. The University of Southern California Institutional Review Board
approved this study as Exempt Research (Appendix A). An information sheet was sent to all
participants (Appendix B). A recruitment letter was sent to all adult participants, found in
Appendix C. The recruitment letter to music teachers for eighth-grade nominations is found in
Appendix D. An invitation was sent to all nominated eighth-grade students (Appendix E). High
school students were sent a different invitation (Appendix F).
Researcher Positioning
As the author and researcher of this qualitative study, I deemed it appropriate to position
myself. Egbert and Sanden define epistemology as “the individual lens, created through our
world view, that we use to understand knowledge in the world” (2014, p. 17). I identify with the
subjectivist epistemology defined by Egbert and Sanden, or the notion that “understanding is
wholly reliant on the meaning ascribed by the subject” (2014, p, 22). In this study, I anticipated
different understandings and interpretations from participants of the intergenerational district
band. As Egbert and Sanden suggested, none of the understandings would be labeled “Truth,” as
the knowledge reported by participants would be ultimately based on their perceptions, which
were passive of change in time (2014, p. 22). That is, I am in no way presenting the findings of
this study as a universal truth; I am merely reporting on the experiences of the study participants,
who came from a specific community.
43

Concerning paradigm, Egbert and Sanden define it as “a researcher’s specific stance on
how knowledge—as defined by that same researcher’s epistemological perspective about the
nature of knowledge—can be revealed” (2014, p. 32). I am an interpretivist, and, therefore,
agree with the ideas presented in Egbert and Sanden’s explanation of the Interpretivist (or Post-
Positivist paradigm), that: 1) “objectivity is a useful but not necessarily attainable ideal,” and 2)
“reality is multilayered and complex and a single event can have multiple interpretations” (2014,
p. 34). Thus, my position in this study is that I believe knowledge to be subjective and that
reality is complex, multifaceted and subject to different interpretations.
Role of the Researcher in the Study
As the author of this study, I played a large role in crafting, planning, and organizing the
intergenerational district band. I recruited Mr. Morris and asked that he follow special
instructions: defer to the expertise in the room, allow many opportunities for dialogue, and share
the musical decision making processes with others. Together, Mr. Morris and I selected music
for the intergenerational district band, with Mr. Morris having the final say in what the band
would perform. I invited adult participants that I thought were outstanding musical and social
role models, and had a character that I would describe as kind and gentle. I asked the middle
school music teachers to nominate at least one eighth-grade high achiever and one eighth-grade
middle achiever. I ensured that the band had a balanced instrumentation, and that there was a
wide population of participants that included: 1) students: eighth-grade and high school; 2) music
teachers; and 3) community musicians: college students, retired teachers, professionals.
On the first meeting, I addressed all the participants and greeted some parents. I
explained how my role would be an observer. After the initial greeting, I took field notes and
observed. Between rehearsals, I spoke with Mr. Morris about how the intergenerational district
44

band was doing and any changes that could be made to ensure a successful experience for all
involved.
Recruitment and Ethical Considerations
To recruit participants, initial emails were sent out to all district middle school band
teachers (Appendix D) along with student invitations (Appendix E). A follow-up phone call was
used to reach out to all nonresponsive teachers. Invitations were also sent by email to other band
teachers in the district and to the directors of two local community college bands (see Appendix
C). Recruitment efforts also included a visit to one local high school, where I recruited high
school students (see Appendix F) and to a local community college band rehearsal (see Appendix
C). Facebook was used to recruit friends who could be potentially interested in participating and
phone calls were made to professional musicians that I knew personally to recruit. I met with
Luke, a professional trumpet player, to see if he had additional names of people who would be
willing to participate. I booked the New Orleans style brass band and a jazz quintet to ensure
that some professionals would be there (see section on Hired Musicians). When professionals
backed out of the commitment, I asked them for numbers of potential substitutes. In addition to
all of the abovementioned recruitment strategies, I also visited two of the local music store where
private lesson teachers work and left recruitment letters to adult participants (Appendix C).
Informed consent was obtained verbally from all participants (see Appendix B),
following the directions from the USC IRB office. Participants were informed that all data
collected for the purpose of this study was anonymous and that no identifiers would be used at
any time. Participation was completely voluntary, and participants were informed that they were
free to withdraw their participation from the study at any time.
45

It should be noted that all adults were made aware of the spirit and intention of this
intergenerational district band (Appendix C). They were informed that the purpose of this study
was to investigate the possible promotion, enhancement, and expansion of musical learning
experiences and social experiences of intergenerational district band participants.
Participants
In total, 64 individuals took part in the intergenerational district band, including 18
eighth-grade students, 22 high school students, seven music teachers, five college students, two
retired teachers, and 10 professionals. At the concert, I had a 62-piece band because one
participant could not attend due to a conflict. Mr. Morris conducted, which made 63 participants
in total. Initially, I had asked each middle school band teacher to nominate two students: one
high achiever and one middle achiever. The teachers were not asked to consider gender when
nominating students. Eight of the 12 middle schools in the district participated, so I asked the
participating teachers to extend additional invitations at their discretion. To aid in the process, I
created an online document displaying only the instrumentation, so that each teacher could
review the instrumentation needs as they considered which students to invite. This online
document went largely unused. Upon receiving confirmation from the participating eighth-grade
students, I recruited the remaining instruments that the band needed. In my recruitment efforts, I
ensured that there would be at least one adult musician in each of the following sections: flute,
clarinet, saxophone, double reed, trumpet, low brass, and percussion. In the following sections, I
offer a detailed description of the three groups that took part in the study: students, music
teachers, and community musicians.
46

Students. The student participants were categorized into two subgroups, eighth-grade
students and high school students. Only the students who participated in the focus groups were
described in detail.
Eighth-grade students. There were 18 eighth-grade students in the intergenerational
district band, and coming from eight different public schools from a district in Orange County,
California. These students were both male and female, ranging from 13 to 14 years old. The
students from this district had a rich musical background. In this district the musical curriculum
includes general music education from kindergarten through third grade. District-wide, all fourth
grade student take bi-weekly music classes of either choral singing or instrumental string
instruction. In fifth-grade, the additional option of wind instruments is offered. Once students
enter sixth grade, they may choose from an array of elective classes, which in most cases
includes concert band, orchestra, and choir or musical theater. In middle school, or between
sixth-grade through eighth-grade, these classes are approximately 55 minutes long.
The eighth-grade students from this study fell under two subcategories, high achievers
and middle achievers. The eighth-grade high achievers were defined as possessing the highest
musical performance skills relative to their peers. The eighth-grade middle achievers were
defined as “hard working” and “deserving,” but unlikely to be accepted in the district honor
band. The middle school music teachers from the district were asked to nominate one student
from each subcategory. After it became clear that only eight schools would participate, the
music teachers were asked to extend more nominations as they deemed appropriate. I did not
track which eighth-grade students were high achievers or middle achievers, as their designation
was only important in terms of the inclusion of middle achievers. Once they joined the band, all
students were treated as equals. In Table 3, eighth-grade students are listed by instrument.
47

Pseudonyms have been used to preserve their identities. An asterisk (*) next to the names of
students indicates those who participated in the focus group. Names in bold indicate participants
that appear later on in the narrative.
Table 3
Eighth-Grade Students with Instrumentation
Eighth-grade students Instrument
Brian* Flute
Jolene Flute
Rebecca Flute
Alexis Flute
Natalie Flute
Brenna Flute
Blake Oboe
Danielle Clarinet
Carly Clarinet
Chelsea* Tenor saxophone
Lindsey Trumpet
Anthony Trumpet
Marcus Trumpet
Thomas* French horn
Jesse* Trombone
Ana Trombone
Alana* Percussion
Klay Percussion

 Brian had played flute for 3 years, piano for 7 years, and trumpet for 1 year. He had his
own instrument. Both of his parents worked outside of the home.
 Chelsea had played tenor saxophone for 4 years. She started playing piano, then
switched to cello, and then switched again to tenor saxophone. She used a school
instrument and owned her own instrument. Both of her parents worked outside of the
home.
48

 Thomas had played French horn for 3 years. He also played trumpet and piano. He
began piano lessons in second grade. Thomas used a school instrument and owned his
own instrument. Both of his parents worked outside of the home.
 Jesse had played trombone of 4 years. He started in fifth-grade. He did not play any
other instruments. Jesse had his own instrument. His father worked outside of the home
and his mother was a homemaker.
 Alana had played percussion for 2 years and played four other instruments: cello, piano,
ukulele, and guitar. She had her own instrument, and both of her parents worked outside
of the home.
All the eighth-grade students from the focus group had bright and happy dispositions.
They were respectful toward each other. They allowed each other the opportunity to speak and
they listened to what their peers had to say.
High school students. As noted, high school students from two local high schools within
the same district were recruited with aim of filling out the instrumentation of the
intergenerational district band so that the sound was balanced. One of the motivations to do this
was a consideration of the quality of the concert performance or the final product of the
intergenerational district band, which needed to be of a very high quality. For ethical reasons, I
was unable to invite my own eighth-grade students to participate in the band because I have a
supervisory role over them as their teacher. I was able to invite my former students because I no
longer have a supervisory role over them, many of which were happy and enthusiastic to play in
the intergenerational district band. Some of my former students also brought friends from their
schools to participate. There were 22 high school students in total. Table 4 includes a list of the
high school students organized by instrumentation. The high school students represented all four
49

grades, from freshman to senior. An asterisk indicates participation in the focus group. Again,
the names in bold indicate participants that appear later on in the narrative.
Table 4
High School Students with Instrumentation
High school students Instrument
Kimberly Flute
Maria Flute
Stefanie Flute
Illiana Flute
Emiliano Oboe
Dennis Clarinet
Kayla Clarinet
Isla Clarinet
Claire Clarinet
Josh Bass clarinet
Patrick Alto saxophone
Eric Alto saxophone
Matthew Tenor saxophone
Jocelyn Tenor saxophone
Gary Trumpet
Tyler Trumpet
Shelby Trumpet
Alex French horn
Jill* French horn
Tim* French horn
Jason Euphonium
Romeo Percussion

 Jill had been played trumpet for about 1 year and French horn for a few months. She
played in the lower concert band, marching band, and the symphony. Jill owned her own
trumpet, but used a school French horn, and had a stoic disposition.
 Tim had been playing French horn for 8 years, and used an instrument from the school.
He started on trumpet in elementary school. He played in the top concert band at his high
school and the marching band, and was slightly more outgoing than the other students.
50

Both Jill and Tim were cooperative during the interview, but provided rather short
answers.
Music teachers. Teachers from all 12 middle schools were invited to participate in the
intergenerational district band. Three of the middle teachers participated, Mr. Morris the
conductor, Ms. Mason, and Mr. Fisher (all pseudonyms). Additionally, I invited all other band
teachers from the district, including elementary and high school teachers. Ms. Randle, an
elementary music teacher and amazing flutist joined the band. Ms. Ford, Mr. Lopez, and Mr.
Santana were music teachers from outside the district, but close in proximity. I have personal
relationships with all three and invited them to participate as well.
In the recruitment letter to adult participants (see Appendix C), they were asked to
respond with their name, age, occupation, and instrument. Only one adult participant, Ms.
Randle, completed this task, and it is unclear why this happened. Perhaps the remaining
participants were uncomfortable or unwilling to share their personal information, or this request
may have been overlooked. In any case, I did not ask the participants a second time for this
information. A general description of each music teacher is offered below, based on my
observations and interactions with them.
 Mr. Morris was likely in his 50s, and displayed a very calm and caring personality. He
was an experienced and well-respected middle-school music teacher who taught band and
orchestra. Having heard his ensembles perform for years, I can report that his bands and
orchestras always sounded great.
 Ms. Randle was in her 40s. She was a beloved elementary music teacher, as reported by
her former students in the intergenerational district band. She earned a Master’s degree
in flute performance from the University of Southern California. Her musicianship and
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musical interpretations throughout the intergenerational district band were of the highest
quality. Her personality could also be described as calm and caring.
 Ms. Ford earned a Doctorate in music education from the University of Southern
California. She was one of the oldest participants in the intergenerational district band,
and was among the most enthusiastic participants. She also had a caring and warm
personality.
 Mr. Lopez was in his 30s and is an old friend. He taught at a high school outside of the
district. He was a French horn player who had a very high level of musicianship.
 Mr. Santana earned a trombone performance degree from Oberlin. He earned a Master’s
degree in music education from the University of Southern California, and taught at a
high school outside of the district. He was an outstanding musician, who performed
regularly on trombone. His personality was very big; he could be described as happy,
joyous, and always good for a laugh.
 Ms. Mason taught at a middle school in the district. She was an excellent teacher and a
great colleague to work with. Ms. Mason played euphonium in the intergenerational
district band, which was a secondary instrument for her, as her primary instrument in
saxophone.
 Mr. Fisher also taught middle school in the district. He earned a Master’s degree in Tuba
performance from the University of Southern California. His playing in the
intergenerational district band was inspirational and of the highest quality.
It should be noted that some music teachers (e.g., Ms. Randle, Mr. Lopez, Mr. Santana,
and Mr. Fisher) identified as both music teachers and professional musicians, namely. In these
cases, they have been listed under music teachers so that they did not appear in the participant
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data as duplicates. In Table 5, participating music teachers are listed by instrument, and once
again, Mr. Lopez has an asterisk next to his name because he took part in an interview. Names
in bold indicate participants that appear in the narrative.
Table 5
Music Teachers with Instrumentation
Music teachers with approximate age Instrument
Mr. Morris, 50s Conductor
Ms. Randle, 40s Flute
Ms. Ford, 60s Flute
Mr. Lopez*, 30s French horn
Mr. Santana, 30s Trombone
Ms. Mason, 30s Euphonium
Mr. Fisher, 40s Tuba

Community musicians. The community musicians were divided into three groups:
college students, retired teachers, and professional musicians. The college students from this
study had an interest in music performance or music education. The retired teachers had recently
retired from this district. The professional musicians were accomplished musicians who either
performed for a living or to supplement their income. A description of the different types of
community musicians is offered ahead.
College students. Five college students took part in the intergenerational district band:
Jen, Nick, Rory, Brandon and Kyle. Each is described in more detail ahead.
 Jen was 18 years old. Her primary instrument was tenor saxophone, but to help fulfill the
instrumentation needs she agreed to play clarinet. She graduated from one of the two
local high schools included in this study and her brother was Thomas, the eighth-grade
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French horn player. She was in her first year of college pursuing music education as her
major, and had a very bright and happy personality.
 Nick was approximately 21 years old. I met him when I visited a local community
college to recruit musicians. He was very helpful and brought a positive attitude to the
intergenerational district band.
 Rory was approximately 20 years old. In addition to studying music in college, he was
also a marching band coach at one of the two local high schools, and a member of the
Blue Devils Drum and Bugle Corps. His demeanor was serious, but kind. He took the
music and the opportunity to work with young people very seriously, and always wanted
to help others.
 Brandon was approximately 20 years old. He played drum set in a jazz combo with Jen.
He was very helpful and more than willing to teach and demonstrate for the younger
musicians.
 Kyle was 18 years old. A former student of mine when he was in middle school, Kyle
was very kind, optimistic, and respectful. He seemed happy to be a part of the
intergenerational district band.
Table 6 includes the pseudonyms of all five college students and their main instruments.
An asterisk appears next to Jen because she participated in an interview. All college students
appear in the narrative.

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Table 6
College Students with Instrumentation
College students with approximate age Instrument
Jen*, 18 Clarinet
Nick, 21 Trumpet
Rory, 20 Trumpet
Brandon, 20 Percussion
Kyle, 18 Percussion

Retired teachers. As described earlier, I extended invitations to the few retired teachers
that I personally knew from the district, and was happy to receive confirmations from two of
them. Both appear in the narrative.
 Mrs. Watson was a retired elementary music teacher who played oboe in a local
symphony. She also volunteered with the Orange County Philharmonic Society which
provides scholarships for lessons to deserving students in the area. She was excited to
perform with many of her friends and colleagues. She was also excited to see Kyle, the
college percussionist in the band, as she taught Kyle when he was in fifth-grade. She
remembered him because he was a polite and pleasant student that was in need of an
instrument. Mrs. Watson gave Kyle his first clarinet. They were both excited to see each
other and grateful for the opportunity to perform together.
 Mr. Harmon retired one year prior to this study. He was a middle school music teacher,
with whom I had the pleasure of working alongside, in the early years of my career. He
was a great mentor. His was both friendly and funny, and an accomplished trombone
player. His former students were excited to see him again because “he was the best.”
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Professional musicians. There were 10 professional musicians who took part in the
intergenerational district band. One took part in an interview, but I have personal relationships
with four who are described in more detail here.
 Charlie, who was likely in his 40s, played many woodwind instruments. He frequently
played saxophone in popular music ensembles, and we met on a jazz gig through a
mutual friend. It turned out that he also teaches private lessons to one of my students. He
was warm and happy, and very enthusiastic about playing and talking about music. In the
intergenerational district band he played clarinet, and his jazz quintet performed at the
intergenerational district band concert.
 Jeanie was likely in her 30s. She earned a Bachelor’s degree in saxophone performance
from the University of Southern California. She also earned a graduate degree and was
working in another field, although she performed regularly. At the concert, she
performed with the New Orleans style brass band that included Kenny, Luke, Hayes,
Paul, David, and Will.
 Luke was a professional trumpet player, who had a Doctorate in jazz studies from the
University of Southern California (as did Will).
 Paul, a former student, was a professional trombone player, with a Master’s degree in
trombone performance from California State University, Long Beach.
All professional musicians were kind and helpful to their younger counterparts. They brought
much spirit and positive energy to the intergenerational district band and were the source of
many smiles. In Table 7, the professionals are listed with approximate ages and instruments. An
asterisk appears next to Luke to indicate his participation in an interview. The names in bold
indicate an appearance later on in the narrative.
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Table 7
Professional Musicians with Instrumentation
Professional musicians with approximate
age
Instrument
Charlie, 40s Clarinet
Jeanie, 30s Alto saxophone
Kenny, 30s Tenor saxophone
Trent, 20s Baritone saxophone
Luke*, 30s Trumpet
Hayes, 30s Trumpet
Paul, 20s Trombone
Max, 20s Trombone
David, 30s Tuba
Will, 30s Percussion

Hired professionals. It is important to disclose that some professionals were hired to
perform music in ensembles separate from the intergenerational district band. For the
performance night, I hired Charlie’s jazz quintet and the New Orleans style brass band to
perform. I thought it would enhance the evening and provide an enjoyable live music
opportunity for the audience and participants alike. All members of the New Orleans style brass
band sat in with the intergenerational district band at the concert which included: Jeanie, Kenny,
Luke, Hayes, Paul, David, and Will. Jeanie, Luke, and Paul had been participating in the study
already. By hiring the New Orleans style brass band, I was able to add four professionals to the
ensemble. While Charlie was already participating in the intergenerational district band, the
other members of his quintet did not.
Pseudonyms. The following pseudonyms were also used for the names of schools and
district: Ocean View Middle School (OVMS), Beachside High School (BHS), Hillside High
School (HHS), and Southern California School District (SCSD).
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The Intergenerational District Band Experience
In a number of ways, this intergenerational district band was different from a typical
community band. I provided specific instructions for Mr. Morris on how to conduct the
rehearsals and followed the intergenerational programming suggestions presented in the writings
of Heydon (2013) and Loewen (1996). Expert musicians, who were specifically kind and with
gentle personalities, were invited to take part in the ensemble. Likewise, the eighth-grade
students were nominated based on the values of being “hard working” and “deserving,” as well
as on the basis of their musical skills (e.g., being a middle or high achiever). And finally, to
ensure a wide population, different groups of people— students, music teachers, community
musicians—were brought together. This grouping is unlikely to occur naturally and was intended
to serve previously excluded eighth-grade students while taking interest in the musical learning
experiences and social experiences of all participants.
I assigned the seating for the intergenerational district band with the intention of enabling
the musicians with more expertise to have the greatest impact on the ensemble. In most cases,
the adult musicians were seated in between student musicians. In the sections that had multiple
adult musicians, like the trumpet section, an adult musician was seated on each part. The
rationale for this seating was to provide musical models throughout the intergenerational district
band and lessen the pressure and demands of the less experienced musicians.
Sectional time was scheduled to allow for both: dialogue and the working out of
challenges in smaller groups. Sectionals provided opportunities for participants to lead, ask
questions, and share ideas. On the third meeting, the format changed with sectionals being
combined into three groups: woodwinds, brass, and percussion. Initially, each rehearsal was
planned to have a soft ending at 8:30 pm and a hard ending at 9:00 pm. During these 30 minutes,
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snacks and refreshments would be provided to all participants. The conductor encouraged all
participants to converse with each other, ask questions, and share stories and experiences. At the
first rehearsal, most participants only conversed with people from similar age groups as their
own, so the format was slightly modified to allow for more interactions during the rehearsal and
a shorter social time at the end. Initially, the intergenerational district band was planned to place
less of an emphasis on the final product and more focus on the quality of the experiences of the
participants. However, all the musical learning related to the final product and with students
performing alongside experienced adults, the final product (i.e., the performance) became the
main goal, as discussed in chapters 4 and 5.
There were four rehearsals that took place on school nights, on four consecutive Tuesday
nights. The band followed the schedule described on Table 8, with some slight variance. On the
third rehearsal, sectionals were combined to form three groups: woodwinds, brass, and
percussion. As noted, after the first rehearsal, social time was structured into the rehearsal to
encourage more dialogue across age groups.
Table 8
Rehearsal Schedule
Time Schedule
6:00 pm Introductions and meet your section (questions and answers within sections)
6:10 pm Warm up (scales, tuning, and chords/chorale)
6:30 pm Reading session/rehearsal on preselected music
7:15 pm Sectionals (dialogue)
Break (First rehearsal: music repertoire idea share). Ideas from this session
will be collected in a suggestion box and used to further program the concert.
8:00 pm Full band rehearsal
8:30 pm Soft ending (dialogue and snacks). Participant questionnaire on the day of the
last rehearsal.
9:00 pm Hard ending, close facilities.

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Mr. Morris and I met after the first rehearsal to reflect on our perceptions of the
participants’ experience. We wanted to keep the rehearsals fresh and new each time the
participants showed up so that the experience was never boring, predictable or mundane. In
addition to restructuring the sectionals and the social time, Mr. Morris and I came up with new
foci for the rehearsals. Ultimately, Mr. Morris decided what to focus on, but he had a list of
topics that he could choose from including: characteristics of musical performances (i.e. body
movement), the use of imagery, tuning, the composer’s intentions, and historical and cultural
contexts. Each rehearsal had a different focus. Additionally, each rehearsal had different vocal
leaders, often different sectional groupings, different adult participants, and different snacks.
There was never a sense of routine. The final concert was held the week after the last rehearsal,
and followed the schedule described on Table 9.
Table 9
Concert Schedule
Time Schedule
5:15 pm Dress rehearsal at performance site. Participant questionnaire.
6:00 pm Intergenerational district band group picture.
Eighth-grade focus group
6:30 pm Performance
7:00 pm Intermission
7:10 pm Performance
7:40 pm Reception

Instruments of Data Collection
Observations and interviews were the primary sources of data in the present study.
Questionnaires were also used as secondary data sources, that is, to offer a general impression of
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the experience and complement interviews and observations. Both the observations and
interviews were designed to answer the research questions:
1. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the musical learning experiences of its participants?
2. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the social experiences of its participants?
Observations. I took notes throughout the study, and videotaped rehearsals, sectionals,
and the final concert for further reflection and clarification. These data were used to help frame
the collective group experience narrative. I concentrated my observations on behaviors and
attitudes that signaled musical learning experiences and social experiences. The observational
protocol is found in Appendix I.
Although I played a large role in planning, organizing, and preparing for the
intergenerational district band, after initially addressing the participants and thanking them for
participating, I assumed the role of nonparticipant. As defined by Creswell (2013), the
nonparticipant observer is not a member of the group under study, but someone who records data
without participating in the activity. During observations, I took descriptive notes to summarize
the happenings as they related to the research questions and to develop a chronology of activities
as suggested by Creswell (2013). Additionally, Creswell (2013) suggested that researchers use
reflective notes, so after each rehearsal I wrote about what had transpired to formulate a
summary of conclusions that I could draw based on my observations.
Interviews. I identified the interviewees using maximum variation as a purposeful
sampling strategy to represent diverse cases, as suggested by Creswell (2013). I conducted one
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focus group interview with five eighth-grade students, and another focus group interview with
two high school students. For both groups of students currently enrolled in the district, I chose
focus group interviews because this type was likely to produce the best information and the
interviewees met the following criteria: 1) similar to and cooperative with each other; 2) limited
in time; and 3) may be hesitant in a one-on-one interview (Krueger & Casey, 2009). I only had
access to the eighth-grade students on the day of the concert because they came from different
schools and it would be unlikely for this group to reassemble. I conducted the high school focus
group interview during students' tutorial period, being limited to their schedule. The remaining
three interviews with the college student, music teacher, and community musician were
conducted one-on-one. These individuals were selected because they were not hesitant to share
their thoughts (Creswell, 2013). As recommended by Creswell (2013), all interviews were
recorded. I designed an interview protocol with open-ended questions (see Appendix I), as
suggested by Kvale and Brinkmann (2009), and it contained questions that were easy to
understand for the interviewees. The interviews were semi-structured, but followed the view of
Kvale and Brinkmann (2009) in that the sequence did not have to be fixed, allowing the
researcher to modify questions and their order along the way. Both student focus group
interviews were conducted on school campuses in quiet rooms. The college student interview
was conducted in a quiet coffee shop. The music teacher interview was conducted at my house
and the community musician interview was conducted at Luke’s house. As suggested by
Creswell (2013), the locations were free from distractions and lent themselves to audio
recording.
Participant questionnaire. The participant questionnaires were administered on the day
of the performance, immediately after the dress rehearsal. This instrument was used to offer a
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general overview of the experience and to ensure that all participants would have an opportunity
to contribute to the data. Participant responses also served to clarify and complement data
obtained through the focus group and individual interviews. The participant questionnaire is
found in Appendix G.
Audience questionnaire. Audience members, who were mainly friends and relatives of
the musicians, were also given the opportunity to provide feedback about the experience. The
questionnaire was placed inside the concert program, and audience members were gently asked
to deposit their questionnaires in a box, if they chose to participate, upon leaving the
performance hall. Audience questionnaire (Appendix H) data helped validate the experiences
shared by all the participants that contributed to the data by completing participant
questionnaires or participating in the interviews.
Data Analysis and Coding
Data in the form of observations, video transcriptions, and interviews were the most
crucial to the study. I used open coding to organize this data which entailed reviewing all the
notes and transcriptions to create major categories (Creswell, 2013). Information that was
comprised of events, instances, and happenings was represented by a category (Strauss &
Corbin, 1990). The two main categories from this study were musical learning experiences and
social experiences. Within both categories, themes emerged. Strauss and Corbin (1990) suggest
that these themes around the two main categories include: 1) casual conditions, factors that
caused musical learning experiences or social experiences; 2) strategies, actions taken in
response to musical learning experience or social experiences; 3) intervening conditions, broad
and specific situations that influence the strategies; and 4) consequences, the outcomes from
using the strategies. The themes that emerged from the observations, video transcriptions, and
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interviews played an important role in answering the research questions because they were used
to explain how this intergenerational district band experience could promote, enhance, and
expand the musical learning experiences and the social experiences of its participants.
Questionnaires from the participants and audience played a secondary nature in this
study. The participant questionnaires were transcribed into digital format on the researcher’s
computer. Responses were then coded into themes under the two main categories, musical
learning experiences and social experiences. I used frequency counts to display how many times
each theme was mentioned and then presented the data in tables.
Triangulation. I sent copies of chapter 4 by email to Tim, Mr. Morris, Mr. Lopez, Jen,
and Luke for their review. I asked them to inform me if they thought they were misrepresented
or if they wanted any changes. Jen, Mr. Lopez, and Luke responded with a confirmation of my
account. They believed it represented them accurately and did not request any changes.
Although the participant and audience questionnaires played a secondary role in the data
collection, these data were considered an important means of triangulation. Multiple and
different sources of evidence of musical learning experiences and social experiences were used
to corroborate the findings. Themes from all sources, observations, video transcriptions,
interviews, participant questionnaires, and audience questionnaires, were compared and
contrasted. As suggested by Creswell (2013), evidence that documents a theme that is found in
different sources of data validates the findings.
The datasets from the participant surveys provided specific examples of wisdom,
knowledge, and skills that were passed down from participants with more expertise to younger
musicians, including: more challenging repertoire with help, confidence, and unwritten rules of
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instrumental ensemble performance. The evidence of the development of teaching practices was
also bolstered in participant questionnaire responses. The datasets additionally supported the
notion of elevated musical and emotional energy, specifically on the pacing and intensity of
rehearsals.
Observed social experience were further validated by the datasets. Participants reported
the sense of community and belonging. When college-aged participants took the lead in
sectionals, their responses supported the themes of formulating identities and repositioning of
generational hierarchies. Barriers and stereotypes were broken down, as participants reported
connecting with others across generations. Additionally, many experiences gain in their attitudes
towards other age groups. The observations and field notes that informed the narratives were
confirmed through the datasets produced by participant and audience questionnaires.
Data Presentation: Narratives
Data collected from the observations, field notes and video was reviewed and presented
in narrative form. Narratives were created to recount the intergenerational district band from the
first rehearsal to the final concert, focusing on my observations and the perceived experiences of
interviewees. Narratives were chosen because they provide “a means to re-conceptualise the
ways in which we think about music engagement, music education, and inquiry in music
education” (Barrett & Stauffer, 2009, p.1). Although this study is not a narrative study in the
sense that I was not focusing on the life of one particular individual, the events that took place
during the intergenerational district band were restoried (Barret &Stauffer, 2009). In so doing, I
reflected on current institutionalized practices which provide advantage and opportunity to the
highest achievers while neglecting moderate and low achievers. As Barret and Stauffer (2009)
have suggested, narratives strive
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to provide alternative accounts of why, when, where, and how people engage in music
experience and learning and, in that process, to prompt our readers (music education
practitioners and theorists in school, tertiary education, and community settings) to
consider other ways of engaging with people in and through music. (p.2)

This was certainly my goal as I restoried the lives of musicians from the intergenerational
district band through the narratives that appear in the next chapter.
Chapter Summary
This study was designed to address the following research questions:
1. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the musical learning experiences of their participants?
2. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the social experiences of their participants?
In this chapter I presented the study design, a qualitative study that followed a bounded case
design. I explained the criteria used to design this intergenerational district band and that made it
unique. Next, I described the study context and access, the role of the researcher, and recruitment
and ethical considerations, followed by a thorough description of the study participants. The
intergenerational district band experience was then, along with an explanation of the instruments
used in data collection, and subsequent data analysis and coding. I then described the data
presentation and provided a justification for the use of narratives as a way to represent the data
collected through individual interviews, focus groups, and observations.

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Chapter Four: Findings
In this chapter, I present the findings obtained through the interviews and questionnaires
with participants, and non-participant observations of the intergenerational district band. I begin
with narratives that derived from my observations, field notes, and video review. Musical
learning experiences and social experiences are presented here in chronological order as the
experience took place. To support the narratives, I offer participant perspectives from five
interviews: 1) an eighth-grade focus group interview; 2) a high school focus group interview; 3)
an individual interview with a college student; 4) an individual interview with a music teacher;
and 5) an interview with one of the professional musicians. Lastly, I share a brief summary of
the experiences collected from the participant questionnaires and the audience questionnaires
which is also intended to support the narratives. Both narratives and supporting data were used to
address the research questions that framed this dissertation:
1. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the musical learning experiences of their participants?
2. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the social experiences of their participants?
Narratives
Day one. It’s 5:40 pm on a Monday night. Twenty minutes remain before the first
intergenerational district band rehearsal starts, but people are beginning to arrive. The last few
weeks have been consumed with recruitment and planning. Emails, phone calls, follow-up
emails, and follow-up phone calls have been constant. I have contacted the local middle schools,
and visited one of the local high schools during their marching band and concert band rehearsals.
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I reached out to community college directors, made a visit to the wind ensemble rehearsal at the
local community college, sent recruitment letters via email to former students, and met with
current college students. I held meetings and made plans with professional musician friends. I
visited the local music stores to reach out to private instrumental teachers. I also reached out to
musician friends on social media. Even though I had confirmations via returned letters and
emails, “seeing is believing” and in 20 minutes, I will know if these efforts were enough. I am
both excited and nervous.
The multi-purpose room, or MPR as it commonly referred to by this middle school’s staff
in Southern California, has already been set up for rehearsal. The room is in the shape of a large
rectangle. In the front of the room there is an elevated stage with wooden staircases leading up
to it on both sides. The stage is not large enough for the intergenerational district band, but it is
commonly used for drama performances, presentations, and smaller musical ensembles. The red
curtains are closed. The floor of the MPR is covered in short, durable carpet, suitable for the
high traffic in schools. The wall connecting to the right side of the stage has fresh paint of grey
and red. On the opposite side there are storage units holding bench seating and tables along the
wall. The back wall has the main entrance, two sets of double doors with glass. As one enters
through the main entrance, there are individual bathrooms to the left and right. On the back wall
and above the main entrance, there is a colorful mural depicting peace between nations and
people, with text in both English and Spanish. On the front wall that connects to the stage, there
are doors on both sides of the stage that lead to the drama room on the stage right side, and the
music room on the stage left side.
The chairs for the musicians are set in four concert arcs. There are music stands set out,
one for every two chairs, unless the instrumentation demands a separate stand. The seating chart
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is sitting on the conductor’s oversized music stand with a step up podium. Name tags are resting
on the stands facing the conductor, so that he may call the participants by name. These name
tags were printed on computer paper, folded in half, and labeled with the participants’ first and
last names.
I knew from text messages, emails, and phone calls that not all adult participants would
be able to attend every rehearsal. There were so many individual conflicts, far too many to keep
straight in my head. I have them all recorded in a document, but in the final minutes before the
rehearsal I cannot recall. The plan is to set up as if the entire band will be present every week,
that way there is never a need to add additional chairs in case someone’s availability changes.
The full band seating will also inform the participants of the size and quality of the band, which
is especially important for the eighth-grade students because none of them have worked with me
before. Knowing the number and quality of adult musicians they will be performing with could
potentially increase their excitement and enthusiasm to continue. I tell myself, “Remember, this
is all new and uncharted territory.” Never before has there been a district intergenerational
district band in this area. I am fully aware that as these eighth-graders enter the room, they are
immediately making judgements about the band. On their faces and those of their parents, I can
see their minds turning. Their eyes narrow as they scan the room, as if to confirm that showing
up was a good decision. The space is clean. There are beloved district music teachers all around
the room. The older students look pleasant enough. The packets of music are waiting for each
participant on their seats. Faces of unfamiliar eighth-graders and their parents soften as they
notice that the music, planning, seating, sign in sheets, name tags, and schedules are well
organized and seemingly set up for success.
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I had just made signs that read “IG Band [this way]” that I was about to place outside.
On my way out, colleagues were making their way in. Luckily, I had student volunteers
available to help me set up. They took the signs out and placed them at the front of the school.
Fellow music teachers, retired music teachers, former students, other high school students, and
more eighth-graders, many with their parents, all start to make their way into the MPR. Some
are entering through the main doors, but most have found the back entranced through the music
room.
I understand my role as observer. However, I have not had the opportunity to explain it
to all these musicians yet. I deem it appropriate to greet the members and parents of the
intergenerational district band as they entered and to thank them for being here. After all, it was
my name on all the information sheets, recruitment materials, and emails. I am also guiding the
early entrants to the sign-in sheet and sticker name tags on a table near the main entrance. Once
the initial flow of participants start signing in, everyone else follows.
After checking in, most musicians begin to assemble their instruments, leaving their cases
at the side of the room. In front of the concert arcs, two rows of audience chairs were made
available for any parents who would like to sit and watch. There is one father who takes a seat,
but most of the other parents drop off their children and leave. I am approached by one mother
of an eighth-grader asking if I am Mr. Perez. She thanks me for the opportunity, says she likes
the idea, and wishes me well.
While some are starting to warm up, others are standing around and talking. It’s about 15
minutes before rehearsal starts. There is a nervous excitement in the air. One retired teacher and
oboist, Mrs. Watson, and two current teachers the flutist Ms. Randle, as well as the conductor
Mr. Morris, greet each other with expressions of great joy. Clearly these three teachers were
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reuniting. “I get to play with you!” says Mrs. Watson to Ms. Randle as they exchange smiles.
Similar greetings between old friends are taking place all around the room. “Oh, this is a
reunion of sorts,” says one adult musicians as she is greeted by familiar faces. Before the first
note is ever played, one teacher says, “we should make this a tradition.” Some of the high school
students are reuniting as well. There is a group of my former students who are attending
different schools and probably had not seen each other in quite some time. It looks as if many
are happy to see each other.
The room is ripe with verbal qualifiers meant to lower musical expectations from others,
which is quite funny because they are all great musicians. One adult states that she has been in
Hawaii and away from her instrument, trying to prepare her peers for a less than stellar
performance. Another adult says, “I don’t play like I used to.” One of the music teachers
brought a secondary instrument to play in the intergenerational district band. She is a woodwind
player and decided to play a brass instrument here. She asks, “Are there any other baritone
players?” I was relieved that everyone showed up, as all of these adults played beautifully and
the band would not have been the same without them.
Handshakes, hugs, and “hellos” are in full chorus, accompanied by the sounds of wind
instruments warming up. The trumpet players introduce themselves to each other, across ages.
The adults greet the eighth-graders like valued musicians. In the flute section, after reading the
name tags Jolene, one of the eighth-grade girls, very innocently asks, “Hi, are you Jane?” Ms.
Randle responds with a smile, “my name is Jane, but you can call me Ms. Randle.” The
participants are signing in, making their introductions, and finding their seats. As more people
discover the packet of music waiting for them on their chairs, the instrumental sounds take over
as the voices fade. Instrumental warm up and practice have taken over.
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In the initial flurry of excitement, the time flies by. It’s now 6:00 pm and Mr. Morris
asks whether I would like to address the band to start, like we had discussed. I talk to the band
briefly, mainly to express my gratitude for their willingness to try something new, support this
endeavor, and for taking time to make music together. I also explain that from here on out, I will
be observing and taking notes. I add that although some of the adult musicians will not be able
to make all of the rehearsals, everyone confirmed their participation in the concert. There are 51
musicians in front of me. I look at them and mention that there is a lot of expertise in the room.
I encourage them to take advantage of their time together by asking questions. Next, I introduce
Mr. Morris, the outstanding music educator and conductor for this ensemble. He takes over from
here and I take a seat in the audience.
Mr. Morris opens with a brief statement about how we have never assembled a band like
this before. He mentions that there will be plenty of opportunity for the musicians to verbally
contribute, share knowledge and wisdom. He also urges musicians to not expect all the
instruction and information to come from the conductor, as they may be accustomed to.
The band begins by tuning to the retired teacher oboist playing a B flat. “If your
neighbor is out of tune, can you give them advice on how to adjust.” Without losing a beat the
music teacher flutist turns around with a smile and says, “sharp!” Laughter ensues. The band
proceeds to play a B flat scale on half notes at a moderate tempo. “One more B flat,” say Mr.
Morris and this time adds the other instruments by section. With many of the musicians
warming up before rehearsal, this seems to be enough for the conductor, and off they go
rehearsing music. Each person in the percussion section received a packet of music, but the parts
were not definitively assigned. They spend the tuning time assigning parts.
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The band starts with Michael Story’s “The Curse of Tutankhamun” (2006). As the band
finds the page, interactions between high school saxophones and the professional spark laughter
as well. Generally, feelings of caution and nervousness appear to be put to rest. Mr. Morris cues
the first note and immediately stops. “So, breathe with me.” He begins again. The adults are
playing with musical shape and mature phrasing from the very beginning. There is a confidence
in this band. Outstanding air support and posture are on display, producing a beautiful tone from
many of the musicians. Many of the adult musicians perform with their bodies in motion,
moving to the music in a way that emulates the phrasing. The band plays through the entire
piece without stopping.
Mr. Morris prompts participant dialogue by asking, “What kinds of things do you think
about when you first read a piece? Have a discussion with the people around you.” The room
immediately breaks into conversation. The musicians are leaning in toward each other because
the room has gotten quite loud. I watch as they point at the sheet music, gesture, and some adults
stand up and walk to other members of their sections to talk. An oboist demonstrates a trill.
Soon the younger flutes are practicing a trill as well. The conductor speaks with one of the high
school clarinetists. A retired teacher in the trombone section is walking the section. The
professional saxophonist is elaborating with hand gestures to the high school musicians
presumably about phrasing and approach. The college student in the clarinet section goes to the
sign in sheet table and brings back pencils for all the clarinetists. Mr. Morris is surveying the
room. After 2 minutes, it appears the band is ready to continue and he steps on the podium to
regain the band’s attention.
“You may have been given specific things to fix or more general concepts. Let’s apply
those and try again from the beginning,” says Mr. Morris. Now this time the opening sounds
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much more confident, secure, and full. The great sounds described on the first run must have
been the musicians with more expertise carrying the ensemble while the least experienced hid.
This sounds like everyone is contributing. This is the essence of this intergenerational district
band. Expert advice about ensemble performance being shared in an ensemble setting, followed
by an opportunity to apply the advice in an ensemble setting.
After replaying the introduction, Mr. Morris then prompts dialogue regarding how some
of the more advance musicians are shaping the phrases and why. Conversations begin again with
more gestures, laughter, and instrumental demonstrations on the snare drum and flute. Mr.
Morris remains on the podium this time, monitoring the band the entire time. It is much louder
than the traditional concert band rehearsal, but the participants are clearly talking about the
music. A natural diminuendo of voices occurs after about a minute, and Mr. Morris recaptures
the band’s attention with a hand gesture. Immediately the band is back to performing the
introduction. There is a noticeable effort to make more contrast out of the crescendos and
diminuendos. The flute crescendo as the melodic line ascends and relax the dynamic as the line
descends, creating a rainbow shape to their opening phrase. Other instruments make a similar
effort. The shaping is supported through gesture of the conductor and the musicians with more
expertise. The snare drum roll is not rhythmically stable. The band plays on beyond the
introduction. The effort to add shape to the phrases is extended beyond the introduction.
This general format continues throughout the ensemble rehearsals. Mr. Morris picks a
relevant topic for discussion. The participants share a dialogue, and then are given the
opportunity to apply what they just discussed. As the less experienced players feel more
comfortable and play out more, there are more relevant musical topics to discuss. In the fast
section of this piece, the timing becomes loose. Mr. Morris brings this to the ensembles attention
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and asks them to discuss who they listen to when they are performing. “Are you listening to a
rhythmic part? Do you have a rhythmic part that others are listening to for time?” He guides the
ensemble on a path to a heightened state of awareness. Again, the musicians with more expertise
are sharing who they listen to and why. They are given another opportunity to replay the fast
and challenging portion of the piece. There is improvement to time and then they move on the
next piece, Frank Ticheli’s “Earth Song for Concert Band” (2012).
As the participants turn the sheet music, the room fills with conversations. I know this is
much louder than the rehearsals that Mr. Morris and I are used to. It appears that dialogue has
been invited and encouraged, and participants are more than willing to oblige. With grace, Mr.
Morris recognizes the wanting of the musicians and directs their conversations. He reminds the
band that we just discussed elements of the music to be aware of when sight reading a piece. He
asks the band to talk over this piece so that the initial reading will be more successful than the
sight reading of the last piece. During this time, Mr. Morris addresses the main source of timing
concerns with the percussion section. In the last piece, the eighth-graders were grouped together
on snare drum, bass drum, and cymbals, while the older players were on mallet percussion, and
toms. Mr. Morris suggests mixing the parts, so that there is more experience in each subgroup.
Upon returning to the podium, Mr. Morris provides some cultural context to Frank
Ticheli’s “Earth Song for Concert Band” (2012). He talks about the origins of the piece, how
originally Frank Ticheli’s “Sanctuary for Concert Band” (2005) inspired a piece for chorus, and
was eventually arranged back into a concert band piece. He speaks about the lyrics and the
emotional intention of the composer. In a concert band with so many musical leaders, the notes,
rhythms, and marks of expression are performed the first time. What would take some time to
teach a room full of eighth-graders, is picked up quite quickly with so many musical role models
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in the room. This creates time and opportunity to address concepts that can be often overlooked
in a homogeneous ensemble. Mr. Morris takes this opportunity to set the emotional intention.
The band plays through the entire piece. Afterward, Mr. Morris shares the lyrics, sharing the
emotions of pain and peace, both found in this work. Then he asks the participants to talk about
dissonance and its role in this piece. When given feedback, people must be given an opportunity
to apply the feedback they are given. Mr. Morris continues to adhere to this principle and also
encourages all the musicians to sustain the half step dissonances slightly longer before playing
the diminuendos. During the second run, the band plays with more care. There is also a
noticeable effort to play into the semitone dissonance, rather than back away from it. Here
again, after the dialogue between participants, the band sounds more mature. The rehearsal
continues with some elements of a traditional band rehearsal, where the director stops to provide
feedback and instruction.
By the third piece, Erik Morales’s “Through Darkened Sleepy Hollow” (2006), the
ensemble is more comfortable with the format and spirit of this ensemble. The musicians with
more expertise seem to understand that their contributions and input is very welcome. Mr.
Lopez, a local music teacher and working French hornist, moves his seat so that his bell is
playing into the rest of the section. Mr. Morris, once again, begins with an opportunity to
discuss the piece and then addresses the program notes, the story of Washington Irving’s Legend
of the Sleepy Hollow (1820), and possible emotional intentions.
In the first reading of this piece Alana, the timid timpanist, missed her solo. Mr. Morris
stopped to encourage her to play boldly. In a typical eighth-grade band, she would be in a room
filled with other eighth-graders. Her ensemble and musician status would be relative to the other
eighth-graders, which can produce a competitive setting in which students are not externally
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motivated to support each other. I have observed and been a part of school ensembles in which
the students support and encourage each other. However, the students in these ensembles have
been explicitly taught to do so. In the intergenerational district band, the ensemble is filled with
musicians outside of the eighth-grader’s peer group. There is no sense of competition. There is
no need to position one’s self in the ensemble. The older musicians want to help the younger
musicians improve. When Mr. Morris encourages Alana, many instantly join in with nods,
smiles, and in one case raising both fists in the air with a gesture of victory. The latter was Ms.
Randle. The encouragement was immediately followed by another opportunity to try.
Perhaps another unique aspect of the intergenerational district band is that some
musicians with more expertise do not have reservations about interrupting. This did not happen
often, but occasionally a music teacher or professional may interject to offer insight or ask for
clarity. Sincere intentions were assumed and again, Mr. Morris masterfully negotiates the
personalities in the room.
This general format of the ensemble rehearsal continues throughout the remainder of the
study. Discussions amongst the musicians, an emphasis on cultural and historical context, and
emotional intent define the foci. However, this format allows for any musical concept derived
from the demands of the literature to organically emerge, and be addressed out of necessity.
The band works through Michael Sweeney’s (1991) arrangement of Ernesto Lecuona’s
“Malagueña” (1928), which introduces a swing section, and John Edmondson’s “Normandy
Beach” (1982), which introduces a British march style. Both the swing and march styles and
articulations are discussed and then demonstrated by the advanced musicians. Both
demonstrations are immediately followed by opportunities to try.
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Sectionals. At 7:15 pm, the rehearsal breaks off into sectionals. There are two large
rehearsal rooms, two classrooms, the teacher work room, the staff lounge, and the MPR available
for the ensemble to use. The percussion stays in the MPR and the rest of the instrument sections
have their own space with the exception of the low brass. The trombones, euphoniums, and
tubas decide to stay together.
Mr. Morris and I separately visit each of the sectionals to check in and observe. Mr.
Lopez is in the smallest sectional, with two other French hornists, Thomas, an eighth-grader and
Alex, a high school student. During this time, Mr. Lopez is able to go over many concepts
specific to the double horn, including how to set it up to be more in tune, and when to use the
trigger. Instrument specific instruction is going on in the other rooms as well. Rory, a college
student takes the lead in the trumpet room. During this sectional Nick, another college student
addresses embouchure issues with an eighth-grader. In the clarinet room, Jen, a freshman music
major in college takes the lead. They talk about alternate fingerings to make certain passages
easier to play. When I enter the flute room, they are counting and clapping some challenging
rhythms. In the low brass room, Mr. Harman talks about tuning different chord tones. Without
special instruction, the sectionals naturally follow the leadership of those with the most
experience and expertise. There is time for questions and answers. There is also time for praise
and encouragement. The important elements that were part of the crafting and conductor
instructions are beginning to appear in the sectionals.
Generally, all the sectionals are playing through the concert pieces and stopping for
corrections, most common of which are counting mistakes. When the opportunities arise to
address instrument specific issues, the musicians with more expertise impart wisdom and advice.
The flutes are working hard, as they are known to do. Ms. Randle, the music teacher in the
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group, is going out of her way to make all the members feel comfortable to share and participate.
She helps to facilitate other leaders in this subgroup. Modeling and playing together is a staple
of the percussion sectional. Across all rooms, there is clearly attentiveness and an eagerness to
learn.
Throughout the night, the eighth-graders receive instruction, feedback, and
encouragement from high school students, college students, music teachers, and professionals.
These multiple sources of feedback appear to contribute to their sustained attention and effort.
The credibility of the musicians with more expertise is on display every time they play. All of
the participants are attaining to their music with effort and focus. The expectations and much of
the nuance in the music is simply copied by the younger members. In this context, with the
nominated eighth-grade students grouped with older musicians, there is no need to explicitly
verbalize behavior expectations.
All of the sections use their own discretion on which pieces to practice and how much
time to devote to each piece. Some sections practice the entire repertoire, while others make
significant progress on fewer pieces. The band reconvenes at 8:00 pm, and the band essentially
plays through the five concert pieces that make up the current set list. There are noticeable
improvements to the sound of the group, and the eighth-graders appear to be proud of their rapid
progress. There appears to be an effort, on the part of all the eighth-graders, to act like the
musicians with more expertise. Eighth-graders and high school students are visibly counting
during rests. They are sitting tall, and I even see some begin to move like the experts during
expressive passages. The band sounds more secure and rhythmically tighter than in the
beginning.
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During the final runs of the concert pieces, volunteers enter quietly through the main
entrance and set up the refreshments. Cookies, fresh fruit, coffee, lemonade, and water are laid
out for the intergenerational district band members. In his rehearsal closing remarks, Mr. Morris
addresses the eighth-graders in particular. He recognizes that they were given so much
information today. He encourages them to practice this music throughout the week, stating that
it gives them the best chance to remember all the different things that were taught today. He
then thanks them for working so hard, and the band responds with a round of applause. The
participants are invited to make suggestions for additional concert music. A suggestions box
with slips of paper is prepared for them at the entrance. At 8:40 pm, the rehearsal ends and the
band members help themselves to snacks and beverages. They are encouraged to talk to each
other and ask questions. “Eat and talk,” are the last words from Mr. Morris to the band, which
are met with laughter and sudden burst of life, energy, and conversation. One of the high school
trumpet players takes a seat at the grand piano and starts playing jazz standards as band members
congregate. Music teachers, professionals, college students, high school students, and middle
school students seem happy to spend the time talking to each other. Some conversations center
on musical topics, while others range from homework assignments to the random concerns of
teenage life. All the while, a piano rendition of Jerome Kern’s “All the Things You Are” gently
floats above the noise (1939, lyrics Oscar Hammerstein II). The room sounds like a small town
courtyard during a busy weekend day. Charlie, one of the adult clarinetist is having a
conversation with Josh, a high school clarinetist. From the gestures, expressions, and nodding,
this conversation appears to cover musical ideas. Brandon, a college student percussionist meets
Gary, a high school student at the newly donated, shiny black Yamaha grand piano. They talk
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about jazz improvisation. Although there are some conversations that cross age boundaries,
when left to their own devises, the participants largely gather in homogenous age groups.
As the clock approaches 9:00 pm, the noise in the room fades. Adults and high school
students start heading to their cars as parents enter to pick up their children. Some of the eighth-
graders look eager to tell their parents all about the intergenerational district band and how they
have the opportunity to perform with professionals. Earlier in the evening there appeared to be
signs of admiration, but here they are verbalized. Others look a little tired. A mixed group of
college students, high school students, and one eighth-grader who is the brother of a college
student, all stay after to help pack up. Together, we rack the stands and stack the chairs. Many
hands make light work. They smile and laugh as the final packing up is finished. I thank them
for their help before they leave. I am the last one out of the room, turning off lights and locking
doors. As I walk to my car I see the packing up crew one last time, still lingering in the parking
lot. Day one is complete.
Follow up after day one: adaptation. In an effort to promote, enhance, and expand
musical and social growth, Mr. Morris and I meet to discuss the intergenerational district band
rehearsal structure and determine if there are changes that should be made. We arrive at the
conclusion that when working with experts, a flexible rehearsal structure is extremely valuable.
Allowing topics and feedback to emerge from the demands of the music is critical to taking
advantage of all the expertise in the room. Both Mr. Morris and I were surprised at the rehearsal
pace. What would normally require a moderate amount of time in a room full of eighth-grade
students was learned quite quickly. This unforeseen dilemma begs the question, what do we do
with the additional time?
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We devise a new plan. Together, we compile a list of important musical ideas for
discussions, including: musical structure, phrase structure, body gestures as indicators of
musicality, emotional intent and its impact on tone quality and technique. We also discuss the
possibility of an extended lesson on intonation within an ensemble, including listening
responsibilities and pitch tendencies. An exploration into the composers’ intentions is also
planned to be addressed in the next few rehearsals. Additionally, we move the purposefully
unstructured time for dialogue in to the middle of the rehearsal instead of the end, in the hopes of
creating more heterogeneous groupings. We further discuss the possibility of grouping the
sectional time into three larger groups: woodwinds, brass, and percussion, recognizing the
importance of change so that the rehearsals do not become routine and mundane. Also, this
grouping is thought to place less pressure on the adults to run separate rehearsals, through
sharing the responsibilities in a larger group rehearsal. Lastly, we decide to add new music to
read from the participants’ suggestions.
As I review the new music suggestions, it becomes clear that there is a need to use our
best judgment when deciding what is practical and in alignment with the intention of this
ensemble. While keeping in mind that this band is about the promotion, enhancement, and
expansion of musical and social growth, we finally decide on two pieces, Mark Williams’ (1997)
arrangement of Pyotr Ilyich Tchaikovsky’s “1812 Overture” (1880) and Frank Ticheli’s
“Shenandoah for Concert Band” (1999). Both pieces are more challenging than any of the
current literature. Although Mr. Morris will have the final say as to what he would like to
include, I will have the music ready for the participants at the start of the next rehearsal, just in
case.
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Day two. Rehearsal starts at 6:00 pm, but just like in the previous week, many
participants arrive early. I notice an immediate difference in the participants’ comfort levels.
During the initial meeting, there was some shyness and apprehension, but today already feels
different. By 5:30 pm, Gary, the high school trumpet player, enters the music room and starts a
conversation with me regarding equipment. This is still well before rehearsal starts, so we talk
about trumpet brands and models, mouthpieces, favorite jazz musicians, and jazz standards. He
asks if he could try playing my trumpet, which I allow. As the minutes pass by, more
participants enter the room, begin warming up, and look over the new music. The early arrival
and warm up that was modeled by adult participants last week has already spread. More
musicians are automatically copying the practices of the experts in the room.
At 6:00 pm, Mr. Morris starts rehearsal with a new focus, more meaningful dialogue.
Mr. Morris opens with his back story. He tells the band how he originally went to college to
study chemistry, but decided to switch to music, to follow his passion. He shares his current
teaching position instructing middle school bands and orchestras, and how enjoys teaching this
age group. Mr. Morris invites the participants to talk to each other about their musical journeys.
“How old were you when you started playing music? How did you get to here?” There is an
immediate, almost startling increase in sound level. The participants are happy to share their
stories and to listen about each other’s backgrounds, as there are many interesting stories in the
room. There seems to be a sincere joy in finding commonalities between participants. This
activity opens the lines of communication across ages. As the night continues, the musicians
become more comfortable with one another, which makes asking and answering questions easier.
On the first night, apprehension and reservation lingered in the air. Tonight, a warmness of
support and caring presides over the rehearsal.
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The band begins with John Edmondson’s “Normandy Beach” (1982). Mr. Fisher, a local
music teacher and professional tubist is in attendance. The march begins with snare drum and
flute. After the first few phrases, the tuba joins in. Mr. Fisher plays with such beautiful tone and
phrasing. From where I am seated, I notice that literally everyone in the room within my eye
gaze smiles upon his musical entrance. At the next speaking opportunity, Mr. Morris proudly
refers to Mr. Fisher as “our tuba.” Some students are having rhythmic difficulty with dotted
eighth notes followed by sixteenth notes. Mr. Morris prompts the next discussion about
subdivision. As in the previous rehearsal, the musicians with more expertise share advice and
model, making an immediate impact on the younger students’ playing.
A plan to promote more dialogue across generations is applied tonight. More discussion
time is structured into the rehearsal instead of at the end. Mr. Morris asks questions and the band
members talk in pairs or small groups, and then engage in an all group discussion. Mr. Morris
then asks for contributions from volunteers throughout the room, which gives more musicians
access to the thoughts and practices of experts who are seated further away. This discussion also
allows for multiple perspectives to be shared. Mr. Morris asks an important question that sparks
lively exchanges, “What can you do to make your part more interesting?” The responses and
demonstrations that follow open the minds of the youth in the room, as if some were discovering
a depth of musicality that they were not aware of.
The range of topics that stems from this question includes dynamics, articulation, length
of notes, and phrasing. As one might expect, the musicians with more expertise play with much
more refinement and accuracy. However, they also play with interpretation. Mr. Fisher, “our
tuba,” demonstrates his opening phrase. Mr. Morris asks, “Can you all shape the phrase this
much?” So the dialogue, demonstrations, effort, and support continue through this more spirited
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rehearsal. With the musicians more at ease and comfortable with each other, there is also much
more interaction. Mr. Morris is stopping with more frequency and deferring to the members of
the band for answers to the musical issues that arise. Since there are more stops for dialogue and
the band members are more comfortable talking to each other, the band rehearsal feels and
sounds much different than last week. Some of the high school students are misinterpreting this
format. They think it is “ok” to just talk during rehearsal, to which they are gently redirected by
the adults in the ensemble.
Mr. Morris moves on to Michael Story’s “The Curse of Tutankhamun” (2006). He asks,
“What are you trying to elicit from the audience?” The participants are somewhat stumped. Mr.
Morris shares the program notes. He describes the finding of the tomb, the evil spirits associated
with the discovery, and the lurking doom. He explains that the opening should have a “spooky,
creepy feeling” that you want to be careful with. “You are going to have to work at expressing
those notes.” Expression again takes a primary focus of the night’s rehearsal. The participants
discuss and try new approaches to this piece, including: playing more connected, dynamic
shaping with the ascending and descending lines, using more vibrato, and generally approaching
with more delicacy. Discussion about the structure of this piece also come up. The return of the
eerie section coincides with the return of the emotional intent. The look of the musicians while
performing also differs. Mr. Morris points out that the musicians with more expertise are
moving while they are playing, while some of the eighth-grade students are very still while
playing. He says eighth-graders, but there are many high school students that are quite stiff as
well. He encourages the students to be more aware of the musical models in the room and try to
use movement as a means of expression.
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This rehearsal takes an interesting turn as the group discusses the affect music has on
scary movies. This appears to lead many participants into a different way of thinking. “Are you
hearing a story? Or are you hearing just the elements?” The participants become pretty quiet for
the first time, perhaps thinking over the questions. Mr. Morris does not press anyone. Instead he
asks the musicians to review all the meanings of the various markings that are in this section.
There are accents and staccato markings. Many different gestures, spoken articulation syllables,
and explanations are present throughout the room. The group performs again with improved
articulation, yet has trouble playing in time. Mr. Morris asks the band to listen to the tuba for
time. He also asks the percussion to listen to Brandon, the college student on toms for time.
Then he counts them off again. He steps away and does not conduct. Again, with guiding and
instructions, Mr. Morris elevates the awareness in the room, and the timing improves.
Before the sectional break, Mr. Morris rehearses Erik Morales’s “Through Darkened
Sleepy Hollow” (2006). He again addresses the program, based on Washington Irving’s
“Legend of the Sleepy Hollow” (1820). They talk about the tale of the headless horseman and
Ichabod Crane. Then the band rehearses in a more traditional sense, stopping only for
corrections. Time flies. It’s now 7:00 pm and the ensemble is about to break off into sectionals.
This time, Mr. Morris provides specific instructions; he would like the musical leaders to address
air speed, tone production, and determine which notes are particularly out of tune on their
instruments. Once those points are addressed to the satisfaction of the musical leaders, the
musicians should begin to work on the two new pieces, Mark Williams’ (1997) arrangement of
Pyotr Ilyich Tchaikovsky’s “1812 Overture” (1880) and Frank Ticheli’s “Shenandoah for
Concert Band” (1999). As I walk through the various sectionals, I am impressed by the
musicians’ willingness to follow the instructions from Mr. Morris. They are making a sincere
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effort to encourage more air that is constant and steady from the less experienced players. This
unified goal coming from multiple sources is inspiring. The tone and intonation lessons are also
promising and could potentially manifest in a performance that is more moving. As the sections
move on to learning the new music, the most common mistakes are rhythmic. Younger players
are having difficulty counting dotted rhythms. One of the professional saxophonist is not here
tonight and the saxophone players are struggling with this piece, which makes me realize that it
may be beyond their abilities in such a short time frame. After some time, they move on to
Frank Ticheli’s “Shenandoah for Concert Band” (1999), with more success.
By 7:45 pm the band reconvenes. Mr. Morris comes to the same realization during the
full band reading of Mark Williams’ (1997) arrangement of Pyotr Ilyich Tchaikovsky’s “1812
Overture” (1880). After about 20 minutes he moves on to Frank Ticheli’s “Shenandoah for
Concert Band” (1999), which was recommended by one of our music teacher participants, Ms.
Randle. “Look through the piece for problem areas, if you need to talk through anything with a
neighbor, please do.” The participants are doing just that, with some playing and demonstrating.
Following a brief study session, the musicians play together. Mr. Morris has to stop to correct
rhythms. Without their leader, the saxophones struggle to play together. Mr. Morris verbally
subdivides the pulse for them and even sits within the section to help count. This piece is also
quite challenging for some, but sounds much more attainable given the timeframe. I write down
that there is definitely a feeling of mentorship that differs from the traditional rehearsals that I
have experienced.
Rehearsal continues on until 8:45 pm. Mr. Morris has the band play through some of the
other literature, though they do not get to rehearse all the pieces tonight. One of the most
pertinent questions of night is, “What things can you do better?” The participants are quick to
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list actions like: starting crescendos softer, sustaining note values, smoothing out passages, and
timing. The younger participants appear to be developing their own musical taste, as they point
out elements of the music with which they are dissatisfied. They identify problem areas, seek
guidance from their expert peers, and cooperatively devise plans to improve. Having the
advanced models to compare themselves to provides the less experienced musicians with a goal.
As in the previous week, after the last note the band packs up and enjoys snacks,
beverages, and some lively dialogue. This week there seems to be a little bit more interaction
between members from different age groups. The room slowly empties. The same crew helps to
pack up. Mr. Morris and I discuss the additional pieces. We both seem to be leaning toward
including Frank Ticheli’s “Shenandoah for Concert Band” (1999) and excluding Mark Williams’
(1997) arrangement of Pyotr Ilyich Tchaikovsky’s “1812 Overture” (1880), but I tell Mr. Morris
that it is ultimately his decision. We decide that next week in lieu of sectionals, the participants
will work in a woodwind choir, brass choir, and percussion ensemble. We hope this new format
will provide a fresh experience for the participants, along with access to new musical
perspectives from different musicians with more expertise.
Day three. The entire band has yet to play together. The adult participants have all sorts
of rehearsal conflicts, ranging from house emergencies to work obligations. Earlier in the week,
two of the adult musicians inform me that they will not be able to continue. One parent contacts
me regarding her daughter. She says the time commitment is too great and she will no longer be
able to attend because she is too tired for school the next day. There are a few eighth-grade
students that signed up for the band, but never came to any of the rehearsals. The most
dependable group thus far has been the high school students, to which I am extremely grateful. I
continue to recruit professionals. With the new adult musicians tonight, I am excited to see how
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the rehearsal will proceed. Tonight is the one rehearsal during the school district’s Thanksgiving
recess, so I am anxious to see how many people will attend. I fear that family vacations may
affect attendance, but as the rehearsal time approaches I see the attendance tonight is comparable
to the first two rehearsals.
I speak to Mr. Morris briefly about some of the new participants. This intergenerational
district band includes multiple adult musicians with advanced performance degrees, so there is
an incredible amount of expertise in the room. This news brings a fresh sense of excitement to
Mr. Morris and the rehearsal. Tonight, Mr. Morris is holding full band conversations, in addition
to the previous format of small group discussions followed by a recap.
Kimberly, a high school student that I met at the first rehearsal, forgot to take her
instrument home over Thanksgiving recess. She emailed me before the rehearsal asking if I had
an extra flute that she could borrow, to which I replied affirmatively. I arrive at the school early
to meet the piano tuner. Once I let him in, I look for a flute in the school’s inventory. I chose
the best one, clean and sterilize it again and leave it on Kimberly’s seat. This may seem
inconsequential to some, but I strongly believe that there are messages in these kinds of actions.
By having the best instrument available, clean and ready, I am really saying, “I appreciate you
being here and you are worth my extra time and effort.” This is the same rationale for providing
cookies, fresh fruit, coffee, lemonade, water, name tags, and pencils at every rehearsal.
Additionally, I always have extra music available for anyone who loses or forgets their sheet
music. This happens occasionally throughout the entire study, but I never make an issue out of
it. Instead, I treat all of the participants like I treat the music teachers and professionals. I am
happy that they are here, and equally happy to help them. I am making an effort to treat all
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participants as first class human beings. In my experience, these gestures are reciprocated with
positive attitudes, smiles, and gratitude. This intergenerational district band is no different.
Luke, one of the professional trumpet players, explains how the tuning pitch chosen
depends on the context. In an orchestra, the winds may tune to concert A, receiving the pitch
from the oboe. In a concert band, the winds may tune to a concert B flat. Mr. Morris instructs
the flutes to check the cork inside the head joint, and to move it to the middle if it is not already
there. The band tries tuning to both an A and a B flat. When tuning to a concert A, some of the
adults help the eighth-graders with the fingerings who are not sure how to transpose from concert
pitch. Although not perfect, the pitch does improve.
When rehearsing Erik Morales’s “Through Darkened Sleepy Hollow” (2006), the band
has trouble starting and staying together. Mr. Morris asks, “What are you doing to start the
notes?” This discussion has the largest, immediate, positive impact I have witnessed thus far.
Ms. Mason, one of the music teachers recommends to breathe, set, and play. This three-step
suggestion is common language among music teachers, and common advice in festival feedback.
Luke, a professional trumpet player, explains that as a rule, he generally has his instrument up
and set to his mouth well before his entrance. In this case, he has the instrument up two
measures before playing. Luke also clarifies the kind of attack that music requires, and explains
the difference between a “dah” and a “tah” attack and when they would be appropriate. Jeanie,
professional saxophonist, says she generally has her fingers down before the attack as well.
Mr. Morris asks, “When are you looking up?” Jen, the college music student, says she
looks up as much as possible. Nick, another college student, agrees and adds that the points of
change are most critical, for example during a dynamic change or a tempo change. After this
discussion, the band sounds much better! (It is almost startling how drastically different the band
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sounds.) It appears, at least for this moment in time, that everyone has adopted that practice of
having their instrument set in a playing position well in advance to their entrances. The
musicians follow the advice to breathe, set, and play. The woodwinds have their fingers down.
The unification of this group is strong before the entrance. Their eyes are up and they are more
aware of the changes coming, in dynamics and in tempo.
On this third rehearsal, I can hear a dynamic effort, but, in my opinion, there is more
contrast to be desired. Additionally, some less experienced members of the band are playing
with poor tone and intonation when playing softer. Mr. Morris asks, “What are you going to do
to get a good piano sound?” The band breaks off into a partner or small group discussion. After
a minute or so, the band has a group discussion again, to offer all participants a range of
explanations and perspectives. Jeanie, the professional saxophonist, reminds the band to use a
lot of air and support the notes, which will help with intonation and tone. Luke, the professional
trumpet player, says he uses about 85% of the air he would normally use. So he admittedly uses
less air, but not much less. Kyle, a college student who plays percussion, reminds the percussion
section that the stick height should be lower for softer dynamics. Additionally, he adds that if
the band plays louder at the impacts there will be more contrast.
Although the band is mostly playing the right notes, there are still some timing and
rhythmic issues to address. Mr. Morris suggests to the less experienced musicians to count the
eighth notes during the duration of notes that they are sustaining. He goes on to point out that
most young musicians pay attention to the start of a note, but not always to its length. He has
sections count out loud while clapping rhythms and encourages them to continue to “think in
numbers,” which is meant to subdivide in their heads: “one and two and three and four and.”
This method does improve the timing of the group. In Frank Ticheli’s “Shenandoah for Concert
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Band” (1999), the flutes have a three-part round, and the second part is getting lost, often
dropping out or adding on to one of the other two parts. Mr. Morris has the musicians play while
he counts out loud, then reminds all the musicians that “you all have to count to make this piece
work.” Although this idea of verbally subdividing, and counting a clapping difficult rhythmic
passages is director led, it reinforces the sectional work that was done in previous rehearsals.
Not all the modeling has a positive impact on the band. Jen, one college students, sat
back, almost slouching while playing. After a while, some of the younger musicians started to
copy her, which leads to some under-supported sounds from the clarinet section along with poor
pitch. This is brought to her attention by Mr. Morris, and she is happy to sit up taller. She even
smiles. It is quite a mature exchange and without anything being said, the younger musicians
copy her new and improved posture.
Luke has a doctorate degree in jazz studies. When Mr. Morris defers to Luke for a
demonstration and explanation of swing, he is deferring to an expert. In Michael Sweeney’s
(1991) arrangement of Ernesto Lecuona’s “Malagueña” (1928), there is a swing section and Mr.
Morris points out that his students have not swung any eighth notes thus far in their musical
training. He then asks Luke if he could explain, to which he says, “I wish it was easy. I feel like
it is one of those styles where you have to have exposure to it. It’s hard to get the feel with a
very mechanical way of looking at it.” Luke goes on to explain that the eighth notes equal an
eighth-note triplet feel. So the second eighth note comes a little later. Luke further elaborates
that when we are young there is a tendency to play the first eighth note short. He sings this
tendency to help others understand the nuance, and then he sings again to show how he would
perform the rhythms. He closes with, “it’s something you have to listen to.” When given the
opportunity, Luke explains the nuance of swing the best he can in a short amount of time and
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suggests how to develop the skill, rather than providing a simplified explanation. Mr. Morris has
the trumpet section demonstrate the swing section for the rest of the band. With Luke playing
lead, the rest of the section starts to pick up the style. The rest of the band joins in for a few
repetitions before breaking into separate brass, woodwind, and percussion sectionals.
Luke takes the lead in the brass sectional and asks everyone in the band room sit in a
circle. They begin by playing Frank Ticheli’s “Shenandoah for Concert Band” (1999). In an
effort to make the music “move,” Luke has everyone sing their parts. “Stop! Sing the right
notes!” He tells them to sing using “dah” syllable. The first attempt, which he stops, was rough,
but now they seem to get it. I think on the initial effort, some of the musicians were too cautious,
embarrassed, or taken off guard. Now the adults are modeling a beautiful tone, even by a choir
standard. The younger voices grow more confident and the intonation begins to lock in. The
phrasing and sensitivity to when it is appropriate to push and pull becomes more unified. Luke
says, “Sweet, now let’s play it. Make the music move.” When they play, this time there is more
phrasing and more physical movement from the musicians, to which Luke comments, “Let’s be
very quiet during the pianos and mezzo pianos, and when we get to the crescendo, let’s make a
really big deal out of it.” They play again and it’s beautiful. Luke tells the group, “I got chills.
That was so good. I teared up a little.”
Mr. Morris and I sit to the side and observe. He smiles and he tells me, “this is really
good.”
“Yup,” I answer.
“Yup,” he confirms, as we both take in this shared experience.
The sectional continues with other professionals giving feedback to their sections. Ms. Mason
and Paul, a professional trombone player, coach Ana, an eighth-grader in the section, on how to
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get her notes in tune. They have her glissando up to the pitch. Paul asks, “Did you hear that
right at the end?” Then Ms. Mason says, “You got it.” All three smile at her achievement.
Before returning to the full band rehearsal, Luke reminds the brass section the trick to this piece,
“Treat it like a brass choir.”
As the band reconvenes for the final run-throughs of the night, I hear instrument specific
questions. Rory, one of the college trumpet players, talks to Luke about the equipment he plays
on. Mr. Lopez tells the other French horn players how playing the low F at the beginning is
easier for him with just the trigger.
I interpret the singing that just took place as a bonding experience for the brass section.
A new feeling is present in the remainder of the rehearsal. Luke’s knowledge, fresh approach,
kindness, and caring brought an entire new energy to the band. Clearly, Luke is among the most
accomplished of the musicians in the band. There are others who play exceptionally well, but
Luke brings a joy to the rehearsal that is unique. He catches my eye at the start of John
Edmondson’s “Normandy Beach” (1982), the military march in the set. With a salute and the
flip of a straight mute, he proceeds to perform with a contagious spirit.
Day four. Tonight is the last rehearsal and the attendance is greater than in all the
previous rehearsals: 58 musicians are here. Clearly, the younger musicians had been practicing.
They are sounding more confident and secure in their performance. With the notes and rhythms
learned and many of the marks of expression being performed with moderate success, I am
anxious for what is to come.
One of the tools that this band uses to influence the approach to one’s music is imagery.
The students are asked multiple times to think in the abstract. Through this process, sensitivity
and awareness to the group’s collective playing is elevated to a new height. I can see the thought
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and reflection in the faces of the youth in the band. I hear the meaning of the pieces change as
the musicians advance past simply performing the notation. Gradually, the band collectively
focuses on how they are performing the notation.
Semitone dissonance plays an important role in Frank Ticheli’s “Earth Song for Concert
Band” (2012). Initially in the earlier rehearsals, many of the younger musicians were
uncomfortable with the tension produced in this piece which led to an apprehension and
inconsistent air speed during these critical moments. After much practice and encouragement,
the musicians start to blow into the dissonance. Tonight, Mr. Morris asks the band, “Can you
make these moments sound like a shimmer of light on a lake?” Immediately, the same notes
from the same musicians sound different. A sensitive and vulnerable quality emerges for the
first time, which does not go unnoticed by the participants themselves. Suddenly, there is a new
eagerness to create a performance that extends well beyond technical accuracy.
When the band turns to John Edmondson’s “Normandy Beach” (1982), Mr. Morris asks
the band, “Because this is a march, how would you play this differently?” The participants talk
among themselves for about a minute or two, but then the group discussion that follows is
surprising. I notice that Mr. Morris asks how the musicians would play differently. The
professionals share out with how they think differently about the piece, which includes imagery.
Paul, the young professional trombonist says it helps him to have an image in his head. When he
plays a march, he thinks of soldiers in formal dress marching down the street in step. He
elaborates, “To me, stylistically, that translates to a little more separation between the notes and a
little bit more accent in some places.” I can see smiles and consideration on the faces of the
younger musicians. Nick, the college trumpet player, agrees with Paul’s imagery. He states that
the soldiers are not just walking, they are marching, so you have to keep the energy up. Nick
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goes on to say, “It’s not only the separation of the notes, but kind of the whole feel of it.” Luke
goes on to add that he tries to draw on previous connections, like something he has seen in a
movie. With that information, he tries to translate the scene into his playing. Jeanie, the
professional saxophonist, thinks of the different character of the notes, explaining that marches
are often played for troops, triggering memories. She adds that some of the memories are light
and good, and that these correspond to the lightness of the countermelodies and accompaniment
that the woodwinds sometimes have. This is different than the melody, and should be played
differently. She goes on to say that it’s important to know when you have the melody and when
you have the countermelody, and after a brief pause she adds with a smile, “Especially for the
saxophones.”
Mr. Morris continues the rehearsal with a story of the time when he brought his middle
school band to Camp Pendleton to see the Marines Band perform. On the day of the field trip,
the buses are late to pick them up. When Mr. Morris and his band arrive at the military base,
they are greeted by the Road Master, who tells them to follow him. Don’t stop at the red lights,
just follow behind. So the bus drivers are going as fast as they can to keep pace. When they
arrive at the stadium, it turns out that Mr. Morris and his middle school band are the only
visitors: an entire stadium with Marines and a middle school band. According to Mr. Morris, he
had never seen a middle school band so quiet.
Some of the participants laugh at Mr. Morris’s story. Others are quiet and look a little
confused as to why he shared it in the first place, but the point of the story is not lost on
everyone. Some of the younger musicians nod, signaling that they understand. That is, the
middle school band is silent because the Marines command respect. Music that evokes a military
tradition should emote pride and respect.
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In another moment, the note length of accented quarter notes in Erik Morales’s “Through
Darkened Sleepy Hollow” (2006) is a point of musical disagreement. Some of the expert
musicians are releasing with air and other expert musicians are releasing with their tongues. The
discussion that follows provides the student musicians with an opportunity to encounter multiple,
valid interpretations, which is not a common occurrence in school. Ms. Mason, a music teacher,
shares that generally you would not release a note with your tongue in a concert band setting.
Luke shares that in his experience, the style of the music determines the release. For example, in
a piece that is more commercial he explains how he would release with his tongue, like he
interprets this piece. In a classical piece, in turn, he would release with air. After a full band
discussion, the band agrees to go along with a more commercial interpretation.
Tonight, the younger musicians are showing how much they have learned and improved,
receiving praise from the musicians with more expertise. This recognition comes in many forms,
from verbal praise to gestures. One of the warmest moment of recognition that I witness is when
Mr. Morris points out the “exquisite playing” in Frank Ticheli’s “Shenandoah for Concert Band”
(1999), and Luke, the professional trumpet player nods at Rory, the college student, who in turn
nods at Tyler, the high school student, who gives a look at the eighth-graders in his section. Like
a game of telephone, the nonverbal recognition travels through the generations as if to say, “We
did well.”
The band rehearsal follows the identical format from the previous week, breaking off into
brass, woodwind, and percussion sections, then reconvening for final runs. The band sounds
ready to perform. Near the end of rehearsal, Mr. Morris asks the middle school and high school
students to share their thoughts about the experience. He prompts them, “How is it different
rehearsing in an intergenerational district band with adults?”
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Jill, a high school student, opens by acknowledging that the rehearsals are much quieter.
Ana, one of the eighth-grade trombonists, mentions that there are more people playing in her
section than at her school. For her, this provides a sense of comfort. When she is asked to play
something new or to attempt a new musical concept, she does not have to do it alone. Patrick, a
high school saxophonist says this is different because “we have a good bari sax player,” and the
band members from his school laugh. Dennis, a high school clarinetist, explains that this
experience is different because the musicians had the opportunity to talk amongst themselves
about the different details within the music. Jolene, an eighth-grade flutist, mentions that she
received a lot more feedback from different sources, and how the musicians with more expertise
noticed aspects of her playing in more detail than she was used to in a traditional school band
rehearsal. Chelsea, an eighth-grader saxophonist, shares that she was sitting next to people who
were performing the music correctly the first time. To her, it seemed as if the adults just had to
glance at the music and they already knew how to play it. Following the group reflection, all
participants are given an itinerary for the day of the concert along with a cardstock invitation.
All participants who provided their email addresses are also sent a digital invitation.
The final rehearsal ends with what feels like a stronger sense of community. Tonight
there are more people and more conversations. The musicians are lingering and there is less
urgency to go home. With the sense of finality looming, it looks as if the musicians are savoring
the final moments of the last rehearsal. As the participants enjoy the refreshments, they share
stories about their studies, gigs, and various experiences along their musical journeys. After
most participants leave, the same trusty crew helps pack up for the final time.
The concert. The day of the concert finally arrives. Invitations have been sent. My
current students are not a part of this ensemble, but they are invited to attend as audience
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members. In addition to playing in the intergenerational district band, Charlie, an adult
clarinetist in the intergenerational district band brings a jazz combo to play some standards.
Luke also brings his New Orleans-style brass band to perform. These guest performances help to
create an event that extends beyond the intergenerational district band set, and likely exposes the
young musicians to new genres of music. I have personally invited friends and family. I am
nervous and hopeful that there will be a good turnout. Only time will tell.
Performers have a 5:00 pm call time. Along with their instruments, the musicians bring
an energized enthusiasm. Four members of the brass band are sitting in for the first time with the
intergenerational district band. We now have a full, 62-piece band with all the percussion parts
covered. The dress rehearsal is rather short. Mr. Morris just touches on some of the music, but
never runs all the way through any of the pieces. At 5:20 all the participants are asked to fill out
the participant survey, to which the majority agrees. A few of the performers in the other groups
that will be performing tonight take this time to instead warm up and make some last-minute
plans, although all the professionals that have been coming to the rehearsals fill out the survey
with the exception of Charlie. At 5:40 the intergenerational district band takes a group picture
together and then breaks for dinner. There is pizza and drinks waiting for the performers in the
music room, which was set up by student volunteers. The five eighth-graders, who volunteered
for the focus group interview, accompany me to the teacher lounge. This is the only time when I
will have access to all the eighth-graders in one place, so I conduct the focus group interview.
The students are happy to share some insights into their experience in the intergenerational
district band. I am delighted to hear some ideas that I had not anticipated. The time continues to
fly by, and before long it is already 6:20 pm and time for all the performers to take their seats.
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A tremendous amount of planning and effort went into this event to create an optimal
experience for everyone involved. On the walk back to the multi-purpose room, I am hoping that
people have showed up. Upon opening the side door, I am pleasantly surprised by the turn out.
Fellow teachers, administrators, students, parents, friends, and family sit among the audience
which is still filling. By 6:30 pm, the audience seats are mostly full, and there is a large group of
people standing in the back. I estimate the audience at about 250 people and I am very happy
that the participants will share their work with a full audience. I take the stage to introduce
myself, Mr. Morris, and the intergenerational district band.
Good evening and welcome to the SCSD Intergenerational District Band Concert.
For those of you whom I have not met, my name is Richard Perez and I am the music
teacher here at Ocean View Middle School. I am also a doctoral candidate in music
education at the University of Southern California. For my final project, I’ve assembled
this band as a means to examine the musical learning experiences and social experiences
of participants engaging in a crafted intergenerational music learning experience.
The ensemble you will hear tonight consists of teacher nominated-middle school band
students from eight schools, advanced high school students from Beachside High School
and Hillside High School, college students, SCSD music teachers, and professional
musicians from our community.
Although the exploration of new approaches to the musical enrichment we offer our
students may be troubling to some, I believe it is also healthy to promote thought and
reflection to our current practices. Perhaps segregation by age does not best serve the
development of young musicians. And perhaps intergenerational learning models may be
an effective way to extend opportunity to a wider range of students.
However, the existing research shows that the benefits of intergenerational learning are
not a one way street. Elements of reciprocity exist for all age groups in musical and
social contexts. For our intergenerational district band, possible musical learning
experiences might include: guidance, wisdom, knowledge, and skills pertaining to
instrumental performance, ensemble directing and conducting, acknowledgement of
multiple, valid, musical interpretations, programming a concert, professional decorum,
and the use of relevant technology. Possible social experiences might include: the
repositioning of generational hierarchies, breaking down of barriers and stereotypes, the
promotion of community and belonging, maintaining caring relationships, gains in
attitude, and bonding within a community across ages, races, and ethnicities.
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It is my belief that much is to be gained through the interactions in intergenerational
music learning. In this band, the ‘others’ or those we might consider different than
ourselves: younger, older, novice, expert, classically trained, or trained in jazz, are in fact
simply one of ‘us.’
Throughout this study I have observed beautiful moments in time, both musically and as
a representation of humanity. The reuniting of old friends, the contagious spark of
enthusiasm, smiles, laughs, support and encouragement. The willingness to lead and
willingness to follow. And the offering of suggestions greeted with an openness to try.
On a personal note, I can’t help but acknowledge how appropriate it is that the
culmination of my doctorate has led me here, to a room filled with people of all ages who
have supported me and inspired me to continue to learn, grow, and better myself as a
teacher and as a human being.
Without further ado, I present to you Mr. Morris and the SCSD Intergenerational District
Band. I hope you enjoy the show!

As Mr. Morris takes the podium and the band prepares to play their first piece, cell
phones and cameras appear throughout the audience. With full attendance and the addition of
four more professional musicians, the intergenerational district band sounds the best they have
ever sounded. The time spent talking about imagery, context, storytelling, and emotion are
manifesting in a performance that is at times courageous, sensitive, proud, eerie, and above all
rich in an emotional intent. I am under the impression that the young players are simultaneously
comforted and empowered by the surrounding expertise. They need not worry about their fellow
musicians in the band. They can focus on expression.
The audience reactions are reflecting the emotional journey of the repertoire. Soft smiles,
appreciative nods, genuine surprise, and even audible laughs only add to the electricity in the air.
I imagine that many in the audience have never heard a live brass section like the one in front of
them. There is so much power and energy in their sound. After the intergenerational district
band performs Michael Sweeney’s (1991) arrangement of Ernesto Lecuona’s “Malagueña”
(1928), Frank Ticheli’s “Earth Song for Concert Band” (2012), and Michael Story’s “The Curse
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of Tutankhamun” (2006), Charlie and his jazz quintet play Billy Strayhorn’s “Take the ‘A’
Train” (1939), Antonio Carlos Jobim’s “Girl from Ipanema” (1962, Portuguese lyrics by
Vinicius de Moraes), and Thomas Waller and Harry Brooks’ “Ain’t Misbehavin’” (1929, lyrics
by Andy Razaf). The quintet consists of two parents of a child in the middle school music
program on bass and piano, a recent college graduate on guitar, a local professional on drums,
and Charlie on tenor saxophone. The audience responds warmly and the change in timbre resets
their ears before the intergenerational district band finishes their set. The intergenerational
district band plays their last three concert pieces, John Edmondson’s “Normandy Beach” (1982),
Erik “Morales’s Through Darkened Sleepy Hollow” (2006), and Frank Ticheli’s “Shenandoah
for Concert Band” (1999). I could see the joy in the band. Some of the adult, who are old
friends, seldom have the opportunity to perform together. It looks as if they are thoroughly
enjoying the evening, which the audience cannot help but feel. After their last piece, Mr. Morris
invites the band to stand to acknowledge the crowd. They are proud recipients of a well-
deserved standing ovation.
Luke and his New Orleans-style brass band take the stage. They bring an unexpected
sense of fun to the night. The band is comprised of two trumpets, a trombone, Jeanie on alto
saxophone, a tenor saxophone, a Sousaphone, and a drum set player. The band is extraordinary
in their musicianship and showmanship. Some of the high school students know a few of these
musicians because they coach at the local high school and it brings joy to their faces to see their
coaches in a different context. The brass band serves as a strong reminder for everyone present
that great music can be lighthearted and fun. They end their set with a lively arrangement of
“Thrift Shop” by Macklemore and Ryan Lewis (2012), which evokes literal screams and cheers
from the audience.
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The brass band rejoins the intergenerational district band for one final piece, the current
popular tune “Feel It Still” by Portugal. The Man (2017), arranged by Jacob Vogel. After the
last upbeat piece, everyone stands. Mr. Morris briefly and humbly addresses the audience to
express gratitude and to say goodnight. The cookies and drinks on the tables in back quickly
vanish as audience members and musicians socialize. Other music teachers in the district who
were unable to participate show up to support the effort. For about an hour and a half, I talk to
friends, colleagues, former students, and their families, which I am happy to do. The room
eventually clears. As I stand there alone, in a room which moments ago was filled with spirit,
laughter, and joy, I reflect on the social power of music making. I sense that this
intergenerational district band has united this community. It gave us a reason to meet, to mentor,
and to learn, and provided a purpose and a unified goal: to perform to the best of our collective
ability. And it gave us a reason to celebrate, together.
Eighth-grade focus group interview. Five eighth-graders volunteered to take part in the
focus group on the day of the concert: Alana, Thomas, Chelsea, Brian, and Jesse. They
represented five different instrument sections, three different cities, and three different schools.
Most had played their concert band instruments for four years, while a few had studied other
instruments longer. Different ethnicities and musical abilities were represented in the focus
group. Although I did not track the high achievers and middle achievers, I believe both
subgroups were represented in the interview, based on their dispositions and observed
performance. All the eighth-grade participants were nominated by their music teachers based on
the criteria being hardworking and deserving music students. This process framed the
intergenerational district band as an honor extended only to serious music students. This led the
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eighth-graders to believe their peers would try their best and take the music seriously. They also
expected to play alongside professionals and learn from them.
Musical learning experiences. The eight-grade students were all in agreement that the
intergenerational district band was fun. Many of the aspects that they enjoyed most were related
to their musical experiences. All members of the group felt like they had grown musically. One
eighth-grader in the percussion section, Alana, enjoyed the sectionals because it gave her an
opportunity to work on technique. “In middle school class we don’t spend a lot of time
developing technique. I don’t take private lessons, so in sectionals it was cool to have time to
develop my technique.” Others agreed that the sectional time was valuable. According to the
group, they learned some specifics related to their instruments. Alana shared, “Brandon taught
me how to keep time [during the drum] rolls.” Thomas, a French horn player said, “Mr. Lopez
taught me how to articulate better.” After working with Mr. Lopez, he noticed that he was
articulating with more clarity and accuracy. For Brian, the flute player in the group, it was
difficult to verbalize all the lessons he learned. “Every rehearsal was unique because every
rehearsal I learned something new.” They all stated that they practiced more, “for sure.” Brian,
“I had a reason to practice.” Recurring themes from the interview included: repertoire and help,
and pacing and intensity.
Repertoire and help. Chelsea, a saxophonist, enjoyed the opportunity to play more
difficult music. She explained that at her school there were students who work hard and practice,
and then there were students who did not take music as seriously. The ones that did not work as
hard limited the difficulty of music that their band could play. Jesse the trombonist stated, “It
was a lot of fun to have older trombonists around me so they could inform me on how to do
better.” He enjoyed getting immediate feedback, followed by the opportunity to try again.
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Others in the group expressed the same sentiment. Collectively the group agreed that playing
with professionals that could demonstrate concepts was one of the best parts of the
intergenerational district band.
Pacing and intensity. Chelsea said, “In my band we don’t play half the time because my
teacher likes to talk a lot. And in this band we actually played… a lot of playing.” Brian
expressed the same idea about his middle school band. He stated, “There’s a lot of going back
and playing the same parts over and over again.” Chelsea continued, “Especially when it’s not
your part. It’s like, ‘flutes we are going to play this again.’” For Brian, his middle school band
was very different than the intergenerational district band. He stated that in his middle school
band, “There’s a lot of lack of intensity, and I don’t want to say dedication because I know there
are people who practice a lot, but it’s like when we play here, it’s really fun and intense because
everyone is real into it.” The group agrees that the repetitions in their middle school rehearsals
are frustrating, especially when they are for a different part. In the intergenerational district band
the music was learned faster. Thomas added, “We didn’t have to stop as much in rehearsal, but
the times we did stop, it was for the older members to talk to us.” The entire group agreed that
the members of the intergenerational district band were dedicated musicians. Chelsea said, “It’s
cool to hear, I know this sounds bad, but really good music, because I feel like sometimes when
we play with our middle school band it’s kind of like we stop a lot.” Thomas added, “Yeah, and
[here the] kids don’t goof off.”
The reported musical contributions of the eighth-graders were rather limited.
Occasionally, they would help each other with musical definitions or fingerings. In one case,
Chelsea helped one of the high school students who was playing a wrong note. Socially
speaking, however, the eighth-graders contributed to the experiences of all other groups. Their
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willingness to accept feedback allowed for others to take on the identities of mentors.
Additionally, the eighth-graders collectively contributed a youthful enthusiasm, spirit, and
energy that had a positive impact of the experiences of the other participants.
Social experiences. The eighth-graders left with a new perspective on adult musicians.
Alana explained, “[It felt] good, cool to be a part of something with older people. I thought they
would think I’m bad, but they didn’t make me feel that way.” Jesse said, “[The adults] were
funny.” This came as a surprise to most of the group. Some, like Thomas and Jesse, imagined
professional musicians as very serious and stern, but found them to be quite friendly and
encouraging. Chelsea enjoyed the opportunity to perform with her music teacher from the
previous year. “Mr. Harmon retired last year. He’s the best. It was so exciting.” Alana
expressed with pride, “I played with my brother’s teacher, Ms. Randle.” Not to be left out, Jesse
said with pride, “My teacher [Mr. Morris] conducted the band.” Additionally, the
intergenerational district band provided an opportunity for Brian to reunite with his elementary
music teacher. He stated, “I haven’t seen Ms. Randle for the past three years, besides at area
concerts, but I haven’t been able to say hi and talk to her… The first rehearsal was the first time
I got to talk to her again.” For the group, it felt different to work alongside their teachers. It was
“cool” because they played together.
The group was asked to speak about their most memorable experience. Their answers
related mainly to their social experiences. Jesse simply stated, “Being with the older players was
the most memorable for me.” Brian agreed, but made the distinction that the impact of the
memory was not simply because the other musicians were older, it was because they were very
accomplished. He also thought that being a part of this group was special. With sincerity,
Thomas stated, “Cleaning up [after rehearsals] with you was fun.” He was an important part of
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the packing up crew, which included college students, high school students, and his sister (who
was also in college). Alana shared, “I’m excited for my dad to come [to the concert] because my
dad is a musician. He’s played percussion for like 40 years. I’m excited for him to hear me play
in an environment that is more advanced.” All the eighth-graders in the focus group agreed that
we should do this again next year.
High school focus group interview. A week after the concert, two high school students
agreed to a joint interview. Both students, Tim and Jill, played French horn in the
intergenerational district band. They were asked to be interviewed because they had the same
tutorial period and were available during my visit to their school. Tim had played French horn
for eight years. He played in the school’s top auditioned ensemble and the marching band. Jill
had played trumpet for one year and French horn for a few months. She played in the second
concert band, the symphony, and the marching band.
Tim’s expectations for the intergenerational district band were “pretty high.” He thought
that there would be many experienced musicians throughout the band. When he arrived at the
first rehearsal he had to alter his expectations. There were professionals, music teachers, and
college students, but there were also many high school and eighth-grade students. Jill, on the
other hand, had low expectations for the group. She stated that she had been a part of a similar
band before and did not learn much. For her, the experienced exceeded her expectations,
“slightly… I did learn about the French horn.”
Musical learning experiences. Neither Tim nor Jill practiced much outside of rehearsals
during the intergenerational district band. However, their participation required that they spend
more time on their instruments and both reported musical learning. Jill stated that she learned
more fingerings and how to extend her lower range. The tone of the interview warmed as we
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discussed the parts of the intergenerational district band that they liked. Important musical issues
that stood out were confidence, repertoire, and being challenged.
Confidence. Tim said, “The best part was listening to the professional [French horn
player] confidently sing out his part whenever we were practicing.” Tim started to approach his
playing differently. In most of the bands that he plays in at school, he is the only French horn
player, so he did not have access to French horn models at his school. Tim went on to say, “[The
intergenerational district band] made me feel confident, more confident in myself than I usually
am when I play French horn.” Jill also reported a difference in her French horn playing. She
said, “[The intergenerational district band] definitely helped improve my tone.” After a moment
of reflection, she added, “I was really happy I improved the way I did.”
Repertoire. For Tim, playing Michael Sweeney’s (1991) arrangement of Ernesto
Lecuona’s “Malagueña” (1928) was the most memorable part of the intergenerational district
band experience. “That was a fun song. That was honestly my favorite song out of those.” Jill
enjoyed practicing Frank Ticheli’s “Shenandoah for Concert Band” (1999). The most memorable
experience for her came in rehearsal. Jill said, “[It] was so much fun to practice, because
literally everyone had trouble with that first note except the professional.”
Tim interrupted, “We had to sing that.” Jill laughed and explained that this was a particularly
fond memory because this piece was difficult to learn.
Being challenged. Tim found that he had a different point of view than the professional
in his section in how to interpret some of the music. “I had my way and he had his way. I went
with his way because he had more experience than me and I thought I should probably listen to
him.” When I asked him to elaborate on this, he explained that the difference related to timing,
tempo, and intonation. Regarding time, he admitted that he tended to rush. This was a new
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experience for Tim because he was the only French horn in his school band. He was not used to
negotiating differing approaches within the section. Jill said, “One of the things that was a bit
difficult was that everyone had such different levels of experience. There was just either very
beginner, kind of medium, or really experienced, and so there was a very obvious, noticeable
difference between the players, so it was kind of hard to blend together.” According to Jill, the
eighth-grader in their section “was actually doing pretty well.” When asked if the eighth-grader
improved, she stated with emphasis, “Oh yeah.”
Social experiences. Jill reported, “I liked just the fact that we were able to connect with
people other than our ages.” She perceived the eighth-grader in her section as “friendly.” She
also expressed that working with older and more experienced musicians was fun. Tim was less
social with the older musicians. At the end of rehearsals when people were eating and talking,
Tim stated, “I usually only talk to maybe a few of the younger, more novice students because
I’ve known them from before and some of the students I’ve already played with at Beach [Side
High School].”
College student interview. Jen was a college freshman who was studying to become a
music teacher. She had been playing saxophone for 5 years, but also had a rich musical
background that included lessons in piano, guitar, and clarinet from a young age. She took piano
lessons from age 6 and continued until she was 13. Although the music from the
intergenerational district band was easy for her, there were still parts of the music that required
some review. “The music was easy, but there were certain parts I had to go over.”
Jen expressed some reservations about how the eighth-graders would behave in
rehearsals. She was unsure whether they would act professional. However, she was pleasantly
surprised by their behaviors and attitudes. “They were really quiet and listened to instruction.”
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She believed that the younger players wanted to make a positive impression on the expert
musicians in the band. “I don’t know if they wanted to impress [the professionals], but I
wouldn’t want to act dumb in front of someone who was superior to me.” After some reflection,
she stated, “The younger students were respectful.”
“[The intergenerational district band] was really fun because it’s probably the only time
I’ll be able to play in a band that has so many different levels of people.” She was impressed
with the musicianship of the professionals. “Playing with Luke, oh my gosh, that was so cool.
He’s insane.” On the other end of the spectrum, helping the novice players was also fun. “It
made me step up a little bit. Usually [in my school ensembles], I’ll follow the higher level
[musicians]. [In the intergenerational district band] I had to help the younger people.”
Musical learning experiences. Jen did not learn new musical concepts in the
intergenerational district band, but benefited from seeing how others explained them. This was
especially useful for her because she wants to teach music in the future. After observing many
different professionals lead, Jen had the opportunity to apply some of the techniques she had just
watched. From a teacher training perspective, the intergenerational district band model followed
the same basic principle. After the presentation of feedback or new material, the participant had
the opportunity to apply the new information. For Jen, the opportunity to practice leadership was
an important theme.
Practice leadership. To help address the instrumentation needs, Jen played clarinet, her
secondary instrument instead of saxophone, her primary instrument. She sounded very good on
clarinet and provided much needed leadership to help solidify that section. This added an
additional element of challenge and Jen felt like she was put on the spot at times. When asked
questions about that instrument, she provided the correct information, but stated that she did not
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feel as confident as she would have been on saxophone. During the woodwind sectionals the
professional deferred to Jen. “I thought it was really cool how in a couple of the practices
[during woodwind sectionals], there were a couple of professional musicians and they had me
run the sectional, which was kind of cool. I would have thought that they would have run it.”
Social experiences. Jen expected very serious and reserved demeanors from the
musicians with more expertise. “In my mind, I thought they were going to be really serious and
not friendly, but they were super nice.” However, she was pleasantly surprised to find that these
particular group of musicians were also very friendly. Four social themes that stood out include:
attitudes, pride, support, and Jen’s most memorable experience.
Attitudes. For Jen, the attitudes of the participants were an important aspect of the
intergenerational district band experience. The wide range of musicianship in the band made the
ensemble special and unique. Jen played with former classmates from the local high school,
current college classmates, former music coaches, and her eighth-grade brother. She had the
unique position of having personal relationships across all age groups. “Even though, like
obviously [some professionals] were much better, it was cool… It never felt like anyone was
[acting] better than you.” She felt the same way about Mr. Morris. Jen enjoyed the way Mr.
Morris would allow time for discussion within the rehearsals. According to her, this practice
acknowledged the musicianship of others in the band, and their ability to help the band improve.
She felt that Mr. Morris artfully balanced this relinquishment of power with his own
contributions. “He walked around during sectionals to listen. He would come in and say ‘let me
hear what you have been working on.’ Then he would give us some feedback and move on. He
was always encouraging.” After Mr. Morris offered feedback, he allowed others to take the lead
in applying the feedback to make improvements.
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Pride. “This is probably the coolest ensemble I’ve ever played with in my life. I felt
pretty proud at the end.” Jen explained that unlike other ensembles she had played in, the
intergenerational district band gave her the opportunity to make significant contributions to the
improvement of younger musicians. She served different roles in the intergenerational district
band including performer, mentor, and teacher.
Support. Some of the younger students asked about continuing in music in college and
Jen was able to answer their questions. They were curious about auditions and Jen shared her
experience. This was important to Jen because most students from her high school class did not
continue in music. She was one of two music majors from her high school class. Here, Jen was a
source of support for the youth considering a path in music.
Jen was also the recipient of support. Although music was her passion and she had
aspirations of teaching and performing in the future, much of her family believed that studying
music in college was a mistake. Her parents and aunts encouraged her to pursue a different
profession, perhaps a medical path, but when Jen interned in a hospital, it was the “worst thing in
[her] life.” Both of her parents were successful business owners. When it came to Jen’s decision
to study music as a profession, she knew that, “they are not huge fans.” Once Jen had narrowed
her focus to music education, her mother was warming up to the idea, but not her father. “We’ll
go in front of people and he’ll say ‘Can you believe she’s doing this?’” Nevertheless, Jen
expressed no interest in working in a different field. “I’d rather do something that I’ll be happy
with.” She wanted to teach and continue performing. The discussions with some professionals
in the intergenerational district band validated her belief in the importance and value of having a
strong network of musicians. When Jen spoke with Luke, she learned how valuable a musician
network could be. He told Jen how he formed the brass band that performed at the concert. “A
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guy at the fair asked if he had a brass band and he said of course, but didn’t have one yet. So he
called some guys, wrote out two songs, and recorded a video that day. I thought that was cool.
It made me realize you got to have a lot of friends in the music world.”
Most memorable experience. The most memorable experience from the intergenerational
district band for Jen was the actual performance. The unique context of mixed ages provided an
opportunity for her to perform with her eighth-grade brother. “That was the first concert [of
mine] that my mom and dad went to.” Jen went on to explain that her mother had attended a few
concerts of hers in the past, but not her father. His attendance made it a special performance for
Jen. “It was my favorite ensemble that I’ve ever played in. It was just so cool and different.
And it will probably never happen again in my life time.”
Music teacher interview. Mr. Lopez was a 38-year-old high school music teacher in
Orange County, CA. At the time of the interview, he had 14 years of music teaching experience
at the high school level. He began playing piano at age 6 and French horn at age 10. He
considered both to be his primary instruments. He played French horn in the intergenerational
district band, but he could also play all the instruments that he taught, such as string orchestra
instruments, guitar, ukulele, wind instruments, and drum set. He jokingly added, “And I’m good
at some of them.” He was being very modest and a little funny. Mr. Lopez and I have been
friends for 16 years. We met as members of a drum and bugle corps., when he was 20 and I was
18. From as early as I could remember, Mr. Lopez has stood out from his peers as a musician.
He had perfect pitch and an advanced sense of musicality. At age 20, he elevated the
musicianship of the other members in that drum and bugle corps., and ever since has been a
source of musical support for me. He has provided expert clinics to my school’s orchestra. He
had his high school band record one of my earliest compositions. He has always had a gentle
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way of providing constructive criticism and guidance. I was not surprised when he agreed to
participate in the intergenerational district band and in this interview.
Mr. Lopez had a polite and humble personality. I have never seen him express the need
to prove himself as a teacher or a musician. Instead, he has always shown a willingness to listen
and encourage others. In short, Mr. Lopez embodied the essence of a musical and social role
model.
Musical learning experiences. Mr. Lopez appreciated how the format of the
intergenerational district band rehearsals allowed for in-depth, instrument-specific instruction to
take place. According to Mr. Lopez, the students were exposed to the authentic, complex way
professional musicians approach their craft. “It’s going to sound weird, but it was fun to point
out all the things to do, and then to be able to show specifically, on my instrument, the horns,
where those rules can be broken for viable reasons.” When asked to share the specifics, Mr.
Lopez said, “I was always talking about ‘where do we blend in?’ And then there would be a
melody, or just a little horn rip, then I’d lean over and look at them and say, ‘this part, you
shouldn’t be listening to anyone else hear, they should be listening to you!’” The lessons also
extended to how the music was constructed. “It was fun to show them the structure, one on one,
of everything that was happening in the music. Where they could break those rules and why it
was ok.” According to Mr. Lopez, the students were taken by surprise. They had a positive
reaction to this kind of instruction. “It was fun to see them get excited, ‘Oh! I can play really big
there?’ Yeah, with good tone and time. This is what is expected from our instrument at that
point.”
Mr. Lopez expressed that there is a limitation to a traditional model, in which one expert
teaches all instruments. In the intergenerational district band one director voice was replaced
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with numerous experts in all sections teaching across the entire band. “I don’t get to that,
because as a director, when you are dealing with nine different instruments, it’s tough to show all
the specifics to all the instruments, especially the ones that are your tertiary or fourth best
instrument that you can play.” When he had to teach about his fourth best instrument, “I have to
rely on the things that hired coaches have told me.” I asked Mr. Lopez, “In a traditional setting,
do you believe the students get a simplified version of something that is complex?”
He replied, “Oh absolutely, there is only so much time to get through all the different things that
happen in the music.” Five issues stood out from this interview include: format, unwritten rules,
philosophical approach, adaptations, and “the new.”
Format. For Mr. Lopez, the first rehearsal was the most memorable because the middle
school and high school students were asking so many questions. “I could see myself in their
shoes.” The students were asking the same kinds of questions that Mr. Lopez remembered
asking when he was their age. He did not get the answers to those questions until he went to
college. However, in the intergenerational district band Mr. Lopez had frequent opportunities to
have extended dialogue with the students.
“The conductor was really hands off and gave older members time; it was nice to point
things out right when they happened,” reported Mr. Lopez. He explained that students were
receiving instrument specific instruction in an ensemble setting, which differs from the
opportunities for learning in private lessons. “I was able to fix so many things right away.”
During the sectional time, Mr. Lopez had the opportunity to elaborate on larger concepts, which
meant that he never felt like he had to rush instruction. He said, “I felt like I was able to get to a
deeper understanding instead of just a superficial [level].” Knowing that sectional time was
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coming, Mr. Lopez said, “I was able to hit on specific point and [later] give them a foundation to
why, how and when.”
During the full band rehearsal, there were ample opportunities for explanations because
simultaneous instruction came constantly and from many credible sources. “As a director, it’s
difficult to get to specifics on each instrument.” The format allowed for time to revisit concepts
that were taught, but forgotten. Mr. Lopez explained, “Because we rehearsed multiple times,
when I went back and heard them again and even at the concert, I was able to remind them we do
this here because of this.” Mr. Lopez also thought it was important to the success of the
ensemble that the experience took place over several meetings. “If it had been just a one
[meeting] and done, I don’t know how comfortable I would have been speaking up.”
Unwritten rules. Mr. Lopez explained to the students that some of the performance roles
of the French horn section are not written in the music. For example, in one section there was a
crescendo that was implied, but not written. During one of the intergenerational district band
rehearsals he was able to explain the concept, demonstrate it, and then play alongside the
students as they applied the feedback. At another time in rehearsal, Mr. Lopez pointed out that
the clarinets had the melody. The French horn part was accompaniment and did not need to be
played so loud. When all four French horn parts were unison, he informed the section that they
all did not need to play. When the snare drum also had off beats, he told the section to listen and
match the length and sound.
Upon reflection Mr. Lopez stated, “I didn’t grow up with much of that.” He laughed to
himself when he remembered the look of admiration he received from an eighth-grader in
response to his pencil clip. The eighth-grader reportedly said, “Oh, that’s for when the teacher
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says, ‘mark that down, write that down.’” Mr. Lopez told the student that he marked his music
the first time he received a comment or noticed something that he could improve.
The best part of the intergenerational district band experience, according to Mr. Lopez,
was when he showed the French horn section where they could break the rules and why it was
acceptable. Most of the time they would have to blend and listen for other sections, but
occasionally not. “I’d lean over and say, ‘This part, you shouldn’t be listening to anybody else
here, they should be listening to you!’” Mr. Lopez reported that it was fun to see the students get
excited and also develop a deeper understanding of what was expected from the French horn
section.
Philosophical approach. Mr. Lopez was exposed to a different philosophical approach to
teaching music. He took a more “nuts and bolts” approach to teaching music, focusing on the
technical accuracy and the marks of expression on the page. When Mr. Lopez participated in the
all brass rehearsal, Luke took the lead. According to Mr. Lopez, Luke came from “a conceptual,
the big picture [approach].” Luke started with an emotional intention and asked the musicians to
think in the abstract. “I know it was refreshing for me. I think it was refreshing for the horn
players too because they got everything through a different lens.” The French horn players were
exposed to both approaches. Mr. Lopez elaborated, “Then [Luke] was able to give some time to
us [the teachers and professionals] to clear up any questions. Some of the French horns,
especially the younger players, had some questions about what he was talking about. It was a
little over their heads.” I asked Mr. Lopez, “Would the exposure of this philosophical approach
influence you in your classroom?”
He responded, “Yeah… it was a very easy concept to take back to my groups.”
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Adaptations. The week after the intergenerational district band concert, Mr. Lopez
invited some of his musician friends to play with his top high school band. He gave them a
quick outline of the intergenerational district band format. He then ran a rehearsal in a similar
way, playing through some sections then being quiet for a little bit. He instructed his musician
friends to talk as much as they wanted. Mr. Lopez reported that they essentially did the same
thing the intergenerational district band had done, but in a condensed form and with known
coaches. “It was a good rehearsal; the kids were talking about it and they dug it.” According to
Mr. Lopez, the intergenerational district band had real implications for music teachers. “It’s an
easy concept to adopt. It’s difficult to implement, coordinating with professionals and
community members.”
I asked, “Why did you chose to adopt the concept?”
Mr. Lopez replied, “The spirit spoke to me.”
I asked, “What is the spirit?”
He replied, “Openness. I hope for the kids, willingness to listen and learn what they
can.”
The new. For Mr. Lopez, there was great value in trying something new, as long as it was
intelligently guided. He suggested that busy people do not have the time and patience to work
out a problem ridden model. He asked me, “How many things come across your desk of life,
‘hey man, can you do this?’” Mr. Lopez also has a newborn at home and explained, “The added
kid coverage too. Now I don’t want to leave [my wife] with two kids.” For most new
opportunities in music, Mr. Lopez would reply, “It just doesn’t fit into my schedule.” When
asked if there is value to trying something new, Mr. Lopez replied, “Of course, as long as
someone is intelligently in charge of it, and can at least guide it in the right direction.” He
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thought the intergenerational district band was well thought-out and organized. “I like the
freedom of it, but it wasn’t we show up and do what we want. It was guided in the right
direction.” At this time in the interview, I shared with Mr. Lopez the working title of the
dissertation, to which he responded, “Crafted… (brief pause) That’s perfect.”
Social experiences. For Mr. Lopez, the intergenerational district band was an uplifting
experience. He felt mentally engaged when listening to Luke’s thoughts and perspectives. He
also felt like he made a positive impact on the young musicians in his sections, which was
emotionally rewarding. “It was fun to hear the progress, specifically from the horns… especially
because I was seated next to the youngest kid at the concert. It was fun to hear how he was
doing this better.” And when Mr. Lopez demonstrated parts of the music for the other horns, he
stated, “hopefully some of those horn players were like, ‘it’s possible.’” The intergenerational
district band also provided an opportunity for social interaction. Mr. Lopez, who had a full-time
job and a family at home, was thrilled that there was coffee at each rehearsal. He saw himself as
the type of person who does what is required and then leaves. The snacks and refreshments kept
him there a little longer, which allowed for some conversation with fellow French horn players
and musicians. The spirit that Mr. Lopez described as “openness,” made for meaningful
conversations. With so much information shared, he summed up the experience as, “Here’s
everything, what do you want to take away?” Two social themes that stood out from the
interview were fun and admiration.
Fun. The intergenerational district band was a fun experience for Mr. Lopez. The word
“fun” repeatedly came up throughout the entire interview. He enjoyed the experience,
particularly witnessing the progress in the French horn section. The youngest student performed
with much more maturity at the concert compared to how he started on the first day. Mr. Lopez
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said, “Yeah, I’ll use the word awareness. The awareness as to when to physically play, when to
play out, when to relax. I remember the first rehearsal when he was just pumping, like all the
time. I told him, ‘You’re going to get tired really quick.’” His impact on their performance in
conjunction with the opportunity to perform alongside the section was rewarding. “I’ve never
been a part of something like this.”
Admiration. Mr. Lopez could sense that some of the musicians looked up to him
throughout the intergenerational district band experience. “Sure, I picked up on the subtle ways
people can complement you. It was only valuable to me it the sense that the section could hear,
oh, that’s what it’s like with no mistakes or distractions taking away from the music.”
Community musician interview. Luke was a professional trumpet player, arranger, and
educator in the Los Angeles area. He completed his undergraduate degree in jazz studies at the
University of North Texas, and his Masters and Doctorate degrees in jazz studies at the
University of Southern California. He had been playing trumpet for 24 years and also plays
piano, bass, drums, and other brass instruments. He mainly worked in commercial music. I met
Luke 9 years prior to the intergenerational district band when I started my graduate program at
USC and we had been friends ever since. He had a very humble, warm, and light hearted
personality. He often found ways to make people smile and put people at ease. Although he was
an exceptional trumpet player with a tremendous amount of confidence, he never came across as
arrogant.
Luke expected to have an excellent time playing in the intergenerational district band.
He found the entire experience to be fun and everyone there was welcoming. He also noticed an
absence of “an agenda” or ulterior motive, which was refreshing. I asked Luke, “What made it
welcoming?”
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Luke replied, “It seemed like everybody was there to have a good musical experience. I
didn’t necessarily feel like there was an agenda from anyone involved. Coming from the
professional music making world, was nice.” By his account, this band was a group of people
from various ages seeking a musical experience. Luke also shared, “In the professional world, I
rarely play in a wind ensemble format, so it was nice. It felt nostalgic for me.”
Musical learning experiences. Luke shared many aspects of his musical learning
experience that he felt were significant. In his estimation, the intergenerational district band was
a positive experience: There was much to discuss, and much to think about. The musical issues
that stood out for him were: format, the challenge, the conductor, and the philosophical
approach.
Format. For Luke, the format was unexpected. He was asked many questions about how
he thought about playing music and his ideas about what it means to be musical. The format
allowing many questions created an opportunity for participants to delve into the mind of a
professional performer. Luke elaborated on the uniqueness of this format, “In a professional
[ensemble] setting, your job is to execute what the conductor is asking of you. Vary rarely are
you going to dictate to the conductor what you think.” Luke went on to explain, “That’s
different than say a commercial setting… we more often defer to the performer rather than a
conductor, most of the time because there isn’t a conductor.”
Luke did not expect so much conversation. He thought that the dialogue throughout
rehearsals and sectionals was “exceptionally positive” and a valuable part of the overall
ensemble experience. “I wish there had been more of a push to make the younger students come
out of their shells, speak up, and share across the entire group what they thought. I know they all
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have opinions, but they were embarrassed to share.” In retrospect, Luke believed the adults
could have been more encouraging to hear opinions and interpretations from the youth.
The challenge. Luke thought that the musical selections were really good, but also
challenging given the amount of time and the varied levels of experience in the ensemble.
“That’s what made it exciting. The things that we take for granted, like time, rhythmic accuracy,
intonation, they were a stretch for those students.” Luke noted that intonation was especially
challenging for this group. He noticed that even the college players did not really understand
how to play within a section. Trying to develop more musical maturity across the ensemble in
such a short amount of time was, according to him, a “tall task.”
The conductor. “There are few people I know that could have done as good a job as [Mr.
Morris] did with that group. His capacity to communicate with every level of musician there
was uncanny.” Luke expressed an admiration of how Mr. Morris was able to facilitate
meaningful and complex conversations across age groups. He was inspired by the depths of
knowledge in which this accomplishment took place. “I don’t think he ever dumbed down
something so a kid could understand it, he just said it another way… And that’s the sign of a
fantastic teacher.”
Philosophical approach. Luke reflected on one of the full brass sectionals. They spent
most of the time working on musicality. Luke made a concerted effort to explain that their
playing sounded like everyone was so worried about playing the right notes and rhythms that
they were forgetting to make music. He remembered saying, “If we make our focus making
music, then we are going to be better.” This statement was met by a challenge from one of the
music teachers in the room. According to Luke, she responded, “I say these things to my
students too, but they don’t get better at playing instruments,” and went on to explain that her
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students need specific instruction that pertain to technical accuracy, i.e. fingerings, definitions,
etc. Luke found this challenge very interesting. He was not providing, nor intending to provide,
a demonstration to teachers on how they should be teaching their classes. He was also not
providing a hypothetical lesson for a future class. He was speaking to that specific group of
people on that night.
Luke respectfully heard out the teacher point of view, although it did not change his
philosophical approach. During the interview, he further explained that, “If you make the music
the focal point, the art of it, if you make that the focus, then the technique will come. The only
way to make the music is for the technique to happen.” Luke argued that one should let the art
of music making drive the development of technique, not the other way around.
“Why is this approach important?” I asked.
“The more we can make [music performance] about the artistic side of it and less about
the technical execution side of it, the more that music then becomes fun, and interesting, and
teaches kids how to be artistic. Let emotion guide [the process],” Luke explained. And he went
on to elaborate that if music class becomes solely about technical proficiency, then the
experience suffers and it is no longer art. Luke explained, “If it’s just about notes and rhythms,
then music just sucks.”
Luke described the opposite approach as a failing. He stated that, “The idea that until I
get them to push down the right fingers and play the right notes and rhythms, I can’t ever talk
about music. To me, it’s so backwards! It should start with music. That’s the whole point.”
Luke’s recollection of the sectional that followed was his most memorable part of the
intergenerational district band experience. He challenged the musicians to focus on the music
making and to have faith that it was going to work. That night, he asked the brass section, “What
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can you do individually so that the person listening gets goosebumps?” For him, what transpired
next was a moment where the entire group became an entity. It was so memorable and so much
fun, and according to Luke, that was when they understood.
This description prompted my next question, “It sounds like you are describing authentic
music making. Can you explain what that feels like?” Luke replied,
That moment on Christmas morning, your first love, and the taste of your favorite food,
all wrapped into one. Truly making music is the most incredible thing in the world. Not
until they experience that, can they truly understand why music is so important and
meaningful.

Social experiences. For Luke, the intergenerational district band was a community. The
social aspects of music making in an ensemble were embedded in the activity itself. Luke
identified the following social themes: gestures of caring, admiration, and accomplishment.
Gestures of caring. Luke appreciated the coffee and various refreshments at the
rehearsals. He thought those kinds of gestures transcended age and the message was clear: the
musicians were welcomed and important. After rehearsals, he found himself standing around and
talking to people. The refreshments gave everyone a reason to linger. “Then it’s even more
welcoming because you are creating a community,” Luke said.
Admiration. As an observer, I told Luke that there was a great deal of admiration
expressed by others about him. He said he did not notice and explained, “If I was 10 years
younger, I would have been aware of that, but it doesn’t really matter to me anymore.” He went
on to clarify that he wants others to feel comfortable performing with him. He was also quick to
point out that there were other great players in the room, so he was performing with his peers
too. He understood how playing with professionals could be a big deal to the youth and how
they were pretty excited about it. However, Luke was also excited to perform with them. “I had
an exceptionally good time with everyone in that ensemble, and with every age.”
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Accomplishment. The last concert was special for Luke. The relatively difficult music
learned in a short amount of time gave him a sense of accomplishment. This was only possible
because the youth in the intergenerational district band were willing to listen to the musicians
with more experience. For Luke, the whole process was validated by the reactions of the parents
at the concert. The parents saw how the model could be a very positive experience for their
children. Upon reflection, Luke shared how he thought the young students were very engaged in
the activity, and the older musicians shared that same youthful enthusiasm. He shared the
following realization, “The coolest thing about it is the fact that music bridges age. We can all
get together and play. There are few things in this world where someone who’s 10 can sit down
next to someone who’s 90 and do it together. That’s a real special thing.”
The intergenerational district band experience was rewarding for Luke. “In some ways it
was a highlight of the year, musically [speaking].” He also appreciated the opportunity it
provided the students, to experience firsthand how professionals perform. “For us, it’s not this
big, high stakes [event].” Luke explained that it was important for the students to see how the
experienced musicians did not stress out. Then the students could follow suit. They need not
stress out over performing in front of a live audience.
Belonging. In the studio work that he typically does, Luke rarely gets the opportunity to
work with an ensemble toward a performance, like he did when he was in school. In his
description of a studio recording, Luke said, “I usually show up, do the hit, and then everyone
goes their separate ways.” The opportunity to sit in an ensemble and connect with other
musicians was valuable to Luke. He said, “I think a lot of professional musicians would like to
give back to the youth, but we don’t really have the time to plan an ensemble like this.” He went
on to elaborate, “If an educator like yourself were to do all the legwork again, I think
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professionals would be interested.” Luke was happy to mentor and intergenerational district
band gave him an opportunity to belong to a community of musicians that extended beyond the
group of professionals he was accustomed to working with.
Suggestions. Each of the interviewees and interview groups offered suggestions for
crafting future intergenerational district bands. The eighth-grade group was in agreement that
the most challenging aspect of the intergenerational district band was sight reading on the first
day. They felt that it was somewhat overwhelming to have six pieces of music to read through.
The stress was amplified by how seemingly easy it was for the musicians with more expertise to
play the pieces. After the first meeting, the experience was less stressful because they had an
opportunity during the week to practice. They suggested sending the music out to the eighth-
graders at least a week before the first rehearsal.
Jill, from the high school interview, stated that she wished the music was a little more
difficult. Jill added, “But it still sounded pretty and sometimes simple is better.” Tim also
thought that the music was easy, but elaborated. “It kept you on your toes… It was decently
easy, but if you weren’t paying attention, you could screw up.” Jill added, “So, like, don’t get
over confident.” Tim also suggested different pairings or groupings for small rehearsals.
According to him, it would have been fun for the French horns and clarinets to have a sectional
rehearsal together, or something different than all brass.
Jen, the college student, suggested hosting a question and answer session with the
professionals during one of the rehearsal. In retrospect, Jen regretted not talking to the
professionals more about their practice sessions and work experience. Understandably, most
participants entered the intergenerational district band with some reservations which lessened
with time. However, the valuable time together was fleeting.
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Mr. Lopez felt a little unprepared for the length of the first sectional. He was not
expecting to have to lead a sectional and offer feedback to the degree that the format required.
He said it was not a problem, but perhaps it could have been communicated better.
Luke wished that the younger musicians would have voiced their opinions more. He
would have liked to hear them have conversations related to interpretation and their
justifications. He felt that the younger students were reserved and they did not have to be. Luke
said, “In music, everyone’s opinion is valid, even if you are young.” On occasion, students did
voice their thoughtful insight which excited Luke, he just wanted more. The students were
mostly introverted and deferred to the adults. “It would have been interesting to have a sectional
where one of the kids had to run it. What did they think we had to work on?” Luke also
expressed that this whole concept was contingent upon the cooperation of all the ages, at all
levels. The conductor, the adults, and the students all had to be willing to share and defer to each
other. Luke stated, “I think you were lucky in a way, that the professionals that were there were
willing and capable of being differential to not only their peers, but also the younger students.”
Luke elaborated, “There were certainly older players that would not have done that and
completely taken over the entire thing.” All things considered, he thought the experience was
valuable for the professionals too and a fun band to be a part of. “It felt foreign to everyone.
One hundred percent, it felt new. I’ve never been in a situation like that before.”
Participant Questionnaires
The intergenerational district band consisted of 62 musicians and one conductor. In an
effort to support themes in the narrative, all participants were asked to complete the participant
questionnaire on the day of the concert. The 49 participants that completed the questionnaire
break down into the following subgroups: six professionals, five music teachers, four young
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adults, 20 high school students, and 14 eighth-grade students. The actual number of
professionals in the band was 19, which means that 13 did not complete the questionnaire.
Possible reasons for their choosing to opt out of the questionnaire may have been last minute
preparations for their performances and using that time for an additional warm up. Each theme
that emerged from the questionnaire is presented with a frequency count, the number of times
this theme was mentioned throughout all questionnaires, to show the degree in which the theme
was present.
Music learning experiences. The following table lists the musical learning that took
place as perceived by the participants themselves. In some cases, a theme was mentioned more
than once by the same participant, which raised the frequency count as seen in Table 10. This
explains why performance techniques had a frequency count of 120, even though 49 participants
completed the survey. The musical learning themes that emerged were performance techniques,
professionalism, and rehearsal techniques.

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Table 10
Participant Frequency Counts of Musical Learning Experiences
Performance techniques 120
Breathing 33
Style, musicality, emotion 23
Articulation 14
Tone 11
Counting and reading rhythms 7
Alternate fingerings and positions 7
Intonation 6
Dynamics 5
Time 3
Phrasing 3
Note lengths 2
Vibrato 2
Embouchure 2
Reed placement 1
Drum set beat 1
Professionalism 40
How to practice 18
Mindset 11
Warm up 5
Confidence 2
Recovery 1
Taking notes 1
Working together 1
Posture 1
Rehearsal techniques 12

Performance techniques. Participants reported the teaching and learning of many aspects
of instrumental music performance. Some of the lessons relate to basic fundamentals, but others
extend to situational ensemble performance and interpretation. One professional noted that in
the intergenerational district band:
I had a lot of opportunities to teach instrument specific and general concepts. Of
particular importance were things like how to function in an ensemble, [and] what your
role is at different moments in the piece. Those are concepts that are not easily taught in
private lessons, and perhaps not always explained on specific terms in rehearsal.
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This was a reoccurring concept. This intergenerational district band model allowed for
interaction and instruction between mentor and mentee musicians in an authentic ensemble
setting. Therefore ensemble performance issues could be explicitly taught, rather than
hypothetically taught. The lessons were immediately followed by authentic opportunities to
apply the instruction. One eighth-grade student reported simply, “We added more musicality to
our music.” When asked what, if anything, was learned about music performance, one young
adult responded, “that performing requires emotion as well.”
Professionalism. Many participants wrote about the seriousness with which the
musicians with more expertise attained to their craft. One student wrote, “Professionals
frequently ask questions and make sure they do the best they can at all times. They are also very
concentrated on themselves and the conductor.” Many of the younger participants asked
questions and learned strategies on how to practice more effectively. Some participants wrote
about the early arrival of the professionals in order to warm up, which was a practiced adopted
by some students. Others noted the confidence, note taking, and recovery of the musicians with
more expertise.
Rehearsal techniques. The rehearsal techniques implemented in this intergenerational
district band were of use to many of the music educators. One music teacher wrote, “I learned
several rehearsal techniques to use with my own ensembles.” Specifically, the emphasis placed
on dialogue proved to be valuable to some educators. A different music teacher wrote, “I really
enjoyed [the conductor's] rehearsal style. Having stand partners share thoughts with each other
was a nice change from a director-led rehearsal.”
Social experiences. Social experiences refer to thoughts or feelings toward a person or
group of people that developed over the of course of the study. These perceptions were
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expressed by participants in the questionnaires. The themes are presented here with frequency
counts as seen in Table 11. The social themes that emerged were community and belonging,
attitudinal changes, and relationships.
Table 11
Participant Frequency Counts of Social Experiences
Community and belonging 75
How we treat others 23
Opportunity to contribute 12
Common goal 9
Dialogue 6
Structure 2
Passion, feeling, emotion 2
Fun 2
Friends 2
Learning 1
Attitudinal changes 36
Relationships 33
New friends 10
Professional contacts 7
Private lessons 4
Student/teacher relationship 3
Mentee 1
Coworker 1

Community and belonging. Respect, cooperation, and support were common descriptors
of how participants treated each other, which reportedly fostered a sense of community and
belonging. Many participants felt that their contributions to the intergenerational district band
were significant and meaningful, making them feel like valuable members of the band. For
others, working toward a common goal and the process of that work strengthened the bonds
between members.
Attitudinal changes. The most highly reported preconceived attitudinal expectation was
the assumption that middle school students would have low musical abilities and have inferior
tone. Participants also reported that they believed the youth in the ensemble would struggle with
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behavior, specifically: paying attention, listening, following rehearsal etiquette, and generally
being well mannered. The highest reported preconceived expectation about adult participants
was that they would have dry personalities, specifically: “not fun,” “no jokes,” “not cool,” and
“super strict.” One middle school participant expected that the high school students and college
students would be “cocky.” Another thought the adults would be “show offs.” All of these
predictions were followed by disconfirmation. After the intergenerational district band
experience, preconceived expectations were disproved, as seen in the interviews.
Relationships. Many participants reported that the intergenerational district band created
an opportunity to foster new relationships and strengthen old ones. Within different age
groupings, new friendships were reported amongst the groups. Among adults, professional
contacts were made. Some students found private lesson teachers. And for the first time, some
teachers were able to work with students without the burden of a supervisory role. One eighth-
grade students wrote, “I felt like all the trombones were nice to me, and I got to know my music
teacher better.” One teacher described the bonding with one student as follows, “The 8th grader
next to me said, ‘we are a family.’ (!!!!) Just in the short few rehearsals, she feels that we have
all bonded. WOW! :) What a wonderful human experience!” One adult participant reported the
development of a mentor/mentee relationship. An interesting case was of two young adult
participants who were coworkers and had no idea that they were both percussionists; they got to
know each other better throughout the study.
Audience Questionnaires
The community at large came out to support the intergenerational district band at the
concert. Based on the amount of seats filled and the amount of audience members standing in
the back, I estimate the audience attendance at 250 people. Each concert program included a
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piece of paper with a questionnaire aimed at the audience. I received 87 completed
questionnaires in the return box following the concert. The number of responses may have been
due to a lack of places to write, the overall crowdedness of the performance room, or simply the
fact that the audience enjoyed the concert and wanted to greet the musicians instead of
completing a questionnaire.
The audience questionnaire had only questions:
1. Who did you come to see?
2. Do you feel like this event was a worthy endeavor? Why or why not?
Some answers to the first question included more than one response, which is why the frequency
counts do not add up to 87, the total number of completed audience questionnaires, as per Table
12. The audience came to see the following people:
Table 12
Audience Frequency Counts of Who They Came to See
Who did you come to see?
Son/daughter 36
Teacher 33
Band 14
Friends 9
Colleague 4
Grandson 3
Sister/brother 3
Niece 2
Students 1
Husband 1
Boyfriend 1
*The New Orleans-style Brass Band 1

*The New Orleans-style brass band is a Los Angeles based professional ensemble. The brass band members were
guest performers and also performed in the intergenerational district band. I also know with certainty that many
audience members did not have family in the intergenerational district band, but came to see all the performing
ensembles.

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When asked if the intergenerational district band was a worthy endeavor, 87/87 people
replied with yes, representing 100% of those who completed the questionnaire (see Table 13).
The justifications from their responses are grouped by theme, although there is overlap among
some responses.
Table 13
Audience Response to the Worthiness of the Endeavor
Explanation of worthiness
Amazing concept 26
Enjoyable 20
Inspirational 14
Repertoire 11
Quality 11
Educational 7
Sense of community 5
Excitement 4
Emotionally moving 3

Many audience members appreciated the concept of providing musicians the opportunity to work
and perform with an intergenerational ensemble. This concept was new to many in the audience
and their responses appeared to recognize the research, time, and energy put into crafting this
experience. Audience responses from each theme is shared below.
“This was a wonderful opportunity to pool the resources of our community under great
guidance for a wonderful experience: A gift to the audience and a fantastic opportunity
for growth for all members/participants. Loved it.”

“In my conversations with the students I had in the ensemble, it seems like a very worthy
endeavor. The students seemed to enjoy their experience. They enjoyed playing music
that was at a higher level than what they would play in an ensemble of only 7th and 8th
grade students. Thank you for providing the students the opportunity. Congratulations!”

“Yes, this was really fun to watch, and inspirational to see the older musicians. Our son
has had a great experience, and we have seen a big impact on him. He has increased
confidence and pride in his musicianship. Thanks!”

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“Yes, definitely. It’s a rare opportunity to get to play with other musicians. [This] music
is not usually played at [the] middle school my son is going to, so this is a great
opportunity to meet and play with professionals.”

“This event was absolutely phenomenal! There are no words to completely express how
amazing this performance was.”

“Absolutely! My son was extremely excited and felt honored to work alongside
professionals in the music field. He seemed to feel that he learned a tremendous amount
from the talented individuals that participated in the Intergenerational District Band. I
believe it was an extremely unique and diverse opportunity for my son and, if possible,
[it] would be wonderful experience for many other music students in the future.”

“Without question! Yes! What an amazing room full of talented musicians of varying
age range and abilities - at our own [school]. Very inspirational to see [the] community
come together with the commonality of music - especially in today's often divided world.
Thanks for gifting us a wonderful evening!”

“Absolutely. My son felt like he learned a lot and was brimming with excitement before
and after each practice.”
“Absolutely. What a rare occasion to get to hear talent of varying ages and levels of
experience playing so beautifully together! The music made this evening was very
moving.”

Chapter Summary
In this chapter, I used narratives to present the findings that emerged from my
observations of the intergenerational district band, along with views of its participants, yielded
through interviews and questionnaires. Findings suggested that musical learning experiences
were rich across the different groups of participants. The eighth-grade group received instrument
specific instruction on challenging repertoire and experienced an elevated level of pacing and
intensity. Tim, one of the high school students, gained confidence. Jen, one of the college
students, had the opportunity to practice leadership. Mr. Lopez, the music teacher and French
horn player, reflected on the potential of this intergenerational district band format and applied
elements of it to his own high school band. Luke, the professional trumpet player, challenged
the philosophical approach of prioritizing technical proficiency over expression. Aside from the
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in-depth interviews, all participants were given the opportunity to contribute to the data via
questionnaires. Their reported musical learning experiences related to performance techniques,
professionalism, and rehearsal techniques. Their reported social experiences related to
community and belonging, attitudinal changes, and relationships. The audience questionnaires
revealed that the intergenerational district band was considered to be a worthy endeavor.

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Chapter Five: Discussion and Conclusion
In this chapter, I discuss the study findings and address the two research questions that
framed the study.
1. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the musical learning experiences of their participants?
2. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the social experiences according to its participants?
I begin the chapter by revisiting the theoretical framework in connection to the study findings,
followed by a discussion of the contributions of this study to theories of intergenerational music
programs. Next, I return to the two research questions and answer them, before delving into
some concluding thoughts. Recommendations for further research and practice in music
teaching and learning are outlined at the end.
Theoretical Framework Revisited
Intergenerational curricula. Heydon (2013) presented three key ideas that were
relevant to the crafting of the intergenerational district band. The first was that intergenerational
learning provides opportunities for participants to reimagine their identities through their
knowledge, strengths, interests, and communication. The students, music teachers, and
community musicians were reimagining their identities through their participation in the
intergenerational district band. There were eighth-grade students who started to view themselves
as musicians and developed a larger perspective of their place in the musician community. In
this band, they felt that they belonged and that they were valued. The students played a
significant role in the success of the ensemble, but additionally, their presence allowed others to
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formulate new identities. The high school students, as well as the college students, were given
opportunities to mentor the eighth-graders, free from the pressures of social positioning that exist
when they are in ensembles of one age group. When they were able to share their knowledge
and encourage younger players, they began to identify as positive musical role models. Jen, for
example, had the opportunity to practice leading the woodwind sectionals, as her musician role
begins to transition from student to teacher. Rory, another college student, began to identify as a
teacher too. He spoke with enthusiasm about how he was going to start giving trumpet lessons to
one of the high school students. Music teachers also started to imagine new identities with one
other and with their fellow community musicians; they felt a stronger sense of friendship with
the other music teachers that participated, and hopefully a sense of belonging to a support
system. The retired music teachers also appeared to self-identify as active contributors to the
music education community, which may not have been the case before their participation in this
study. And for the professionals, they seemed to enjoy the opportunity to give back to
community. Many expressed a sense of nostalgia when performing with the band and how good
it felt to mentor young musicians. Due to their busy schedules, some did not often have the time
for or access to young people. Throughout the duration of the study, it appeared as though they
identified as teachers, even if for a short moment. Through imagining new identities, the
intergenerational district band promoted, enhanced, and expanded social experiences that these
individuals would not have had otherwise.
Heydon’s (2013) second key idea was that education does not need to be viewed solely
through a lens of preparation for the future, but that it should acknowledge value, significance,
and meaningfulness to the participants in the present. Many participants indicated that they
enjoyed playing in the intergenerational district band and were sad when it was over. Perhaps
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what made the experience so much more enjoyable was the fact that, besides making music,
people also had the opportunity to socialize. Had the format been socially restrictive, that is, not
allowing for dialogue and dominated by the conductor’s instruction, the participants may not
have had the opportunity to get to know each other. Other social aspects of this intergenerational
model that enhanced the social experience included: 1) valuing the input from all participants; 2)
changing the format from large rehearsal to sectionals to woodwind, brass, and percussion
rehearsals; 3) providing snacks, drinks, and dinner. The greatest source of smiles, laughs, and
fun were the shared stories, like when Mr. Morris told the story of when he took his middle
school band to see the Marine Band perform, or the story that Luke shared about committing to a
brass band gig before actually assembling a brass band. When the stories were about music,
there was a melding of musical learning experiences and social experiences. It is my belief that
humans learn best through stories. If this is the case, to restrict a learning model so severely that
only the conductor of a band is allowed to tell stories would be a disservice to the band and limit
the learning and joy.
Heydon’s (2013) third key idea was that intergenerational learning should respect the
participants’ personhood, which includes considering the meaning that the activity holds for both
the individual and the group. The eighth-grade students who were invited to participate were not
chosen solely on their playing ability, but also based on the values of being “hard working” and
“deserving.” This is an important concept, because any time music educators are in a position to
extend an opportunity to students, we have a responsibility to examine who are the recipients of
those opportunities and why. It is fine to extend additional opportunities to the students who
perform the best on their instruments. However, as educators we should conduct ourselves
differently than a professional ensemble; it is our responsibility to also extend appropriate
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opportunities to students who may not be the best performers. The intergenerational district
band was an appropriate model to reach middle achievers because the presence of so many
outstanding musicians alleviated the pressure and demands on the eighth-grade students. The
middle achievers in this study may very well become high achievers because of experiences that
support their learning like the ones afforded by the intergenerational district band. For these
middle achievers, the intergenerational district band promoted, enhanced, and expanded their
musical learning due to access.
From an organizational perspective, all participants were treated as equals and all
personhoods were respected. Nametags, seating signs, free pencils, organized prepared music, a
clean rehearsal space, extra music, in one case an extra instrument, snacks, refreshments, and
names in the concert program were all attempts for everyone to feel welcomed and appreciated.
That was exactly what participants expressed. As Mr. Lopez expressed, it took time for him to
feel comfortable and then he felt ready to contribute verbally. Again, the social experience was
directly tied to the musical learning experience, and both were enhanced through the
intergenerational district band.
Continuity theory of aging. As Atchley (1989) explained, the continuity theory of
aging suggests middle-aged and older adults continue to make adaptive choices, and that their
past social lives and experiences influence the choices of individuals as they seek to preserve and
maintain internal and external structures. From what I observed, the middle-aged and older
adults in the intergenerational district band showed great enthusiasm in participating. They had
the opportunity to share their past musical and social experiences. Even in the story telling
moments that related directly to the musical topic in the rehearsals, the lines between musical
and social experiences were blurred. One of the musical discoveries of many young participants
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was that the technical execution of the music alone was not sufficient. It was only after the
music communicated some sort of social element, such as a feeling or an emotion, did the music
become art. Following years of music teaching, the two retired teachers that took the time to
play music in the intergenerational district band had a good time. This was an illustration of
their desire to preserve their musician identities as they played in the band. Atchley (1989) also
argued that continuity is adaptive. For many members in the intergenerational district band, it
was the first time that they played in an ensemble with eighth-grade students, high school
students, music teachers, college students, retired teachers, and professionals. A degree of
adaptation was necessary from all participants regardless of age, perhaps being the most
demanding for Mr. Morris, the conductor. When complex musical concepts were presented, he
managed to clarify ideas so that eighth-grade students to adults could understand. The new
experience of engaging in music making across ages was likely rejuvenating for all groups.
Contributions of the Study to Theories of Intergenerational Music Programs
Aside from providing information on the crafting and execution of an intergenerational
district band experience, this study also contributes to theorizing of intergenerational music
programs. Alfano (2008) framed the LaSalle Secondary School intergenerational program
through Loewen’s (1996) five characteristics of intergenerational learning: curriculum-based
interaction; relationship-based; reciprocal relations; community-based; and authentic work. This
framework also helped to design and guide the experience of the intergenerational district band.
Yet, this study contributed to the framework by including a wider population in regards to age
and musical expertise. For example, the Intergenerational Jazz Masters Experience paired
accomplished masters with college students, but their engagement with public school students
was limited (Rotham, et. al., 1999). The Mozart Mentors’ Orchestra had students play alongside
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professionals, however they offered the opportunity to the most talented students of the New
England Suzuki Institute (Antolini, 2013). The Amabile choirs, in turn, had members across
generations, but the documented perspectives of the experience were limited to those who went
through the program (Beynon & Alfano, 2013). And unlike in Alfano’s (2008) study, where high
school students worked with adults that were mostly between 65 and 85 years old, and who were
in many cases learning from the beginning, the intergenerational district band had eighth-grade
students of differing abilities, high achievers and middle achievers, high school students, music
teachers, college students, retired teachers, and professional musicians. This expansion of the
population created musical learning experiences that included instruction and modeling from
experts, exposure to a different philosophical approach to music performance, and mentoring
from multiple sources. Part of the reason as to why this experience was so enjoyable for the
young participants was because they were learning from multiple sources; sometimes students
tire from hearing the same messages from the same voice, but that was never the case in the
intergenerational district band because there were so many credible voices.
Interestingly, it also appeared that all groups from the intergenerational district band had
people to look up to. As an example, Luke, the professional, looked up to how Mr. Morris was
able to communicate complex ideas to multiple age groups. He admired that skill, considering it
a sign of good teaching. Many college students admired the performance command and
practices of the professional musicians, which they began to emulate along with the younger
students. These and other musical learning experiences were possible because of the diverse
grouping of the intergenerational district band, but so were the social experience. For example,
Ben, one of the eighth-grade students, found helping to pack up at the end of every rehearsal was
a fun experience. He felt like one of the musicians and was able to laugh and joke in a social
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group that was so wide, it included his college-aged sister. The diversity of participant age and
experience offered exposure to many admirable acts of mentoring and belonging.
Returning to the study irritants. In chapter 1, I justified the need for this study based
on three irritants. The first was the exclusionary nature of honor ensembles in public school
settings. An intergenerational district band is a viable option for extending a music making
opportunity to students that are often excluded from an honor ensemble. The second irritant was
the lack of opportunities for music teachers to work together and learn from each other. The
intergenerational district band provided a common goal for music teachers to work toward. This
type of ensemble can help create bonds between music teachers who are often isolated. The
third irritant was the underutilization of our aging population in education. The older
participants in the intergenerational district made significant contributions to the success of the
ensemble, both musically and socially. If our retired teachers are willing and enthusiastic about
participating in music making within the community, the intergenerational district band is an
outlet for them to do so.
Research Questions
Now that I have discussed the findings in light of previous research, I will address the two
questions that framed this study.
1. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the musical learning experiences of their participants?
The intergenerational district band promoted, enhanced, and expanded musical learning
experiences in the following anticipated ways:

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1) Wisdom, knowledge, and skills (Rotham, et. al., 1999)
 Less experienced musicians were provided instrument-specific feedback related to
ensemble performance followed by the opportunity to apply the feedback. The
feedback was often provided by musicians with expertise.
 Musical "lessons" in technical accuracy were transmitted from musicians with
more expertise to musicians with less expertise. The lessons pertained to the
following topics: intonation, musical entrances, expansion of dynamic range,
counting, and swinging.
 All participants had exposure to expert musical modeling.
 Participants had exposure to a wide range of repertoire.
 Participants expressed growth in their confidence in instrumental music
performance.
 Unwritten rules of instrumental ensemble performance were taught.
2) Multiple valid perspective in music performance (Antolini, 2013)
 All participants were exposed to complex musical issues, including the possibility
of multiple, conflicting, yet valid musical interpretations.
3) Developing teaching practices (Burton & Reynolds, 2009)
 A music teacher participant used an adapted version of the intergenerational
district band rehearsal format with his own high school band.
 There were opportunities for younger participants to lead sectionals.
 All participants had exposure to a seasoned conductor of high quality.
4) Elevated musical and emotional energy (Conway & Hodgman, 2008)
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 Participants from all age groups contributed to the use of imagery and how it
relates to musical expression.
 Eighth-grade participants expressed an increase in rehearsal pacing and intensity.
 Eighth-grade participants expressed being challenged by the experience.
An unanticipated musical learning experience was the exposure and exploration of differing
philosophical approaches to music teaching and learning.
 All participants were exposed to differing philosophical approaches to
instrumental music teaching and learning.
2. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the social experiences according to its participants?
The intergenerational district band promoted, enhanced, and expanded participants' social
experiences in the following ways:
1) Formulating identities (Heydon, 2013);
 All participants were afforded opportunities to experiment with new identities of
mentor, mentee, teacher, and friend.
 Musicians with more expertise had the opportunity to extend encouragement and
recognition to musicians with less expertise.
 Musicians with less expertise had the opportunity to extend admiration to
musicians with more expertise.
 Many participants expressed a sense of community and belonging.

145

2) Repositioning of generational hierarchies (Heydon, 2013; Jarrott, 2007);
 The personhoods of each participant were respected and everyone was treated
equally.
 College-aged participants led sectionals that included musicians with more
expertise.
3) Breaking down of barriers or stereotypes (Alfano, 2008; Beynon & Alfano, 2013;
Rotham, et. al., 1999; Warnick & Drenning, 1994)
 Participants from all age groups reported that the intergenerational district band
fostered a sense of community.
 Younger participants enjoyed connecting with other age groups.
 Younger participants realized adult musicians like to joke and have fun too.
4) Gains in attitudes toward differing age groups (Belgrave, 2011; Bowers, 1998;
Darrow, et. al., 1994).
 Younger participants had new positive perspective of older musicians.
 The behavior, attention, and musical ability of the eighth-grade students surpassed
many expectations set by older participants.
 Many forms of verbal and nonverbal displays of admiration and recognition were
passed through generations.
The new social experiences derived from the data include the discovery of support, fun,
gestures of caring, and accomplishment.
 College-aged participants found musical and educational support in music
teachers and community musicians.
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 Many participants across age groups expressed the joy and fun they had in the
intergenerational district band.
 An appreciation for the gestures of caring (i.e. snacks, drinks, nametags,
accommodations, etc.) was expressed across ages.
 Across all ages, a sense of accomplishment was share by participants.

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Concluding Thoughts
The intergenerational district band was a vehicle to utilize the knowledge, expertise, and
enthusiasm of many while working toward a common goal. The inclusion of a wider population
of mixed ages and musical abilities encouraged participants to take pride in helping others. At
the end, everyone stood proud, but none too tall. There was a tremendous amount of modeling
during the study, but the modeling was not exclusively musical. The way participants
encouraged each other and celebrated the accomplishments of others was inspiring.
The intergenerational district band was also a project designed to address the
exclusionary nature of district honor bands. This model purposefully included eighth-graders
that were considered by their teachers to be high achievers and middle achievers. Although the
two subgroups were not tracked through the study, all eighth-graders seem to have benefited
from the experience, in that their musical experiences and exchanges with the musicians with
more expertise were rich. These musicians enjoyed the challenging music, pacing, and intensity
of the rehearsals. The inclusion of the middle achievers did not inhibit the learning of the high
achievers. Additionally, one student, Thomas, who I suspect was a middle achiever, reported
that he even enjoyed helping to clean up the room after the rehearsals. I suspect the enjoyment
he described when cleaning up was connected to his inclusion in the intergenerational district
band. Had this ensemble only been offered to the highest achievers, the band would have missed
out on this grateful and helpful student.
I am extraordinarily grateful for the support received from my friends, colleagues,
administrators, and former students that made this project possible. I realize how busy many of
these people were, and their commitment to this study was humbling. However, not all of my
encounters went smoothly. Without providing identifiers, there were adults who were
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nonresponsive, and perhaps even more challenging, there were some who were willing to
commit but did not honor their commitments. Those potential adult participants never attended a
rehearsal. Additionally, there were two adult participants who attended some rehearsals, but did
not complete the study. However, both of these adult participants communicated their conflicts
before the study started and asked if it would be acceptable to attend the rehearsals which fit
their schedules. One had a traveling commitment that conflicted with the concert and the other
did not offer an explanation. This quickly brought me to the realization that without an
institution requiring the commitment, I was completely dependent on the word of the
participants.
Another issue to consider is the fact that the intergenerational district band took place
over the course of a short time period. It is possible that the enthusiasm with the program was
also associated with the duration of the experience; had this experience lasted longer, perhaps
conflicts may have arose. Other possible issues might include access to professional musicians
and their availabilities. I was fortunate to find professional musicians who were available and
were willing to participate. Future studies seeking the same access may need resources available
to hire the professional musicians. This was the first time that I have asked my professional
musician friends to participate in an intergenerational district band. If I were to recreate the
study a second time their eagerness or willingness to participate may fane, as some had to travel
a great distance to participate. Lastly, I am aware that the findings from this study are not
generalizable, as they relate to a specific group and time.
Still, it was clear that the intergenerational district band provided an opportunity for
musicians to share their art, and to extend and accept help. This study reaffirmed the importance
and power of treating others with respect and kindness; behaviors that were modelled by all adult
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participants. Much like how the youth picked up the nuances of instrumental performance, they
also copied the citizenship of the adult role models. This study also reaffirmed the importance of
having something to look forward to. The excitement and energy of this band lifted many spirits.
I hope that the stories shared from this intergenerational district band promote reflection on
current music education practices and perhaps inspire change. Above all else, it is my hope that
this experience promoted togetherness.
Recommendations for Further Research and Practice in Music Teaching and Learning
The model of the intergenerational district band can appear to lack elements of
reciprocity, with the eighth-graders being the beneficiaries of the teaching and mentoring of the
other participants. As reported in the data, the adult musicians did benefit from the experience,
although what they received was not necessarily musical. The social experiences of belonging,
admiration, and the opportunity to give back were not readily available to the community
musicians, especially the professional musicians. And although they would like to give back to
young musicians, many did not have the time to organize and execute such an elaborate
undertaking. The intergenerational district band presented the opportunity to mentor, to which
the social benefits should not be dismissed. However, if this model were to be expanded to
include adult novices, possibly parents or school employees, there may have been more
opportunities for the eighth-graders to assume the identity of mentor. Then there could have
been adult participants reporting musical benefits, thereby potentially expanding the contents of
reciprocity.
The expansion of participants would also challenge the existing hierarchies in the
ensemble. The intergenerational district model made a sincere attempt to treat all participants as
equals. Nevertheless, many young participants did not feel like equals among the musicians with
150

more expertise. The reported perception of a hierarchy was primarily based on musical ability,
and the musical ability in most cases aligned with participant age. The older participants were
the most accomplished musicians, and therefore viewed above the less experienced musicians.
The inclusion of adult novices would break the alignment of age and musical expertise, which
could challenge existing perceptions of age and hierarchies.
However, there is an important balance to consider when expanding participants in future
experiences. In the intergenerational district band model described in the current study,
essentially every adult was an expert. If the intention of a future model is the meaningful
transfer of musical expertise, the model must include experts. Although this project lacked
novice adults and only included expert adults, the inverse is also problematic. Had this project
only included novice adults, the music experiences and the final product would have been much
different, and also not in alignment with my original intention.
The eighth-graders did not participate in the ways I had anticipated. Their verbal
contributions and willingness to share were more reserved than I had hoped. Like Mr. Lopez
pointed out, it took time for participants to get comfortable before they were willing to share.
With a time format that was so limited, I recommend exploring activities intended to make the
participants comfortable with each other. An “ice-breaker” or “getting to know you” activity at
the start of the project may have encouraged more participation from the eighth-graders. I also
recommend explicitly asking for the verbal contributions from the eighth-graders. If all
participants better understood the importance of the eighth-grader contributions, there could have
been more encouragement from all participants to ensure the eighth-graders were heard.
Further research needs to address how other configurations, mixing ages, expertise,
musical genres, and time may impact the experiences of musicians and audiences in an
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intergenerational district band. It would be interesting to see this study recreated with
institutional support. In a setting in which people are required to participate, the group dynamic,
musical learning experiences, and social experiences might be significantly different. Therefore,
it would be interesting to investigate if and how teacher to teacher relationships evolve in a
required setting. Additionally, this study included eighth-grade middle achievers, but did not
include beginners. It would be interesting to design an intergenerational ensemble that would
provide beginners access to a wide range of ages and participants. Perhaps this could be
accomplished in a setting outside of the traditional concert band, and including other genres like
popular music or Mariachi music. Lastly, this study was limited to only four rehearsals and a
performance. I would be interested to examine musicians' perceptions of a program similar to
this study, yet occurring over a longer period of time.
Intergenerational learning like the kind that was promoted in this study could also be
incorporated in the practice of music teaching and learning. I would be interested in the impact
of intergenerational music learning in the classroom. An intergenerational district band model
does not need to be recreated to the same magnitude as the intergenerational district band. For
example, Mr. Lopez, who participated in the intergenerational district band, adapted the
intergenerational district band model to suit his needs (See Adaptations in the music teacher
interview from chapter 4, p. 117). He hired a few music coaches to sit in with his students during
a rehearsal. He rehearsed a portion of their concert music and then stopped to leave ample time
for dialogue. During this time the coaches explained concepts specific to their instruments or the
context of the piece, they demonstrated on their instruments, and they answered questions.
When the coaches were ready to continue, they gave Mr. Lopez a visual cue and the rehearsal
continued on. Mr. Lopez thought it was a good rehearsal and the students enjoyed it. Like Mr.
152

Lopez, music educators could apply an adapted model of intergenerational learning that works
for their specific contexts, as a means to reach more students in their classrooms.

153

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Appendix A: USC Institutional Review Board Approval

University of Southern California University Park Institutional Review Board
3720 South Flower Street Credit Union Building (CUB) #301
Los Angeles, CA 90089-0702
Phone: 213-821-5272
Fax: 213-821-5276
upirb@usc.edu

Date: Oct 20, 2017, 09:54am
Action Taken: Approve
Principal
Investigator:
Richard Perez
THORNTON SCHOOL OF MUSIC
Faculty
Advisor:
Beatriz Ilari
THORNTON SCHOOL OF MUSIC
Co-
Investigator(s):

Project Title: A Crafted Intergenerational District Band Experience
Study ID: UP-17-00737
Funding:

The University Park Institutional Review Board (UPIRB) designee determined that your project qualifies for
exemption from IRB review under the USC Human Research Protection Program Flexibility Policy. The study
was approved on 10/20/2017 and is not subject to 45 CFR 46 regulations, including informed consent
requirements or further IRB review.

If there are modifications that increase risk to subjects or if the funding status of this research is to
change, you are required to submit an amendment to the IRB for review and approval.

Study personnel are reminded to obtain site permission and any applicable ethics board review from
the participating sites prior to beginning study procedures.

Consent and recruitment documents are not required to be uploaded for exempt studies; however,
researchers are reminded that USC follows the principles of the Belmont Report, which requires all potential
participants to be informed of the research study, their rights as a participant, confidentiality of their data, etc.
Therefore, please utilize the attached Information Sheet For Exempt Research and revise the template
to be specific to your study. This document will not be reviewed by the IRB. It is the responsibility of the
researcher to make sure the document is consistent with the study procedures listed in the application.

158

Due to the inclusion of minors, please use information sheets to also let parents know about the
nature of the study so they can make an informed decision about whether or not they want their child
to participate.

Attachments: Information Sheet for Exempt Research.doc

Social-behavioral health-related interventions or health-outcome studies must register with clinicaltrials.gov or
other International Community of Medical Journal Editors (ICMJE) approved registries in order to be published
in an ICJME journal. The ICMJE will not accept studies for publication unless the studies are registered prior to
enrollment, despite the fact that these studies are not applicable “clinical trials” as defined by the Food and
Drug Administration (FDA). For support with registration, go to www.clinicaltrials.gov or contact Jean Chan (
jeanbcha@usc.edu, 323-442-2825).

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159

Appendix B: Information Sheet

University of Southern California
Information Sheet for Research

A Crafted Intergenerational District Band Experience:
Bounded Case Study of the Musical and Social Experiences of Eighth-grade Band
Students, Music Teachers, and Community Musicians

You are invited to participate in a research study conducted by Richard Perez at the University
of Southern California. Please read through this form and ask any questions you might have before
deciding whether or not you want to participate.

PURPOSE OF THE STUDY
This research study aims to understand the experiences of students, music teachers, and community
musicians involved in a specially crafted intergenerational district band. Specifically, this study
will in investigate possible musical and social experiences, as expressed by participants. The study
will consider the experiences of all participants, including: eighth-grade band students, music
teachers, young adult community musicians, and professional community musicians.

PARTICIPANT INVOLVEMENT
If you agree to take part in this study, you will be asked to participate in the first Southern
California School District School District Intergenerational District Band. Like the district
honor band, the Intergenerational District Band will have four rehearsals and a performance. The
rehearsals and performance will take place at:
Ocean View Middle School
25601 Camino del Avion,
San Juan Capistrano, CA 92675

Rehearsal and performance schedule:
11/6/17 6:00 pm – 9:00 pm Rehearsal 1, Ocean View Middle School
11/13/17 6:00 pm – 9:00 pm Rehearsal 2, Ocean View Middle School
11/20/17 6:00 pm – 9:00 pm Rehearsal 3, Ocean View Middle School
11/27/17 6:00 pm – 9:00 pm Rehearsal 4, Ocean View Middle School
12/4/17 5:00 pm – 8:00 pm SCSD Intergeneration Band Performance,
Ocean View Middle School

Participants will be asked to complete an anonymous questionnaire regarding their experience in
the band. Some selected participants will be asked to participant in an anonymous interview or
focus group. You do not have to answer any questions you don’t want to.

PAYMENT/COMPENSATION FOR PARTICIPATION
You will receive no compensation.

CONFIDENTIALITY
160

There will be no identifiable information obtained in connection with this study. At the completion
of the study, the anonymous data may be used for future research studies. If you do not want your
data used in future studies, you should not participate. The members of the research team and the
University of Southern California’s Human Subjects Protection Program (HSPP) may access the
data. The HSPP reviews and monitors research studies to protect the rights and welfare of research
subjects.

INVESTIGATOR CONTACT INFORMATION
If you have any questions or concerns about the research, please feel free to contact Richard Perez
at richardp@usc.edu.

IRB CONTACT INFORMATION
If you have questions, concerns, or complaints about your rights as a research participant or the
research in general and are unable to contact the research team, or if you want to talk to someone
independent of the research team, please contact the University Park Institutional Review Board
(UPIRB), 3720 South Flower Street #301, Los Angeles, CA 90089-0702, (213) 821-5272 or
upirb@usc.edu.

161

Appendix C: Recruitment Letter to Adult Participants
Dear local community musicians,
In partial fulfillment of the Doctorate in the Musical Arts degree at the University of Southern
California, I am conducting a study focusing on Intergenerational Music Learning as a means to
serve a wider range of students and examine the musical and social experiences of participants
engaging in a crafted intergenerational district band experience.
This project will create a learning experience for all participants which include: teacher
nominated eighth-grade band students, music teachers, young adult musicians, and professional
musicians.
The intention is to create a music learning experience in which adults and students work together
as equals toward a common goal, which will be the first SCSD Intergenerational Band Concert.
Possible musical learning may include: guidance, wisdom, knowledge, and skills pertaining to
instrumental performance, ensemble directing and conducting, acknowledgement of multiple,
valid, musical interpretations, programming a concert, professional decorum, and the use of
relevant technology.
Possible social experiences may include: the repositioning of generational hierarchies, breaking
down of barriers and stereotypes, the promotion of community and belonging, maintaining
caring relationships, gains in attitude, bonding within a community across ages, races,
ethnicities, and socioeconomic statuses, and valuing previously excluded groups.

If you are interested in participating and can commit to the following rehearsal times and
performance, please RSVP to richardp@usc.edu with the following information: Name, Age,
Occupation, Instrument

Note: Participation in this study is voluntary. There will be no penalty should a district
employee decline this invitation.
Rehearsals and the performance will take place in the Ocean View Middle School, Multi-Purpose
Room.
Ocean View Middle School
25601 Camino del Avion,
San Juan Capistrano, CA 92675

Monday, 11/6/17 6:00 pm – 9:00 pm Rehearsal 1, Ocean View Middle School
Monday, 11/13/17 6:00 pm – 9:00 pm Rehearsal 2, Ocean View Middle School
Monday, 11/20/17* 6:00 pm – 9:00 pm Rehearsal 3, Ocean View Middle School
Monday, 11/27/17 6:00 pm – 9:00 pm Rehearsal 4, Ocean View Middle School
Monday, 12/4/17 5:00 pm – 8:00 pm SCSD Intergeneration Band Performance,
Ocean View Middle School
*This rehearsal takes place during Thanksgiving Recess.

162

Thank you for your consideration.
Sincerely,
Richard Perez
Ocean View Middle School, Music Teacher
University of Southern California, Thornton School of Music
DMA Candidate, Music Teaching and Learning

163

Appendix D: Recruitment Letter to Music Teachers for Student Nominations
Dear SCSD Middle School Music Teachers,
You are cordially invited to participate a study focusing on Intergenerational Music Learning for
the Doctorate in the Musical Arts program at the University of Southern California. (Please see
the attached Recruitment Letter to Adult Participants).

I am also asking you to nominate TWO eighth-grade band students who meet the following
description (one from each category):
1. High achiever: possessing the highest musical performance skills relative to their peers.
2. Middle achiever: “hard working” and “deserving,” but unlikely to be accepted in the
district honor band.

Please see the following link to the online roster and take instrumentation needs into
consideration. The link has also been sent in a previous email. Enter your students by school
code, for example “XXXX 1” and “XXXX 2” under the instrument they play. Please do not use
student names on the online document.
https://docs.google.com/document/d/1rVTLlvsm-
xpR5MQeDGf77sJfXSX6T9pXwSrXDS8469k/edit?ts=59ec15d2

Students must be able to commit to the following four rehearsals and one concert.
Monday, 11/6/17 6:00 pm – 9:00 pm Rehearsal 1, Ocean View Middle School
Monday, 11/13/17 6:00 pm – 9:00 pm Rehearsal 2, Ocean View Middle School
Monday, 11/20/17* 6:00 pm – 9:00 pm Rehearsal 3, Ocean View Middle School
Monday, 11/27/17 6:00 pm – 9:00 pm Rehearsal 4, Ocean View Middle School
Monday, 12/4/17 5:00 pm – 8:00 pm SCSD Intergeneration Band Performance,
Ocean View Middle School
*This rehearsal takes place during Thanksgiving Recess.

Please obtain a student and parent signature on the attached Student Invitation, and return to
Richard Perez by email to richardp@usc.edu or hard copy through district mail.
Note: Participation in this study is voluntary. There will be no penalty should a district
employee decline this invitation.
Thank you for your consideration.
Sincerely,
Richard Perez
Ocean View Middle School, Music Teacher
University of Southern California, Thornton School of Music
DMA Candidate, Music Teaching and Learning
164

Appendix E: Eighth-grade-Student Invitation
Dear eighth-grade band student,
Congratulations, you have been nominated by your music teacher to participate in the first
Southern California School District Intergenerational Band. In partial fulfillment of the
Doctorate in the Musical Arts degree at the University of Southern California, I am conducting a
study focusing on Intergenerational Music Learning. Like the district Honor Band, the
Intergenerational District Band will have four rehearsals and a performance. The rehearsals and
performance will take place at Ocean View Middle School.
This project will create a learning experience for all participants which include: eighth-grade
band students, high school students, music teachers, and community musicians. The intention is
to create a music learning experience in which adults and students work together as equals
toward a common goal, which will be the first SCSD Intergenerational Band Concert. A
possible outcome could include the elevation of student musicianship, but there are also
nonmusical ambitions, such as: breaking down of barriers, building and strengthening of
relationships, reciprocal expressions of care and value, and ultimately the elevation of a
community. This project intends to emphasize and evaluate the process, rather than simply
assess the final product, although I anticipate the final product will be quite spirited.
Note: Participation in this study is voluntary. Participation or non-participation will have no
impact on students’ grades or standing in their school music programs.
If you are interested in participating and can commit to the following rehearsal times and
performance, please RSVP by filling out this form and returning it to your teacher:

Name: _________________________________________________________

School: _________________________________________________________

Instrument: _____________________________________________________

Rehearsals and the performance will take place in the Ocean View Middle School, Multi-Purpose
Room.
Ocean View Middle School
25601 Camino del Avion,
San Juan Capistrano, CA 92675
Monday, 11/6/17 6:00 pm – 9:00 pm Rehearsal 1, Ocean View Middle School
Monday, 11/13/17 6:00 pm – 9:00 pm Rehearsal 2, Ocean View Middle School
Monday, 11/20/17* 6:00 pm – 9:00 pm Rehearsal 3, Ocean View Middle School
Monday, 11/27/17 6:00 pm – 9:00 pm Rehearsal 4, Ocean View Middle School
Monday, 12/4/17 5:00 pm – 8:00 pm SCSD Intergeneration Band Performance,
Ocean View Middle School
*This rehearsal takes place during Thanksgiving Recess.
I am available and would like to participate in the SCSD Intergenerational Band. I commit to
attending the four rehearsals and one performance. I have read the attached Information Sheet.
I understand that participation is completely voluntary.
165

Student Signature: _________________________________________________
Parent Signature: __________________________________________________

Sincerely,
Richard Perez
Ocean View Middle School, Music Teacher
University of Southern California, Thornton School of Music
DMA Candidate, Music Teaching and Learning

166

Appendix F: High School Student Invitation
Dear high school band student,
You are cordially invited to participate in the first Southern California School District
Intergenerational Band. In partial fulfillment of the Doctorate in the Musical Arts degree at the
University of Southern California, I am conducting a study focusing on Intergenerational
Music Learning. Like the district Honor Band, the Intergenerational District Band will have four
rehearsals and a performance. The rehearsals and performance will take place at Ocean View
Middle School.
This project will create a learning experience for all participants which include: eighth-grade
band students, advanced high school students, music teachers, young adult musicians, and
professional musicians. The intention is to create a music learning experience in which adults
and students work together as equals toward a common goal, which will be the first SCSD
Intergenerational Band Concert. A possible outcome could include the elevation of student
musicianship, but there are also nonmusical ambitions, such as: breaking down of barriers,
building and strengthening of relationships, reciprocal expressions of care and value, and
ultimately the elevation of a community. This project intends to emphasize and evaluate the
process, rather than simply assess the final product, although I anticipate the final product will be
quite spirited.
Note: Participation in this study is voluntary. Participation or non-participation will have no
impact on students’ grades or standing in their school music programs.
If you are interested in participating and can commit to the following rehearsal times and
performance, please RSVP by email to richardp@usc.edu with the following information:

Name: _________________________________________________________

School: _________________________________________________________

Instrument: _____________________________________________________

Rehearsals and the performance will take place in the Ocean View Middle School, Multi-Purpose
Room.
Ocean View Middle School
25601 Camino del Avion,
San Juan Capistrano, CA 92675
Monday, 11/6/17 6:00 pm – 9:00 pm Rehearsal 1, Ocean View Middle School
Monday, 11/13/17 6:00 pm – 9:00 pm Rehearsal 2, Ocean View Middle School
Monday, 11/20/17* 6:00 pm – 9:00 pm Rehearsal 3, Ocean View Middle School
Monday, 11/27/17 6:00 pm – 9:00 pm Rehearsal 4, Ocean View Middle School
Monday, 12/4/17 5:00 pm – 8:00 pm SCSD Intergeneration Band Performance,
Ocean View Middle School
*This rehearsal takes place during Thanksgiving Recess.
Please read and have a parent read the attached Information Sheet.
167

Sincerely,
Richard Perez
Ocean View Middle School, Music Teacher
University of Southern California, Thornton School of Music
DMA Candidate, Music Teaching and Learning

168

Appendix G: Participant Questionnaire
Please circle one:
8
th
grade student high school student college student music teacher

professional
Musical Learning Experience
1. Can you share any experience(s) during this study in which you learned something about
music? YES NO NOT SURE
a. If you answered YES, what did you learn?

b. If you answered YES, who did you learn from?

2. Can you share any experience(s) during this study in which you taught something about
music? YES NO NOT SURE
a. If you answered YES, what did you teach?

b. Who did you teach it to?

169

3. Did you learn any new skills or strategies pertaining to music performance? YES NO
a. If so, what were they?

4. On a scale of 0-4 (0=not at all, 4=completely), to what extent were you exposed to
musicians who played with a different sound, style, or interpretation than you are used to
in the intergenerational district band? 0 1 2 3 4
a. If you did notice different sounds, styles, or interpretation, how were they
different?

5. Did you experience disagreements pertaining to music with others or amongst others?
YES NO
a. If you answered YES, please explain.

6. Did you learn anything new regarding how to practice your instrument in the
intergenerational district band? YES NO
a. If you answered YES, what did you learn?

7. Did you learn anything new about how professionals conduct themselves during
rehearsals and concerts? YES NO
a. If you answered YES, what did you learn?

170

8. Did you learn about any new technology that you were unfamiliar with? YES NO
a. If you answered YES, what did you learn?

9. FOR TEACHERS: Did you learn anything new about conducting, directing, or teaching
a band during this study? YES NO
a. If you answered YES, what did you learn?

Social Experience
1. Did you have preconceived feelings, attitudes, or stereotypes toward other age groups
before you took part in the intergenerational district band? If so, what were they?

2. Do you feel differently about the other age groups now that you’ve worked with them in
the intergenerational district band? If so, how? Please explain.

3. Did you feel like equals with the other age groups while participating in the band? Why
or why not?

171

4. Did the band make you feel like you belong to the musician community? If so, how? If
not, what could we have done differently to make you feel like you belong?

5. Did you develop any new relationships in the band? (i.e. mentor, mentee, friend,
professional contact, private lesson teacher, private lesson student, etc.)

6. On a scale of 0-4 (0=not at all, 4=completely), to what extent did your attitude change
toward the different age groups following your participation in the band?
0 1 2 3 4

7. On a scale of 0-4 (0=not at all, 4=completely), to what extent was this experience fun for
you? 0 1 2 3 4

8. What made it fun? Or, how could it have been more fun?

9. If you were invited back next year, would you come? Why or why not?

10. Do you feel like this was a worthy endeavor?

172

11. If you could change anything to make the intergenerational district band better, what
would you change?

12. Is there anything else you would like to share about your experience in this study?

Thank you so much for participating in the first ever SCSD Intergeneration District Band!

173

Appendix H: Audience Questionnaire
Who did you come to see? (i.e. son, daughter, husband, wife, friend, colleague)

Do you feel like this event was a worthy endeavor? Why or why not?

174

Appendix I: Observational Protocol
1. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the musical learning experiences of its participants?
2. In what ways, if any, can an intergenerational district band experience promote, enhance, and
expand the social experiences of its participants?
Descriptive Notes Reflective Notes

175

Appendix J: Focus Group and Interview Guiding Questions
Background
Tell me about yourself.
Where do you live?
For students: Who do you live with? What do your parents do for a living?
What instrument do you play? How long have you been playing? Do you own your instrument?
Intergenerational District Band Experience
Tell me about the intergenerational district band. What were your expectations coming in?
And were these expectations realistic? How so?
What was the best part of the intergenerational district band?
Was there anything you did not like about the band? If so, what and why?
What was the worst part?
How did it feel to perform with this group? Was there anything special about this group of
musicians? Anything challenging?
How do you see this experience in regards to your music skills? Were there any gains? Please
explain.
How did participating in the intergenerational district band make you feel?
Did you have a unique exchange with anyone in the band?
What was most memorable about the experience?
Thank you so much for participating in the first ever SCSD Intergeneration District Band!

176

Appendix K: Concert Program Notes
BOARD OF TRUSTEES
Martha McNicholas, President
Gila Jones, Vice President
Patricia Holloway, Clerk
Amy Hanacek
Judy Bullockus
Dr. Gary Pritchard
Jim Reardon

Kirsten M. Vital, Superintendent

EDUCATION SERVICES
Dr. Susan Holliday, Associate Superintendent, Education Services
Brad Shearer, Assistant Superintendent, Curriculum and Instruction, Pre - Grade 5
Joshua Hill, Assistant Superintendent, Curriculum and Instruction, Grade 6-12, K-8, Alternative
Education
Neil Anderson, Coordinator, Visual and Performing Arts

SCHOOL SITE
Carrie Bertini, Principal
In partial fulfillment of the Doctor of Musical Arts degree from the University of Southern
California,
Richard Perez proudly presents
MONDAY, December 4, 2017
6:30 pm
Mr. Dave Vigus, Conductor
Carrie Bertini, Principal
Ryan Ortiz, Assistant Principal
177

Regi Vettraino, Assistant Principal
With guest performances by
Classic Jazz Quintet
Red Light Jazz Band
A note of gratitude,
A willingness to venture from the status quo and try a different approach to extending music
education opportunities to our students requires a degree of courage and optimism from all
parties. I would like to thank all those that made this project possible. The SCSD
Intergenerational Band consists of nominated 8th grade band students, advanced high school
band students, college students, SCSD music teachers, and professional musicians from our
community.
All participants have made meaningful contributions to this intergenerational music learning
experience. It was my intention to provide systematic evidence of musical learning experiences
and social experiences of participants engaging in an intergenerational district band. Possible
musical learning experiences of change may include guidance, wisdom, knowledge, and skills
pertaining to instrumental performance, ensembles directing and conducting, the possibility of
multiple valid interpretations, programming a concert, professional decorum, and the use of
relevant technology. Possible social experiences may include the repositioning of generational
hierarchies, breaking down of barriers and stereotypes, the promotion of community and
belonging, maintaining caring relationships, gains in attitude, and bonding within a community
across ages, races, and ethnicities.
A special thank you to Mr. Dave Vigus, an outstanding music educator and mentor of mine, for
volunteering his time and expertise to this ensemble. Without his leadership, positivity, and
demeanor, this project would not have been the same.
It is my hope that all participants felt welcomed and appreciated. To our audience, thank you for
taking the time to support music education in our community. I hope you enjoy the
performance!
Sincerely,
Richard Perez
Classic Jazz Quintet
David Flores, bass
Diane Flores, piano
Tyler Carmody, guitar
Tony Presti, drums
178

Henry Alexander, saxophone
jazzandrolldave.com

Red Light Brass Band
Walter Simonsen, Trumpet
Preston Haining, Trumpet
Michelle Simonsen, Alto
Ben Burget, Tenor
Tyler McGeough, Trombone
Mike King, Tuba
Jake Reed, Drums
A Los Angeles based brass band specializing in the New Orleans sound with a funky LA
swagger.
redlightbrassband.com

Conductor:
Dave Vigus

Flute:
Eun Young Choi
Hannah Clarke
Lana Colaco
Alysea Loreto
Evelyn McNeil
Emily Merida
Megan Seals
Danyelle Silberman
Anne Spencer
Jericho Tran
179

Kelly Uyemura

Oboe:
Glenn Adcock
Isaiah Jacobs

Clarinet:
Henry Alexander
Isabelle Le
Bella Lino
Collin Lucich
Yajahira Ramirez
Macy Reish
Maya Velasquez
Yatziri Villagran

Bass Clarinet:
Phil Moore

Alto Sax:
Andew Andraos
Adrian Gomez
David Walsh
Michelle Simonsen

Tenor Sax:
Danielle Blyn
Ben Burget
180

Fabiola Garcia
Brendan Messenger

Baritone Sax:
Jason Burce

Trumpet:
William Dai
Remy Fisher
Michael Greeninger
Preston Haining
Aaron Lee
Connor Logan
Cassandra Pintle
Winston Ray
David Santana
Walter Simonsen

French Horn:
Kellan Knudson
Ben Lino
Amethyst Raubolt
Antonio Rodriguez
Derek Venlet

Trombone:
Madison Easley
Rob Haudenchild
181

Kent Klingbeil
Tyler McGeough
Trenton Nelson
Mark Santos

Euphonium:
Liam Adcock
Ashley Stevens

Tuba:
Mike King
Chris Popperwell

Percussion:
Jessica Blattner
Jack Culp
Andres Hernandez
Adrian Lopez
Jake Reed
Tony Wang

Partial Study Abstract
This study explores the musical and social experiences of selected eighth-grade band students,
high school students, music teachers, and community musicians participating in a specially
crafted intergenerational district band. The structure of this intergenerational district band
experience is based on earlier works of Heydon (2013) and Loewen (1996) suggesting that
content can be learned, in this case musical learning experiences, and that community can be
fostered through social experiences.
This study purposefully targets eighth-grade band students who are deemed “hard working” and
“deserving” by their teachers. It is my belief that social advancement is made possible at least in
part through opportunity. Advanced high school students were recruited from Beach Side High
182

School and Hill Side High School to provide musical models to our eighth-grade participants,
but also to receive the benefits from playing with our adult musicians. Invitations were extended
to our SCSD band teachers at all levels: elementary, middle, and high school. It is hoped that this
intergenerational district band experience strengthened relationships between teachers to foster a
professional learning community in which we can learn from each other and improve our
teaching. This study also targeted community musicians from two subgroups: young adults and
professionals. The young adults are college students with an interest in music, including music
majors. The professionals are accomplished musicians who either perform for a living or
perform frequently. Close proximity with outstanding musical models in a band setting offered
opportunities for students to inquire about musical content and music as a profession. On the
same token, it is hoped that music teachers, young adult musicians, and performing professionals
contributed to the education of the students, inspiring them to continue in music. The
professionals were encouraged to share their musical expertise and some of their life experiences
as working musicians with the students.
Presented as a collaborative learning project, the adult musicians have played alongside the
students in four rehearsals and will play tonight in our final performance. All participants have
worked together toward the common goal of presenting the first SCSD Intergenerational Band
Concert.

The Program
Malagueña Ernesto Lecuona
Arr. Michael Sweeney
Earth Song for Concert Band Frank Ticheli
The Curse of Tutankhamun Michael Story
Classic Jazz Quintet
Normandy Beach John Edmondson
Through Darkened Sleepy Hollow Erik Morales
Shenandoah for Concert Band Frank Ticheli
Red Light Brass Band
Feel it Still Portugal. The Man
Arr. Jacob Vogel

Abstract (if available)

Abstract The purpose of this study was to investigate the experiences of eighth-grade students, high school students, music teachers, and community musicians involved in an intergenerational district band. Eight middle school music teachers from the same school district nominated eighth-grade band students based on the criteria of being “hard working” and “deserving.” The teachers were also asked to include high achievers and middle achievers in their nominations. These eighth-grade students were then grouped with high school students, music teachers, and community musicians that included college students, retired teachers, and professional musicians to form an intergenerational district band. The ensemble had four rehearsals for 3 hours each and one performance. Informed by observations and video transcriptions, I presented a narrative to capture the experiences of the participants throughout all five meeting. I used interviews and questionnaires as a means of triangulation to strengthen the data, which was rich in musical learning experiences and social experiences. ❧ The anticipated musical learning experiences derived from the literature include: 1) wisdom, knowledge, and skills (Rotham, Dunscomb, & Dunlop, 1999)

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Asset Metadata

Creator Perez, Richard Anthony (author)

Core Title A crafted intergenerational district band: A bounded case study of participant experiences

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Music Education

Publication Date 07/26/2018

Defense Date 05/10/2018

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag College students,concert band,district band,eighth-grade students,High school students,honor band,intergenerational district band,music teachers,OAI-PMH Harvest,professional musicians,retired musicians

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Ilari, Beatriz (committee chair), Helfter, Susan (committee member), Webster, Peter (committee member)

Creator Email richardp@usc.edu,rick03.sc@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-24951

Unique identifier UC11671392

Identifier etd-PerezRicha-6482.pdf (filename),usctheses-c89-24951 (legacy record id)

Legacy Identifier etd-PerezRicha-6482.pdf

Dmrecord 24951

Document Type Dissertation

Format application/pdf (imt)

Rights Perez, Richard Anthony

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA