“No, I Guess it’s kind of Sensitive” - Communication patterns in a music listening group with older men

Abstract

Introduction: Loneliness is a major wellbeing challenge for older men, linked to physical illnesses, depression and a heightened risk of suicide. Music listening is a potentially significant, although hitherto understudied resource in facilitating wellbeing amongst older men. This empirical study seeks to investigate how older men, at risk of loneliness, interact with each other, the female group leader and "with" music in a music listening group. It was presumed that the music would positively affect the moods of the participants, and that music would serve as a vehicle to stimulate memories and personal self-disclosure. Method: Eight men 64-86 years, with life challenges connected to loneliness, met 16 times to listen to self-chosen music and discuss self-defined topics. The group was led by a qualified music therapist. Follow-up individual interviews were made and a questionnaire were conducted, and used for triangulation. Qualitative content analysis was used to identify codes and themes. Results: The analysis resulted in three themes: choosing a positive mood; facts over self-disclosure; empathy and identification. Listening to, and discussing music were described as uplifting, stimulating and meaningful. However, the presumption that the music would serve as a vehicle for self-disclosure did not unfold as expected. Discussion: The communication between the participants and with the female group leader is discussed from a gender perspective. The article concludes that, specifically when working with (older) men, there is a dual need to recognise traditional, gendered socialisation patterns and norms, while simultaneously acknowledging that these norms might counteract other forms of connectedness.

“Medicine for the soul” – Older men’s identity performance and affect attunement through music listening

“…All the sessions and interviews were audio recorded and transcribed verbatim, including notes of sighs, silences, laughter and similar non-verbal expressions. The analysis was thematic (Braun & Clarke, 2006), deductively emerging from the results in the previous article which focused on communication patterns (Lindblad, 2021). Due to the discrepancy noted in the former analysis between how the participants performed their identities collectively and individually, in this article we were specifically looking for aspects of identity performance, using three theoretical perspectives: i) Symbolic interactionism, particularly Goffman's (1959) dramaturgical perspective on "frontstage" and "backstage," with DeNora's (2013) expanded understanding of the backstage position in relation to music where she suggests a third position where the hidden aspects of the self can come to the fore through musical expression; ii) The concepts of affect attunement and vitality affects (forms of vitality) as outlined by Stern (2000Stern ( , 2010, and adapted to musical communication (Volgsten, 2012(Volgsten, , 2019a(Volgsten, , 2019b; iii) Theories on men and masculinities, particularly regarding norms of masculinity not to show emotions of weakness and vulnerability (Featherstone et al, 2007;Galasiński, 2004;Seidler, 2006Seidler, , 2007.…”

“…Therefore, more knowledge is needed about wellbeing in old age (Segall, 2020). Particularly with regards to the wellbeing of older men, there is a lack of research both in gerontology, studies on men and masculinities, and studies on music and wellbeing (Lindblad, 2021;Lindblad & de Boise, 2020). Since men often identify with their occupations, retirement can imply a loss of meaning and position, which can lead to loneliness, depression and ultimately even suicide (Addis, 2008;Branney & White, 2018;Holwerda et al, 2012).…”

“…This may be particularly important for (older) men who are often socialised into suppressing emotions, sometimes leading to detachment from emotional life, which is detrimental for mental health (Rowan, 1997;Seidler, 2006). Different kinds of engagement with music -singing, dancing, playing and listening -have been noted to support the wellbeing of older men in offering an "asylum," where they can connect to, experience and express their emotional lives without jeopardising their frontstage performances of traditional masculinity (Hays & Minichiello, 2005;Lindblad, 2021). An active interest in music can also generate a sense of cultural belongingness and enhanced self-esteem through cultivating and sharing knowledge about music Approaches: An Interdisciplinary Journal of Music Therapy Lindblad & Volgsten 3 (de Vries, 2010;Lindblad, 2021).…”

“…Different kinds of engagement with music -singing, dancing, playing and listening -have been noted to support the wellbeing of older men in offering an "asylum," where they can connect to, experience and express their emotional lives without jeopardising their frontstage performances of traditional masculinity (Hays & Minichiello, 2005;Lindblad, 2021). An active interest in music can also generate a sense of cultural belongingness and enhanced self-esteem through cultivating and sharing knowledge about music Approaches: An Interdisciplinary Journal of Music Therapy Lindblad & Volgsten 3 (de Vries, 2010;Lindblad, 2021). This article is based on a research study which was previously presented elsewhere (Lindblad, 2021), regarding a music listening group with eight socially vulnerable older men, who met 16 times to listen to music of their own choice and discuss self-defined topics in connection to the music listening.…”

“…An active interest in music can also generate a sense of cultural belongingness and enhanced self-esteem through cultivating and sharing knowledge about music Approaches: An Interdisciplinary Journal of Music Therapy Lindblad & Volgsten 3 (de Vries, 2010;Lindblad, 2021). This article is based on a research study which was previously presented elsewhere (Lindblad, 2021), regarding a music listening group with eight socially vulnerable older men, who met 16 times to listen to music of their own choice and discuss self-defined topics in connection to the music listening. In the previous article, which focused on the communication patterns in the group, an unexpected discrepancy was noted between how the participants presented and performed their identities during the group sessions, and what they disclosed about themselves in individual follow up interviews.…”