Wondering if there is more to learn from youth’s descriptions of the importance of music in their lives, the authors interviewed 35 youth (aged 12–22 years) using a constructivist grounded theory approach. The data analysis process led to the realization that youth were often describing episodes of play. The researchers synthesized essential characteristics of play from the scholarly play literature and particularized these characteristics with extracts from the interview conversations. The goal became to describe the play in youth musicking. The authors’ framework of musick-play reflects the interconnectedness of (a) conditions that constitute a musick-play-place; (b) sonic, and social processes that illuminate instances of youth musick-play and that highlight the centrality of self-caring in that play; (c) experiences that foster autonomy, competence, and relatedness (self-determination theory); and (d) opportunities for well-being. This framework is intended as a heuristic for those who seek to understand youth musicking through the lens of play.

作者想知道是否可以从青年人对音乐在生活中的重要性的描述中学习更多，因此作者采用了建构主义扎根的理论方法采访了35名青年人（12至22岁）。数据分析过程使人们意识到，年轻人经常在描述游戏情节。研究人员从学术戏剧文献中综合了戏剧的基本特征，并通过采访对话的摘录对这些特征进行了具体说明。目的是描述青年音乐剧中的戏剧。作者的音乐演奏框架反映（a）构成音乐表演场所的条件的相互联系；（b）声音和社会过程阐明了青年音乐剧的实例，并突出了该剧中自我关爱的中心性；（c）促进自治，能力和亲和力的经验（自决理论）；（d）幸福的机会。该框架旨在为那些试图通过游戏的视角来理解青年音乐之王的人提供启发。