PLAYING AND CREATING INSTRUMENTAL MUSIC WITHIN THE PRISON SYSTEM

Playing and Creating Instrumental Music within the Prison System

Sophie M. Harrison

James Madison University

Authors Note

Sophie Harrison is a junior Music Education major with a minor in Jazz Studies

Contact: harri5sm@dukes.jmu.edu
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Incarcerated youth do not always have access to arts programs that aid in basic human

development. Many youth in detention centers struggle with isolation, low communication,

aggression and other cognitive skills (Ross, 1998). Developmental studies of youth in high-risk

environments have shown that the most positive change came from characteristics within

creative arts (Benard, 1991, Sautter, 1994), including “social competence; responsiveness to

others; empathy; caring, communication, problem-solving skills; a sense of identity and self-

worth; and a sense of purpose and future” (Office of Juvenile Justice and Delinquency Programs;

U.S Department of Justice, 1998). We are finding important correlations between arts programs

and positive development that is especially important when thinking about rehabilitation and

recidivism. Building self-esteem through engagement and achievement (Cox & Gelsthorpe,

2009), gaining greater self-control (Wilson, D., Caulfield, L. and Atherton, S., 2009) and

developing key emotional and social skills through music ensemble activities (Anderson &

Overy, 2010). The purpose of this research is to examine how creating and playing instrumental

music affects the experience of incarceration for youth, specifically looking at communication

and social skills, developed musical skills , emotional and behavioral changes as well as

challenges of a music classroom within correctional facilities, and the benefits to the teacher

working in this environment can have.

An increase in confidence, social skills, and communication is a common trend among

incarcerated populations participating in music making experiences. Good Vibrations, a week

long music course focusing on gamelan percussion music, stated their participants found

importance in the way their communication and listening skills grew over the course of the

musical sessions.Their abilities “learning to work in a group and being away of others needs as

important” also grew throughout the program (Wilson, Caulfield, and Atherton, 2009).
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Collaboration and communication is key when creating music, and because of isolation within

facilities, they are skills that many incarcerated individuals do not get the chance to exercise.

Positive emotional and social behaviors were reported to have increased in many studies

as well. Students participating in a weekly music class within the Cook County Juvenile

Temporary Juvenile Detention Center reported using “fun” and “love” in many of their weekly

class reflections. Staff reported that students were in a better mood right before and after music

class, and expressed their feelings of “fun, love and joy” to others about the program (Hickey,

2018). It is important to state that there were still negative comments, specifically about lack of

time, or lack of interest in the subject. Not all students who participated found a useful outlet out

of music making. Freedom was also a key feeling found in students participating in music

making. “ feeling alive and ‘free’ when making music” was a really big motivation for students

to come back and push through obstacles of creating and learning (Daykin, Moriarty., Viggiani,

& Pilkington, 2011, pg. 36). Even when compared to other art and education programs, musical

experiences have important benefits. In a study by Anderson and Overy, (2010), behavior and

education attendance was examined for individuals participating in a prison music project. This

data was compared to similar data from an art group, and group receiving standard education

courses. The music group was the only one that showed less behavioral issues.

Because these studies are music experiences being run in non-traditional classrooms,

there are challenges that go along with both the logistical and creative side of the programs. First,

not all residents have access to the programs offered, mostly because of staffing or scheduling.

Music project leaders have less ability to predict how many students will be in class, unlike a

public school classroom, where there is roughly the same amount of students each class.

Fluctuation can lead to not enough instruments, not enough staff/project leaders, or can lead to
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teacher planning for students who are not able to be there (Daykin, Moriarty., Viggiani, &

Pilkington, 2011, pg. 38). Classroom space within a prison setting can also be a large obstacle for

running an efficient rehearsal or musical experience. Since there are many groups meeting within

correctional facilitators such as Alcoholics Anonymous or Narcotics Anonymous, arts and music

programs do not get first pick of spaces. Running rehearsals or musical experiences within a

prison cell leads to a lack of motivation and willingness to work towards a goal that could be

perceived as pointless within prison (Rowland, 2013, pg 27). Communication was also reported

in many studies to have been a challenge. “Occasionally, communication difficulties between

music teams and institutional staff had a negative impact on the project. It was reported that

planned activities did not take place because of communication difficulties and a lack of

institutional support for the project” (Daykin, Moriarty., Viggiani, & Pilkington, 2011, pg. 38).

Because a prison or juvenile detention center’s main goal is not education, or even rehabilitation

at times, these sorts of programs do not always get support in the form of time or money. There

is also no one making sure that daily changes are communicated well, which can lead to wasted

time or lost instruction.

Music and art programs outside of the non-traditional band setting are growing more and

more common. In doing so, the role of the teacher has also had to become more flexible and

inclusive. Students with differing abilities might not have the want or ability to thrive in a

standard band or orchestra classroom, so learning how to adapt musical experiences for all

students is an important skill. In recent years, public schools have “moved toward the full

inclusion of students with disabilities in the regular classroom” (Hammel & Hourigan, 2017, pg

32 ), so many music classrooms have a wide range of differing skills and abilities. For all

teachers, but especially those in full-inclusion environments, having experience creating safe,
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engaging spaces for students of differing communication levels, emotional or behavioral

challenges, or physical and mental conditions is an important part of becoming a well equipped

teacher (Hammel, 2017). The field of music education also requires that teachers be prepared to

teach students a range of musical skills in a variety of instructional contexts. While some

students love and prosper in large ensemble contexts such as those included in my undergraduate

education, many students feel that large ensembles are irrelevant to their lives, uncomfortable,

and “not able to foster engagement in creative musical independence” (Hickey, 2016). Music

educators need to be able to develop student-centered music learning experiences that invite

creative thinking and musical independence, equipping students to engage with music in ways

they find meaningful throughout their lives.

The idea that playing and composing music can be aid the development of a person has

been found in many studies. From social and emotional to technical skills, people within the

prison system benefit from using creativity, and focused exploration to play an instrument or

write music.

References:

1. Wilson, D., Caulfield, L. and Atherton, S. (2009) Good Vibrations: The long term
impact of a prison based music project. Prison Service Journal, 182, 27-32.
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2. Baker, S. and Homan, S. (2007) Rap, recidivism and the creative self: A popular
music programme for young offenders in detention. Journal of Youth Studies, 10,
(4), 459-476.

3. Tyson, E.H. (2002) Hip Hop Therapy: An Exploratory Study of a Rap Music
Intervention with At-Risk and Delinquent Youth. Journal of Poetry Therapy, 15,
3, 131-144.

4. Hickey, M. (2018) “We all Come Together to Learn About Music”: A Qualitative
Analysis of a 5-Year Music Program in a Juvenile Detention Facility.
International Journal of Offender Therapy and Comparative Criminology, 62,13,
4046-4066.

5. Brewster, L. (2014). The impact of prison arts programs on inmate attitudes and
behavior: A quantitative evaluation. Justice Policy Journal, 11(2), 1-28.

6. Hillman, G. (2004). Arts programs for juvenile offenders in detention and

corrections: A guide to promising practices (Shute, J. , Ed.).Washington, DC:
National Endowment for the Arts.

7. Benedict, C., Schmidt, P. K., Spruce, G., & Woodford, P. (2018). The Oxford
Handbook of Social Justice in Music Education. Oxford: Oxford University Press

8. Thompson, J. (2016). The Role of Rap Music Composition in the Experience of

Incarceration for African American Youth. PhD thesis, Northwestern University.

9. Saarikallio, S., Erkkilä, J. (2007). The role of music in adolescents’ mood

regulation. Psychology of Music, 35, 88-109.

10. Daykin N., Moriarty Y., Viggiani N., & Pilkington P. (2011). Evidence Review-
Music Making with Young Offenders and Young People at Risk of Offending.
University of West England.

11. Rowland, M. (2013). My Three Years in Prison: Teaching Music Behind Bars an
Autoethnography. Thesis, Westminster Choir College of Rider University.

12. Office of Juvenile Justice and Delinquency Prevention (1998). Arts Programs for
Juvenile Offenders in Detention and Corrections. Department of US Justice.
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13. Hammel, A. & Hourigan, R. (2017). Teaching Music to Students with Special
Needs: A Label-Free Approach. Oxford: Oxford University Press.