Music students reflect on the rewards of ensemble participation

Seventy-eight undergraduate and postgraduate music students from two English universities took part in a study exploring how active music-making in groups — whether past or present, large or small — had shaped their lives. The participants, who studied in departments offering both traditional and contemporary approaches to music, described their experiences in response to two open-ended questions: "How do you perceive your past or current involvement in musical ensembles?" and "What impact did it have on you?" The deliberately broad wording allowed students to focus on whatever aspects of ensemble participation they found most meaningful.

The research team, led by Dimitra Kokotsaki of the University of Durham and Susan Hallam of the Institute of Education, University of London, analysed the collected material using qualitative data software. Coding followed the principles of Interpretative Phenomenological Analysis, a method that closely examines how individuals make sense of their experiences. To confirm the reliability of the findings, a second coder independently examined a random subset of responses; the two coders agreed completely on every coded item. Participants' names were changed to protect their anonymity.

Three distinct themes emerge from the data

The analysis revealed three broad categories: music-making as a musical act, music-making as a social act, and music-making's influence on the self through personal skill development. Each of these major themes contained a number of sub-categories that together paint a rich picture of what ensemble participation means to music students.

Music-making as a musical act

Participants identified ensemble playing, first and foremost, as a musical experience that deepened their understanding of the art form. The reported benefits included broader exposure to repertoire, stronger technical and analytical abilities, greater openness to new musical ideas, and a boost in motivation to pursue both theoretical and practical musical understanding. Listening and sight-reading skills improved, as did the capacity to communicate emotion through performance. One participant observed that listening carefully to other performers helped develop a superior "inner hearing." Several students stated that their time in a junior band or similar group was instrumental in shaping their decision to study music at degree level — each performance stretching their abilities and strengthening their intrinsic love of music.

One particularly vivid account came from a pianist recalling the transcendental feeling of accompanying a gifted soprano. As the singer hit a high A in Tchaikovsky's Queen of Spades, the pianist was moved to tears. The experience was so powerful that she felt embarrassed to accept payment and wanted, instead, to pay the singer. On a separate occasion, rehearsing in a concert hall with the same soprano, the pianist again felt ecstatic, later describing it as the highlight of her accompanying career. The passion extended back to her childhood, when even at age ten working on accompanying parts felt more compelling than practising solo pieces.

Music-making as a social act

Beyond its musical value, students consistently highlighted the social dimension of ensemble work. They felt they played a useful, important role in the group, and they often reported pride and satisfaction when the group succeeded together. This was particularly marked in small ensembles such as trios and quartets, where each individual's contribution carried substantial weight. In larger groups, such as symphony orchestras or concert bands, the excitement came instead from being swept up in "a big sound."

Membership in a musical community brought a strong sense of belonging and offered access to like‑minded friends who might never otherwise have crossed paths. This was a special boon for instrumentalists — especially pianists — who typically spent many of their practice hours alone. The chance to socialise, share ideas, and draw motivation from the energy of others helped raise standards and fostered a collaborative spirit characterised by mutual support, patience, and a willingness to compromise for the common goal. Observing and comparing themselves to their peers enabled musicians both to gain confidence and to identify areas needing improvement, which spurred extra effort.

The social encounters through ensemble music extended to significant real-world experiences as well. Several participants described performing in prestigious venues at home and abroad — events that brought not only professional development but also shared adrenaline and deepened camaraderie. As one student put it, "We work together for the good of the group… I've performed in different countries and on TV and radio." Travel, performance tours, and projects involving students from the same year all contributed to what one called "learning to work effectively with other musicians."

Personal development and self‑transformation

The third theme captured how active involvement in music-making enriched participants' sense of self. Accomplishing musical goals as a group contributed to personal feelings of self‑achievement, and the ongoing challenge of meeting group standards brought a marked build‑up in self‑confidence, more determination, and a willingness to push through obstacles participants had previously believed were beyond their reach.

These personal outcomes supported the construction of a strong musical identity that, in many cases, became an integral part of who the students were. The sense of self‑efficacy and intrinsic motivation that accompanied progress came not from external awards or praise but from private satisfaction and satisfaction with the music the ensemble produced together. The experience, as described by the participants themselves, could be intensely absorbing and occasionally even euphoric : "exhilaration while in 'flow' — almost like a drug at its best," "getting lost in a sense of timelessness in the musical act," and feeling that performances served as a form of emotional release or temporary escape from everyday pressures.

Context from earlier research

The findings echo a wider body of work on the benefits of active music‑making. Among children, engagement with practical music has been linked to gains in reading, arithmetic, and other academic abilities (such as through the Kodály method), though some reported effects have proved temporary or uneven. Broader outcomes across the research literature include enhanced social cohesion, self‑reliance, confidence in performance, teamwork skills, self‑expression, and reduced disaffection — particularly among low‑ability or disaffected pupils. The present work extends these findings by probing the specific experiences of young people who are training for a career in music, building on what is already known about the high costs, intense emotional investment, and social dynamics of ensembles such as choirs, bands, orchestras, and small chamber groups.

Perceived benefits at a glance

The responses gathered for this study can be grouped and tabulated under headings including technical musical skill development, heightened intrinsic motivation to pursue a career in music, opportunities to build friendships with like‑minded people, improved social and teamwork abilities including learning to cooperate and negotiate, enhanced feelings of belonging and contribution to a shared outcome, and a clear personal growth path through increased self‑esteem, self‑efficacy, and self‑confidence. The enthusiastic quotes presented by the researchers make clear that these categories, though divided into themes, are experienced by the music students as inseparable elements of a profound whole.

The importance of ensembles emerges from these accounts as far‑reaching. Whether the group amounts to a duo or a full orchestra, the musicians — accomplished students who later likely become teachers, performers, or scholars — see collective music‑making not simply as a required part of a curriculum but as the vehicle through which their personal identity, social belonging, and professional commitment converged.

The sense of assurance about one’s own abilities and accomplishments—feelings that could not have been developed alone—led to deep personal satisfaction and heightened self-confidence. These cultivated skills and the confidence they generated then transferred into individual performance.

Group participation sometimes offered a chance to nurture leadership abilities. Furthermore, playing alongside others supplied role models and performance benchmarks to aspire to, along with boosts in motivation, concentration, and endurance. Ensemble participation was also seen as a vital component of music students’ personal identity, helping them shape their character and forge a strong sense of self. One participant recalled her past involvement in school musical events with vivid memories, leaving lasting impressions of joyful, energetic school days when she felt popular and distinct among her peers.

Given the musical, social, and personal rewards that music students reported gaining from group musical activities, a handful voiced disappointment at what they saw as the decline of group music-making in both schools and university music departments:

‘I am acutely conscious of the fact that true chamber music is dying out. A focus on Grade examinations and orchestral/band performances contributes to this. This has become a vicious circle. Teachers give pupils no experience of real chamber music; these pupils, if they become teachers, are then in no position to remedy the deficiency’.

‘Sadly, performance seems to be undervalued at my University. Even in the "Techniques of Performance" Module, only 40% is taken up by actual recital (The other 60% being Aural exercises). Indeed, one gets the impression that the music department actually looks down its nose at the (mainly student run) student ensembles’.

Table 3 about here

Relationships between the elements

Figure 1 outlines how the musical, social, and personal benefits of ensemble music-making interconnect, as perceived by study participants (see figure 1). As before, numbers beside each code indicate its frequency in participant responses. Examining the figure reveals a key feature of group music-making: participants take an active role in shaping the final product. While working together, they grasp the need to strive to uphold group standards and meet collective expectations for individual input. This not only boosts social dimensions—like cultivating a solid sense of belonging and feeling valued and useful as a group member—but also fosters confidence and self‑satisfaction at a personal level.

Figure 1 about here

Discussion

This research underscores the value of playing in both small and large ensembles, as perceived by those who take part. A variety of musical abilities were honed and strengthened—an aspect highlighted by 41% of participants. Group playing offers an alternative to solo practice; it increases the total time spent performing, which helps automate a range of technical and musical skills. It also provides ample chances to refine listening and aural skills in authentic settings. For those in the study, these musical experiences were intrinsically fulfilling and served as a source of motivation. The largest cluster of responses related to social skill development (55%). Participants reported making friends through ensembles, learning to co‑operate and work as a team, and feeling important and useful—especially in smaller groups. There was also a shared sense of collective achievement and mutual encouragement to excel and reach high standards. A few respondents mentioned enhanced leadership skills. On a personal level, group work posed a challenge, led to significant individual accomplishments, and boosted self‑confidence. For many, membership in a group defined their musical identity: 32% noted that ensemble participation had increased their self‑confidence. Clearly, belonging to a musical group brings considerable advantages. This is not to imply that comparable benefits could not arise from other types of groups. Yet the distinctive features of musical ensembles may be especially significant—for instance, the need to co‑operate to produce a real‑time performance, the interdependence this entails, and the final product, typically a live concert.

These findings carry clear messages for music education. Working in large groups—orchestras and bands, for example—clearly spurred inspiration and drove students to keep playing. Small‑group work offered valuable chances for peer learning without a teacher present, developing co‑operative skills and shared ideas. All forms of group work, whether large or small, teacher‑directed or mutually developed, proved highly beneficial for students at every stage of skill development, suggesting that music educators across all educational levels should encourage broad participation in group music‑making. The higher education music students involved in this research valued their ensemble experiences throughout their musical journey and, on the whole, felt they had sufficient opportunities within their courses to engage in a wide variety of participatory musical activities. It also falls on those delivering music education in schools—at school, area, county, or national levels—to ensure young people have ample chances to take part in high‑quality group music‑making in its many forms. In the music classroom, the UK National Curriculum mandates that children should have opportunities for music‑making individually, in groups, and as whole classes. Nevertheless, at primary level, many teachers lack the confidence to lead active music‑making, and the quality of instruction and available opportunities limit many children’s experiences, especially regarding small‑group work. This is regrettable, given the clear benefits—not only musically but also personally and socially—to be gained.

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Table 1: Musical effects of group music making

Musical skill – 33 {41%}
“I feel that my past and present involvement in musical ensembles is an invaluable part of learning about music. I feel that the participation in an ensemble enables the musician to access a wide range of musics and to gain a greater in depth knowledge of a musical ensemble and how music works within the wider community.”

Sight reading – 6 {8%}
“I think that being in a choir develops your inner ear and enables you to sing better from sight, and to be able to sing certain awkward intervals more easily.”

Gaining confidence in performance – 6 {8%}
“I gained confidence in performing both in a group and as a soloist.”

Technical skills – 7 {9%}
“Another formative experience reinforcing what I subsequently learnt from my teaching career was my days as a clarinettist in my own school's Corps Band… 2 hour rehearsals took place once a week (they were voluntary). I did no practice but slowly worked my way up from being 4th to Solo Clarinet. This was where I developed most of my technical, sight reading and ensemble skills.”

Learning to listen – 12 {15%}
“Having to listen to other people has made me more aware of the need to listen to my own playing when I am in a solo setting.”
“Ensemble has also made a huge difference to how I listen to music. I am now much more analytical, critical, etc. I am aware of what is going on within a piece of music or arrangement.”
“We attempted Benjamin Britten's War Requiem, which was, both rhythmically and melodically difficult. On that occasion, I found the conductor almost impossible to follow, as the beat was never really clear. I could not understand what the conductor was doing with his arms even during passages when the music seemed uncomplicated. I found that I had to count like mad and became used to listening to other parts to help me get the entries right.”

Improved playing ability – 10 {12%}
“I am currently a 1st violinist in a youth orchestra. I joined because I felt unhappy with my recital last year and wanted to enhance my playing skills for this year's recital.”
“Having not played in an ensemble for a few years has damaged my rhythmic work and tightness of performance.”

Deepening Musical knowledge – 5 {6%}
“Much of my musical knowledge, in all areas, has been derived from my participation in performance groups, and I hold it crucial to the continuation of my development.”

Opening up to different perspectives – 4 {5%}
“Participating in an ensemble allows me as a musician to build upon my technical skills as a soloist and as a musician within a wider overall structure within an ensemble, it also opens up my views to the different perspectives of other musicians and their approach to the study and practice of music.”

Emotional expression – 5 {6%}
“I have joined ensembles for both enjoyment purposes and to further my abilities as a performer. I believe that being able to interact with other performers has helped me to improve musically in a technical sense, and to be able to convey emotions through music much better.”

Access to repertoire – 7 {9%}
“It was also a lovely way to get to know the music much more intimately than just listening to it.”

Intrinsic motivation – 5 {6%}
“The impact of working within an ensemble motivates you as a player to learn more about the theoretical issues of music and to build upon your practical musicianship skills in order to be more effective within the environment of the ensemble in which you participate.”

Junior Band conducive to further interest and involvement – 4 {5%}
“I played for a Junior Band from the ages of 7 to 19 and this experience has been instrumental on my life. It was through this brass band, and specifically the conductor, that I was introduced to music. Originally I attended the band mostly because my parents wanted me to, and later for social aspects. However, the involvement in the band led me to take GCSE music which broadened my horizons somewhat. I began to value the band for musical as well as social aspects and my success at GCSE music led to A-level music which in turn progressed into a BA (hons) in Music.”

Table 2: Social effects

Social involvement – 21 {27%}
“Not only musically, you're socially involved also.”

Active contribution to the group outcome – 14 {18%}
“With the support of an excellent teacher/international performer and a very supportive group of peers, I began to enjoy it more and felt that I could contribute ideas to the group.”

Equality – 3 {4%}
“I perceive musical ensembles as working, in some ways, like clockwork: one has to believe that each part/person is of equal importance.”

Small group – 3 {4%}
“Small singing group, one person per part is great as I feel like I am making a valuable contribution.”
“The jazz and rock bands gave me a feeling of importance on drum kit because in a trio, I am not just background noises such as the case when playing goofy Christmas songs, i.e. the whip sound for a horse and sleigh or jingle bells - extremely boring and a constant self-questioning of why the hell did I sign up for this.”

Feeling important/useful – 10 {13%}
“You feel important as you are part of a group of people with an equally important part to play as anyone else.”

Sense of belonging – 11 {14%}
“I feel that ensemble has been a major factor in making me feel that I belong on the course and have a valid place.”
“Belonging to the groups was a great social experience and made me feel special (because I got to be a soloist).”

Group success – 17 {22%}
“Importance as feeling part of the group and in part contributing towards the sound and sensation. Being satisfied when we all just know that something we've worked on together sounds good (like a 'click').”

Satisfaction of achievement – 19 {24%}
“—”

The social aspect of group music-making extends beyond the music itself. When everything aligns, there is a real sense of achievement from being part of a collective that creates music together.

Collaboration with like-minded individuals – Facilitates social interaction with people who share similar interests. It is a great opportunity to join a group of fellow musicians, which is especially valuable for pianists who often rehearse alone and can feel isolated.

Making friends – 18 responses (23%): A chance to form lasting friendships around a shared objective.

Through musical activities I have made the majority of my close friends because we all share the same passion for music and enjoy making it together.

Meeting interesting people – It allowed me to encounter a large and diverse group of individuals I otherwise would probably never have met. The music groups are filled with unusual, interesting, and intelligent people.

Novel/unique performing experiences – 8%: Through music, and specifically via the conductor and the Junior Band, I have toured Europe, formed very close friendships, and opened my life to many new experiences.

Social skill – 55%: It is not merely an exercise in musicianship but also in people/peer management. Improvements in general people skills.

Teamwork skills – 20 responses (26%): I learned many things, including how to work within a team. Being part of such a group deeply engages you in teamwork, adding another wonderful perspective to your artistic involvement.

Co-operation – 14%: We mostly function collectively, trying to spread each person’s influence on the music as evenly as possible. It feels good to work this way. No individual was really responsible for the orchestration. Every decision was made completely democratically, taking into account the group’s prevailing opinion. We all felt we had helped each other considerably, not only musically but also in our co-operation.

Learning to compromise – 9%: It has enhanced my social skills and my ability to collaborate with people of varying standards, teaching me that compromise is essential in any group, regardless of its level.

Being encouraging – 8 responses (10%): This takes music-making to another level. Playing alone is about recreating notes in your own style, but in a group you must collaborate to create music. It is easier to stay motivated. When you lack inspiration, there is always someone there to encourage you to keep going.

Sharing ideas for a common goal – 9%: We exchange ideas on composition issues. We are very fortunate to share the same musical feeling and expectations.

Self-comparison to others – 11 responses (14%): It makes me reflect more on my own playing and performance. I sometimes notice my techniques differ from others. I might feel technically less proficient than some but better than others. When I finally joined the County Youth Concert Band, it was an amazing step up that revealed how many other excellent

musicians were around and how far I still had to go.

Group cohesion – 7 responses (9%): Our first performance was not for assessment; it was mainly an opportunity for the musicians to develop bonding and cohesion as an ensemble. Orchestras are beneficial for developing technical skills as well as your sense of ensemble playing—watching the conductor, playing together, creating a blended sound, and feeling the dynamics as a united group.

Effort to reach and maintain group standards – 17%: Ensemble performance was extremely important during my school years. I gained enormously from it: working with and listening to others, watching the conductor, developing patience (since rehearsals never go as planned!), and enjoying a friendly competitive atmosphere that pushed me to aim higher than I might have otherwise.

Flow experience – The exhilaration of being in ‘flow’ is almost like a drug at its best. Losing yourself in a sense of timelessness while making music.

Table 3: Personal effects

Overcoming challenges – 13%: This year, I am with a different group, a different facilitator, and we have a year of experience behind us. I feel much more capable of contributing ideas, some of which have been very significant in terms of arrangement and performance. The praise I’ve received, the success of the finished pieces, our satisfaction with them, and the positive audience feedback have been very encouraging. It brings a feeling of being useful in the group, assurance of my ability, achievement I might not reach alone, and the motivation to overcome challenges, leading to satisfaction and confidence.

Self-confidence building – 32%: Having been involved for many years, this has helped develop my personality, making me more confident to work both individually and with my peers. However, I am still a very unconfident solo performer, but I hope this will improve. I feel I have made huge progress in ensemble performance, which has impacted other areas of my life as well.

Self-achievement – 12 responses (15%): Being in an orchestra and choir gave me a sense of achievement and confidence. After completing the first year with positive feedback and assessment results, I started the second year with a more positive attitude and determination to push myself further. This is working so far. The experience of participating in the Ensemble module and performing in a group has been significant in other areas of my life. I am generally less apologetic for being myself, more confident, and able to consider myself a musician as well as a singer.

Leadership skills – 4 responses (5%): In particular, I have gained confidence in my leadership skills through conducting the Concert Band. This provided me with the opportunity to develop leadership abilities.

Concentration – I tend to focus intensely during full orchestral rehearsal, especially at difficult passages. I became much better at concentrating. The entire experience was highly valuable for developing social behaviour, the ability to co-operate with others, and the concentration needed to perform on time and synchronise with the

rest of the choir, orchestra, and conductor.

Stamina – 4%: Increased motivation, concentration, and stamina.

Integral part of identity – I have been involved in musical ensembles for most of my life, so they have become part and parcel of who I am. If I had no choir, orchestra, or string quartet to play in, I would feel lost. I cannot imagine my life without music, and this can all be traced back to starting in the band when I was seven years old. It has helped shape the person I am today. I feel that being in musical ensembles defines me. I play in a band that has developed its own identity over the last few years, and that identity directly reflects the attitudes of its four members. Hardly a day passes without some effort being made towards the band, and as such it is a major part of our lives. My whole life seems to lead toward the next performance. Beyond that, all your friends assume you know everything about music if you play in a band. They do not care if you have a degree; they care if you can actually do it, and in many ways, I agree with that idea.

Strong memory traces of school musical activity – Apart from everything else, what stays vividly in my mind from my school years are all the events (national holiday celebrations, and so on), not a typical language or maths lesson. These were unique because of their practical nature and the feeling of satisfaction after each successful event, plus the fulfilment of being an active, contributing member. I felt fortunate to be the only young pianist chosen from among the others. I also felt active and special, since other kids were not involved in these events—everyone knew who I was.

MUSICAL – Musical Skill Development – Sight-Reading – Gaining Confidence in Performing – Technical Skill Development – Learning to Listen – Improved Playing Ability – Opening up to Different Perspectives – Deepening Musical Knowledge – Emotional Expression – Repertoire Access – Intrinsic Motivation – Junior Band Conducive to Further Interest and Involvement

SOCIAL – Social Involvement – Social Skill Development – Feeling Important/Useful – Active Contributor to the Group Outcome – Satisfaction of Achievement – Group Success – Small Group – Sense of Belonging – Making Friends – Like-Minded People – Meeting Interesting People – Co-operation – Being Encouraging – Teamwork Skills – Learning to Compromise – Equality – Group Cohesion – Sharing Ideas for a Common Goal – Effort to Reach and Maintain Group Standards – Self-Comparison to Others – Novel/Unique Performing Experiences – Flow Experience

PERSONAL – Self-Achievement – Self-Confidence Building – Concentration – Leadership Skills – Stamina – Integral Part of Identity – Overcoming Challenges – Strong Memory Traces of School Musical Activities