The personal meaning of music making to Maltese ...

Research

The personal meaning of music making to Maltese band musicians Anne E K Roberts 1 and Maria Daniela Farrugia 2 Key words: Meaning, music making.

Introduction: Occupations are known to be imbued with personal, social and cultural meaning. Although there is a growing body of research on the meaning of specific occupations, little attention has been given to the personal meaning of music making as an occupation. This study aimed to explore the personal meaning of engagement in an occupation embedded in a culture by studying music making in Maltese band musicians. Determining the subjective meaning of engagement in an occupation helps to explain why people do what they do and what benefit is derived. Method: A qualitative study guided by the principles of grounded theory was conducted with 12 band musicians, using a semi-structured interview. Data were recorded, transcribed and analysed using the principles of grounded theory. Findings: Three main categories of meaning emerged: the personal meaning of playing in a band, including spiritual and emotional significance; social and cultural connectedness; and the effect of music making on self-identity and personal health. Conclusion: It was evident that there was an important and dynamic connection between the occupation of music making, the individual musician and the social and cultural environment. This interconnection created a feeling of wellbeing and belonging and emphasised the therapeutic value of music making in a band.

Introduction 1 Associate

Professor, University of Plymouth, Faculty of Health, Education and Society, Peninsula Allied Health Centre, Plymouth. 2 Formerly Postgraduate Student, University of Plymouth, Faculty of Health, Education and Society, Peninsula Allied Health Centre, Plymouth, and now Assistant Principal Occupational Therapist, Mount Carmel Hospital, Attard, Malta. Corresponding author: Dr Anne E K Roberts, Associate Professor, University of Plymouth, Faculty of Health, Education and Society, Peninsula Allied Health Centre, Derriford Road, Plymouth PL6 8BH. Email: [email protected] Reference: Roberts AEK, Farrugia MD (2013) The personal meaning of music making to Maltese band musicians. British Journal of Occupational Therapy, 76(2), 94-100. DOI: 10.4276/030802213X13603244419275 © The College of Occupational Therapists Ltd. Submitted: 19 January 2012. Accepted: 3 August 2012.

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The central tenet of occupational science is that humans are occupational beings and that being engaged in occupations enhances wellbeing (Wilcock 1998a). Since the beginning of time, humans have engaged in the occupations of making music and listening to music. There is fairly extensive evidence that listening to music benefits people in a variety of ways. For example, studies show that listening to music enhances emotional and cognitive functioning in stroke patients (Särkämö et al 2008), reduces anxiety and pain in cancer patients (Bradt et al 2011) and reduces agitation in people with Alzheimer’s disease (Cox et al 2011). Furthermore, the participation of older people with dementia in music-related occupations (listening, playing, dancing and singing) has enriched their lives, enhanced their sense of wellbeing and encouraged social interaction (Sixsmith and Gibson 2007). Studies of musicmaking activities in university students (Kokotsaki and Hallam 2007, 2011) and choral singing in community choirs (Bailey and Davidson 2003, Tonneijck et al 2008, Jacob et al 2009) indicate the powerful social, emotional and psychological impact of making music. As occupational therapists, the meaning of this occupation is of great interest and this study was prompted by a desire to understand the rich meanings of playing in a band from an occupational science perspective. Thus it set out to explore an occupation embedded in the culture of the Maltese population, that is, music making by band musicians or, as they are known locally, bandisti. Occupations are defined as ‘groups of activities and tasks of everyday life, named, organised and given value and meaning by individuals and a culture’ (Canadian Association of Occupational Therapists 1997, p34). Personal meaning is the process of making sense out of what we do in our everyday life and has both a shared and a personal dimension (Hasselkus 2011). Personal

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Anne E K Roberts and Maria Daniela Farrugia

meaning is socially constructed, influenced by ‘social conventions, beliefs and attitudes’ (Hasselkus 2011, p3). Reed et al (2010) emphasised that meaning is linked to identity in that what we do is part of who we are. We both express ourselves through occupation and understand more about ourselves through being engaged in occupation (Hasselkus 2011). Meaning is both personal and shared and is complex in relation to occupation. Therefore, this study begins with a broad definition of personal meaning in that it has ‘contextual, temporal, psychological, social, symbolic, cultural, ethnic and spiritual dimensions’ (Hinojosa and Kramer 1997, cited in Kramer et al 2003, p4). Thus meaningful occupations are those that we choose to do that reflect these personal and shared dimensions. Individuals’ social environment and culture shape their chosen occupations and occupations, in turn, represent the culture. Successful occupational therapy interventions are those that support occupations that have personal meaning for the individual and contribute to that person’s life satisfaction (Bonder 2001). Such intervention can only occur if the cultural nature of human existence is acknowledged (Bonder 2001). Careful description of the meaning of occupations from a personal and cultural perspective is essential for occupational therapists striving to understand the power and relevance of occupations in their therapy.

Malta and its band clubs – the research context Maltese band clubs and their musicians play an important role in Maltese society and culture, as well as making a crucial contribution to the Maltese musical scene. Band marches are a major aspect of Maltese village feasts, and form part of the local culture (Vella 2004). Band clubs in Malta offer meeting places for recreation, learning music, concerts and discussions. However, they remain best known for the musical entertainment offered, mainly during the many village feasts held in the summer in honour of different saints. There are around 4,000 instrumentalists who engage in these musical activities (Malta National Statistics Office 2010). During feast times, groups of around 50 instrumentalists from these clubs, usually in uniform, sit on a platform or walk together, and play music along the streets of the village in which the feast is being celebrated.

illustrated a powerful reconnection of individuals with the community; they reported ‘finding a voice in society’ and felt proud of giving to others by their public performances. The Jacob et al (2009) study of nine university choir members noted not only a sense of community from their singing, but also ‘social bonding’ between the members of the choir. This process of getting to know each other and working as a team to overcome personality differences was evident in both university and homeless choristers. The study by Tonneijck et al (2008) of Dutch amateur choir singers concurs with this, describing unity and ‘disappearance of all the different egos’ (p177). Choir singing appeared to stimulate a strong feeling of belonging. Similarly, all three studies reported experiences of fulfilment, achievement and pride in their groups’ accomplishments, which sustained the occupation and contributed to their experience of self-confidence and wellbeing. It appears that music making brought about feelings of relaxation, safe haven and release (Bailey and Davidson 2003, Tonneijck et al 2008, Jacob et al 2009, Kokotsaki and Hallam 2011). Their connection with the occupation brought about intense feelings of an uplifting and rejuvenating spiritual nature, expressed by participants as an ‘experience of wholeness’ (Tonneijck et al 2008, p176) and ‘an opportunity to connect to their creative potential’ (Bailey and Davidson 2003, p26). Music making was viewed as a challenging occupation in all of the studies, in both a positive way and, less often, in a negative way. The homeless choristers reported the challenge of managing their own behaviour and that of others (Bailey and Davidson 2003) and some choristers in the study by Tonneijck et al (2008) reported feelings of fear, frustration or anger when things did not go well. Music and non-music students in Kokotsaki’s and Hallam’s (2011) study reported pressure to work hard and the constraints of practice time but also reported that it was ‘time and effort well spent’. Although these studies throw some light on the meaning of music making, this literature is incomplete and may not be transferable to understanding the meaning of music making in a traditional band in a specific cultural setting.

Meaningful occupations

Literature review Music making Several qualitative studies have investigated the experience of music making from the participants’ perspective, in the form of choir singing (Bailey and Davidson 2003, Tonneijck et al 2008, Jacob et al 2009) and participation in group ensembles (Kokotsaki and Hallam 2007, 2011). People in these studies reported experiences of social connection brought about by being part of a team and meeting likeminded souls (Kokotsaki and Hallam 2011). The choirsinging studies noted improved communication, social interaction and community involvement. Indeed, the Bailey and Davidson (2003) study, involving seven homeless men,

Within occupational science there has been some attention to the meaning of occupations embedded in a culture (Hannam 1997, Wright-St Clair et al 2005, Beagan and D’Sylva 2011). Hannam’s (1997) study of five English women examined the meaning of tea drinking and identified six shared meanings for tea drinking: meaning through the reasons for drinking tea, meaning through the senses, meaning through the objects used, meaning through temporality, meaning through social context and meaning through changes in lifestyle. Wright-St Clair et al (2004, 2005) explored the meaning of preparing food for cultural events, such as Christmas. These studies demonstrated rich shared meanings related to connection with family, culture and tradition, emphasising the significance of the sociocultural context in this study of Maltese band musicians.


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The personal meaning of music making to Maltese band musicians

These studies on the meaning of making music and other chosen and valued occupations embedded within a culture have informed this study. Thus the research question posed in this study was as follows: ‘What is the personal meaning of music making to Maltese band musicians?’

Table 1. List of categories that emerged from the data analysis Music making in a band and its meaning to the musician ■ Spiritual and emotional significance ■ Providing opportunities Social and cultural connectedness Belonging ■ Providing social interaction ■

Method The meaning of engagement in an occupation cannot be simply observed or measured. It requires a qualitative methodology that is sensitive to social and cultural phenomena. Thus an inductive approach was used, guided by the principles of grounded theory. A constant comparative approach was used to compare interview with interview, building on knowledge by pursuing information arising from the preceding interviews. Theoretical sampling was used to increase the diversity of the sample, search for a wide variety of concepts, and develop and saturate the categories.

Sample The participants were selected from several Maltese band clubs to give a rich sample. The sample included men and women of various ages who played in at least one band (paid or unpaid). Saturation was achieved at 12 participants.

Interview This study involved in-depth face-to-face semi-structured interviews with band musicians, which encouraged the interviewees to express what was important to them. An interview guide was constructed comprising open-ended questions to encourage the interviewees to expand on their own experiences. Probes were altered according to the data needed from each specific interview, in line with the constant comparative method. The location of the interview was chosen by the participants. The interviews lasted approximately 45 minutes and were tape recorded with the participants’ consent.

Ethical considerations In order to ensure confidentiality, pseudonyms replaced the interviewees’ names. All participants were asked to sign a consent form. Throughout all phases, participants could ask questions and opt out of the research at any time, while personal safety, non-maleficence and non-exploitation were ensured. Information was kept in a secure location and destroyed a year after the project’s termination. Moreover, a United Kingdom University Ethics Committee and the Maltese Research Ethics Committee granted approval for this study.

Data analysis Data analysis began with open coding whereby the transcript was analysed line by line and mostly assigned in-vivo codes. Such a code is a word or short phrase that describes what is happening, often quite close to the original words of the participant (Strauss and Corbin 1990). The data analysis finally yielded 372 concepts; these were grouped into an initial set of 22 categories, which was

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Effect of music making on the musician ■ Self-identity ■ Personal health and wellbeing

followed by axial coding to explore the interrelationships of categories (Creswell 2007). These categories were finally condensed to six and subsumed under three main categories for reporting here (see Table 1).

Rigour and trustworthiness Lincoln’s and Guba’s (1985) criteria for trustworthiness are well developed conceptually (Creswell 2007) and were used to ensure the trustworthiness of this qualitative research. The methods used included peer debriefing, member checks, use of a reflective diary and a clear audit trail.

Findings and discussion Music making and its meaning Of central importance, the participants described elements of spiritual and emotional significance in the process of making music in the band and also recognised that it offered them opportunities for development.

Spiritual and emotional significance All participants claimed that music making provided meaning to them as it offered them an opportunity to express what is inside them. Some claimed that it was kind of an innate compulsion to start playing because of their love for music: There is like something inside me that automatically pushes me to play (Patrick).

The participants reported that music making made them feel good, and some even felt in ecstasy. They perceived playing a musical instrument as something emotional. To describe this idea, participants used words such as ‘love’, ‘beauty’ and ‘perfection’. Hence, music making meant something worth doing: To play is something beautiful; it’s something emotional (Miriam).

Furthermore, this emotion led to them feeling detached from the passing time: If you love music, it gets you in ecstasy. When I do music I forget about the time (Carmel).



I kind of get into it … focus so much on it. It’s like I get detached from my surroundings and feel like in a world of my own (Rose Marie).

This is in harmony with the experiences of choir singers, who reported intense spiritual feelings (Tonneijck et al 2008) and feeling ‘high’ or euphoric (Jacob et al 2009). Several homeless men in Bailey’s and Davidson’s (2003) study reported feeling similar to being in a drug-induced state, as the impact lasted for a long period of time after the singing. The music students in Kokotsaki’s and Hallam’s (2007) study also reported exhilaration, powerful emotional reactions, ecstasy and ‘getting lost in a sense of timelessness in the musical act’ (p102). This emotional sense of time passing in a deeply enjoyable way has been reported from many non-musical occupations too. For example, Scheerer et al (2004), in their study about cake decorating, reported participants’ feelings of ecstasy and detachment from their surroundings whilst engaging in the occupation. These experiences constitute what Csikszentmihalyi (1990) termed ‘flow’, a state where nothing else seems to matter. He added that this feeling may enhance perceptions of meaning and purpose. The musicians in this study experienced feelings of success and satisfaction because through this occupation they perceived themselves as being useful to society, both providing and having fun: … it’s satisfaction […] it’s the enjoyment, […] the satisfaction that you participate and others are enjoying themselves through the fun you are creating (Victor).

This concept echoes the feelings of the homeless choir members, who felt that they were making a contribution to society in their singing performances (Bailey and Davidson 2003). The musicians in the present study perceived that the satisfaction, success and happiness with the sound they were making created meaning and sustained their engagement in music making. Similarly, the music students reported feelings of pride and achievement related to being a part of the group’s success (Kokotsaki and Hallam 2007). For occupational therapists, this implies that although the process of the occupation holds therapeutic value (Gray 1998), the end product also has its role in determining the benefits of engaging in occupations. The band musicians also valued music making because it breaks up their routine occupations. Similarly, the musicians reported that they felt satisfied that they were engaging in an occupation that provided them with something to do, but which at the same time was not imposed on them but was done by their own choice. This concurs with the choir members in the study by Tonneijck et al (2008), who also said that singing provided something special that was different to their other activities and that it ‘felt like something of their own’. Furthermore, older people with dementia also derived a sense of empowerment from engaging in music-related occupations (Sixsmith and Gibson 2007).

Providing opportunities Catherine, Miriam, Nicholas and Theresa deemed that music making provided opportunities, such as playing abroad and earning extra income. It could also provide an opportunity to gain honour, such as playing with important musicians, and these opportunities enriched their lives: It [music making] makes your life, experience-wise, richer (Miriam).

All participants acknowledged that playing in a band meant a learning experience, for both the musical and the day-to-day life. Indeed, they claimed that through playing in a band they not only became more knowledgeable because of the mastered musical skills, but also learnt the importance of accuracy, responsibility and obedience: It builds in you the sense of discipline; you don’t miss rehearsals and activities, and take care of the uniform and your things. It builds a person’s character (Mark).

In return, they felt that this change in self then affected the way in which they performed the occupation. Thus, the individual and the occupation affected each other. This striving towards their potential, using their capacities to develop personally, concurs with Wilcock’s (1998a) concept of ‘becoming’ in her theory of the meaning of occupation. It links with the next theme regarding the participants’ belief that they were able to contribute to the community, enhancing their place in society.

Social and cultural connectedness Belonging The act of playing in a band gave participants a sense of belonging to their club, by enacting the traditions of their particular band club, including rivalries with other clubs. As such, the band provided a strong sense of belonging in the wider community. There was also a sense of temporality that came from this belonging: a connection and a continuity between the family generations, time and tradition. Miriam, Joseph and David started playing to uphold their family tradition and continue on from their ancestors. Music making in a band was also a means to express solidarity and respect to their late ancestors and friends, to culture and to decades of tradition. All participants felt connected with memories of relatives and friends who had music close at heart. Miriam described the importance of continuity and family influence: … through my playing I am continuing my Grandpa’s dream.

Participants strived to pass on sound values that they treasured to younger generations: … the band helped me remain a good man. So, when I meet the youths, I try to teach them not only music but also life values (Saviour).

Some participants started playing to support their favourite band club. This held meaning because they felt


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that the club formed part of their social identity and that supporting the club would usually run through the generations of their families. This strong sense of belonging featured in the choir-singing studies, but the findings of the present study are unique in their rich expression of the impact of culture, tradition and connection through the generations. This sense of social belonging associated with meaningful occupations is expressed in the wider occupational science literature (Rebeiro et al 2001, Hammell 2004, Wilcock 2006). Hammell (2004) considered ‘belonging’ as one of the dimensions of occupation that has meaning in people’s lives, which includes how social interaction, relationships, support and friendship contribute to the ‘pleasure and meaningfulness of doing’ and indeed life satisfaction (p302).

Providing social interaction Music making in a band meant getting to know other people, and created a sense of belonging to their community; creating music in the band gave them feelings of unity. All participants thought that playing in a band was like putting everyone’s efforts together to become a wonderful whole: … the fact that there is a team that has to be united and members get on well together is a key element in a band (Mark).

This feeling of unity is echoed in choral singing in university students (Kokotsaki and Hallam 2007) and homeless men (Bailey and Davidson 2003). Furthermore, Tonneijck et al (2008) referred to this phenomenon in the Dutch choir singers as ‘enacting wholeness’ because individuals felt as one and not separate from others. The study participants in Kokotsaki and Hallam (2007), Tonneijck et al (2008) and Jacob et al (2009) reported feelings of unity with like-minded souls. In the present study, participants highlighted that music making in a band provided a place to go to and to belong to, providing an opportunity to meet people with similar interests. They felt that the club created a social environment that was accepting and conducive to their engagement in playing. This was also expressed by the homeless choir singers in Bailey’s and Davidson’s (2003) study and the music students in Kokotsaki’s and Hallam’s (2007, 2011) studies. In the wider literature, Rebeiro and Cook (1999) emphasised the meaning obtained from having a place to go to and to belong to. It also resonates with Wilcock’s (1998a) description of social wellbeing, brought about by the maintenance and development of satisfying and stimulating social relationships. Hence, it is important for occupational therapists to consider this aspect of occupations when using them as therapeutic interventions. The musicians emphasised both the socialisation aspect of playing in a group and the feelings of unity and harmony that they experienced when they played with others. They felt that playing made a contribution to the club and to society. The musicians also claimed that when playing alone, they felt that they did not ‘forget’ their worries as much as when they played in a group.

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Effect of music making on the musician Self-identity Most of the participants claimed that music making was important to their very identity: If I don’t have music in my life, I will not be Miriam, I will not be the same person because it kind of grew up with me and made me the Miriam I am today (Miriam).

The musicians suggested that their successful participation confirmed an evolving sense of self-competence and, over time, further supported and sustained their identity. The homeless singers in Bailey’s and Davidson’s (2003) study derived a sense of being valued members of society, improving their social identity and sense of worth. Similarly, the students in Kokotsaki’s and Hallam’s (2007) study reported that participating in music making helped them to build a strong sense of their own personal identity. The importance of occupations to self-identity has also been observed in the wider occupational science literature (WrightSt Clair et al 2005, Townsend and Polatajko 2007). This idea concurs with Rebeiro and Cook (1999), who claimed that occupation is not necessarily an end, but a means to confirmation of self and maintenance of self over time. The musicians also reported that music making prevented them from having vices and helped them to become more cultured individuals, increasing their maturity and self-discipline. This, in turn, encouraged them to perform the occupation willingly, from the heart. Thus their engagement seemed to reinforce their identity as socially worthy individuals. Music making was linked to the kind of music they liked, which club or village they belonged to and their Maltese nationality. The link between the occupation, selfidentity and social and cultural connectedness is evident from this. Wright-St Clair et al (2005) have observed a similar link between preparing traditional food and constructing and maintaining personal and family identities.

Personal health and wellbeing Participants remarked that music making affected their health and wellbeing positively: Music gives you health and wellness (Nicholas).

This is in concordance with the widely held view of the positive benefits of engagement in occupations generally (Wilcock 1998b) and music specifically (Bailey and Davidson 2003, Sixsmith and Gibson 2007, Särkämö et al 2008, Jacob et al 2009). Some musicians in this study remarked that this sense of wellness is provided through music making because one is concentrating and using the brain. Bailey’s and Davidson’s (2003) choir singers and Kokotsaki’s and Hallam’s (2011) university students similarly reported the benefits of mental stimulation and connecting to their creative potential. Participants in this study also reported that music making had a calming and relaxing effect, providing a ‘sense of peace’ and changing mood:



… (music) helps you express yourself, gives you a big fulfilment, a creation, a satisfaction, something difficult to explain, a sense of peace in your heart (Miriam).

The studies of choir singers reported that singing provided relaxation: a haven from the rest of the world (Tonneijck et al 2008, Jacob et al 2009), an improvement of mood and a relaxation effect (Bailey and Davidson 2003, Jacob et al 2009). Similar findings were reported for students who were engaged in group music making (both students studying music and musical students primarily studying other topics) (Kokotsaki and Hallam 2011). This effect is not unique to musical occupations, however, and has been reported in other occupations; for example, Wensley and Slade (2012, p89) found that people who engaged in walking as a leisure occupation reported feelings of emotional wellbeing and ‘de-stressing’. Similarly, Leckey’s (2011) systematic review concluded that creative activities promote relaxation and reduce stress, although the research evidence was weak. The participants added that engagement in music making sometimes had a negative effect; Mark and Victor reported back numbing, whistling ears, lip damage and fatigue. The negative impact of occupations is often overlooked but this was commented on by Jacob et al (2009) and Tonneijck et al (2008), mainly in relation to feelings of dissatisfaction with performance. This supports Wilcock’s (1998b) opinion that if capacities are overused, people feel fatigue and stress, and that the correct level of challenge from the occupation is important (Csikszentmihalyi 1990). These are factors for occupational therapists to consider when using occupations therapeutically.

Implications This study showed that music making in a band has very rich meanings for individuals. The findings revealed that participants placed emphasis on the value of social and cultural connection through music making; thus, it could be used therapeutically as a facilitator of social relationships and feelings of worth and belonging in society. Musicians highlighted that music making provided relaxation and heightened wellbeing, justifying its use therapeutically by occupational therapists. This supports the core belief of occupational therapy, that meaningful occupations can be used to promote health and wellbeing. In the light of the knowledge that there can be negative effects from this occupation, and that there is a need for the right level of challenge, it is important for occupational therapists to use their skills of occupational analysis in recommending the use of this occupation therapeutically.

and Guba (1985) were followed. The highly contextual nature of this study indicates that caution should be employed in transferring the findings to other settings and cultures; however, the synergy with research on the meaning of choral singing in other types of participants and other occupations indicates its possible relevance elsewhere. Further research would clarify this issue.

Conclusion The findings demonstrate that music making in a band has very rich meanings for individuals. Important elements of occupational meaning were revealed, including spiritual and emotional significance; opportunities for development; social and cultural connectedness; enhanced self-identity; and feelings of health and wellbeing. The positive meanings support the essence of occupational therapy: the belief that there is therapeutic value to an individual’s chosen occupation. This research suggests that occupation is important because it contains accumulated meaning for the individual who is performing the occupation. These meanings seem to hold the individual in social reality, connected to his or her own past and to past generations. There is an important connection between music making, the musician and the social and cultural environment, emphasising the rich therapeutic nature of meaningful occupations. Although band musicians may experience some common meanings from music making, their individual investment in the occupation and the strength of their tie to their musical instrument is very personal. Each participant highlighted particular themes, which gave a personal shape to his or her cultural world. This is in line with what Unruh et al (2000) and Bonder (2001) revealed about the personal meaning of gardening and weaving. This highlights the need for culturally sensitive awareness of the way individuals see and interpret the world. This study has contributed to the occupational science and occupational therapy knowledge base regarding the personal meaning of playing in a band. It is only through research such as this that occupational therapists can fully understand the impact and potential therapeutic power of an individual’s chosen occupations and be able to devise solutions that help to meet the unique requirements of clients.

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Key findings Music making in a band provides spiritual and emotional significance to the player. Playing in a Maltese band enhances individuals’ social and cultural connectedness. Making music in a band enhances self-identity and feelings of wellbeing.

Limitations

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The interviewees found it difficult to talk about ‘meaning’. They remarked that it is a complex and abstract topic and some of the interviewees actually responded in the second or third person. Nevertheless, to ensure credibility of the findings, verification procedures recommended by Lincoln

What the study has added This study has contributed to the understanding of how meaning is attached to the occupation of music making in a band, in a specific cultural setting.


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