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The power of music: a research synthesis of the impact of actively making music on the intellectual, social and personal development of children and young people
Abstract
This book draws on research from neuroscience, psychology, education and music to set out our current understanding of the ways in which active engagement with music can impact on the intellectual, social and personal development of children and young people. The findings reveal that there is considerable and compelling evidence that musical training sharpens the brain’s early encoding of sound leading to enhanced performance on a range of listening and aural processing skills which in turn contribute to enhanced verbal memory, language skills and enhanced literacy. There is also compelling evidence for the impact of music making on spatial skills and to some elements of mathematical performance. Enhanced verbal and spatial reasoning skills also contribute to higher levels of performance on measures of intelligence. There is also emerging evidence that making music may impact on executive functions and self- regulation both of which are implicated in test performance and in general academic attainment where musicians perform better than might be expected based on their measured intelligence. Many musicians exhibit higher levels of conscientiousness which may also be implicated. The enhancement of aspirations which can be an outcome of musical activities for some children may also be important. Group music making has been used successfully to re-engage disaffected young people including those in the criminal justice system and supports social cohesion, the development of team working and a range of social skills including empathy. It can also contribute to enhanced self-beliefs although this depends on the nature of the feedback received from others, i.e. whether it is positive or negative. Music is increasingly being recognised for its beneficial effects on physical health and wellbeing throughout the lifespan from premature babies to those in their senior years. There is limited evidence of its impact on physical development. Overall, there is accruing evidence which indicates that actively making music can contribute to the enhancement of a range of non-musical skills and lead to other beneficial outcomes. Research continues to explore the circumstances under which these benefits may occur. To date the evidence suggests that benefits are enhanced when training starts early (before the age of seven) and continues over a long period of time. The type of training, the instrument played, and the quality of the teaching are also contributing factors. Group music making needs to be highly interactive and enjoyable with opportunities for: developing new skills and performing; acquiring cultural capital; developing interpersonal bonds and solidarity in pursuing shared goals; developing mutual respect; and providing recognition and rewards for excellence. Receiving positive affirmation from others relating to musical activities, particularly performance is crucial in enhancing self-beliefs whatever the age of the participants. If performances are in high status cultural venues the impact is enhanced.
... The study contributes to extending knowledge on how through the medium of music, having the correct blend of field-specific parental capitals can be key drivers in terms of advantage and raises questions of equality of access, opportunity and equality of condition within IME. This is important given the intrinsic and personal benefits of IME which include the development of musical and aesthetic sensitivity, the enhancement of academic learning (Dai and Schader 2001), and the development of emotional well-being (Hallam 2015;Hallam and Himonides 2022). The issue of capitals-enabled access is also important given that musical performance is one of the essential activities on the Leaving Certificate (LC) 1 music syllabus. ...
... These group classes provide basic tuition in musical skills and literacy preparing young students to move on to tuition in a chosen musical instrument. And, as described by Hallam (2015Hallam ( , 2022 and Hutchins (2018), an early start in musical learning is essential in terms of mastering an instrument and for solid progression. If this early start is not accessible to all then there are implications for equality of opportunity. ...
ABSTRACT
While the dominant orthodoxy within the field of educational
research tends to document educational inequalities, it often fails
to name the key drivers of advantage. By reflecting on core
concepts of Bourdieu this article seeks to name the complex
blend of parental capitals that enable access to and success in
structured, extra-curricular activities (ECA) such as instrumental
and vocal music education (IME). Besides the intrinsic benefits of
IME, the article points to a particular extrinsic benefit that is
unique to Ireland, in that performance is one of the essential
activities on the Leaving Certificate (LC) music syllabus. This is
important as it has implications for universal equality of access
and opportunity. The research draws data from selected
interviews conducted with mothers whose children were
engaged in structured IME. In highlighting the often hidden and
taken for granted capitals needed for IME access, the research
also raises the issue of intra-class differences which can and do
impact on outcome when navigating the structured IME market
in Ireland. It also seeks to operate as a springboard for a set of
broader theoretical arguments and highlights the role of
institutional demands and material forces when considering the
power of family capitals in this context.
... These findings concur with those in the research synthesis on music education by Hallam (2015) which shows that accessible opportunities in music making must be affordable, of high quality and provided by skilled music teachers over a sustained period of time. The study also found that the quality of teaching determines whether any benefits are realised. ...
From collaborative subsidiarity to
professionally recognised collaboration:
A way forward for instrumental and vocal
music education in Ireland
... A similar search for European literature on IME provision, teaching and learning reveals more results. The research synthesis by Hallam describes the numerous benefits that have been associated with learning a musical instrument (Hallam 2015). In terms of research on parental involvement in IME the work by Creech (2010) explores the time-and support-intensive nature of IME, whereas findings from the more recent UK-based study by Purves (2019) show that the level of children's engagement in IME is directly influenced by what is referred to as the 'neo-liberal parent' concept, where parents scan the market to identify advantageous educational opportunities for their children (Purves 2019, 270). ...
In Ireland access to instrumental music education (IME) largely
operates through the private market. Unlike other European
countries Ireland does not have a music school law or policy
position. The purpose of this article is to examine how a longestablished
history of subsidiarity which is enshrined in the Irish
Constitution together with the ideology of choice, has
underpinned the provision of IME. This has led to the growth of a
market-led system of provision that promotes inequalities. The
data suggests that parents seeking IME for their children are
compelled to act as customers and competitive citizens and that
the private choices of those who can pay to play, masks the
dearth of state-supported universal IME provision. In conclusion,
it is argued that by continuing to adopt the principles of
subsidiarity, the State is both exonerated from being fully
responsible and accountable for the adequate provision of IME
and is complicit in perpetuating structural inequalities that favour
access to capitals-rich families, be in the state-supported IME, or
IME in the private education market.
... Associated with the mastery of vocal or instrumental techniques and the ability to convey the intended musical and emotional content to the listener (Chaffin & Imreh, 2002), this skill includes accurately reproducing melodic content, including pitch, rhythm, dynamics, phrasing, articulation, and interpretation (Gabrielsson, 2003). Melodic performance is known to develop through practice, experience, and the integration of technical proficiency, musical knowledge, and creativity (Hallam, 2015). Perception and performance skills are intertwined (see Hallam et al., 2016;Sloboda, 1985;Wolfs et al., 2022). ...
... A música compreende um papel basilar e fundamental, quer no desenvolvimento 5 quer na formação do ser humano. Vários autores, de ferir Piaget, Jean Jacques Rousseau, Vygotsky, Bakhtin, Adorno, Gardner, (Levitin, 2006;Ilari, 2006;Patel, 2008;Campbell, 2010;Hallam, 2015;Winner, 2019). Para esta investigação, adotamos a revisão de literatura de carácter narrativo, uma vez que é a que melhor compreende os objetivos do estudo, pois, como se pode aferir adiante, oferece uma visão ampla e crítica sobre o estado atual de um determinado tema ou campo de investigação, cujo propósito é resumir e discutir de forma mais geral os resultados de pesquisas anteriores, afastando-se, desta feita, de uma abordagem metodológica mais sistemática. ...
Objective: To present a perspective whose reflection and discussion are assessed from a range of authors and perspectives that discursively gather various aspects of the relationship between music and language, considering the triad that sustains it: sounds, rhythms, and rhymes. Theoretical Framework: We have brought together a series of authors who substantiate the relationship between language and music and their conceptual and technical aspects, in order to maintain a clear and defined approach capable of yielding measurable results for future research. Method: The methodology adopted for this research includes the narrative matrix of thematic literature review, which, in this case, fits an interdisciplinary and interdependent theme, connecting authors, methods, and specific approaches that intersect in real-world applications and practical implementation. Results and Discussion: We can infer that the relationship between the associated themes and sub-themes is a clear example of the need to reflect on broader and transdisciplinary issues, assuming the positions and opinions of those who engage with, reflect upon, and draw conclusions from the ongoing research. Research Implications: On a theoretical level, we observe that the interdisciplinary, dialogic relationship between the arts and literature fields is evident and capable of regular, ongoing deepening. As for objective and future implications, we believe this theme can be further developed and explored, focusing on other aspects and sub-themes that could also be included in the general theme (music and language). In this case, the investigation focused solely on the reflection between the central theme and the derived concepts from the conceptual realm of the relationship between literary and artistic studies. Originality/Value: This research is original as it triangulates information, concepts, and approaches from authors who had not yet been related in these models and formats, nor with this associated methodological approach. The limitations concerning inclusion and exclusion criteria, on the other hand, are an added value, as they allow for the gathering and reflection on exemplary authors and approaches within a universe and sample chosen based on the theme and the narrative structure of the literature review.
... El aprendizaje musical se encuentra muy vinculado con el aprendizaje del lenguaje (Peñalba, 2017), incluso algunos autores consideran que sin escucha musical el desarrollo del habla se ve limitado (Brandt et al., 2012). La vivencia musical influye directamente en el fomento de la lectura y el pensamiento matemático (Hallam, 2015), así como en la capacidad para concentrarse (Perdomo et al., 2022). Mediante la música es posible acercarse a culturas y tradiciones diferentes a las propias (Peterson, 2011) y además facilita la integración social porque lleva implícito el aprendizaje de valores a través de la música (Hormigos, 2010). ...
Introducción: Las zonas rurales encuentran limitaciones en las oportunidades de acceso a actividades culturales y educativas. Se plantea un proyecto musical basado en metodología conexionista en Centros Infantiles, con el objetivo de mostrar a las familias los beneficios de las actividades musicales en el desarrollo infantil para que puedan solicitar, con datos constatados, la incorporación de actividades artísticas en su localidad. Metodología: Tras implementar la propuesta musical se difunde un cuestionario en el que se indaga sobre el cambio en la actitud de los menores participantes observado en el ámbito familiar. Resultados: Se observó mayor tendencia a la interacción, la capacidad atencional y la socialización. Valoran positivamente la experiencia creativa y artística y la experimentación con instrumentos musicales. Consideran que la práctica musical contribuye al desarrollo humano y al aprendizaje en valores. Discusión: Persiste la brecha entre zonas rurales y urbanas, queda mucho trabajo para conseguir mayor igualdad de oportunidades. Las generaciones que crecen en zonas rurales han de tener el mismo derecho a participar en propuestas culturales y educativas, pues sus beneficios están constatados. Conclusiones: La experiencia musical ha resultado positiva para los menores, los datos de este estudio se presentarán al Ayuntamiento para apoyar la implantación de la actividad.
Bu çalışma, Bilim Sanat Merkezleri (BİLSEM) bünyesinde müzik alanında özel yetenekli olarak tanılanmış öğrencilerin ailelerinin müziksel geçmişlerini incelemeyi ve bu yeteneklerin ailesel etkenlerle nasıl şekillendiğini anlamayı amaçlamaktadır. Araştırma, Bronfenbrenner’ın ekolojik sistemler kuramı çerçevesinde, ailelerin çocukların duygusal, sosyal ve zihinsel gelişimleri üzerindeki kritik rolünü vurgulamaktadır. Özel yetenekli öğrencilerin müziksel yeteneklerinin gelişiminde aile içi deneyimlerin etkisini belirlemek için ebeveynler, birincil mikro çevre olarak anne ve baba perspektifinden ele alınmıştır. Araştırma, nitel yöntem kullanılarak gerçekleştirilmiş ve yarı yapılandırılmış görüşme tekniği ile veriler toplanmıştır. Çalışma grubu, tipik durum örneklemesi ile belirlenmiş ve Ankara’daki BİLSEM okullarında müzik alanında özel yetenekli olarak tanılanmış öğrencilerin ailelerinden oluşmaktadır. Ebeveynlerin müzik geçmişleri, evdeki müzik aktiviteleri ve çocuklarına sağladıkları eğitim fırsatları, çocukların müzikle olan ilişkisini derinleştirmektedir. Veri toplama sürecinde, 20 aile ile gerçekleştirilen görüşmelerden elde edilen veriler içerik analizi yöntemi ile değerlendirilmiştir. Katılımcıların demografik özellikleri ve müzik eğitimi deneyimleri üzerinden ailelerin müziksel geçmişleri incelenmiştir. Araştırmanın bulguları ailelerin müzik yeteneklerinin gelişimindeki önemli katkılarını, ev içi müzik aktivitelerinin sıklığını ve çeşitliliğini, ailelerin müzikal destek sunma biçimlerini ve çocukların bu destekler aracılığıyla müziksel yeteneklerini nasıl geliştirdiklerini ortaya koymaktadır. Ailelerin, çocuklarının müzik eğitimine yönelik tutumları, müzikle ilgili etkinliklere katılımları ve çocuklarına sağladıkları fırsatlar, müzikal yeteneklerin gelişiminde belirleyici bir rol oynamaktadır. Sonuç olarak, aile katılımının artırılmasına yönelik stratejilerin geliştirilmesi gerektiği vurgulanmakta, müzik eğitimi alanında çalışan araştırmacılara, eğitimcilere ve politika yapıcılara değerli bilgiler sunulmaktadır. Çalışma, müzik eğitiminin aile içindeki dinamiklerle nasıl etkileşime girdiğine dair önemli bulgular sağlamaktadır.
Singing is a cornerstone of holistic education. It promotes emotional well-being, creativity and a deep connection with the world. However, the rise of digital distractions and changing musical habits has meant that singing is less and less present in schools, threatening to lose its collaborative and expressive benefits. This article looks at the cultural and educational significance of singing and explores how music educators can creatively integrate it into modern curricula to develop responsible, connected and musically inspired individuals.
The present study explored university students' perceptions and attitudes toward music listening in foreign language learning, examining its perceived supportive role in their learning process. In this study, “music listening in foreign language learning” refers to the practice of incorporating music as a background accompaniment during language study. With 200 participants from various majors, findings indicated that a majority (94.5%) frequently listened to music in general, with a preference for slow ballad, fast dance, and classical music genres for language study. Of these, 142 stated that listening to music played a beneficial role in their foreign language learning, perceiving it not just as a stress-reliever but also a valuable tool enhancing language skills. A significant correlation emerged between music listening and decreased communication apprehension from the Foreign Language Classroom Anxiety Scales (FLCAS). Hierarchical regression highlighted the individual variables like gender, age, and English proficiency as influential factors in foreign language anxiety, while frequent music listening displayed a protective, inverse relationship with such anxiety. The findings suggest foreign language proficiency demands both knowledge and emotional stability, with managing anxiety through informal practices like music listening playing a critical role. This highlights the potential for further pedagogical insights and more detailed subsequent research.
From an early age, musicians learn complex motor and auditory skills (e.g., the translation of visually perceived musical symbols into motor commands with simultaneous auditory monitoring of output), which they practice extensively from childhood throughout their entire careers. Using a voxel-by-voxel morphometric technique, we found gray matter volume differences in motor, auditory, and visual-spatial brain regions when comparing professional musicians (keyboard players) with a matched group of amateur musicians and non-musicians. Although some of these multiregional differences could be attributable to innate predisposition, we believe they may represent structural adaptations in response to long-term skill acquisition and the repetitive rehearsal of those skills. This hypothesis is supported by the strong association we found between structural differences, musician status, and practice intensity, as well as the wealth of supporting animal data showing structural changes in response to long-term motor training. However, only future experiments can determine the relative contribution of predisposition and practice.
The social contexts in which people create, perform, perceive, understand and react to music have been neglected by psychologists. This book provides a comprehensive and up-to-date account of the social contexts in which people create, perform, perceive, understand, and react to music. It represents the first attempt to define the field since Farnsworth's book of the same title published in 1969, including the newer areas of medicine, marketing, and education in which the social psychology of music has direct applications in the real world. After an opening review chapter, the remaining 14 chapters are divided into six sections: individual differences; social groups and situations; social and cultural influences; developmental issues; musicianship; real world applications. Several of these chapters are ground-breaking reviews published for the first time. Aside from psychologists and music educators, The Social Psychology of Music will appeal to musicians, communications researchers, broadcasters, and commercial companies.
Communicative Musicality’ explores the intrinsic musical nature of human interaction. The theory of communicative musicality was developed from groundbreaking studies showing how in mother/infant communication there exist noticeable patterns of timing, pulse, voice timbre, and gesture. Without intending to, the exchange between a mother and her infant follow many of the rules of musical performance, including rhythm and timing. This is the first book to be devoted to this topic. In a collection of cutting-edge chapters, encompassing brain science, human evolution, psychology, acoustics and music performance, it focuses on the rhythm and sympathy of musical expression in human communication from infancy. It demonstrates how speaking and moving in rhythmic musical ways is the essential foundation for all forms of communication, even the most refined and technically elaborated, just as it is for parenting, good teaching, creative work in the arts, and therapy to help handicapped or emotionally distressed persons. A landmark in the literature, ‘Communicative Musicality’ is a valuable text for all those in the fields of developmental, educational, and music psychology, as well as those in the field of music therapy.
Commissioned by the Irish Chamber Orchestra.
