Do we really stop exploring new music as we get older?

I recently read an article that I saw pop up on The Conversation earlier this week – and further redistributed by the ABC this morning – that discusses the decline in open-earedness, and the willingness to explore new and unfamiliar music, with age. The article notes that while people spend more time listening to music than ever before, the amount of time spent on new or unfamiliar music decreases as we age. The article presents different theories for the observed population-level trends, including psychosocial maturation, hearing acuity changes, and limited discretionary time. However, it also suggests that musical taste does not have to calcify and can continue to develop throughout our lives.

With this piece on Eat This Music – not too sure what this is: an article or critique – I wanted to touch on a couple of theories presented in the article by Professor Timothy McKenry, that are used, as some of the claims left me scratching my head.

Psychosocial Maturation

The article presents several theories to explain the decline in open-earedness with age. One theory is psychosocial maturation (aka psychosocial development), which suggests that as we develop personalities and establish social groups, the drivers to engage with new music lessen. However, this theory ignores the role of social media and online platforms, which offer opportunities to explore new and diverse music regardless of social groups. Additionally, research has shown that personality traits are not static but can change over time [1], which implies that there could be changes in openness to new experiences and the willingness to explore new music.

Hearing Acuity

Another theory presented in the article is hearing acuity changes, specifically a lowering tolerance for loud and high-frequency sound, as a cause for the reduced interest in new music. However, this theory does not account for the fact that some people continue to listen to new music despite hearing loss or changes in hearing acuity. Moreover, it does not consider the role of technology, such as headphones and sound systems, which can adjust sound levels to accommodate different hearing abilities.

The theory that limited discretionary time may be responsible for the age-based reduction in music consumption may hold some truth. However, it assumes that younger people have more free time to explore new music, which may not be the case in some situations. Also, this theory does not account for the fact that some people prioritise music and find time to explore new genres and artists despite their busy schedules.

Adolescents

The article notes that adolescents use music as an identity marker and engage with it to navigate social circles. However, it is debatable whether this trend completely disappears in adulthood. Research has shown that music plays a significant role in adults’ lives, influencing their identity, emotional regulation, and social connections [2] & [3]. Therefore, it is plausible that adults continue to use music as an identity marker and engage with it to navigate social circles.

Time Management

The article further suggests that the amount of time spent listening to music reduces from a high point of 20% of our waking time during adolescence to 13% in adulthood. However, it is important to note that music consumption is not only limited to active listening but also includes background listening while engaging in other activities such as work, exercise, and commuting [4]. Therefore, the percentage of time spent actively listening to music may not accurately reflect overall music consumption.

Tips to train our musical taste

The article also provides some tips on how to train our musical taste to extend beyond the “old favourites” of youth. While these tips are helpful, some of them are overly simplistic and fail to address the complex nature of musical taste development.

The article suggests that cultivating different modes of listening including formal, focused, casual, and social settings can help train our musical taste. While exposure to different listening contexts can broaden our musical horizons, it is not clear how this can help us develop a taste for new or unfamiliar music. Research has shown that simply exposing people to unfamiliar music is not enough to change their musical preferences [5]. Instead, it is necessary to actively engage with the music and reflect on the listening experience [6]. It is not enough to listen to music in different contexts; we need to actively engage with it and reflect on our listening experiences.

The article also suggests that being curious about what we’re listening to and knowing something about the story behind the music can help our brains form new patterns – which is why one of my favourite aspects of Eat This Music are the interviews with artists. This is consistent with research on musical appreciation, which has shown that knowledge of music, such as its history, cultural context, and structure, can enhance our emotional response to it [7]. However, simply knowing about the music may not be enough to change our musical preferences. Research has shown that a deeper understanding of music, such as analysing its structure and style, can help us appreciate it more [8]. Essentially, it is important to not only know about the music but also to actively engage with it and analyse its features.

The article also suggests that finding a friend to give us recommendations – like through Spotify and Soundcloud for example – can help us discover new music. This is consistent with research on social influence, which has shown that our musical preferences are influenced by the musical tastes of people we like and admire [9].

Conclusion

The theories presented in the article to explain the decline in open-earedness with age have limitations and may not provide a comprehensive understanding of the phenomenon. However the article overlooks the role of social media, technology, and personality changes in shaping musical taste. Some theories assume that the decline in music consumption is solely due to changes in hearing acuity and limited discretionary time, which may not be the case. Despite the limitations of the theories, the article correctly points out that musical taste does not have to calcify and can continue to develop throughout our lives. Therefore, there is a need for further research to understand the factors that shape musical taste across the lifespan.

Furthermore, while the article provides helpful tips on how to train our musical taste, these tips are overly simplistic and fail to address the complex nature of musical taste development. To develop a taste for new or unfamiliar music, we need to actively engage with the music, reflect on our listening experience, and analyse its features. We also need to be open to new experiences and willing to revisit long-held beliefs about music. By doing so, we can continue to develop our musical taste across our lives.