The personality of musicians, artists, and other creative persons is of considerable interest to researchers and educators who seek to identify traits associated with musical behaviors. Personality traits can influence music behaviors such as instrument choice, ensemble choice, practice habits, and musical experience, which may contribute to continued music participation. The purpose of this study is to explore the relationships between personality type, music ensemble section, instrument choice (vocal or instrumental), and musical experience in college students and individuals who choose to continue participation after college. Few studies have concentrated on personality characteristics of ensemble members at the collegiate level and after formal education ceases. This is particularly relevant as personality characteristics may not be stable with age. This study examined the following questions: 1) To what extent do personality traits (Agreeableness, Conscientiousness, Extroversion, Neuroticism, and Openness to Experience) relate to ensemble choice (instrumental, vocal no musical ensemble participation) and gender?; and 2) To what extent do personality traits (Agreeableness, Conscientiousness, Extroversion, Neuroticism, and Openness to Experience) relate to ensemble section (e.g., brass, alto voice)? Participants were given a survey containing demographic questions and the Big Five Personality Inventory IPIP (Goldberg, 1992). Results showed that vocalists scored higher in Extroversion and Agreeableness compared to instrumentalists, and Instrumentalists scored higher in Neuroticism than vocalists. These results are consistent with previous research findings. This study has many implications for ensemble directors, such as rehearsal structure and repertoire choice. Music educators could also benefit from this knowledge when developing lesson plans and group assignments. Understanding different personality traits would also help ensemble members with communication within the ensemble.

There is a wealth of literature on people who participate in community instrumental ensembles. Studies exist regarding demographics, educational level, socio-economic status, music education experience, and musical self-identities of community music participants. Far less study focuses on young adults who were successful in high school programs but chose not to continue playing in a community instrumental ensemble group after the end of formal schooling. Traditional assumptions about their reasons—job and family for example—need to be examined. Attribution Theory, which provides a means of analyzing motivation for choices as well as perceived attributions for success or failure, was the theoretical framework of this research, with focus group interviews as the main procedural methodology. The geographic area of the study was limited to the greater Los Angeles area of southern California. Music education literature is replete with references to building skills and values for lifelong participation in music, whether in performance, in listening, or in engaging with music in other ways. This study will offer insight into why many young adults who were once in high school music choose not to continue in instrumental music performance beyond their high school years. I anticipate that this research may lead to better understanding of issues in young adult stages of life as they relate to choices about non-participation in community instrumental ensembles. This research suggests ways in which school music education can facilitate lifelong engagement with music, and will suggest how community ensembles might make changes that will broaden participation by a greater number of young adults after they leave school.

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This study explores the engagement with music among second-generation migrants in Sweden in connection to their cultural identity and sense of belonging. First, a theoretical frame is developed that illustrates how music practices can contribute to the creation of ‘sense of place’ and ‘sense of belonging’ and how they are linked to ‘collective memory’ and ‘cultural identity’. Consequently, it is also explained how all this can be understood from a ‘generational perspective’. A qualitative approach has been chosen for this study and semi-structured interviews with 9 emerging adults living in Sweden, were conducted. The main results show that there is a high engagement with music among second-generation migrants in Sweden, many of them possessing a broad repertoire of favorite songs and genres. Mainly, it is through listening to the music coming from the home countries of their parents that they can express and navigate their cultural identities. Such kind of music carries meanings and mediates collective experiences and memories which can be passed on from one generation to the next one. These practices are important for second-generation migrants in terms of their sense of belonging to certain groups with which they can identify and feel connected to. In this sense, such kind of music helps them make sense of themselves in the world and in connection to others.