Research
The personal meaning of music making to
Maltese band musicians
Anne E K Roberts 1 and Maria Daniela Farrugia 2
Key words:
Meaning, music making.
1 Associate
Professor, University of Plymouth,
Faculty of Health, Education and Society,
Peninsula Allied Health Centre, Plymouth.
2 Formerly Postgraduate Student, University
of Plymouth, Faculty of Health, Education
and Society, Peninsula Allied Health Centre,
Plymouth, and now Assistant Principal
Occupational Therapist, Mount Carmel
Hospital, Attard, Malta.
Corresponding author: Dr Anne E K Roberts,
Associate Professor, University of Plymouth,
Faculty of Health, Education and Society,
Peninsula Allied Health Centre, Derriford Road,
Plymouth PL6 8BH.
Email: anne.roberts@plymouth.ac.uk
Reference: Roberts AEK, Farrugia MD (2013)
The personal meaning of music making to
Maltese band musicians. British Journal of
Occupational Therapy, 76(2), 94-100.
DOI: 10.4276/030802213X13603244419275
The College of Occupational Therapists Ltd.
Submitted: 19 January 2012.
Accepted: 3 August 2012.
94 British Journal of Occupational Therapy February 2013 76(2)
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Introduction: Occupations are known to be imbued with personal, social and cultural
meaning. Although there is a growing body of research on the meaning of specific
occupations, little attention has been given to the personal meaning of music making
as an occupation. This study aimed to explore the personal meaning of engagement
in an occupation embedded in a culture by studying music making in Maltese band
musicians. Determining the subjective meaning of engagement in an occupation helps
to explain why people do what they do and what benefit is derived.
Method: A qualitative study guided by the principles of grounded theory was
conducted with 12 band musicians, using a semi-structured interview. Data were
recorded, transcribed and analysed using the principles of grounded theory.
Findings: Three main categories of meaning emerged: the personal meaning of
playing in a band, including spiritual and emotional significance; social and cultural
connectedness; and the effect of music making on self-identity and personal health.
Conclusion: It was evident that there was an important and dynamic connection
between the occupation of music making, the individual musician and the social
and cultural environment. This interconnection created a feeling of wellbeing and
belonging and emphasised the therapeutic value of music making in a band.
Introduction
The central tenet of occupational science is that humans are occupational
beings and that being engaged in occupations enhances wellbeing (Wilcock
1998a). Since the beginning of time, humans have engaged in the occupations
of making music and listening to music. There is fairly extensive evidence that
listening to music benefits people in a variety of ways. For example, studies
show that listening to music enhances emotional and cognitive functioning
in stroke patients (Srkm et al 2008), reduces anxiety and pain in cancer
patients (Bradt et al 2011) and reduces agitation in people with Alzheimers
disease (Cox et al 2011). Furthermore, the participation of older people
with dementia in music-related occupations (listening, playing, dancing
and singing) has enriched their lives, enhanced their sense of wellbeing and
encouraged social interaction (Sixsmith and Gibson 2007). Studies of music-
making activities in university students (Kokotsaki and Hallam 2007, 2011)
and choral singing in community choirs (Bailey and Davidson 2003, Tonneijck
et al 2008, Jacob et al 2009) indicate the powerful social, emotional and
psychological impact of making music. As occupational therapists, the mean-
ing of this occupation is of great interest and this study was prompted by
a desire to understand the rich meanings of playing in a band from an
occupational science perspective. Thus it set out to explore an occupation
embedded in the culture of the Maltese population, that is, music making
by band musicians or, as they are known locally, bandisti.
Occupations are defined as groups of activities and tasks of everyday life,
named, organised and given value and meaning by individuals and a culture
(Canadian Association of Occupational Therapists 1997, p34). Personal mean-
ing is the process of making sense out of what we do in our everyday life
and has both a shared and a personal dimension (Hasselkus 2011). Personal

meaning is socially constructed, influenced by social conven-
tions, beliefs and attitudes (Hasselkus 2011, p3). Reed et al
(2010) emphasised that meaning is linked to identity in that
what we do is part of who we are. We both express ourselves
through occupation and understand more about ourselves
through being engaged in occupation (Hasselkus 2011).
Meaning is both personal and shared and is complex in relation
to occupation. Therefore, this study begins with a broad defin-
ition of personal meaning in that it has contextual, temporal,
psychological, social, symbolic, cultural, ethnic and spiritual
dimensions (Hinojosa and Kramer 1997, cited in Kramer et al
2003, p4). Thus meaningful occupations are those that we
choose to do that reflect these personal and shared dimensions.
Individuals social environment and culture shape their
chosen occupations and occupations, in turn, represent the
culture. Successful occupational therapy interventions are
those that support occupations that have personal mean-
ing for the individual and contribute to that persons life
satisfaction (Bonder 2001). Such intervention can only
occur if the cultural nature of human existence is acknowl-
edged (Bonder 2001). Careful description of the meaning
of occupations from a personal and cultural perspective is
essential for occupational therapists striving to understand
the power and relevance of occupations in their therapy.
Malta and its band clubs the research context
Maltese band clubs and their musicians play an important
role in Maltese society and culture, as well as making a crucial
contribution to the Maltese musical scene. Band marches are
a major aspect of Maltese village feasts, and form part of the
local culture (Vella 2004). Band clubs in Malta offer meeting
places for recreation, learning music, concerts and discus-
sions. However, they remain best known for the musical
entertainment offered, mainly during the many village feasts
held in the summer in honour of different saints. There are
around 4,000 instrumentalists who engage in these musical
activities (Malta National Statistics Office 2010). During
feast times, groups of around 50 instrumentalists from these
clubs, usually in uniform, sit on a platform or walk together,
and play music along the streets of the village in which the
feast is being celebrated.
Literature review
Music making
Several qualitative studies have investigated the experience
of music making from the participants perspective, in the
form of choir singing (Bailey and Davidson 2003, Tonneijck
et al 2008, Jacob et al 2009) and participation in group
ensembles (Kokotsaki and Hallam 2007, 2011). People in
these studies reported experiences of social connection
brought about by being part of a team and meeting like-
minded souls (Kokotsaki and Hallam 2011). The choir-
singing studies noted improved communication, social
interaction and community involvement. Indeed, the Bailey
and Davidson (2003) study, involving seven homeless men,
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Anne E K Roberts and Maria Daniela Farrugia
illustrated a powerful reconnection of individuals with the
community; they reported finding a voice in society and
felt proud of giving to others by their public performances.
The Jacob et al (2009) study of nine university choir
members noted not only a sense of community from their
singing, but also social bonding between the members of
the choir. This process of getting to know each other and
working as a team to overcome personality differences was
evident in both university and homeless choristers. The
study by Tonneijck et al (2008) of Dutch amateur choir
singers concurs with this, describing unity and disappearance
of all the different egos (p177). Choir singing appeared to
stimulate a strong feeling of belonging. Similarly, all three
studies reported experiences of fulfilment, achievement
and pride in their groups accomplishments, which sus-
tained the occupation and contributed to their experience
of self-confidence and wellbeing.
It appears that music making brought about feelings of
relaxation, safe haven and release (Bailey and Davidson
2003, Tonneijck et al 2008, Jacob et al 2009, Kokotsaki
and Hallam 2011). Their connection with the occupation
brought about intense feelings of an uplifting and
rejuvenating spiritual nature, expressed by participants as
an experience of wholeness (Tonneijck et al 2008, p176) and
an opportunity to connect to their creative potential
(Bailey and Davidson 2003, p26).
Music making was viewed as a challenging occupation in
all of the studies, in both a positive way and, less often, in a
negative way. The homeless choristers reported the challenge
of managing their own behaviour and that of others (Bailey
and Davidson 2003) and some choristers in the study by
Tonneijck et al (2008) reported feelings of fear, frustration
or anger when things did not go well. Music and non-music
students in Kokotsakis and Hallams (2011) study reported
pressure to work hard and the constraints of practice time
but also reported that it was time and effort well spent.
Although these studies throw some light on the meaning of
music making, this literature is incomplete and may not be
transferable to understanding the meaning of music making
in a traditional band in a specific cultural setting.
Meaningful occupations
Within occupational science there has been some attention to
the meaning of occupations embedded in a culture (Hannam
1997, Wright-St Clair et al 2005, Beagan and DSylva 2011).
Hannams (1997) study of five English women examined the
meaning of tea drinking and identified six shared meanings
for tea drinking: meaning through the reasons for drink-
ing tea, meaning through the senses, meaning through the
objects used, meaning through temporality, meaning through
social context and meaning through changes in lifestyle.
Wright-St Clair et al (2004, 2005) explored the meaning
of preparing food for cultural events, such as Christmas.
These studies demonstrated rich shared meanings related
to connection with family, culture and tradition, emphasising
the significance of the sociocultural context in this study
of Maltese band musicians.
British Journal of Occupational Therapy February 2013 76(2) 95
The personal meaning of music making to Maltese band musicians
These studies on the meaning of making music and other
chosen and valued occupations embedded within a culture
have informed this study. Thus the research question posed
in this study was as follows: What is the personal meaning
of music making to Maltese band musicians?
Method
The meaning of engagement in an occupation cannot be
simply observed or measured. It requires a qualitative method-
ology that is sensitive to social and cultural phenomena.
Thus an inductive approach was used, guided by the prin-
ciples of grounded theory. A constant comparative approach
was used to compare interview with interview, building on
knowledge by pursuing information arising from the preced-
ing interviews. Theoretical sampling was used to increase the
diversity of the sample, search for a wide variety of concepts,
and develop and saturate the categories.
Sample
The participants were selected from several Maltese band clubs
to give a rich sample. The sample included men and women of
various ages who played in at least one band (paid or unpaid).
Saturation was achieved at 12 participants.
Interview
This study involved in-depth face-to-face semi-structured
interviews with band musicians, which encouraged the inter-
viewees to express what was important to them. An interview
guide was constructed comprising open-ended questions to
encourage the interviewees to expand on their own experi-
ences. Probes were altered according to the data needed from
each specific interview, in line with the constant comparative
method. The location of the interview was chosen by the
participants. The interviews lasted approximately 45 minutes
and were tape recorded with the participants consent.
Ethical considerations
In order to ensure confidentiality, pseudonyms replaced the
interviewees names. All participants were asked to sign a
consent form. Throughout all phases, participants could ask
questions and opt out of the research at any time, while per-
sonal safety, non-maleficence and non-exploitation were
ensured. Information was kept in a secure location and
destroyed a year after the projects termination. Moreover, a
United Kingdom University Ethics Committee and the Maltese
Research Ethics Committee granted approval for this study.
Data analysis
Data analysis began with open coding whereby the transcript
was analysed line by line and mostly assigned in-vivo
codes. Such a code is a word or short phrase that describes
what is happening, often quite close to the original words
of the participant (Strauss and Corbin 1990).
The data analysis finally yielded 372 concepts; these
were grouped into an initial set of 22 categories, which was
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Table 1. List of categories that emerged from the data analysis
Music making in a band and its meaning to the musician
Spiritual and emotional significance
Providing opportunities
Social and cultural connectedness
Belonging
Providing social interaction
Effect of music making on the musician
Self-identity
Personal health and wellbeing
followed by axial coding to explore the interrelationships
of categories (Creswell 2007). These categories were finally
condensed to six and subsumed under three main categories
for reporting here (see Table 1).
Rigour and trustworthiness
Lincolns and Gubas (1985) criteria for trustworthiness are
well developed conceptually (Creswell 2007) and were used
to ensure the trustworthiness of this qualitative research. The
methods used included peer debriefing, member checks, use
of a reflective diary and a clear audit trail.
Findings and discussion
Music making and its meaning
Of central importance, the participants described elements of
spiritual and emotional significance in the process of making
music in the band and also recognised that it offered them
opportunities for development.
Spiritual and emotional significance
All participants claimed that music making provided mean-
ing to them as it offered them an opportunity to express
what is inside them. Some claimed that it was kind of an
innate compulsion to start playing because of their love
for music:
There is like something inside me that automatically pushes
me to play (Patrick).
The participants reported that music making made them
feel good, and some even felt in ecstasy. They perceived
playing a musical instrument as something emotional. To
describe this idea, participants used words such as love,
beauty and perfection. Hence, music making meant
something worth doing:
To play is something beautiful; its something emotional
(Miriam).
Furthermore, this emotion led to them feeling detached
from the passing time:
If you love music, it gets you in ecstasy. When I do music I
forget about the time (Carmel).

I kind of get into it focus so much on it. Its like I get
detached from my surroundings and feel like in a world of
my own (Rose Marie).
This is in harmony with the experiences of choir
singers, who reported intense spiritual feelings (Tonneijck
et al 2008) and feeling high or euphoric (Jacob et al 2009).
Several homeless men in Baileys and Davidsons (2003)
study reported feeling similar to being in a drug-induced
state, as the impact lasted for a long period of time after the
singing. The music students in Kokotsakis and Hallams
(2007) study also reported exhilaration, powerful emotional
reactions, ecstasy and getting lost in a sense of timelessness
in the musical act (p102). This emotional sense of time
passing in a deeply enjoyable way has been reported from
many non-musical occupations too. For example, Scheerer
et al (2004), in their study about cake decorating, reported
participants feelings of ecstasy and detachment from their
surroundings whilst engaging in the occupation. These
experiences constitute what Csikszentmihalyi (1990)
termed flow, a state where nothing else seems to matter.
He added that this feeling may enhance perceptions of
meaning and purpose.
The musicians in this study experienced feelings of
success and satisfaction because through this occupation
they perceived themselves as being useful to society, both
providing and having fun:
its satisfaction [] its the enjoyment, [] the satisfaction
that you participate and others are enjoying themselves through
the fun you are creating (Victor).
This concept echoes the feelings of the homeless choir
members, who felt that they were making a contribution to
society in their singing performances (Bailey and Davidson
2003). The musicians in the present study perceived that
the satisfaction, success and happiness with the sound
they were making created meaning and sustained their
engagement in music making. Similarly, the music students
reported feelings of pride and achievement related to
being a part of the groups success (Kokotsaki and Hallam
2007). For occupational therapists, this implies that although
the process of the occupation holds therapeutic value (Gray
1998), the end product also has its role in determining the
benefits of engaging in occupations.
The band musicians also valued music making because
it breaks up their routine occupations. Similarly, the musi-
cians reported that they felt satisfied that they were engag-
ing in an occupation that provided them with something
to do, but which at the same time was not imposed on
them but was done by their own choice. This concurs
with the choir members in the study by Tonneijck et al
(2008), who also said that singing provided something
special that was different to their other activities and that
it felt like something of their own. Furthermore, older
people with dementia also derived a sense of empowerment
from engaging in music-related occupations (Sixsmith and
Gibson 2007).
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Anne E K Roberts and Maria Daniela Farrugia
Providing opportunities
Catherine, Miriam, Nicholas and Theresa deemed that music
making provided opportunities, such as playing abroad and
earning extra income. It could also provide an opportunity
to gain honour, such as playing with important musicians,
and these opportunities enriched their lives:
It [music making] makes your life, experience-wise, richer
(Miriam).
All participants acknowledged that playing in a band
meant a learning experience, for both the musical and the
day-to-day life. Indeed, they claimed that through playing
in a band they not only became more knowledgeable
because of the mastered musical skills, but also learnt the
importance of accuracy, responsibility and obedience:
It builds in you the sense of discipline; you dont miss
rehearsals and activities, and take care of the uniform and
your things. It builds a persons character (Mark).
In return, they felt that this change in self then affected the
way in which they performed the occupation. Thus, the
individual and the occupation affected each other. This
striving towards their potential, using their capacities to
develop personally, concurs with Wilcocks (1998a) concept
of becoming in her theory of the meaning of occupation.
It links with the next theme regarding the participants
belief that they were able to contribute to the community,
enhancing their place in society.
Social and cultural connectedness
Belonging
The act of playing in a band gave participants a sense of
belonging to their club, by enacting the traditions of their
particular band club, including rivalries with other clubs.
As such, the band provided a strong sense of belonging in
the wider community. There was also a sense of temporality
that came from this belonging: a connection and a conti-
nuity between the family generations, time and tradition.
Miriam, Joseph and David started playing to uphold their
family tradition and continue on from their ancestors. Music
making in a band was also a means to express solidarity and
respect to their late ancestors and friends, to culture and to
decades of tradition. All participants felt connected with
memories of relatives and friends who had music close at
heart. Miriam described the importance of continuity and
family influence:
through my playing I am continuing my Grandpas dream.
Participants strived to pass on sound values that they
treasured to younger generations:
the band helped me remain a good man. So, when I meet
the youths, I try to teach them not only music but also life
values (Saviour).
Some participants started playing to support their
favourite band club. This held meaning because they felt
British Journal of Occupational Therapy February 2013 76(2) 97
The personal meaning of music making to Maltese band musicians
that the club formed part of their social identity and that
supporting the club would usually run through the gener-
ations of their families. This strong sense of belonging
featured in the choir-singing studies, but the findings of
the present study are unique in their rich expression of the
impact of culture, tradition and connection through the
generations. This sense of social belonging associated with
meaningful occupations is expressed in the wider occupa-
tional science literature (Rebeiro et al 2001, Hammell 2004,
Wilcock 2006). Hammell (2004) considered belonging
as one of the dimensions of occupation that has meaning
in peoples lives, which includes how social interaction,
relationships, support and friendship contribute to the
pleasure and meaningfulness of doing and indeed life
satisfaction (p302).
Providing social interaction
Music making in a band meant getting to know other people,
and created a sense of belonging to their community;
creating music in the band gave them feelings of unity. All
participants thought that playing in a band was like putting
everyones efforts together to become a wonderful whole:
the fact that there is a team that has to be united and members
get on well together is a key element in a band (Mark).
This feeling of unity is echoed in choral singing in
university students (Kokotsaki and Hallam 2007) and
homeless men (Bailey and Davidson 2003). Furthermore,
Tonneijck et al (2008) referred to this phenomenon in the
Dutch choir singers as enacting wholeness because indi-
viduals felt as one and not separate from others. The study
participants in Kokotsaki and Hallam (2007), Tonneijck
et al (2008) and Jacob et al (2009) reported feelings of
unity with like-minded souls. In the present study, par-
ticipants highlighted that music making in a band provided
a place to go to and to belong to, providing an opportunity
to meet people with similar interests. They felt that the
club created a social environment that was accepting and
conducive to their engagement in playing. This was also
expressed by the homeless choir singers in Baileys and
Davidsons (2003) study and the music students in
Kokotsakis and Hallams (2007, 2011) studies. In the
wider literature, Rebeiro and Cook (1999) emphasised the
meaning obtained from having a place to go to and to belong
to. It also resonates with Wilcocks (1998a) description of
social wellbeing, brought about by the maintenance and
development of satisfying and stimulating social relation-
ships. Hence, it is important for occupational therapists to
consider this aspect of occupations when using them as
therapeutic interventions.
The musicians emphasised both the socialisation
aspect of playing in a group and the feelings of unity and
harmony that they experienced when they played with
others. They felt that playing made a contribution to the
club and to society. The musicians also claimed that when
playing alone, they felt that they did not forget their
worries as much as when they played in a group.
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Effect of music making on the musician
Self-identity
Most of the participants claimed that music making was
important to their very identity:
If I dont have music in my life, I will not be Miriam, I will
not be the same person because it kind of grew up with me
and made me the Miriam I am today (Miriam).
The musicians suggested that their successful participa-
tion confirmed an evolving sense of self-competence and,
over time, further supported and sustained their identity.
The homeless singers in Baileys and Davidsons (2003)
study derived a sense of being valued members of society,
improving their social identity and sense of worth. Similarly,
the students in Kokotsakis and Hallams (2007) study
reported that participating in music making helped them
to build a strong sense of their own personal identity. The
importance of occupations to self-identity has also been
observed in the wider occupational science literature (Wright-
St Clair et al 2005, Townsend and Polatajko 2007). This
idea concurs with Rebeiro and Cook (1999), who claimed
that occupation is not necessarily an end, but a means to
confirmation of self and maintenance of self over time.
The musicians also reported that music making pre-
vented them from having vices and helped them to become
more cultured individuals, increasing their maturity and
self-discipline. This, in turn, encouraged them to perform the
occupation willingly, from the heart. Thus their engagement
seemed to reinforce their identity as socially worthy indi-
viduals. Music making was linked to the kind of music they
liked, which club or village they belonged to and their
Maltese nationality. The link between the occupation, self-
identity and social and cultural connectedness is evident
from this. Wright-St Clair et al (2005) have observed a similar
link between preparing traditional food and constructing
and maintaining personal and family identities.
Personal health and wellbeing
Participants remarked that music making affected their
health and wellbeing positively:
Music gives you health and wellness (Nicholas).
This is in concordance with the widely held view of the
positive benefits of engagement in occupations generally
(Wilcock 1998b) and music specifically (Bailey and
Davidson 2003, Sixsmith and Gibson 2007, Srkm et al
2008, Jacob et al 2009). Some musicians in this study
remarked that this sense of wellness is provided through
music making because one is concentrating and using the
brain. Baileys and Davidsons (2003) choir singers and
Kokotsakis and Hallams (2011) university students
similarly reported the benefits of mental stimulation and
connecting to their creative potential.
Participants in this study also reported that music
making had a calming and relaxing effect, providing a
sense of peace and changing mood:

(music) helps you express yourself, gives you a big
fulfilment, a creation, a satisfaction, something difficult to
explain, a sense of peace in your heart (Miriam).
The studies of choir singers reported that singing provided
relaxation: a haven from the rest of the world (Tonneijck et
al 2008, Jacob et al 2009), an improvement of mood and a
relaxation effect (Bailey and Davidson 2003, Jacob et al
2009). Similar findings were reported for students who
were engaged in group music making (both students
studying music and musical students primarily studying
other topics) (Kokotsaki and Hallam 2011).
This effect is not unique to musical occupations, however,
and has been reported in other occupations; for example,
Wensley and Slade (2012, p89) found that people who
engaged in walking as a leisure occupation reported feel-
ings of emotional wellbeing and de-stressing. Similarly,
Leckeys (2011) systematic review concluded that creative
activities promote relaxation and reduce stress, although
the research evidence was weak.
The participants added that engagement in music mak-
ing sometimes had a negative effect; Mark and Victor reported
back numbing, whistling ears, lip damage and fatigue. The
negative impact of occupations is often overlooked but
this was commented on by Jacob et al (2009) and
Tonneijck et al (2008), mainly in relation to feelings of
dissatisfaction with performance. This supports Wilcocks
(1998b) opinion that if capacities are overused, people feel
fatigue and stress, and that the correct level of challenge
from the occupation is important (Csikszentmihalyi 1990).
These are factors for occupational therapists to consider
when using occupations therapeutically.
Implications
This study showed that music making in a band has very
rich meanings for individuals. The findings revealed that
participants placed emphasis on the value of social and
cultural connection through music making; thus, it could be
used therapeutically as a facilitator of social relationships
and feelings of worth and belonging in society. Musicians
highlighted that music making provided relaxation and
heightened wellbeing, justifying its use therapeutically by
occupational therapists. This supports the core belief of
occupational therapy, that meaningful occupations can be
used to promote health and wellbeing. In the light of the
knowledge that there can be negative effects from this
occupation, and that there is a need for the right level of
challenge, it is important for occupational therapists to
use their skills of occupational analysis in recommending
the use of this occupation therapeutically.
Limitations
The interviewees found it difficult to talk about meaning.
They remarked that it is a complex and abstract topic and
some of the interviewees actually responded in the second
or third person. Nevertheless, to ensure credibility of the
findings, verification procedures recommended by Lincoln
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Anne E K Roberts and Maria Daniela Farrugia
and Guba (1985) were followed. The highly contextual
nature of this study indicates that caution should be
employed in transferring the findings to other settings and
cultures; however, the synergy with research on the mean-
ing of choral singing in other types of participants and
other occupations indicates its possible relevance elsewhere.
Further research would clarify this issue.
Conclusion
The findings demonstrate that music making in a band has
very rich meanings for individuals. Important elements of
occupational meaning were revealed, including spiritual
and emotional significance; opportunities for development;
social and cultural connectedness; enhanced self-identity;
and feelings of health and wellbeing. The positive meanings
support the essence of occupational therapy: the belief that
there is therapeutic value to an individuals chosen occupation.
This research suggests that occupation is important
because it contains accumulated meaning for the individual
who is performing the occupation. These meanings seem to
hold the individual in social reality, connected to his or her
own past and to past generations. There is an important
connection between music making, the musician and the
social and cultural environment, emphasising the rich
therapeutic nature of meaningful occupations.
Although band musicians may experience some common
meanings from music making, their individual investment
in the occupation and the strength of their tie to their musical
instrument is very personal. Each participant highlighted
particular themes, which gave a personal shape to his or her
cultural world. This is in line with what Unruh et al (2000)
and Bonder (2001) revealed about the personal meaning
of gardening and weaving. This highlights the need for
culturally sensitive awareness of the way individuals see
and interpret the world.
This study has contributed to the occupational science and
occupational therapy knowledge base regarding the personal
meaning of playing in a band. It is only through research
such as this that occupational therapists can fully understand
the impact and potential therapeutic power of an individuals
chosen occupations and be able to devise solutions that
help to meet the unique requirements of clients.
Key findings
Music making in a band provides spiritual and emotional significance
to the player.
Playing in a Maltese band enhances individuals social and cultural
connectedness.
Making music in a band enhances self-identity and feelings of wellbeing.
What the study has added
This study has contributed to the understanding of how meaning is attached
to the occupation of music making in a band, in a specific cultural setting.
British Journal of Occupational Therapy February 2013 76(2) 99
The personal meaning of music making to Maltese band musicians
Acknowledgements
We would like to thank the Maltese band musicians who gave their time to
take part in this study.
Conflict of interest: None declared.
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