The PERMA Theory of Well-Being as a Model for Communicating New Horizons Band Philosophy

A Positive Psychology Approach to Living a Musical Life

This article is for my dear friends involved in the New Horizons band programs for older adults. Now as an older adult myself, I reflect on my ten years (that’s 1/3 of my adult life!) that were heavily influenced by my involvement with teaching and conducting in these programs. I learned over time from these wonderful people and musicians that in trying to identify best practices for New Horizons bands and older adult musicians, I was simultaneously discovering that many, if not most, of these practices would best serve school music students as well. Music making has so much to offer in addition to achievement, and we would do well to consider how a positive psychology approach could also serve other fields of music education.

I hope that a music teaching philosophy based in positive psychology might stimulate ideas on how anyone involved in music teaching, learning, creating, and performing could more deeply engage in music making as a part of a flourishing life.

Proposed Philosophy for New Horizons Band Programs

Introduction

New Horizons bands began in the early 1990’s as a concert band activity for older adults, and as an entry or reentry point to instrumental music. An inherent issue for any introductory program in a skill building field is that its members will outgrow the original intent, and after 30 years New Horizons programs have found their own paths. Research has demonstrated that New Horizons band programs go far beyond just skill building as they contribute to a better life for those who participate. I suggest Seligman’s PERMA model in positive psychology as an approach to understand the benefits of New Horizons programs, and thus also provide a philosophical framework for organizing and leading such programs as they grow and mature to maximize on the potential of programs to positively influence lives.

In my 10 years with the Iowa City New Horizons band program I spent much time teaching, conducting, directing, and researching. The more time that I spent learning from these wonderful people and musicians, the more I realized that in trying to identify best practices for New Horizons Bands I was also realizing that many, if not most, of these practices would best serve school music students as well. Music making has much to offer in addition to achievement, and we would do well to consider how PERMA could serve as a model in other music education fields as well.

New Horizons Band Conceptualization and Early Philosophy

Conceptualized by Roy Ernst in the 1980’s, and then realized in 1991, the New Horizons Band movement began at the Eastman School of Music (Veblen 2011) in Rochester, New York, in order "To provide entry points to making music for adults" (Ernst 2016). A developing philosophy for New Horizons bands at the time appears to have centered around two concepts: 1) The belief that age does not preclude one from learning to play an instrument and read musical notation, and that 2) The instruction should be "accommodating, encouraging and non- competitive" (Veblen 2011: 278). New Horizons Goals in 1992 were, according to Ernst, primarily musical, followed by social, mental, and physical. Building relationships and fostering a sense of belonging were also listed as important, as well as running rehearsals that were "intellectually stimulating" and that provided "new challenges and activities" (Ernst and Emmons, 1992). By the turn of the century variables of quality of life (Coffman 2002b; Coffman & Adamek 1999; Ernst 2005; Rohwer 2006), and health (Ernst 2011) were being associated with New Horizons participation.

Why We Need a Model

Early New Horizons band philosophy served the movement well in providing a basis for beginning programs as demonstrated by the near 200 programs started and continued since 1991 (New Horizons International Music Association 2017). The New Horizons International Music Association (NHIMA) provides resources for beginning a New Horizons band (Ernst 2017), including a broad philosophy (Ernst 2016) that explains the concept of inclusivity and the idea of fulfilling the needs of adults through intellectual, social, health, and wellness activities.

Now, as programs are multiplying and maturing, I suggest that there is a need for a more specific framework or model to guide New Horizons programs in preserving the philosophy that has provided the foundation for these programs, and also to communicate program goals to potential new participants, community members, supporters, and policy makers. The purpose of this paper is to make a case for utilizing Martin Seligman’s Positive Psychology based theory of well-being (PERMA) as an organizing model to communicate New Horizons band philosophy. Seligman’s (2011, 2017) model of well-being includes five variables represented in the PERMA model with five pillars that are believed to contribute to a flourishing life: 1) positive emotion, 2) engagement, 3) relationships, 4) meaning, and 5) accomplishment. Seligman’s PERMA model is research based in the field of Positive Psychology with a goal of strengthening human well-being, or flourishing (Seligman 2011). A flourishing life includes elements from all five areas of PERMA, and is described as a thriving life filled with optimism, hope, and things to look forward to in each day and in the future. New Horizons founder Roy Ernst (2006, 2016) has shared very similar goals for New Horizons programs including the need to have exciting activities and events to look forward to in the future. I suggest that all five elements of the PERMA model are present in New Horizons activities, and that participation in New Horizons band programs contributes to a flourishing in life.

Seligman (2011, 2018) defines well-being separately from health and happiness, differentiating his PERMA model from other well-being and quality of life models used in New Horizons research (Coffman 2002b; Flannagan 1982; Iams et al. 1993; Rohwer & Coffman 2006). I suggest that we should also rethink the roles of health and happiness as program goals and research variables in New Horizons programs based on Seligman's work (2011, 2018). Concepts contributing to difficulty in measurement is finding positive growth in a population naturally, but not at the same rate or beginning point, showing decline in many health variables in combination with the concept of being able to thrive in life even as a natural age-related decline is occurring.

The purpose of adopting a model includes: 1) grounding New Horizons band philosophy in an easy to understand model to better communicate to program leaders, instructors, members, future members, and supporters of program goals, 2) organizing research for common goals including the development of best practices for teaching New Horizons bands, 3) designing training for New Horizons program instructors, and 4) influencing public policy for support of New Horizons programs in local and greater communities by connecting with a broader movement.

I define three problems facing the New Horizons movement where a model could be helpful in communicating program goals including the rapid expansion of the organization, programs outgrowing initial goals, and challenges to leadership. I then use three approaches of organizing New Horizons related information into the PERMA model. Data includes a collection of New Horizons published research variables, the answers from members of one band to the question, "What is New Horizons to you?", and the reported self-directed activities from members of one New Horizons band.

The First Problem – An Expanding Organization

As new band programs are created under the New Horizons heading, guiding principles can help to avoid the recreation of traditional band experiences based in performance goals common in school band programs. The early New Horizons bands began in close mentorship with Roy Ernst, followed by programs being started by directors who learned New Horizons philosophy as assistants and/or students of the first directors (Ernst & Emmons 1992). As more programs begin, new directors are increasingly removed from direct connections with the original New Horizons movement. New directors and band members might benefit from an organizing model that summarizes and communicates program goals. The NHIMA Official Website (2017) offers a paid planning membership in the NHIMA with locked access to materials to help guide those interested in starting a new group with ideas for organization, promotion, and quality instruction. However, such information is not easily accessed or consumed by potential stakeholders in New Horizons Programs other than program members. A guiding philosophical model that summarizes New Horizons ideals could help communicate program purposes quickly to community members, band members, instructors, leaders, and public policy makers. PERMA is suggested as a model that includes and organizes the existing philosophical ideas for New Horizons, while connecting to a larger movement of well-being that has the potential to bridge New Horizons programs into a broader movement of wellness in public policy.

The Second Problem – Established Programs Outgrowing Initial Goals

As the New Horizons band movement evolves, there is an increasing number of groups that have been in existence for over two decades. The original New Horizons philosophy of providing an entry point for adult musicians is challenged in these maturing programs as advancing skills and musicianship naturally motivate some individuals to be more performance or product oriented. New Horizons bands that have developed in performance skill may begin to attract more highly skilled musicians, and the possibility of shifting to more performance oriented goals can become an issue.

When visiting other New Horizons programs a band member spoke to me about how he wanted his New Horizons band to perform more, and that his expectation was to be a part of a group that gave weekly performances just like the community band that he was in. In another program there are band members who wish never to perform while others crave regular performance opportunities. As programs reach higher performance levels, some members might develop expectations that the program should run more like a community band where a limited repertoire is rehearsed a few times and then performed. This mentality often disregards the learning and social aspects of a New Horizons type rehearsal experience that other band members need and crave, and is a departure from New Horizons philosophy. Newer members still developing their skills can be left behind with a sense that they are not contributing sufficiently to the group. A lowered confidence level can be reinforced by their small playing mistakes being pointed out by members who have become more performance oriented or focused on perfection. Band members may become unwelcoming of new members joining their section. Conflict could arise between band members with a deep rooted understanding of New Horizons philosophy who work to preserve the social and developmental aspects of a program and those with more performance based expectations.

Ernst (2016) specifically describes New Horizons programs as a new kind of community band. A written and shared philosophical model that explains the purpose of New Horizons bands could help communication among all New Horizons stakeholders as to how and why New Horizons programs function in the way that they do. Such a model could help to preserve the New Horizons band concept by guiding the development of program goals and activities as the musicians grow beyond beginning and intermediate skill levels.

The Third Problem - Maturing Programs Challenge Leadership

Trying to communicate how and why New Horizons bands function in differing ways from more traditional band programs can be challenging. Slightly different perceptions of New Horizons band philosophy among current band members and leadership is a growing issue. Not having a unifying understanding of program philosophy and goals for the collective New Horizons Band movement makes it more difficult to guide new leadership and membership as to how these programs should run to maintain and preserve the kind of musical experience that is unique to New Horizons ensembles. New Horizons bands each have their own leadership structure. Some bands are led by a single director. Some bands are managed by a steering committee that hires a director. Other programs exist as an outreach of a music store or college or university program and are guided by those entities. It is possible for a new member to join a New Horizons Band and have the same rehearsal and performance expectations that they learned from their school bands. Though some level of autonomy is essential for programs to thrive in a way that meets the needs of the individual members of a particular community, a unified model of philosophy is needed to help leadership such as a director or steering committee to justify program activities, policies, and instruction.

New Horizons band programs might have multiple small and large ensembles that are taught by student, community, and/or professional instructors. Ernst and Emmons (1992) report that when eight graduate students were chosen to teach the first New Horizons participants, they were provided seminars on adult learning, and also participated in methodology planning sessions. These graduate students were trained as part of the conception and inception of the New Horizons movement, and were trained by a program designed by Roy Ernst, the founder of New Horizons Bands. Now, after 30 years, there are somewhere around 200 New Horizons bands in existence with new ones starting up regularly, involving many new leaders, directors and instructors entering the New Horizons band landscape each year. Though there are guiding principles for New Horizons programs, a philosophical model could help organize program goals for instructional planning and design. Such a model can provide support for instructors when they are challenged by band members who have performance-oriented expectations based on previous school or professional music experiences.

The guide for New Horizons instructors (Ernst et al. n.d.; New Horizons International Music Association 2017) includes suggestions on providing positive and effective instruction that I would argue to be a framework for quality music teaching at every level, however, New Horizons programs have specific needs such as creating meaningful experiences for band members who have been in the program for possibly over ten years while also meeting the needs of new members. New Horizons programs also have a unique opportunity to make a strong impact in people's lives who often spend much time with the activity. Though autonomy should be given to instructors, directors, and program leaders, a philosophical model that outlines New Horizons goals would provide a framework from which new leadership could develop instruction and activities for New Horizons experiences, and also justify their methods and program design when leadership is challenged.

The PERMA Model as New Horizons Philosophy

A philosophical model for New Horizons programs should be based on attainable goals that are both observable and measurable. New Horizons research is already exploring models of well-being and quality of life in relation to the New Horizons experience (Coffman 2002b, 2008, 2009; Coffman and Adamek 1999; Jutras 2011; Rohwer 2008; Rohwer and Coffman 2006; Tsugawa, 2012), however, Coffman (2002) reports that these variables, including quality of life, life satisfaction, well-being, wellness, and meaning in life, are concepts that are often used interchangeably in older adult research, and measured in different ways. To consider well-being as a philosophy of New Horizons, it would be beneficial to define well-being in the context of New Horizons programs, and identify an agreed upon model of well-being that can be utilized to guide program goals, develop instruction and activities, and measure program outcomes.

Seligman's (2011) PERMA model includes five areas that contribute to well-being that can be experienced in a New horizons band program: positive emotion, engagement (flow), relationships, meaning, and achievement. Though none of the PERMA variables are specifically musical, they have all been connected to the musical experience (Croom 2012, 2015). Croom (2012) suggests that if an activity, such as music making, can be shown to address all five factors of flourishing (PERMA), then it is plausible to believe that participating in such an activity could influence well-being, and contribute to a flourishing life. Researchers (Ascenso et al. 2017; Croom 2012, 2015; Lee et al. 2016, 2017) demonstrate that music making can contribute to the five factors of flourishing (PERMA), specifically for older adults (Harrison and Loui 2014; Hays and Minichiello 2005; Laukka, 2006). Croom (2012, 2015) offers compelling reviews of literature that demonstrate music practice and participation as influencing all five factors of flourishing (PERMA), including examples such as music activities contributing to the experiencing of positive emotions and engagement through flow, meaning and purpose in life, interpersonal relationships, and personal achievement. Researchers in Positive Psychology have connected PERMA to the life of professional musicians identifying musical moments as positive emotions, repertoire and ensembles as sources of engagement, meaning from a shared sense of music making, and accomplishment from performing with others. Relationships through music were found to be instrumental to positive functioning (Ascenso et al. 2017).

The PERMA Pillars

The positive emotion pillar of PERMA includes elements of a pleasant life such as pleasure, warmth, joy, comfort, etc. (Seligman, 2011, 2018). Positive emotion should not be confused with happiness or health which are purposefully left out of Seligman’s model. Even in sickness and in sadness we can find ways to flourish and have positive experiences. Positive Emotion is related to positivity, optimism, and enjoyment. Reports of band members feeling better after rehearsals are common (Coffman, 2008; Dabback, 2006), as well as experiences of joy (Rohwer, 2016b) and good feelings (Coffman, 2002a).

The engagement pillar of PERMA is reflective of the concept of becoming completely absorbed in an activity, and is exemplified by Csikszentmihalyi’s concept of flow which is referred to as a state of consciousness that brings a genuine satisfaction (2008). The state of flow has been described as experiencing a sense of time stopping, losing track of time, or a loss of self-consciousness (Csikszentmihalyi, 2008; Seligman, 2011) and has been connected to emotion and meaning in music performance (Lamont, 2012). Rohwer's (2005a, 2016b) reports of "overzealous dedication" to practice, participating in multiple ensembles, and spending thirty- five hours a week in rehearsals, individual practice, and performances (Rohwer, 2016b) suggest engagement in New Horizons music making.

The relationships pillar of PERMA is about authentically connecting to others, and is foundational humanness. Social connectedness and strong relationships are contributors to human survival, and are essential to a flourishing life (Seligman 2011, 2017). Ernst (2016) suggests that New Horizons band participation is related to the need to "be a contributing member of a group." New Horizons band members build close relationships with others whom they might not have crossed paths outside of the band experience. Arranging rehearsals to include time specifically for social activity, encouraging small ensembles and self-directed ensembles, and planning for social events all are part of the New Horizons experience, and contribute to developing relationships. Carucci (2012) reports the majority of New Horizons band members as perceiving social support from their fellow band members. Coffman and Adamek (1999, 2001) identify social interactions as important to band members’ definition of quality of life, and later explored the social function of a New Horizons band identifying bonding relationships and instrumental support as the type of social function they experienced most. Rohwer (2016b, p. 9) reports that one band member’s social connections were "pivotal" to his experience returning to music, and Coffman (2008) reports that band members believe that New Horizons participation has socialization benefits.

The meaning pillar of PERMA refers to having a purposeful and meaningful existence in life, where alone, or as part of a group, one serves something greater than one self. Having an impact on others and understanding how you can affect others positively both contribute to a meaningful life (Seligman 2011, 2018). New Horizons band members find meaning through the creation of music, the creation of music with others, and the creation of music for others. New Horizons band members also find meaning through supporting one another, and serving the greater community of music education and/or the communities in which they live as a representative of the New Horizons group. Hays and Minichiello (2005, p. 441) in a study of musicians 52 and older reported meaningful experiences in music as a "way of living one’s life," "a way of thinking," and as a way of "redefining their self-identity" and "expressing one’s inner self."

The achievement (or accomplishment) pillar of PERMA is related to success. Setting and working towards achieving goals contribute to feelings of satisfaction, pride, and fulfillment, particularly if meeting the goals requires effort and dedication (Seligman, 2011, 2017). New Horizons members potentially experience the achievement of both personal and group goals as part of band membership. Ernst (2016) describes the benefits of New Horizons band participation as filling "important needs" including the need for "challenging intellectual activities," relating to achievement. Coffman and Adamek (1999) also report a sense of well-being and accomplishment as important to band members’ definition of quality of life which includes enriching recreational activities.

Health and Happiness as Problematic Variables

Health and happiness are variables often considered in New Horizons research, but are purposefully left out of the PERMA model due to instability of measurement. In Seligman’s model, the goal is to thrive and flourish from a life enrichened by the five pillars of PERMA. Then, through greater well-being, or flourishing, a higher quality of life and/or sense of well- being is achieved, potentially positively influencing mental and physical health measures indirectly. Designing instruction around the five pillars of PERMA, and measuring outcomes of those pillars, is more plausible and reliable than designing and measuring instruction for health and happiness of which we have less direct influence. As a band member loses musical skill through aging and decreased health, they might be influenced by themselves or others to discontinue participation in an ensemble that has developed a performance goal atmosphere. PERMA allows for flourishing even as health decreases and life experiences bring challenges and sadness.

Well-being has previously been separated from health in music (Hays, 2005). New Horizons bands were conceptualized for older adults. Older adults deal with numerous health problems, all unique, and mostly unrelated to band participation. Measuring such health variables in New Horizons band members implies that there is a belief that New Horizons band participation can lead to improvement on these specific health variables. If this is the claim, and therefore a goal of New Horizons programs, then how often will we be successful? Eventually, every band member will leave the program for a health related reason. Croom (2012) reports health risks associated with music making, referring to the physically demanding nature of playing some instruments, which complicates the justification of music programs for the purpose of increasing health.

It is possible that band members participate in band for the purpose of improving their health, though health may be a secondary benefit. Rohwer and Coffman (2006) report that 26 percent of respondents experienced perceived changes in their health after joining their band program, however mental health benefits are the majority of those responses. In Coffman’s (2008) survey, some band members reported negative outcomes in relation to health and New Horizons participation, yet still continue to participate in the program. Perceptions of positive physical well-being outcomes were more prevalent than negative outcomes, with the largest percentage (24%) believing band participation contributed to improvement in their breathing, lungs, or cardiovascular system. These perceptions, however, were not supported in a study of band participation and pulmonary function by Rohwer (2009a). PERMA provides a way for us to measure elements of mental health through the five pillars of well-being, and does so with less influence of aging than specific health measures that decline with age.

Seligman describes happiness as an unstable variable without objective measurement, and justifies the separation of the happiness variable from the model explaining that about half of the population reports not being happy at any given time, particularly introverts and low-positive-affect people (2011). When well-being is considered in place of happiness, and positive emotion is but one of five pillars in a model, a more consistent and inclusive measure is created. Researchers (Baumeister, Voss, & Garbinsky, 2013) have distinguished between a happy life and ameaningful life, finding happiness to be present oriented, contrasted by a meaningful life that is linked to present, past, and future. If happiness is a variable used to measure the effectiveness of participation in a New Horizons program, then statistically you would expect about half of your respondents to report being happy at any given time, and those responses would not necessarily relate to the band experience. However, a broader concept of positive emotion as related to the band experience can be measured (Seligman, 2011), and when combined with the other four variables in PERMA, becomes a meaningful measurement of the band experience.

The same experiences that bring depth to the adult band experience are some of the same experiences that challenge "happiness" as a New Horizons program goal. For example, the New Horizons band experience includes losing band members when they pass away or become ill and are unable to attend rehearsals (Coffman, 2008). Though most would not report on a survey being happy during this time, there can be positive emotions, engagement in an activity, relationship building, meaning, and achievement experienced in a band rehearsal that contributes to flourishing, and possibly leads to feeling better for those in mourning. Measuring the five pillars of flourishing would then better represent the whole New Horizons experience in this situation than would measuring happiness.

In Seligman’s model, the goal is to thrive and flourish from a life enrichened by the five pillars of PERMA. Then, through greater well-being, or flourishing, a higher quality of life and/or sense of well-being is achieved, potentially positively influencing mental and physical health measures. Designing instruction around the five pillars of PERMA, and measuring outcomes of those pillars, is more plausible and reliable than designing and measuring instruction for health and happiness variables of which we have less direct influence. As a band member loses musical skill through aging and experiences a decrease in health, they might be influenced by themselves or others to discontinue participation in an ensemble that has developed a performance goal atmosphere. PERMA allows for flourishing in New Horizons even as health decreases.

It is possible that flourishing in life is what leads to well-being, and that well-being can then influence health and healing. One New Horizons band member developed an infected wound on her foot that would not heal. She was instructed to stay off of her foot or risk greater complications. Yet, she continued to come to band practice, putting her health at risk. Band was not going to heal her wound, and traveling to band had the potential to slow the healing of her wound. Something brought her to band each week, and possibly experiencing the five pillars of PERMA increased her well-being and her ability to experience a flourishing life. She knew that band made her feel better, even if it was not helping to heal her foot.

Another band member joined the band after being diagnosed with a fast spreading, terminal cancer. Band was not going to cure this cancer, and probably would not extend the new band member’s life. What band did was to better the life that he had left. Even with terminal cancer one can still flourish through experiencing the five pillars of PERMA. Band members with Alzheimer’s and dementia also can flourish in New Horizons bands, and when these band members are no longer able to attend rehearsals, other band members go to them and play duets so that they can experience making music with someone, which contributes to flourishing for everyone involved, meaning through serving someone else for the volunteer, and positive emotion, relationships, and engagement for the person being visited.

New Horizons programs help individuals flourish in ways that fit the individual, and in ways that may not be possible in a performance-oriented ensemble. Within each pillar of PERMA there is opportunity in New Horizons Bands for individuals to thrive, flourish, and experience their own well-being independently of attempting direct connections to health and happiness variables. Unlike health and happiness, we can measure flourishing in our programs, and in individuals, by measuring elements in the five pillars of PERMA.

PERMA Examples in New Horizons Research

New Horizons researchers are already tuned in to the importance of positive emotion, engagement, relationships, meaning, and achievement in New Horizons programs. As early as 2001, Ernst was referring to elements of all five pillars of PERMA when describing New Horizons programs including references to decreased depression and increased well-being (positive emotion), being motivated by the music itself (engagement), the social elements of music making (relationships), support for music teachers and advocacy (meaning), and the reward of making music and intellectual challenge (achievement).

Rohwer's research includes many PERMA concepts such as engagement (flow) through a finding of "overzealous dedication" (2005a, p. 53) to practice, and reports of band members practicing until they were tired. This dedication to practice also demonstrates working towards achievement. Rohwer (2016b) identifies a band member’sexperiences as particularly meaningful through community engagement and service to the program (meaning), the social connections he experiences while making music with those having similar interests (relationships), achievement as a musician and a leader (achievement), emotions of love and joy (positive emotion), engaging in the music making process(engagement), and even refers to the idea of being able to "flourish" (2016, p. 9). Tsugawa (2012) identified in a study of two New Horizons ensembles 1) Positive emotions through humor and a sense of well-being, 2) Engagement in learning and enhancing time, 3) Relationships through social music making, 4) Meaning from influencing changing roles and identities, and 5) Achievement from gaining control of their lives through successfully taking on challenges. Jutras (2011) listed self-reported benefits of band members to include accomplishment, skill refinement, and challenge (achievement); play and fun (positive emotions), and new friends (relationships). Carucci (2012) studied social support in New Horizons bands finding social bonds, or relationships, to be prevalent in New Horizons bands, and also important to band members.

Coffman (2008) asked New Horizons band members if they believed that New Horizons band participation affects their health. Two small (non-specific positive outcomes and negative outcomes) and four large (emotional well-being, physical well-being, cognitive stimulation, and socialization) categories emerged from subject responses that fit into the PERMA model. Emotional well-being was separated into two categories: 1) sense of purpose, and 2) happiness. Sense of purpose relates to meaning in the PERMA model. Coffman (2008) organized the sense of purpose statements into 3 subcategories that also fit the PERMA model of flourishing: 1) anticipation, 2) activity, and 3) accomplishment. The words Coffman (2008) organized into the anticipation category include having something to look forward to and motivation which are both related to Seligman’s (2011) description of optimism and the positive emotion pillar. Having a sense of purpose was also included in the anticipation category by Coffman (2008), but inPERMA fits in the meaning pillar. The words organized by Coffman into the activity subcategory such as being busy, active, and involved, fit Seligman’s engagement pillar. Coffman’s (2008) third category of accomplishment is similar to Seligman’s achievement pillar and includes words such as learning new things and creativity. Other words in Coffman’s (2008) accomplishment category fit in other PERMA pillars such as pride (positive emotion).

Coffman (2008) divided the happiness statements into sub-categories of well-being, delight, and relief. We do not know how often subjects used the word "happiness," however, words that were included in these sub-categories fit into the positive emotion pillar including joy, uplifted, laughter, energized, and feeling younger, to name a few. Coffman’s categories support Seligman’s (2011) view of happiness as a contributor to positive emotion and well-being, and not as the goal of well-being. Coffman’s (2008) cognitive stimulation category included references to the achievement (improved brain power and hand-eye coordination) and engagement (mental challenge, stimulation, concentration, alertness, focus) pillars of PERMA. The socialization category relates directly to the PERMA pillar of relationships. Coffman (2008) asked five other questions of which responses also fit into the PERMA model. The first question asked for reasons influencing their decision to join a New Horizons band, and it should be noted that this question relates to an expectation rather than an experience. Coffman reports four categories, two fitting the PERMA model directly, including inclusion in a group (relationships) and personal development (achievement). Two additional categories include 1) tipping point experiences such as life changes that could be related to a search for engagement or positive emotions, and encouragement from friends which could be related to relationships; and 2) a long-time desire to play an instrument or play an instrument again which may relate to a desire for PERMA experiences such as achievement and engagement.

A second question asked about memorable experiences in their New Horizons group. Most of these responses appear to also fit the PERMA model through positive emotion (joy and marvel), engagement (being part of a larger group sound, playing with others), relationships (receiving encouragement from others), achievement (including concerts, personal accomplishment, playing a solo, participating in small ensembles), and meaning (concerts for specific audiences such as retirement homes and children). Another question asked about any surprises from New Horizons participation. Half of the respondents mentioned accomplishment (achievement) related experiences. The other categories included joy (positive emotion), fellow musicians (relationships), dedication (engagement), and being impressed by leadership which could relate to multiple PERMA pillars.

Cavitt (2005) in a study of participation in community bands reported enjoyment, fun (positive emotion) and social interaction (relationships) as primary reasons for continuing in band in their adult life. Rohwer & Coffman (2006) found a significant difference between band and non-band members in spirituality, with non-band members being more spiritual. Perhaps these researchers were tuned in to the idea of New Horizons band members having a greater sense of meaning in their life, but that meaning might be broader than a definition of spirituality. A meaningful life (Seligman, 2011) also includes being connected to something greater than you are alone, and can include family, love, work, religion, and being of service to others. Dabback (2005) in an examination of andragogy in adult instrumental music education refers to the importance of achievement from appropriately high goals for learning and performance. Wellborn (2012) connected band participation enjoyment to being with those having similar interests (relationships) of learning and performing (achievement).

PERMA Examples in a Self-Report

Rohwer (2010) reported difficulty in obtaining data related to New Horizons programs, and suggested an informal approach could be helpful. In an effort to collect data less formally, musicians from one established New Horizons program were given a piece of paper at the end of a rehearsal that asked for their name, number of years in a New Horizons Program, and an answer the question, "What is New Horizons to you?". An Internal Review Board (IRB) was consulted and the project was considered as not needing IRB approval. Answers were organized into the five pillars of PERMA (See Table 1). Approximately 55 band members were participating in the band program at this time. Seventeen band members responded.

Of the 17 returned forms, responses were coded into 71 units. I organized these 71 units into the five areas of PERMA (see Figure 1) with positive emotion receiving 12 units, engagement receiving 9 units, relationships receiving 23 units, meaning receiving 12 units, and achievement receiving 15 units. Every unit fit into at least one of the five pillars of the model. It can be debated as to which category some of these statements belong, such as "making music with friends" which relates to achievement by producing music, meaning through the creation of music with and for others, and relationships in that the music is made with "friends." Some categories also appear to contribute to other categories such as gaining meaning in music from or through positive emotion, engagement, relationships, and achievement as exemplified by the following complete statement: "Working a new song (A) with other (E) interested in music people (R) and ending up with a beautiful (P) sound of music (M)." Less debatable is the fact that every statement fits into at least one of the PERMA pillars, and that two categories absent from these band-member statements are: 1) health and 2) happiness; while relationships is the largest contributing category to the PERMA model.

Figure 1. Organization of answers to the question "What is New Horizons to you?" into a PERMA model. Emphasis added to demonstrate the word or words identified as fitting the PERMA model.

PERMA Examples in New Horizons Self-Directed Ensembles

Another lens for understanding perceptions of the New Horizons experience is through the activities of individual band members and self-directed ensembles. What people choose to do musically outside of rehearsals, because of, or in connection with, a New Horizons program demonstrates what is meaningful to them, rather than what is meaningful to the leaders of such programs. In one New Horizons program, the last charter band member has kept a record of all activities and performances of the band. These records document individual band members attending community and academic concerts, engaging with music outside of the New Horizons experience, and band members attending the senior recitals of their student directors in addition to large ensemble concerts. One band member started a non-competitive jazz festival to feature their former student directors and their jazz bands in their first music teaching jobs. This jazz festival has been running for over ten years.

Members from one section participated in their State’s first annual Arts Advocacy Day in support of school music programs. Small ensembles have performed nationally for an AARP convention, and also for the MENC Keokuk II Centennial Symposium. Perhaps as meaningful as the state and national events, the small ensembles give over one hundred community concerts each year for senior living centers, county homes, schools, community organizations, children’s museums, and hospitals. Some groups have performed for alumni and recruiting events for the University, while many also give financially to the University, and some specifically to support the music education students. These self-directed activities possibly foster relationships while ensemble members are engaging with the community and creating music, or helping others to create music, which creates meaningful experiences. It is likely that positive emotions come from these experiences, while the autonomy contributes to a sense of achievement.

Conclusion

As New Horizons bands mature, higher performance levels of ensembles can challenge a philosophy and the goal of providing an entry point for beginners. I have observed New Horizons Band members being unwelcoming to newcomers, being possessive about what musical parts they play such as with solos and even chair placements (even when there are not any chair placements). Some members challenge the organization of the ensemble, expecting the band to be run more like a performance oriented community band. I have also observed advanced band members choose to attend the beginning/intermediate band rehearsals where band members and rehearsals exemplify more traditional New Horizons goals such as having fun, enjoying a relaxed environment, and making music with others in contrast to the more performance-oriented top band rehearsals. Coffman (2008) asked New Horizons band members a question about undesirable experiences from band participation and received answers including not playing up to a certain ability, being held back by other’s abilities, being unappreciated for their abilities, frustration with other band members’ behaviors, perception of poor teaching and weak leadership from conductors and instructors, paying fees, and experiencing loss when band members left the organization from moving or death. If New Horizons program goals and philosophy were clearly communicated and understood around the concept of a flourishing life through PERMA, would more band members be content with where they are in their own development, and have more understanding of where others are in their development? Rohwer (2016a) suggests that community music leaders should be aware of the different ways group members want to experience music making. Could achievement be less problematic for some band members if non-achievement related PERMA goal instruction was more apparent in programs, with more attention to fostering positive emotion, engagement, relationships, and meaning in rehearsals? Could leadership and teaching be more fulfilling for both conductors and instrumentalists if instruction was built around all five pillars of PERMA, and if a successful program was perceived and measured by the inclusion of all five PERMA experiences? Would paying dues be more meaningful if the benefits of program membership were described in terms of PERMA and differentiated from the goals of community bands that do not have membership fees?

Agreeing as a New Horizons community as to what our goals are can help move New Horizons band research in a forward direction, especially in guiding new directors, teachers, and leadership. Research can help guide directors, leaders, and instructors to build strong groups and manage issues that arise from programs outgrowing the initial intent of providing beginning instruction. Measuring well-being is possible, but is subjective and has been measured in many ways (Cooke et al. 2016). PERMA based flourishing is reported as being measurable, and has been tested for model fit, internal and cross time consistency, and has support for content, convergent, and divergent variability (Butler and Kern 2016). Adler and Seligman are already utilizing the PERMA model for influencing public policy and support (2016). By tying New Horizons into a philosophy of well-being that is already being tested and utilized in other fields (White and Murray 2015) we strengthen our case for inclusion and support of New Horizons programs in our communities. New Horizons programs not only fit the PERMA model, but do so in unique ways that are inherently musical, with potential to be an exemplary model of a well-being activity based in PERMA.

I have attempted to demonstrate that PERMA is representative of the New Horizons experience as demonstrated by the variables that researchers choose to explore, the personal accounts made by band members about their band experiences, and the activities in which New Horizons members participate. I suggest that the goals of New Horizons bands, in order to serve both the intent of the founder, Roy Ernst (2004), and the needs of the adult musicians, should be to first foster 1) positive emotions, 2) through engagement in musical activity, 3) while developing personal relationships, 4) and having meaningful experiences, all in ways that 5) promote growth and achievement in musical skill. Further, I suggest that health and happiness should not be primary goals of the program because they are variables difficult to measure in terms of validity and reliability, and are difficult variables to affect in either direction by one program in comparison to the impact of life events (Seligman 2011).

This distinction of teaching for a PERMA model of thriving vs. teaching for a model of well-being based on happiness and health benefits is useful for providing outcomes that we expect from band participation of which should be tied directly to our program goals. For example, if our goals for older adult band participation are tied to increasing mental and physical health for band members, then we will eventually fail 100 percent of the time. However, even as a band member’s health is failing, it is still possible for that band member to flourish. I suggest a consideration that health and happiness may still be affected indirectly in New Horizons programs by addressing the primary pillars in the PERMA model (Seligman 2011), in that the PERMA pillars are variables that can be more directly measured and affected by New Horizons program organization and programming.

A New Horizons program based on PERMA would probably look like a combination of the best parts of all New Horizons bands combined. Selecting music and activities based on providing positive emotions is already a practice of many New Horizons leaders, however, do we really know how our band members are affected by our decisions? Research on types of music and activities that provide positive emotions would serve to guide leaders in the decision making process. We know that our band members are engaged in the music making process, and engaged in performing music for others. Do we know why some are more engaged than others? Could research guide us in engaging more of our band members, or in recruiting new members?

Examples of engagement (achieving flow) according to Cskikszentmihalyi (2008) include 1) providing immediate feedback, 2) creating a balance between challenge and skill, 3) having no worry of failure, 4) a disappearing self-consciousness and 5) the activity becoming and end in itself. Though there are already examples of flow in New Horizons bands, can research help us to identify specific techniques to encourage flow or engaging experiences in our rehearsals and performances more purposefully? Researchers suggest that New Horizons teachers should plan small ensembles to encourage social interactions (Carucci 2012; Coffman 2006; Coffman & Adamek 2001; Dabback 2005, 2006; Rohwer 2016b; Rohwer et al. 2013). Can research guide us as to how to develop these ensembles and other groups and activities in order to foster deeper relationships? How can we deal with the problematic relationships that develop such as when band members are rude or offensive to another? What other elements of PERMA are fostered through small ensembles? What are the most meaningful aspects of New Horizons participation? Does service through the New Horizons program such as the activities of small ensembles playing for hospitals or care centers enrich the meaning band members find from New Horizons participation? Would programs flourish more if they had a specific service component? Or is it the autonomy that brings meaning to the self-directed small groups who choose their own activities?

Achievement is perhaps the most common goal as we plan for New Horizons programs, in both individual and group skill development and performance, as this is how most of us were trained. Ernst’s (2011, 2017) suggestions for instructing adults appears to be based in Pestalozzian theory (John 1960) which includes concepts such as 1) teaching sound before sign, 2) having the student learn by observation and imitation, and 3) teaching only one thing at a time. Coffman (2009) reports that New Horizons directors perceive specific differences in leading New Horizons based on participants’ rich life experiences, their need to view themselves as lifelong learners, and their need for independence. Similarly, Rohwer (2005c) reports that how teaching is presented to adults often differs from instruction in school ensembles, and also found New Horizons participants to be reflective of expressive choices regardless of experience level suggesting the potential for the development of musical skill in New Horizons bands (2005b). In addition to teaching for technical and musical skill, how might an understanding of positive emotions, engagement, relationships, and meaning shape how we pursue and define achievement in New Horizons groups? If we know that, for example, a particular style or era of music provides positive emotions, and that creating an environment where one is not afraid to make mistakes encourages engagement, and that setting aside time in rehearsals for developing relationships is beneficial, and that band members find meaning when they are able to serve others, then does achievement begin to look less important, particularly to the band member who struggles to be as good as others, and to the band member who has become too demanding of other band member's performance abilities? Does the band member who is mean to newcomers become more accepting? Is the attitude towards seating arrangements improved? Does the person who glares at someone for making a mistake soften because we can remind them of the purpose and goals of New Horizons as being based in PERMA rather than on a perfect performance?

These problems will not escape bands that develop in skill over time, as it seems to be human nature to challenge the idea that "Your best is always good enough," (Ernst 2001, p. 49). Personalities will conflict, and at times challenge leadership (Coffman, 2002a). Can a philosophy based in PERMA provide a way of communicating the essence of New Horizons to new band members, instructors, and leaders in programs that are inherently destined to outgrow their original intent of being an entry point for beginners? A philosophy that defines New Horizons and differentiates the program goals from those of performance-based groups can help keep the spirit of New Horizons alive in these bands as they develop, grow, and mature both as organizations and as individual musicians.

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