MAY SOCIAL IMPACT OF MAKING MUSIC - P.PORTO · 2018-05-09 · 2 WELCOME TO SIMM-POSIUM 3 2018 On...

SIMM-POSIUM319|20MAY2018

SOCIALIMPACTOFMAKINGMUSIC

ESCOLASUPERIORDEEDUCAÇÃODOPORTO

2

WELCOMETOSIMM-POSIUM3

2018

On behalf of the CIPEM/INET-md and its cosponsors (the School of Education, the Porto Polytechnic

InstituteandTheSocietyforEducationandMusicPsychologyResearch,SEMPRE)weareveryhappyto

welcomeyouinPortoforthethirdResearchSIMM-posiumonSocialImpactofMakingMusic.

ThismeetinghappensinaparticularlysignificantmomentinthelifeofCIPEM,thecelebrationofits20

yearsofexistenceandthefirstAutumnSchoolthattookplace inSeptember1998.Weareparticularly

proudtoannouncethattwoscholarsthatwillbenowwithuswerepresentatthattime,SusanO’Neilland

EricClarke,andtookpartinthediscussionsabouttheguidelinestoimplementourresearchcentre.

Wearedelightedthatover80participantswillbeattendingfrom20countries.35presentationswillbe

givenplusthekeynoteaddresswhichwillbeopentothepublic.AliketheSIMM-posium2 lastyear in

London,wewanttovaluediscussionthemost,andthatisthereasonwhyeachpresentationislimitedto

10minutes,whichwillrequiredisciplineandprecisionfromallofus.However,speakersmaybringprinted

hand-outsinsufficientnumbertomakecopiesavailabletoallthoseinterestedafterthepresentation.We

havedecidedtosupplythee-mailaddressofeachparticipantforfurthercontactoutsidethesymposium,

and hope that coffee and evening brakes will provide excellent moments for make and deepen

connections.

This meeting, while building upon the two previous SIMM events, hopes to be a special moment in

pursuingtheconstructionofthisinternationalnetworkofpeopleandorganisationswhoarecommitted

to research into the topic that brings us together (www.simm-platform.eu). Further events are being

planned,andthefourthSIMM-posiumhasbeenalreadyfixedfor27-28July2019inBogota,Colombia,

hostedbyGloriaZapataandcolleaguesfromtheFundaciónUniversitariaJuanNCorpas.Moredetailswill

beannouncedduringthemeeting.

GraçaMota

CIPEM/INET-md

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PROGRAMSIMM-POSIUM3SOCIALIMPACTOFMAKINGMUSIC

PORTO,19-20MAY2018

_Friday,18May

LibrarySchoolofEducation-Lounge

17:30-19:30 WelcomeReceptionandRegistration

PerformanceoftheHomelessChoirofCasadaMúsica“OSomdaRua”

_Saturday,19May

AuditoriumSchoolofEducation

09:15-09:45|Registration

09:45–10:15|Openingsession

10:15-11:45|SESSION1

CULTURALDEMOCRACY,INEQUALITIES,ACCESSTOMUSICMAKINGANDLEARNING

Chair:SalwaEl-ShawanCastelo-Branco,NovaUniversity,Lisbon,Portugal

MusicanddisabilitythroughYoutube:narratives,actorsandimpactforarealempowerment

AixaPortero,CarmenRamirez-Hurtado,ConsueloPérez-Colodrero,UniversityofGranada,Spain

Creativechancesforeveryone–Theinfluenceofanindependentculturalfoundationonafocus-district

inRotterdam

GeorgiaNicolaou(SEMPREAward),CodartsUniversityoftheArts,Rotterdam,NL

MusicEducationandtheblind:Braillemusicasatechnologicaldeviceforaninclusiveandmeaningful

learning

JorgeAlexandreCosta,JorgeMiguelOliveira,JoãoGomesReis,PortoPolytechnic,Portugal

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Investigating non-singing adults in Newfoundland: How a study of the singing-excluded occasioned

inclusivesocialsinginginthewiderpopulation

SusanKnight,MemorialUniversityofNewfoundland,Canada

“InHereit’snotPrison”:Engagingvulnerableandstigmatizedcommunitiesincomposition

TobyMartin,UniversityofHuddersfield,EmmaRichards,RoyalManchesterChildren’sHospital,

AlexandraRichardson,SchoolofOrientalandAfricanStudies,UK

11:45-12:00|COFFEEBREAK

12:00-13:00|SESSION2

FRAMEWORKSFORRESEARCHONTHESOCIALIMPACTOFMAKINGMUSIC

Chair:JohnSloboda,GuildhallSchoolofMusic&Drama,London,UK

BetweenScyllaandCharibdis:frameworksforunderstandingthesocialaffordancesofmusic

EricClarke,UniversityofOxford,UK

Makingmusicasresearchwithchildreninasylumseekercentres

AilbheKenny,UniversityofLimerick,Ireland/HanseInstituteforAdvancedStudy,Germany

Achallengetoassumptionsofthetransformativepowersofmusic

JennieHenley,RoyalCollegeofMusic,London,UK

13:00-14:00|LUNCHBREAK

14:00-15:45|SESSION3

MUSIC,PEACEBUILDINGANDCONTEXTSOF(POST-)CONFLICT

Chair:LukasPairon,UniversityofGhent,Belgium

Soundpostcards:Listeningtotransformationsinthesocialfabricofthevictimsofarmedconflicts

Andrea Rodríguez (SEMPRE Award), Oscar Odena, Alberto Cabedo-Mas, University Jaume I of

Castellon,Spain,andtheUniversityofGlasgow,UK

Musicandpeacebuilding:Definingthekeywords

CraigRobertson,NordoffRobbins,London,UK

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Musicalidentitiesofexcombatants:Reflectionsaboutmusicalpractices,ideologiesandreincorporation

GloriaPatriciaZapataRestrepo,FundaciónUniversitariaJuanNCorpas,Bogotá,Colombia

Soundscapesofdetention:Musicinprisoncampsduringthe(post)civilwarerainGreece(1947–1957)

AnnaPapaeti,PanteionUniversity,Athens,Greece

AThematicanalysisofcommunitymusicinterventionswithrefugeesandasylum-seekersinLimerick,

Ireland

HalaJaber(SEMPREAward),UniversityofLimerick,Ireland

“ArtandEducationforPeace":Experiencesandperspectivesoftheresearchhotbedinmusicandarts

oftheUPNforthesocialreconstructionandreparationprocessesinColombia

NataliaPuerta(SEMPREAward),NationalPedagogicUniversityofColombia


16:15–18:15|SESSION4

IMPACTOFCONTEXTANDCULTURE

Chair:GeoffBaker,RoyalHollowayUniversityofLondon,UK

Cultureasan instrumentof social inclusion:Evaluationof the impactof ‘AnOrchestralMorning’ for

peoplewithintellectualdisabilityandAlzheimer

SoniaGainza,L’AuditorideBarcelona,Spain

Communitymusicstudents’interventionsindiversecontexts:apreliminaryapproachtotheirpractices

PedroMoreira,AnaGama,PolytechnicInstituteofLisbon,Portugal

Transformationofvillagesocietybywomen’smusicking

PirkkoMoisala,UniversityofHelsinki,Finland

Soundscapesversusstereotypes:whataBrazil/Canadainterculturalprojecttaughtus

RitaGomes,SusanO’Neill,AdelineStervinou,JoãoEmanoelAncelmoBenvenuto,MarceloMateus

Oliveira,MarcoAntonioToledoNascimento,FederalUniversityof Ceará/CampusSobral,Brazil,

andSimonFraserUniversity,Canada

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Fosteringthenationalidentitybynon-formalmusiceducation:ExperienceinLithuania,Latvia,Poland

andUkraine

Vaiva Jucevičiūtė-Bartkevičienė, Ričardas Bartkevičius, Lithuanian University of Educational

Sciences,Lithuania

“IchbinkeinBerliner”–ThemusicalfightagainstsocialexclusionforcreativespacesinBerlin

SeanPrieske,(SEMPREAward),HumboldtUniversity,Germany

The social impact of young people’s music making within a relational ontology: Cultivating

connectednessacrossschoolandoutsideschoolcontexts

YaroslavSenyshynandSusanO’Neill,SimonFraserUniversity,Vancouver,Canada

20:00|SIMMDINNER

_Sunday,20May

AuditoriumSchoolofEducation

09:30-10:30|SESSION5

MUSICEDUCATIONATACROSSROADS:INSEARCHOFNEWPATHS(1)

Chair:GraçaBoal-Palheiros,PortoPolytechnic,Portugal

DecenteringElSistema:TheNetworkofMusicSchoolsinMedellín,Colombia

GeoffBaker,RoyalHolloway/InstituteofMusicalResearch,UK

Fosteringmusicidentitiesthroughlocalmusics:ThecaseofMexico’snationaleducationreform

HectorVazquez(SEMPREAward),UniversityofVictoria,Canada

Transformingmusicteacherpreparationthroughjuxtapositionalpedagogy

FrankHeuser,UniversityofCalifornia,USA


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11:00–12:30|SESSION6

MUSICEDUCATIONATACROSSROADS:INSEARCHOFNEWPATHS(2)

Panel:IsMusicEducationinGlobalDecline?

Convenor:PaulWoodford,UniversityofWesternOntario,Canada

Participants:AlexandraKertz-Welzel,LudwigMaximilianUniversityinMunich,Germany

BettyAnneYounker,UniversityofWesternOntario,Canada,andtheUSA

JoseLuisAróstegui,UniversityofGranada,Spain

PamelaBurnard,UniversityofCambridge,UK

12:30–13:30|LUNCHBREAK

13:30-14:45|SESSION7

MUSICINPRISONS

Chair:JohnSpeyer,MusicinDetention,London,UK

Musical group participation and empathic development: Considering implications for the criminal

justicesystem

CatherineHatcher(SEMPREAward),LondonSymphonyOrchestra,UK

Buildingnarrativesthroughmusic:AcomparativelookattwomusicprojectsinsideprisonsinPortugal

andScotland

InêsLamela,INET-md,Portugal,KirstinAnderson,TheUniversityoftheWestofScotland,UK

Lifewithinthesewalls:Communitymusic-makingasabridgeofhealingandtransformationinprison

contexts

MaryL.Cohen,JohnathanKanaandRichardWinemiller,UniversityofIowa,USA

ReflectionsonFutureResearchinMusicandCriminalJustice

JamesButterworth,UniversityofOxford,UK

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14:45-15:30|SESSION8

OPPORTUNITIESFORMUSICMAKINGTHROUGHOUTTHELIFESPAN

Chair:MartaAmico,UniversityRennes2,France

Whatstopspeoplegettinginvolvedinmakingmusic?

AlexandraLamont,KeeleUniversity,UK

MusicEducationatseniorAge:FromOrff-Schulwerkapproachtolivedemotionsandsocialimpact(s)

JoãoCristianoCunha,PolytechnicInstituteofBragança,Portugal

15:30–16:00|COFFEEBREAK

16:00-18:00|PUBLICPLENARYSESSION

KeynoteLecture:DisruptingtheStatusQuo:YoungMusiciansinActionsthatCreateChange

SusanO’Neill,SimonFraserUniversity,Canada

Chair: GraçaMota,PortoPolytechnic,Portugal

Panel: SusanaSardo,UniversityofAveiro,Portugal

LukasPairon,SIMMplatform,UniversityofGhent,Belgium

GloriaZapata,FundaciónUniversitariaJuanNCorpas,Bogotá,Colombia

Inthiskeynotesession,SusanO’Neillwill reflectcriticallyonhowcontemporaryrelationaltheoriesopenupnew

possibilitiesfor(re)imaginingthesocialbenefitsofyoungpeople’smusicengagement.

HertalkwillbefollowedbyaQ&Asessionandapaneldiscussionofthekeythemesarisingfromthesymposium.This

sessionwillbeopentothepublic.

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ABSTRACTSBYSESSION

SESSION1|CULTURALDEMOCRACY,INEQUALITIES,ACCESSTOMUSICMAKINGANDLEARNING

Chair:SalwaCastelo-Branco,NovaUniversity,Lisbon,Portugal

MusicanddisabilitythroughYoutube:narratives,actorsandimpactforarealempowerment

ConsueloPérez-Colodrero,CarmenRamirez-Hurtado,AixaPortero,UniversityofGranada,Spain

Significantthoughtheyare,DisabilityStudiesarepracticallyabsentfromSpanishresearchinglandscape,

despite the fact that they are a strong academic discipline with a clear social and cultural approach

(Ramírez-Hurtado,2016).Throughitsscientificliterature,relationshipsamongdisability,musicandsocial

networkclearlyarisesasaproductivefieldofstudywhosemainperspectivesare(a)technologymediation

inmusicperformance (Bicknell,Anantawan,AlteryMcKeever,2013;Stras,2011), (b)musicandsocial

networkimportanceinordertorehabilitateandincludedisabledpeople(MurphyyMcFerran,2017;Kent

yEllis,2015;Brooks,SharkeyyMerrick,2011).Amongvirtualnetworks,Youtubehasprovedtobeoneof

themostrelevant.Certainly,asRenblad(2003)andFrishkopf(2017)haveargued,thiskindofplatforms

mayallowmusictoworkasanactivemeansforfunctionaldiversityinclusionandasastrategicframework

fornormalisationandempowermentofdisabledpeople.

Inthelightoftheseideas,thisproposalaimstostudymusicasanintegratingandempoweringtoolfor

disabled people through a particular social network, Youtube. For this purposes, it identifies musical

groups with disabled participants and quantitative and qualitative studies their impact through the

selectednetwork.TheresultssuggestthatYoutubeworksnotonlyasanactiveresourceinordertocreate

andimprovingtheirsocialvisibility—asitallowstheirappreciationandrecognitionwithinarealandvirtual

community—,butalsoasanactivesynergyenhancer,promotingtheirartisticpossibilitiesworldwide.

Creativechancesforeveryone–Theinfluenceofanindependentculturalfoundationonafocus-district

inRotterdam

GeorgiaNicolaou(SEMPREAward),CodartsUniversityoftheArts,Rotterdam,NL

Thispresentationwillexemplifytheimportanceofthemusical-socialactivitiesinasmallfocus-districtof

south Rotterdam carried out by an independent foundation-Cultural Education Charlois (Stichting

CultureleEducatieCharlois).A“Focuswijk”,orFocus-districtiftranslatedtoEnglish,isatermusedinthe

Netherlandstodescribeaneighbourhoodwithinarelativelybigcity,asRotterdam,whereprogramsfor

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improvingtheEducationallevel,workopportunitiesandthequalityoflifefortheinhabitantsofthearea

arecarriedout.Theseresidentsareuptoaveryhighpercentage,immigrants,withlowincomeandlimited

opportunities.

TheroleoftheCulturalEducationCentreintheneighbourhoodofCharloisishighlyinfluential.Activities

such as open outdoor music festivals, concerts, summer-schools, music workshops, yoga, musical

instrumentcollectioncalls(forthemusicstudentsthatcannotaffordaninstrument)andmanymoreare

carried out with the ultimate goal of offering a chance to every child-youth-adult that wants to be

involved,embracingtheirmulticulturalbackground,customsandbeliefs.

During the presentation I will discuss the principles of selected projects that have been carried out,

throughmyexperienceandinvolvementasamusicteacherandcoachattheEducationalCentre,aswell

asthepossibilityofapplyingtheactionmodeltovulnerableareasinotherculturallydiverse–multi-ethnic

Europeancities.

MusicEducationandtheblind:Braillemusicasatechnologicaldeviceforaninclusiveandmeaningful

learning

JorgeAlexandreCosta,JorgeMiguelOliveira,JoãoGomesReis,PortoPolytechnic,Portugal

Upuntilthecreationofthebraillealphabet,byLouisBraille,inthefirsthalfofthenineteencentury,and

itsfollowingadaptationtorepresentmusicalnotation,blindpeopledidn’thaveawayofreadingorwriting

music. This impossibilitymeans that blind people could only learn and performmusic if they rely on

imitationprocesses,onoralvisualizationofthemusiccodifications,oronapermanentpresenceofamusic

tutorthatbecomestheeyesoftheblindstudent-learningdependency.

To overcome these pedagogical limitations, mastering braille music, a tactile symbolic system of

communication(Johnson,2016),isanessentialstepforaneffectivedevelopmentofthemusicalskillsof

blindandvisualimpairedstudentsandthemainconcernregardingtheiraccesstoamusiceducation(Park

andKim,2014).

Our presentation, methodologically uses an interpretative analysis of documents, technologies and

speechesofdifferentblindactors(musicians,teachersandstudents),aimingtoidentifyi)whatarethe

fundamentalvariablesthatpromoteorlimittheaccessibilityofblindindividualstothemusiclearning;ii)

what kind of pedagogical practices and attitudes should be developed in music education for blind

individuals;iii)andhowimportantistheapprehensionandmasteryofbraillemusicforblindindividuals.

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Investigating non-singing adults in Newfoundland: How a study of the singing-excluded occasioned

inclusivesocialsinginginthewiderpopulation


This presentation reports on an original Newfoundland-based study that investigated, and

soughtexplanationsfor,(a)childhood-attributedadult'non-singers'and(b)howsuchself-perceptionhad

affected their lives into adulthood. The research methodology involved a specially-designed survey

instrumentineightsectionsthatdrewonthefindingsfromaninitialsetofnineindividualcasestudies.

Thesurveycontentsoughtdataonparticipants'demographicbackgrounds,childhoodsingingexperiences

(withfamily/friends/schooling/widercommunity),adultsinginglife,singingself-appraisalandattitudes

to singing. The survey was completed by n=197 adults, representing a wide cross-section of the

Newfoundland population. The findings revealed that non-singing was a common, well-established

phenomenon, tolerated – yet poorly understood, despite Newfoundland having a strong traditional

singing culture. The research led to the design and establishment of a new, comprehensive singing

engagement program for the whole community, featuring the provision of easy access to

learning/enjoymentopportunitiesthroughdiversesingingplatformsacrossthelifespan.Theprogram,led

bySusanKnight,hasbeenrunningforfouryearsand,inthattime,ithasbeentakenupbylocalpeople,

aged 1-86. An ongoing impact evaluation suggests that the research-informed program has had a

significantpositiveimpactonthelivesofover5,000participantstodate.

“InHereit’snotPrison”:Engagingvulnerableandstigmatizedcommunitiesincomposition

TobyMartin,UniversityofHuddersfield,EmmaRichards,RoyalManchesterChildren’sHospital,


In2016theHuddersfieldContemporaryMusicFestival(HCMF),stafffromtheUniversityofHuddersfield

(UK)andindependentmusicpractitionerscollaboratedonaprojecttitledMomentumII.Thiswasaseries

ofcompositionworkshopswithrefugeesfromAfricaandtheMiddleEast,recentlyarrivedinHuddersfield,

andwithinmatesatArmleyPrison,Leeds.Thisprojectwascross-disciplinaryasitbroughtinpractitioners

fromtheworldsofcontemporarymusicandpopularmusic,andcross-institutionalasitinvolvedanumber

ofstakeholders,ieHCMF,theUniversityofHuddersfield,LeedsPrison,andREACH(arefugeecharity).

Thispaperwillreflectonsomeofthechallengesandopportunitiespresentedbyaprojectthatdrewin

suchadiversegroupofworkshopfacilitators,stakeholdersandparticipants. Itwill lookatsomeofthe

practicalwaysinwhichtheworkshopfacilitatorsnegotiatedthedesiresandneedsofthestakeholdersand

theparticipants.Itwillaskwhattheroleandresponsibilitiesofinstitutionssuchasuniversitiesandarts

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festivalsmightbeintermsofengagingvulnerableandstigmatisedcommunitiesinmusic-making.Itwill

also reflect on the possibilities for longer-term social change through engaging groups in musical

composition.Thisincludeschangesfortheparticipantsthemselves,aswellaschangesinbroaderattitudes

tostigmatisedgroupssuchasrefugeesandprisoners.

SESSION2|FRAMEWORKSFORRESEARCHONTHESOCIALIMPACTOFMAKINGMUSIC

Chair:JohnSloboda,GuildhallSchoolofMusic&Drama,London,UK

BetweenScyllaandCharibdis:frameworksforunderstandingthesocialaffordancesofmusic


Fuelledasmuchbypublicphenomena(theinternationalprofileoftheWest-EasternDivanOrchestraand

ElSistema,andthepopularityofTVprogrammessuchasTheChoirintheUK)therehasbeenasignificant

growth in research into the social impact of music-making and musical consumption. But this work

sometimesseemstogetcaughtbetweendifferentdisciplinarypoles:frameworksbasedon‘fundamental’

psychological(orevenneuro-endocrine)principles(e.g.Tarr,Launay&Dunbar2014);frameworksbased

onsocialandculturaltheory(e.g.Hesmondhalgh2013);andframeworksbasedoneducationaltheoryand

practice (e.g. Green 2008; O’Neill 2012). How, if at all, can the various strengths of these different

perspectivebebroughttogether?Isthesearchfora‘unifiedfieldtheory’asproblematicandelusiveasit

isforphysics?Inthisshortpresentation/provocationIraisesomeofthequestions(includingaquestion

abouttheword‘impact’),pointtopossiblewaysforward,andinvitediscussionanddebate.

Makingmusicasresearchwithchildreninasylumseekercentres

AilbheKenny,UniversityofLimerick,Ireland

ThispaperpresentsinsightsandfindingsfromarecentstudycarriedoutinIrelandexaminingthesocio-

musicalvalues,identitiesandneedsofchildrenofasylumseekers.Thestudyfocussedononecentrein

theMid-WestofIrelandandengagedwithchildrenbetweentheagesof7and12.Qualitativedatawas

collected through (1)musicmaking workshops, (2) observations, and (3) focus group interviews. The

methodologicalapproachtakenhighlightstheparticipatoryrolechildrencanplayinresearchinorderto

ensurefindingsareinformedfrom‘thebottom-up’andchallengetheoft-existingpowerimbalanceswithin

research.Drawingonsocio-culturaltheory,findingsrevealimportantinsightsabouthowchildrenmake

andlearnmusicindividuallyandcollaboratively,itssocialandculturaluses,wheremusiceducationtakes

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placeforthem,thechildren’smusicalbehaviours,interactionsandidentities,aswellasthesocialimpact

ofmusicmakingforthemarginalised.Indoingso,thepresentationcontributesnewunderstandingson

childmigrant experiences ofmusicmaking in a particular context. Furthermore, the research aims to

contribute ground up perspectives and participatory musical approaches to researching the lives of

childrenofasylumseekerswherethechild’svoiceisthepriority.

Achallengetoassumptionsofthetransformativepowersofmusic


Learning is a process that has content (curriculum) and form (pedagogy) however it is a common

assumptionthatthelinksbetweenmusical,emotional,andsocialdevelopmentliesolelyinthecontentof

musiclearning.Curriculumandpedagogyarecommonlyconfusedresultingintheelevationofthestatus

ofthelearningcontentandtheseparationofcontentandform.Thismanifestsineducationalpracticeand

researchthatisbasedontheassumptionthatemotionalcontentisuniversalandinherentintheobjectof

music,andlearnersaretransformedasaresultofmusicalcontentalone.Thispapercritiquesthenotion

that social and emotional development occur as a result of engagement with emotional content

embeddedwithinmusic,andsuggests that it isnot the typeofmusicormusicalactivity that is learnt,

ratheritisthewaythatmusicislearntthatgivesrisetoemotionalandsocialdevelopment.Pedagogyis

unpicked in light of different learning theories that either engage or supress criticality to show that

uncriticalpedagogiescanexistinmusicmakingoftenassumedtobetransformativebythenatureofthe

musicalcontent.Researchexploringthepedagogyofaprisonmusicprojectisdrawnupontodemonstrate

howsocio-musicalinteractionsandrelationshipsarecreatedandfacilitatednotbythemusicalcontent,

butbyapedagogythatprovidesspacesforcriticalengagement,forconflicttosurfaceandberesolved,

andleadstothetakingofmusical,emotionalandsocialrisks.

SESSION3|MUSIC,PEACEBUILDINGANDCONTEXTSOF(POST-)CONFLICT

Chair:LukasPairon,UniversityofGhent,Belgium

Soundpostcards:Listeningtotransformationsinthesocialfabricofthevictimsofarmedconflicts

Andrea Rodríguez (SEMPRE Award), Oscar Odena, Alberto Cabedo-Mas, University Jaume I of

Castellon,Spain,andtheUniversityofGlasgow,UK

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This presentation is part of a wider research project that analyses the benefits of collective musical

programs in post-traumatic recovering of people that experienced violence as a result of the armed

conflictinColombia.Soundpostcards,aresearchmethodologyderivedfromthefieldofsocio-acoustics,

contributedtoethnographicalresearchwithparticipantsintheMusicforReconciliationProgramofthe

BatutaFoundationinColombia,andallowedresearchersto identifythechanges inthedensityoftheir

social fabric, bothbefore and after being victimsof violent acts as a result of the armed conflict that

caused,amongothers,forceddisplacement.Thesoundpostcardconsistsofasonicdescriptionofhowthe

participant’senvironment isperceived indifferentandspecificmoments intheir life. It is thereforean

exploratory and qualitative research methodology that contributes to complement and provides

additionalinformationtootherstrategiessuchasinterviews,questionnairesorobservations.Thesound

postcards described by the participants allowed the researchers to identify drastic changes in their

environment, their social relationships, their quality of life and their self-perception after the violent

events. Moreover, the study found that the sound postcard describing present events enabled to

recognizetheimportancethattheparticipantsacknowledgedtojoininginthecollectivemusicalprogram

inanumberofareas.Theseareasincludedreconfiguringtheirpersonalidentity,recoveringsocialcohesion

and transforming the normalized cultural violence within the social groups of those who have lived

throughthewar.

Musicandpeacebuilding:Definingthekeywords

CraigRobertson,NordoffRobbins,London,UK

TheMin-OnMusicResearchInstitute(MOMRI)iscurrentlyworkingonaspecialissueoftheMusicand

theArts inAction journalontacklingthechallengeofdefiningthekeywordsfortheemergentfieldof

MusicandPeacebuilding.Thisprojectwas inspiredby the lastSIMMposium, inLondon,2017.At that

event,itwasapparentthattherewasoftenlittleconsensusonthedefinitionsofmanytermsthatwere

utilisedinavarietyofwaysdependingonthecontextandfieldinwhichtheywereused.Thisledtosome

confusionindiscussionsanddelayedthepotentialprogress.MOMRIhasaspecificfocusonmusicand

peacebuilding,andwefeltthatweshould instigateakeywordsdocumentforthisfieldtohelpreduce

suchproblems in the future.Wehave several submissions fromacademicsandpractitioners inmusic

therapy,communitymusic,musicsociologyandethnomusicologyandwearebeginning toestablisha

moreeffectivecommunicationstrategyformusicandpeacebuildingasaresult.Thispaperwillsharesome

ofthesedevelopmentsandhowtheseconversationshavebeguntoshapethedevelopmentofthefield.

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Musicalidentitiesofexcombatants:Reflectionsaboutmusicalpractices,ideologiesandreincorporation


ThehistoryofthearmedconflictinColombia,likeotherpolitical,socialandeconomicconflicts,hasbeen

marked by the dissatisfaction of deep individual and collective needs, the inequity in the access to

opportunities for social advancement, the absence of mechanisms for prompt access to justice,

dissatisfiedsocialandeconomicrights,ahistoricalstruggleforland,theinterestsofdominantminorities

that have usedwar as ameans to preserve their privileged positions, among other problems; these

problemsallowsus tounderstand thearmedconflict inColombiaasamultidimensionalandcomplex

phenomenon.Due to the implementationof thepeaceagreementbetweenFARCand theColombian

government,someapproacheshavebeenmadebetweenresearchersandex-combatantsinsomeofthe

Territorial TrainingandReintegrationSpaces (ETCR) inwhichwe can find relevantpopulationsof this

group. These gatherings have revealed a significant group of musicians emerging among the ex-

combatants thatare showing theirwork in severalplaces. It raisesmanyquestionsamongacademics

about theroleofmusicalpracticesonpeacebuilding,butalsoabouthowthesemusicalpracticesare

transformingtheseex-combatants’identities.Inthecurrentpost-agreementsituationinColombia,the

processofreintegrationintosocietyacquiresadefiniteimportancefortheconstructionofasustainable

long-termpeace.Therefore,thissectionwillshowthereflectionsaboutex-combatants’musicalidentities

basedonaresearchprojectinColombia.

Soundscapesofdetention:Musicinprisoncampsduringthe(post)civilwarerainGreece(1947–1957)


Thispaperexploresthemultifaceteduseofmusicinprisoncampsduringthe(post)civil-warperiodin

Greece(1947–1957).Placesofexile,thesecampswerealsoplacesoftortureandindoctrination.Inmany

cases,musicwasanintegralparttoboth.Thepaperfocusesontheinfamousprisoncampsatthebarren

island of Makronissos, known for the brutal torture that took place there and the relentless

institutionalized‘re-education’programme.Itspecificallyexamines:(1)theuseofmusicasameansto

‘re-educate’, humiliate, and ‘break’ prisoners; (2) official camp orchestras and choirs, addressing the

complexissueofmusicmakingbycommand;and(3)theroleoftheMakronissoscampsradiostation.The

paperdrawsonarchivalresearchandnewinterviewswithsurvivors,highlightingtheneedtounderstand

bettermusic’scapacitytoempowerbutalsodegradeandterrorizeindividuals.Itshedslightnotonlyon

themusicpractices,butalsoon the long-termeffectsonprisoners; thishistorical recoveryprovidesa

usefulcontextforcurrentusesofmusicindetention.

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AThematicanalysisofcommunitymusicinterventionswithrefugeesandasylum-seekersinLimerick,

Ireland


Thispresentationexploresthebenefitandvalueofaccessingmusic-makingworkshopsforrefugees in

Limerick,Ireland.Itattemptstoaddressthequestion:howcanthecommunitymusicworkshopbeused

topromoteculturalintegrationbetweenmigrantsandthewiderIrishcommunity?Itdrawsondatafrom

aseriesofcommunitymusicworkshopsconductedinLimerickcityin2017-18forrefugeesandasylum-

seekers.

Asasylumseekersandrefugeenumbersareontheriseintheworld,therehavebeenmanyattemptsto

createmusical spaces that present and integrate the refugee voice. Based onmy work as an active

communitymusicianandresearcherwhofacilitatesmusicalworkshopsforrefugeesandasylumseekers,

thispaperdiscusses fourkey themes toemerge fromthiswork.The impactof culturalperceptionon

music-makingisasignificantfactorinthedegreeofparticipationintheworkshop.Perceivednotionsof

cultural democracy and social cohesion are often challenged by the processes of theworkshop. The

navigationofpersonalidentityinthenewculturallandscapeisalsosignificant.Finally,thepresentation

discusses the consistent emerging themes in the communitymusicworkshop including, for example,

musicalthemesrelatedtoresilience.

“ArtandEducationforPeace":Experiencesandperspectivesoftheresearchhotbedinmusicandarts

oftheUPNforthesocialreconstructionandreparationprocessesinColombia


Thispaperseekstosocializetheworkoftheresearchhotbedofthe“Artandeducationforpeace”project

of theFineArtsFacultyof theNationalPedagogicUniversityofColombia, "aUniversitycommitted to

training teachers for a Colombia in Peace" (UPN, Development Plan, 2014 - 2019). This is a research

hotbedwithaninterdisciplinarycharacter, involvingemergentresearchofstudentsandteachersfrom

the Musical, visual and Performing Arts programmes, related to the role of artistic creation and its

pedagogyforpeacebuilding.Currently,thehotbedisworkingontheresearchlines,namely:1)Aesthetics

in the face of war; 2). Pedagogy of memory; 3) Culture of peace; and 4) Methodologies of Arts for

peacebuilding.Theselines-thatwillbebrieflyintroducedinSIMM-,haveemergedfromtheinterestsof

undergraduatethesisprojectsinprocess.

TheUPNconsidersthatthishotbedconstitutesanopportunitytoconceptuallydeepenthewayinwhich

theprocessesandinteractionsthattakeplaceinmusicandartistictraining(andwhichinvolveademand

17

forself-knowledgeandhumanrelationsthatinterveneinthefamiliarsocialfabric,school,city,etc.),build

formsofactionandthoughtthattransformcultureandimpactsociety.Afinetypificationofcharacteristics

onthistypeofconstructionscansurelyplaceusinthevanguardofknowledgeinthisareaandwouldtake

usoutoftherhetoric-thatwithapragmaticinterest-wehaveusedinthejustificationofthepresenceof

theArtsinsociallife.

SESSION4|IMPACTOFCONTEXTANDCULTURE

Chair:GeoffBaker,RoyalHollowayUniversityofLondon,UK

Cultureasan instrumentof social inclusion:Evaluationof the impactof ‘AnOrchestralMorning’ for

peoplewithintellectualdisabilityandAlzheimer


Thesocialimpactof‘AnOrchestralMorning’isthefocusofaresearchstudyheadedbytheUniversityof

Vic,Barcelona(Dr.SalvadorSimó)incollaborationwithESMUC(Dr.MelissaMercadal-Brotons)withaview

topresentingconclusions intheautumnof2018.Theresearch intendsto identify theelementsof the

projectwhich leadto itssuccess,andevaluatethe impactoftheprogrammeontheparticipants, their

carers,themusiciansofthesymphonicorchestraandtheworkersofthesocialcentres.

Wewillexplainthedesignoftheresearchproject(AlzheimerN±45; IntellectualDisabilityN±45);the

batteryoftestsandtheobservationaltechniquesused,andpreliminaryfindings.Thequantitativetests

include the Non-Pharmacological Therapy Experience Scale (NPT-ES). Qualitative research techniques

include participant observation, focal group discussion, open interviews, an ad-hoc questionnaire,

observerdiariesandphotovoice.

L’Auditoristronglybelievesinsocialtransformationthroughculture.Thisresearchprojectseekstoshed

lightonthesocialbenefits thatorchestralentitiescanpromotethroughparticipativemusicalactivities

dedicatedtomembersofthecommunitythataregenerallyunabletoaccessmusicmaking.

Communitymusicstudents’interventionsindiversecontexts:apreliminaryapproachtotheirpractices

PedroMoreira,AnaGama,PolytechnicInstituteofLisbon,Portugal

Thispaperaimstoreflectonthedevelopmentandimplementationofinterventionprojectsinthefieldof

CommunityMusic,basedoneducational,socialandculturalpracticesthatpromotedemocratizationand

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cultural democracy (Lopes 2009) in which individuals appear as "participatory actors "and" culture

generators"(Serrano&Puya,2006).

TheacademicresearchinthefieldofCommunityMusichasputinevidencethemultiplicityofintervention

strategiesthatappealtothedevelopmentofthecommunity,personalgrowthandcollaborativemusic-

makingpractices(Koopman2000),requiringmultiplemethodologiesandawiderdisciplinaryknowledge

(Higgins2017).

Thispaper,integratedinabroaderresearchproject-“COMMUS.Makingmusic,livingthecommunity”-

presentsananalysisofthefinalinternshipreportselaboratedbythestudentsofLicenciaturaemMúsica

naComunidadefromEscolaSuperiordeEducaçãodeLisboa(IPL),framedbytheirinterventionsduringthe

academicyearsof2015/2016and2016/2017.Theimplementationoftheirinterventionpracticesoccurred

invariouscontexts,aimingatadiversityofaudiencesand,consequently,resultingintheconstructionof

differentstrategiesandactivities.

Basedonaqualitativemethodology,theanalysisofcontentwasprivilegedasmaintechnique,usingthe

following criteria: i) internship contexts; ii) types of audiences; iii) developed intervention practices /

strategies.

Transformationofvillagesocietybywomen’smusicking


The proposed paper will focus on one Tamu (formerly Gurung) village of Lamjung district, Nepal,

investigating social changes and cultural transformation promoted by the musical activities of Aama

Samuha (Mothers´Society). Thepaper isbasedonnumerous fieldvisitsduring thecourseofpast42

years;thelatestonewasconductedin2016.

VillagewomenestablishedAamuSamuhaabouttenyearsagotoaidvillagersinneedandtocollectmoney

- through musical performances - for common purposes of the village. I argue that these musical

performanceshavetransformativeeffectsonthevillagesocialorderandthegendercategoryof‘aTamu

woman’.

Methodologically, I will approach these musical performances as events (in the sense of French

philosopherGillesDeleuze),askingwhatitisthattheydo,whatisinsideofwhatoccurs,andhowthese

involvebecoming. Iwilldiscusshowparticularaspectsofmusicalevents–embodiments,ritualityand

affectivework–contributetotheirtransformativepower.

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Soundscapesversusstereotypes:whataBrazil/Canadainterculturalprojecttaughtus

RitaGomes,SusanO’Neill,AdelineStervinou,JoãoEmanoelAncelmoBenvenuto,MarceloMateus

Oliveira,MarcoAntonioToledoNascimento,UniversidadeFederaldoCeará/CampusSobral,Brazil,

andSimonFraserUniversity,Vancouver,Canada

ResearchersfromBrazilandCanadareportonfindingsfromastudyof44undergraduatestudentswho

participatedinapiloteducationalprogramthatwastaughtsimultaneouslyinbothcountriesusingvideo

conferencinganddigitaltechnology.Theprogramengagedstudentsincreativeinterculturalprojectsto

enhance their experiential learning opportunities and understanding of global citizenship. This paper

focuses on the students’ creation of soundscapes using R. Murray Schaffer’s (1977/1994) idea that

soundscapesarefullofnuancesandsubtletiesofsoundthatcanmakeusmoreawareofthesocialimpact

ofour localenvironment.Studentsengaged in“soundwalks”thatencouragedthemtoattendmoreto

theiracousticsurroundingsinanattempttoawakentheirsensitivitytomeaningsandexperiencesthat

influence their sense of identity. The meaning making and communicative resources used in the

soundscapes were coded, and students shared their soundscapes across countries and then wrote

reflectionsabouttheirexperiences.Athematicanalysisindicatedhowthesoundscapesenabledstudents

toovercomestereotypesandgainnewinsightsabouttheirlocaland“glocal”identities.Detailsoftheuse

ofsoundscapeswillbeprovided,drawingattentiontothepowerofsoundscapesasacatalystforsocial

transformation,aswellasthelimitations.

Fosteringthenationalidentitybynon-formalmusiceducation:ExperienceinLithuania,Latvia,Poland

andUkraine

Vaiva Jucevičiūtė-Bartkevičienė, Ričardas Bartkevičius, Lithuanian University of Educational

Sciences,Lithuania

Todaythequestionarisesamongyoungpeopleinparticularifitisreallyimportanttofosterthetraditions,

ethno-cultureofthenationandtodistinguishheritageandmemory.Itbecomesexceptionallyrelevantat

themoment,whenmany people, nomatterwhat nation they represent, are increasingly feeling the

citizensofEuropeorevenofthewholeworld.Suchcategoriesaspatriotism,heritagewhichinevitably

accompanytheconceptsofnationalandculturalidentitysometimesareavoided,butopeningofnational

culturalvaluestothewholeworldandpreservationofethnicmusicandculturedonotencouragecultural

closureatall.Itdoesnothaveanythingincommonwithnationalism,chauvinism,fundamentalism.The

younggenerationhavetobewillingandablenotonlytoadoptethno(musical)heritagebutalsotoassume

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itsin-depthmeaningandcontenttomakeitanintegralpartoftheiridentity,toadaptittotheircurrent

needsandsharewithothers.

“IchbinkeinBerliner”–ThemusicalfightagainstsocialexclusionforcreativespacesinBerlin

SeanPrieske,HumboldtUniversity,Germany

DuringmyPhDresearchonmusicandself-placementinthecontextofBerlinrefugeerelief,Ifoundedthe

musicprojectFreiraumMusikraum(freedom/freespacemusicroom)inaGermanRedCrosscommunal

accommodation.Additionally,IcooperatewithseveralmusicinitiativesforrefugeesinBerlin.

Whilesearchingforself-placementandidentityafterhavingarrivedinGermany,refugeesstillstruggle

with bureaucracy and ever-changing laws. In Freiraum Musikraum, we tried to experience stability

throughmusicinthepeople’slivesthataresomuchdeterminedbyuncertainty.DespiteGoverningMayor

MichaelMüller’spromise togive refugees inBerlinaperspective, the senate’splan tobuild so-called

MUFsandTempohomesinoutlyingdistrictsdecreaseschancesofculturalandsocialinclusion.TheMUFs

(modular accommodations for refugees) and the Tempohomes (container accommodations) lead to

ghettoisationandsocialconflicts, sincetheyaremainlybuilt inareaswith largeright-wingvoterships.

Thus, in a city likeBerlin,wheremost cultural and social activities happen in the city centre,musical

exchangeismademorecomplicatedforallsides,refugees,artists,andinstitutions.

Inmypresentation,Iwanttogiveaninsightintotheongoingmusicalworkofinstitutionsandinitiatives

likeMitMachMusikVerein,FreiraumMusikraum,andNaseerShammaOudHaus,andtheirstrategiesof

dealingwithever-changingspacesofmusicmaking.

The social impact of young people’s music making within a relational ontology: Cultivating

connectednessacrossschoolandoutsideschoolcontexts

YaroslavSenyshynandSusanO’Neill,SimonFraserUniversity,Vancouver,Canada

Asapracticingmusician,educatorandphilosopher Ihavegained insights into thewaysyoungpeople

navigate learning activities. What is particularly striking is that these music activities are sometimes

unrelatedtotheformalcurriculumsintheirschools.Althoughtherearevariousperceptionsthatsucha

disconnectneednothindermusicaldevelopment,wetaketheviewthatitcancreatealackofopportunity

andcontributefeelingsofdisconnectednessinstudentslearningmusic.MyworkwithSusanO'Neillhas

suggestedthatarelationalphilosophyandontologyalongwithIndigenousrelationalitycanbecoupled

witharestorativeparadigmthatcanresultinvarioussynergiesthatcontributetoapositiveexperience

ofmusiclearningthroughsocialimpact.Suchanapproachcontributestoabetterunderstandingofsocial

21

andpersonalselves.

Lastsummer,Iwasmostfortunatetoparticipateviapianoconcertoperformanceswithaninternational

studentorchestra(EurochestrieinSobral,BrazilundertheauspicesofMarcoAntonioToledoandAdeline

Stervinou),thathascontributedinsightsintosignificantsocialimpactsontheartsintheareasofsocial

democracy and the possibility of a latent inequality that can lurk in other such settings that lack

connectedness.Interestinglyenough,ourresearchwithsecondaryschoolstudentsfromthreeCanadian

provinces combined with my recent experience in Brazil contribute to insights that fit into all the

categoriesoffocusforthisresearchsymposium:collaborativeresearch,impactsofcontextandculture,

theconservatory-professionalschoolconundrum(!),musicalrepertoiresandthelatentissuesofpossible

inequalityinculturaldemocracy.

SESSION5|MUSICEDUCATIONATACROSSROADS:INSEARCHOFNEWPATHS(1)

Chair:GraçaBoal-Palheiros,PortoPolytechnic,Portugal

DecenteringElSistema:TheNetworkofMusicSchoolsinMedellín,Colombia

GeoffBaker,RoyalHolloway/InstituteofMusicalResearch,UK

TheNetworkofMusicSchoolsinMedellín,Colombia,wascreatedin1996alongsimilarlinestoElSistema.

Both programs have traditionally focused on collectivemusic instruction, primarily in the symphonic

tradition,with some schools located in poorer neighbourhoods and participants coming from awide

varietyofsocio-economicbackgrounds.Bothdescribethemselvestodayasprimarilysocialratherthan

musicalprograms.

In contrast to El Sistema,however, theNetworkhas gone through several changesof leadership and

direction. Its current director has defined diversity and identity as the program’s new priorities and

determinedthattheNetworkshouldbroadenitscurriculumandprovidemorespaceforreflectionand

creation.Anotherdistinctivefeatureistheincorporationofa“socialteam”withintheprogram.In2017,

this internal teamdevotedconsiderableattention to researchandcritical reflectionon theprogram’s

history,currentstrengthsandweaknesses,andpotentialfutures.

IwillexploreprocessesofchangewithintheNetworkandanalysehowtheyshedlightoncertainissues

inSistema-styleorchestralprograms. Inparticular, tensionsemergebetweenpersonal transformation

and social/politicalparticipation, andbetween themusic school as refugeandas responsive towider

urbanculture,withcitizenshiplyingattheheartofthematter.

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Fosteringmusicidentitiesthroughlocalmusics:ThecaseofMexico’snationaleducationreform


Musicisaninherentpartofculturesandpeople’sidentities(MacDonald&Hargreaves,2002);therefore,

musicisanimportanttooltopromoteawarenessandprideforlocalcultures.Musiceducationhasthe

potentialtofavourabalancebetweentheappreciationoflocalandWesterncultures.InMexico,Western

music(representedmainlybyclassicalmusic)hasbeenportrayedasaformofartthatisconnectedto

highersocietyclass;hence,agoodworthytobeacquiredandvalued,whileothermusicsthatarerooted

in local traditions have been considered notworthy of being included inmusic education curriculum

(Bradley,2012;ShifresyGonnet,2015;Rosabal-Coto,2013).Forthispaper,IwillcritiqueMexico’s2016

nationalcurriculumreformformandatorybasiceducation (grades1 to12),which isportrayedby the

federal government as the most ambitious educational reform inMexico’s modern time, and which

prioritizesaWesternviewofartisticpractice(SEP,2016).Indoingso,aWesterndominantviewofartis

presentedinthemainstreameducationsystem,whichundermineslocalformsandexpressionsofarts.It

isimportantthatlocalculturesarerepresentedthroughmusiceducationasawaytoacknowledgediverse

worldviews.

Transformingmusicteacherpreparationthroughjuxtapositionalpedagogy

FrankHeuser,UniversityofCalifornia,USA

Universitymusicteachereducationprogramstendtoenculturatefutureeducatorsintotraditionalways

of knowing and actingwith the purpose of perpetuating instructional conventions that can be easily

implementedinpre-collegiateclassrooms.Leftunexamined,suchepistemologiesofreproductioncanbe

an impediment to imaginative teachingpractices that could impact the intellectual and social livesof

students.

Thispaperdescribesanapproachtomusicteacherpreparationemployingjuxtapositionalpedagogy.The

approachplacestwocontrastingtraditionswithinaconventionalpedagogycoursewiththepurposeof

encouraging future educators to examine and reconceptualise traditional instructional practices.

Concurrent learning in contrasting traditions (e.g. notation/aural learning; formal/informal practices)

createschallenginginstructionalspacesinwhichthecognitive, intellectualandsocialunderpinningsof

establishedmethodologiescanbedeconstructedandnewapproachesandpurposestomusic learning

mightbeexplored.Forexample,embeddingdifferenttypesofmusicmaking(e.g.clarinetandguitar)into

foundationscoursesdemonstrateshowmusicmaking/learningenhancesandisrefinedbytheacquisition

23

ofconceptualinformation.Thiscosmopolitanphilosophicalorientationbalances“reflectiveopennessto

thenewwithreflectiveloyaltytotheknown”(Hansen,2011).

More than the simple addition of diverse styles to a traditional curriculum, juxtapositional pedagogy

encourages educators to challenge conventionalmusic education practices and develop instructional

approachesthatmightmeetthediversemusical,intellectualandsocialneedsoftheirfuturestudents.

SESSION6|MUSICEDUCATIONATACROSSROADS:INSEARCHOFNEWPATHS(2)

Panel:IsMusicEducationinGlobalDecline?

Convenor:PaulWoodford,UniversityofWesternOntario,Canada

Participants:JoseLuisAróstegui,UniversityofGranada,Spain

AlexandraKertz-Welzel.LudwigMaximilianUniversityinMunich,Germany

BettyAnneYounker,UniversityofWesternOntario,Canada


Ina2016articlehypothesizinga“globaldeclineofmusiceducation,”SpanishmusiceducatorJoséLuis

Arósteguireportedtheresultsofaninformalsurveyofmusicteachereducatorsinternationallyaskingfor

theirperceptionsofanychangesinthe“importanceattachedtomusiceducation”withintheireducational

systemsand reasons foranydecline inenrolments.Respondentswerepessimisticabout the futureof

thoseprograms,attributingreductionsinsocialstatus,resourcesandenrolmentstoneoliberaleducation

reformsand lackof relevanceof schoolmusic to the livesof students.More recently,he reportedon

research inSpainsuggestingthat,notwithstandinganysocialbenefitsofthoseprograms,schoolmusic

classesareperceivedbymanyalumniashavinghadrelativelylittleimpactontheiradultlives.Inthistime

of rapid change and disruption, trustworthy and reliable evidence of the state of music education

internationallycanbedifficulttoobtain.TheproposedpanelsessionwillbuildontheworkofAróstegui

andotherstoexplorewhethermusicandmusicteachereducationmaybeindeclineinternationallyby

comparingempiricalevidenceofthecurrentstatusofmusicandmusicteachereducationinSpain,Canada,

Germany,theUnitedKingdom,andtheUnitedStates.Ourintentionisalsotoprovideaforuminwhich

conferenceparticipantscansharetheirinsightsintoconditionsintheirowncountriesthathavenegatively

impactedtheprovisionandaccessibilityofthoseprograms.Proposalsforradicalreformwillbepresented

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to spark debate about where the fieldmight go from here in raisingmusic education’s profile while

increasingitssocialimpact(s).

Introduction: Toward Establishing a Frame of Reference for Assessment ofMusic Education’s Social

Impact

PaulWoodford,UniversityofWesternOntario,Canada

AbriefintroductionofpanelmembersisfollowedbyreferencetoacomparativestudybyAróstegui,Pitts

andHardcastle(2016)ofmusiceducationexperiencesofSpanishandEnglishprimaryschoolchildrenasa

startingpointforarguingthatmusiceducators“expecttoolittle”ofthem,loweringtheir“expectations

andthoseoftheirparents”forthoseclasses(seealsoMcPherson,2009).Schoolmusicteachershavefor

toolongconceivedoftheirprofessionalroleasthecreationoffutureperformersandconsumers,andless

so also the fostering of composers, arrangers, conductors, theorists, historians, critics, teachers,

philosophers, sociologists, ethnomusicologists and democratic musical citizens who are critical and

creativeparticipants in the “continuous fight for the sanityofmankind” (Frye,1988; seealsoAdorno,

1963).Ifmusiceducationistohavemuchsocialimport,andifresearchersaretoproperlyassessthesocial

impactofschoolmusicmakingor relatedactivities,allconcernedwillneedaboldandcomprehensive

approachtoeducationalaims,curriculumandpedagogythatlocatesmusicteachingandlearningwithin

thecontextsofthewidersocietyanditsproblems.

WhatHaveWeDonewithMusicInstructioninSpainfortheLast25Years?TheImpactofSchoolMusic

EducationonAlumni


ThissessionwillpresentdatafromamajorsurveycarriedoutinSpainadministeredtoalumnitogettheir

opinionsaboutthepersonalandsocialimpactsofmusicinstructionduringtheirmandatoryschooling(6-

16yearsold)ontheirsubsequentlives.Thesample(n=2,000;=95%±2.191%)waschosenfromatarget

populationofallSpaniardsagedfrom22to32yearsoldatthatmoment(N=8,757,085).Resultsshowthat

musiceducationinSpainhashadarelativelylowimpactonthelivesofgraduatesofthoseprograms.While

their experiences with classroom music were valued as average (3 in a five-step Likert scale), many

responded that schoolmusic classeshad relatively little tono impacton theiradult lives.Peoplewith

musicaltrainingoutofschoolsgaveahigheranswer.Womengaveamorepositiveresponsethanmen,

whilealumniwithlowacademiclevelsanddegreesweremorenegative.Locationandsocialclassdidnot

havestatisticallysignificantinfluencesonresults.Althoughthismajorsurveyhastobeputinconnection

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withinformationobtainedfromotherresearchmethods,datasuggestthatthesocialrole(s)schoolmusic

educationisplayingmustberevisitedtakingintoaccounttheschoolcurriculumandpeople’sexpectations.

ChallengesofMusicEducationinGermany

AlexandraKertz-Welzel.LudwigMaximilianUniversityinMunich,Germany

In international music education, there is often a disparity between how foreign scholars estimate a

specificcountry’smusiceducationsystem,andhowpeoplefromtherespectivecountryrateit.Regarding

Germany and themyth of Germans as “musical people” (Rainbow 2012), based on a superior music

educationsystem,thisbecomesobvious.FromtheGermanperspective,musiceducationhasbeenina

constantcrisisforalongtime,withincreasingproblemsinrecentyears.Thechallengesaresimilartothose

Aróstegui (2016) states regarding curriculum, standardized evaluation, available resources and music

educationadvocacy.InGermanschools,numerousmusiclessonsarecancelled,inBavarianelementary

schoolsupto80percent(SWR2017).Reasonsarethatteachersoftenfeelincompetent,orthatmusicis

perceived as an unimportant subject. Teacher education appears to play an important role. Only few

studentsintheprogramforelementaryschoolclassroomteachersatBavarianuniversitieschoosemusic

asaminorsubject,evenfewerasamajor.InGermany,thereisaneedforanewappreciationofmusic

educationinelementaryschoolsandmoremeaningfullifelonglearningactivitiesforteachers,including

part-timeuniversity programs formusic education as aminor subject, and improvedmusic education

advocacy.

ReportontheEconomicChallengesofMaintainingtheAutonomyofAmericanandCanadianUniversity

SchoolsofMusic


Thisisauniquetimeinthehistoryofhighermusiceducationintermsofautonomoussustainability.While

someinstitutionshaveatraditionofcreatingpartialsupportthroughhighenrolmentprograms,research

partnerships, and donor contributions, others struggle as government support continues to decline.

Fluctuationsorsharpdeclines inpublicorotherfundinghavedramatic impactsontheircapabilitiesto

balancebudgets.ApplicationsforBachelorofMusicprogramsacrossOntario,Canadahaveexperienceda

33%declinesince2011whiletheNationalAssociationofSchoolsofMusicreportsthatBMusenrolments

at American universities have declined by 11% since 2011. To offset the impact on budget,

Faculties/SchoolsofMusictypicallyhavefouroptions–increaseddonorsupportandendowments,robust

onlineprograms, increase in international enrolment, andnewprogramsgoingbeyond the traditional

26

WesternEuropeanfocusedBachelorofMusicdegreeprograms.Wearejustbeginningtoexaminedata

collectedfromalumniabouttheirsatisfactionwithuniversitymusiceducationprogramsincontributingto

theirqualityoflife,abilitytopaybackloans,andlevelsofincomeincomparisonwiththosewhograduated

with STEM focused disciplines. These data will be shared with conference participants along with

recommendationsforaddressingtheprofessionalneedsofcurrentandfuturestudents.

Can Music Education be More Than an Endangered Subject in the UK? Rethinking, Retooling, and

ReformingInstitutionalNormsasaCollectiveSnap


IntheUK,withtheEBacc(EnglishBaccalaureate1)notincludingcreativesubjects,experiencingthelowest

uptakeofartssubjectsatGCSE2levelinadecade,theclosureofartsALevels3,andadecreaseinuniversity

artsenrolment,radicalrethinkingisneededtobringtheeducationsectorandartsindustrytogetherto

advancetheco-productionofchange.Anoverviewisprovidedofthelatestdataonchancesandchoices,

departures and deviations from thework usually done in schools and universities.While the political

terrainintheUKisdifficultfor‘pluggingin’andenactingchange,Iwillcritiqueandassessevidencefor

howtechnologyischangingthenaturalandculturalworldsofmusic(andsoundart)experience,education

and practice. I will argue for the need for radically changing, rethinking, retooling, repositioning and

realigning our thinking from an emphasis on epistemology to ontology, or ‘onto-epistem-ology’; to

produceanunderstandingconstitutedintheinseparableconnectionsamongthelinguistic,social,political

andbiological;ashiftwhichrequiresustore-viewandre-thinkwhatconstitutes‘music’withoutbeing

constrainedbythereductivepracticesofmusicmakingwhicharecurrentlyimposedandpassedamong

usasmusiceducation.

SESSION7|MUSICINPRISONS

Chair:JohnSpeyer,MusicinDetention,London,UK

Musical group participation and empathic development: Considering implications for the criminal

justicesystem


The cultivationof empathy is an important but under-researchedpotential outcomeofmusical group

activity.Agrowingbodyoftheorysuggeststhatmusicalgestureandphysicalmovementcarrysocialand

27

affectiveinformationthatcanbeinterpretedbyco-participants(Molnar-Szakacs&Overy,2008),andthat

musicalprocessessuchassynchronisationandimprovisationrequiretheanticipationofothers’musical

actionsinordertoappropriatelyalignone’sownmusicaloutput(Rabinowitch,Cross&Burnard,2012).

Musicalgroupactivitymaythereforecreateaframethroughwhichparticipantscanempathise.

However,fewempiricalstudieshavemeasuredtherelationshipbetweenmusicalgroupparticipationand

thedevelopmentofempathy.Thisgapinresearchmaypreventmusicalprojectsfromarticulatingwhatis

conceivablyakeyinterpersonalaspectoftheirsocialimpact.Focussingonprison-basedmusicalprojects,

Iusecurrenttheoryalongsideinterviewswithpractitionerstoshowhowfurtherresearchhasthepotential

tochallengeassumptionsthattheseprojectscreateonly‘intermediaryoutcomes’–suchasincreasesin

confidence,self-esteem,andcommunicationskills–proposingthattheymayalsotargetafactorlinkedto

criminalbehaviour:adeficiencyofempathy.Extrapolatingfromthisdiscussion,Isuggestthereisaneed

toexamineempathicdevelopmentasapotentialoutcomeofabroadrangeofmusicalprojects.

Buildingnarrativesthroughmusic:AcomparativelookattwomusicprojectsinsideprisonsinPortugal

andScotland

InêsLamela,INET-md,Portugal,KirstinAnderson,TheUniversityoftheWestofScotland,UK

Therehasbeenanexponentialincreaseofresearchconcerningmusicprojectsinsideprisonsinthelast

decade. Music, which has often been viewed as a harmless occupation of time behind bars, is now

recognized as a practice through which prisoners can have creative and stimulating experiences by

developingnewskillsthatcancatalyseapersonaltransformation.Inthispresentationwereflectontwo

differentprojects: ‘Onthewingsofapiano…I learntofly'(Portugal)and‘InspiringChange’(Scotland).

Despitethedifferencesincontext,length,organization,workingmethodsandgoalsbetweenthesetwo

projects,ouranalysisisfocusedinwhatwethinkisthecornerstoneofthiswork:theparticipants.Contrary

tomostoftheresearchwithinmusicinprisons,whichhasamorecomprehensiveandgeneralapproach,

our focus is on specific participants and on telling their unique story. Based on interviews, written

testimonies,videorecordingsandlogbooks,andfollowingJohnDewey’scriteriaofcontinuity,interaction

andsituation,wepresenteightuniquenarrativesthatconcludehoweachprisoner,asa‘musician’,builta

strongandpositivenarrativewithintheconfinesofincarceration.

Lifewithinthesewalls:Communitymusic-makingasabridgeofhealingandtransformationinprison

contexts

MaryL.Cohen,JohnathanKana,RichardWinemiller,UniversityofIowa

28

Thispaperexaminesmusic-makingexperiencesinprisonsthroughthelensofthreedifferentindividuals,

primarilywiththeOakdaleCommunityChoir(OCC).Thiscommunityensemble,basedattheIowaMedical

and Classification Center (IMCC) in Coralville, Iowa, includes incarcerated singers and community

volunteers. Mary Cohen, leader of this ensemble, bases her research on Christopher Small’s (1998)

conceptofmusickinginherchoralsingingpedagogyforthechoirandforanalysisoftheseexperiences.

RichardWinemiller, currently incarcerated at the IMCC, describes how the OCC’s performance of his

originalsong“ThePersonISee”enhancedhisrelationshipswithhismotherandsister.JohnathanKana,a

returningcitizen,reflectsonhisparticipationinaTexasprisonbandandtheOCC’spremiereofhisoriginal

composition“LifewithinTheseWalls.”Incorporatinginsightsfromtheseexperiencesandherresearchon

thistopic,Cohenreexamineshertheoryofinteractionalchoralsingingpedagogyinlightofourcombined

reflectionsandwriting.Weconcludethatwell-intentionedandappropriatelyfacilitatedcommunitymusic-

making opportunities in the prison context offer a peculiarly transformative context for exploring,

affirming, and celebrating ideal relationships. Over time, such initiatives may change community

perspectivesonprisonersandpromotemoremeaningfulsocialintegrationofreturningcitizens.

ReflectionsonFutureResearchinMusicandCriminalJustice

JamesButterworth,UniversityofOxford

Thispresentationprovidesareportandcriticalreflectiononthe‘MusicinPrisons/Detention’workshop,

tobehostedattheUniversityofOxfordon9April2018incollaborationwithSIMM(SocialImpactofMusic

Making). Theworkshop is limited toa small numberof invited researchers, charitymanagers,musical

practitionersandprisonstaff.Thispresentationaimstoextendthedebates,questionsandideasraisedat

the workshop to the wider SIMM community both as a record of the workshop and as a means of

stimulatingfurtherresearchanddiscussion.Theworkshopitselfwillconsiderexamplesofbestandworst

practice in relation to music in prisons/detention, prisoner-staff relationships, ways of overcoming

challenges facedwhenworking in thecriminal justice sectorandwaysof fosteringmutually-beneficial

relationshipsbetweenresearchersandpractitioners.Italsointendstotakeacriticalapproachtomusicin

criminaljusticesettingsbyproblematizingbothromanticisednotionsofmusic’stransformativepowersas

wellasviewsaboutmusicandtheartsasinsignificantluxuries.

SESSION8|OPPORTUNITIESFORMUSICMAKINGTHROUGHOUTTHELIFESPAN

Chair:MartaAmico,UniversityRennes2,France

29

Whatstopspeoplegettinginvolvedinmakingmusic?


Thereisagrowingwealthofevidenceonthepositiveeffectsofmusic-makingonchildrenandadultsin

termsofitsphysical,mental,psychological,socialandcommunitybenefits,withstudiesaroundtheworld

converging to argue for the importance of music-making in societal change. This paper makes some

powerfulargumentsaboutwhatpreventspeopleofdifferentagesfromengagingwithmusic-making.It

willdrawonevidencefromtwodifferentongoingresearchprojectsatoppositeendsofthelifespan.The

first is exploring the perceived and actual barriers tomusic participation (with a focus on playing an

instrument)inchildrenaged6-11,includingchildrenwithandwithoutphysicaldisabilities,fromdifferent

partsofEngland.Focusgroupsarebeingconductedatpresenttoestablishwhatchildrenfeelthemajor

barriersaretoparticipation,particularlyamongstthosewhochoosenottoparticipate.Thesecondproject

looksatanongoingcasestudyofanolderpeople’schoirinacityinEngland,alsoattemptingtoaddress

issues of reluctance to participate. The particular challenges of researching already-disengaged

populationsonatopictheyfeellittlecommitmentto,despitebeingawareofitspotentialsocialimpact,

willbeakeytopicfordiscussion.

MusicEducationatseniorAge:FromOrff-Schulwerkapproachtolivedemotionsandsocialimpact(s)

JoãoCristianoCunha,INET-md,PolytechnicInstituteofBragança,Portugal

Portugal is the country with the highest number of active Senior Universities (SU). This work shares

emotionsexperiencedattheOrff-Schulwerkapproach‘Music,MovementandDance’weeklyclassesfrom

aSUofNorthernPortugal,aswellas thepersonaland thesocial impactevaluatedby senior students

(n=45)withagescomprisedbetween59-82yearsold,duringonesemester(2017/2018).Itisrevealedthat,

throughOrff-Schulwerk(OS)approachactivities,seniorstudentslivepositiveemotionsthatseemtohave

relevant impact intheirpersonalandsocial life.TheOSclasses involvesspeechactivitiestoencourage

activemusicmaking,singing,body(andOrffInstrumentarium)percussion,movementanddancinginthe

searchforaholisticdevelopmentofthehumanbeing.

Thecollectionanddataanalysishasamethodological supportbasedonFlowTheory (Csikszentmihalyi

work), particularly the adaptation to theMusic Education context (Custoderowork) throughAFIMA -

AdaptedFlowIndicatorsinMusicalActivities.

Inconclusion,OSclassespromoteaccesstomusicmakingandlearning,andtheresultsindicatethatsenior

students lived high degrees of positive emotions (Happy; Cheerful; Excited; Involved; Alert; Satisfied;

30

Successful).Accordingtotheirowntestimony,alltheexperiencedemotionsseemtohavestrongimpact

intheirpersonal/sociallives.

PUBLICPLENARYSESSION

KeynoteLecture:DisruptingtheStatusQuo:YoungMusiciansinActionsthatCreateChange

SusanO’Neill,SimonFraserUniversity,Canada

Chair: GraçaMota,PortoPolytechnic,Portugal

Panel: GloriaZapata,FundaciónUniversitariaJuanNCorpas,Bogotá,Colombia

LukasPairon,SIMMplatform,UniversityofGhent,Belgium

SusanaSardo,UniversityofAveiro,Portugal

Thispublic lecturewillbefollowedbyaQ&Asessionandapaneldiscussionofthekeythemesarising

fromtheSymposium.

Susan O’Neill’s keynote considers and reflects critically on young people’s experiences of the social

benefitsofactiveparticipatorymusicmakingfromtheperspectiveofyouththemselves.Morespecifically,

Iconsiderhowmaking(up)musicenhancesyoungpeople’slivesnotbyuncoveringpre-existingfactsabout

theworldbutbyattendingtointerferencesanddifferencesthatareenactedandilluminatedthroughthe

co-constituted forceofmusicengagementwithinparticular learningecologies. Theorizingabout these

transformativeprocessesisoftentracedbackedtoDewey’s(1916)notionofexperientiallearning,which

is“tomakeabackwardandforwardconnectionbetweenwhatwedotothingsandwhatweenjoyor

suffer from things as a consequence” (p. 147). For us to grasp themeaning of our actions, we need

interactionandcontinuityofanon-goingactiveprocessthatleadsto“thediscoveryoftheconnectionof

things” (p. 147). However, making meaningful connections is often assumed to be predominantly a

cognitiveprocessandamirroringof reality,as if reflectingonexperience isaboutextractingobjective

representations fromtheworld.Recentcontemporaryapproaches to relational theorieschallenge this

assumptionandprovideadifferentlensthatdisruptsthestatusquointhinkingabouthowwevalueor

imagine the social impact of young people’s music engagement. Drawing on interviews with young

musicians, I discuss the implications for empowerment and a social justice orientation that shifts the

emphasisfromparticipationtocontribution.

31

FULLPARTICIPANTLIST

CONTACTDETAILSANDEXPRESSIONSOFINTEREST

AdelinaStervinou,UniversidadeFederaldoCeará/CampusSobral,Brazil

[email protected]

ParticipatinginSIMM2018isanopportunitytosharetheknowledgeinmusiceducationareawithfamous

researchersofseveralcountriesandsharepartofourworkdevelopedattheFederalUniversityofCeará

(UFC)Campusof Sobral. InourMusicProgramatUFC in Sobralweworkwith themusical instrument

collectiveteachingmethodologywhichbringmusicalandsocialbenefitstoourstudents.Wealsotryto

bringforourstudentsinternationalexperiencesandoverturetotheworldanditsdifferentcultures.By

doing that we intend to show to our students the potential of music education as a tool for social

transformationinaworldmarkedbyglobalexchanges,andtolearnnewideasfromscholarsconcerned

about the social impactofmakingmusic.Thepaper submitted toSIMMPortocomes froma research

developedwithmycolleaguesoftheUFCSobralMusicPrograminaninternationalcooperationproject

withSusanO’Neill,apartnershipbetweenourUniversityandtheModallaboratoryattheSimonUniversity

inVancouver.ThisSymposiumwillbetheoccasiontopresentthisprojectforotherresearchers,anditwill

be the occasion tomeet others famous researchers like John Sloboda. I am Professor at the Federal

UniversityofCearáinSobral(Brazil),MemberofthePESQUISAMUSResearchGroup,ResearchAssociate

of the MODAL Research Group/Simon Fraser University and Research Associate of the LLA-CREATIS

ResearchGroup/FederalUniversityofToulouse.Iamworkingincognitionandmusiceducationareas,and

IamalsotheconductoroftheUFCSobralSymphonicOrchestra.

AilbheKenny,UniversityofLimerick,Ireland

[email protected]

I am a Lecturer ofMusic Education atMary Immaculate College, University of Limerick, Ireland. This

academicyearIamonaEURIASfellowshipattheHanseInstituteforAdvancedStudyinGermanywhereI

am examining the musical lives of children of asylum seekers. I hold a PhD from the University of

CambridgeandasaFulbrightScholarspenttheyear14/15atTeachersCollege,ColumbiaUniversityand

NewYorkUniversity.PreviouspositionsheldincludeResearchFellowatDublinCityUniversity,Primary

Teacher,andArtsandEducationOfficeratTheArk.Ihavelednumerousprofessionaldevelopmentcourses

andamactively involved in communityprojectswhich includesdirecting theMICChildren'sChoir.My

researchfocusesonthesociologyofmusiceducationandIconsistentlypublishinpeer-reviewedjournals

32

suchasResearchStudies inMusicEducationandMusicEducationResearch,aswellaswithinbroader

educationfieldsinjournalssuchasTeachingandTeacherEducationandThinkingSkillsandCreativity(see

publication list at http://www.mic.ul.ie/academicdepts/music/Pages/ailbhekenny.aspx). My first

monographCommunitiesofMusicalPracticewaspublishedbyRoutledgein2016.University-community

linkshavealwaysbeenimportanttometohelpaddressaccessandelitismissuesformarginalisedgroups.

ThissenseofsocialjusticenodoubtstemsfrommyownprimaryteachingexperienceininnercityDublin

forfiveyears.Sinceenteringacademia,Iconsistentlylinkmyteachingandresearchwiththepublicsphere.

Oneofmycurrentresearchprojects,investigatingthemusicallivesofchildrenofasylumseekers,testifies

tothis.

AixaPortero,UniversidaddeGranada,Spain

[email protected]

IworkasanAssociateProfesorsince2005attheFacultyofFineArtsofUniversityofGranada.IamaPlastic

Arts artist trained at Sint Lukas Hoger Instituut (Brussels), the Visual Arts Research at the L’Ecole

Supérieured’ArtVisuel(Geneva),atPietZwartInstitute(Rotterdam)andatUniversityofCalifornia(San

Diego,USA).AgoodpartoftheresearchIcarriedoutinthislastinstitutionlednotonlytoanEuropeus

Doctorate(2006)butalsotoawide-rangesetofplasticworks,featuringadozenindividualandmorethan

fortycollectiveexhibitionsbothatnationalandinternationallevel.Throughoutmycareer,Ihaveexhibited

in locations such as Brussels, Geneva, Rotterdam, San Diego, La Habana, Los Angeles and Paris. I am

currently studying viola at theMusic Conservatory ofMálaga (Spain). As an artist,mywork drawson

philosophy, narrative,music and poetry, generally combining painting, sculpture,music, photography,

installationandnewtechnologies.Youcanfollowmyartworkatwww.aixaportero.com.Asaresearcher,I

am a member of the Institute of Peace and Conflicts of University of Granada

(http://wdb.ugr.es/~eirene/en/)andsomyscientificoutputfocusesontheimpactofArtandTechnology

inSociety,CultureandPeace.Myinterestinthissymposiumderivesfrommyartisticconceptofcreation,

whichmakesmelookforwardtolearningfromandsharingexperienceswithotherexpertsinrelatedareas

andsimilarinterestsworldwide.

AlainDeWaele,FundBailletLatour,Belgium

[email protected]

Directorinseveralphilanthropicinstitutions(InternationalPolarFoundation,FondationVocatio,Friends

ofseveralmusea).Advisor inpublicandprivate(cultural) institutions.FormervpgeneralaffairsofAB-

33

InBevbrewery.Maininterest inphilanthropy(medicalresearch,education,cultureandOlympicsport)

and the organisation of events/projects in order to move people towards better understanding of

philanthropicgoalsandsupportofhighachievementsandinitiativesinsocietaldevelopment,inparticular

ofyoungpeople.Promoteandencourageexcellence:the«SIMM»projectisawayofachievingthis.


[email protected]

Ihavebeenresearchingissuesofparticipationandinclusioninmusicsince2000.Myearliestworkinthis

fieldfocusedonthequestionofmusicalidentitiesinchildrenandhowtheseareaffectedbycontext.This

introducedtheimportantquestionofwhatbeingamusicianmeanstoyoungpeopleandhowsomeself-

definethemselvesoutof futureengagement. Imovedontoresearch intochildren’sattitudestowards

musicmorebroadly,exploringhowthestructuralfeaturesofeducationcaninfluenceparticipation(e.g.

provisionofopportunitythroughschemessuchaswholeclassvocalandinstrumentaltuitionintheUK,

linkswithprofessionalmusicgroups,andfunding).MorerecentlyIhavebeenexploringhowadultsengage

withmusicacrossthelifespan,focusingonexperiencesduringchildhoodandimportantlifeeventsand

theeffectsthesehave.Thisworksuggeststheimportanceofalifespanperspectiveinunderstandingmusic

beyondschool,andhighlightsthatexperiencesatschoolcanbeverylong-lasting.Manyolderparticipants

wereputoffmusicbyadultsandgatekeepersataveryyoungage,anditisencouragingthattheseresults

showsomeofthemfeelsufficientlymotivatedtopickupmusic later in life.Mostrecently Ihavebeen

workingcloselywithacommunitychoirforolderparticipantsovertime,investigatinghowagroupcan

continue to develop over a long time span (10 years) with changes of membership, leadership and

organisation.


[email protected]

AlexistheLearning&ParticipationatHuddersfieldContemporaryMusicFestival,anannual10-dayfestival

inNovember,whereshedesignstheeducationprogrammeaswellasactivitiesplannedovertheyearthat

include innovative community music and arts workshops, inclusive for all groups, from babies and

toddlers, children and young people to adults, minority groups, emerging artists and more. She has

considerableexperienceteachingprimaryschoolmusic,deliveringradioproductionworkshopstoyoung

people including refugees/asylum seekers and also private instrumental teaching. Her academic

background is in Ethnomusicology, studying a masters at School of Oriental and African Studies; her

34

researchfocussedongenderandmusic,specificallyinNorthAfricawithtraditionalall-womenensembles

intheMarrakechregionofMorocco.AlexisalsoaradioproducerandDJ,whereshehostsamonthlyshow

ononlineplatformNTSRadiocalledWhirldfuzzz,discussingandplayinganeclecticmixofgenresoften

throughananthropologicallens.SheDJ'sunderthesamemonikerandperformslocallyandworldwide.

AlixDidierSarrouy,INET-md,Portugal

[email protected]

Art as a tool for education and social change has always been at the centre of my academic and

professionalwork. Intermsofknowledgeandqualifications, it'sbeen11yearssince Istartedstudying

musicasawayforemancipation.DuringmyPh.D.Iwroteasociologythesiswiththefollowingtitle:"Actors

inmusiceducation:comparativeethnographybetweenthreenúcleosinspiredbytheElSistemaprogram

inVenezuela,BrazilandPortugal."Ispentfourmonthsineachcountrydoingintensivefieldwork.Istudied

thebeautyandthecomplexityofsocialrelationshipsinnúcleosandbetweenalltheir‘actors’.Iaddedthe

powerofinfluencecomingfromthesocialenvironment(neighbourhood,city,culture...).Ihavewritten

severalscientificarticlesandmadeovertwentycommunicationsonthesesubjectsforallkindsofpublics

inseveralcountries.To this I joinmyexperienceasaprofessionalmusicianandasocialworker. Very

recentlyihavejoinedthePortugueseInstituteofEthnomusicology–studiesinmusicanddance(INET-

MD),asanintegratedresearcher.

AnaGama,SchoolofEducation,Lisbon,Portugal

[email protected]

AnaGamaholdsaPhDinAdministrationandEducationalPolicyfromUniversidadedeLisboa/Institutode

Educação. Since 2008 she is Adjunct Professor at Escola Superior de Educação de Lisboa, and since

2017/2018,co-coordinatoroftheCommunityMusicdegree,supervisingseveralcurricularinternshipsand

teaching the followingcourses:ModelsofCommunity InterventionandProjectManagement.Shealso

supervisesseveralinternshipsintheBasicEducationandSocioculturalAnimationdegrees.AnaGamais

currently the coordinator of the research project “COMMUS. Making music, living the community”,

financedbyCIED,andhaspreviously integrated,asaresearcher,theprojects“SexualityandGenderin

EducationalContexts”,developedbyinEDinpartnershipwithCIED,CICS-Nova(Set.2015toDec.2017);

and "Local Strategies of Improvement of the School in Disadvantaged Areas: Public and private

intervention programs" (2011-2013, financed by the FCT). From 2009/2010 to 2014/2015 shewas an

officialconsultantfortheMinistryofEducation,intheevaluationandmonitoringofseveralTEIP2Public

35

Schools.HeracademicactivityincludesCo-authorshipofthreearticlespublishedinscientificjournalsas

wellasseveralcommunicationsandarticlespublishedinconferenceproceedings,bothasauthorandco-

author,heldinnationalandinternationalcongresses.

AnaLuísaVeloso,PortoPolytechnicInstitute,Portugal

[email protected]

MynameisAnaLuísaVelosoandIamaPostdoctoralFellowatCIPEM(ResearchCenterinPsychologyof

MusicandMusicEducation)–Branchof INET-md (InstituteofEthnomusicology–Studies inmusicand

dance)atthePortoPolytechnic.Throughoutmycareerasateacher/researcherandalsomusician,Ihave

taught in several primary/ middle schools and also at the College level, in both undergraduate and

postgraduatecourses.SincethebeginningofmyPhD,myresearchinterestshavebeenmainlyfocusedin

theways projects involving collaborative creativity and collectivemusicmakingmight have a positive

impacton thepersonalandsocialdevelopmentand transformationof childrenandyouth.Within this

context, I am know the principal investigator of two research projects: a) Seeds of Art: Building

opportunitiesforsuccessinschool,whereaninnovativecurriculum,withastrongemphasis inthearts,

collaboration among teachers and pupils, and interdisciplinaryity, is currently being developed and

evaluated;andb)Creatingbridgesbetweenartistsandeducators,aprojectthataddressesthethemeof

musiceducation,thinkingpreciselyofthebridgesthatcanbeestablishedbetweentheworkdevelopedby

musicians,innon-formalandinformalcontextsandtheworkthatiscarriedoutbyteachersandeducators,

intheirdailyactionsatschool.CurrentlyIamalsoamemberoftheboardofdirectorsofthePortuguese

AssociationofMusicEducation,editorinchiefofthePortugueseJournalofMusicEducationandalsothe

PortugueserepresentativeoftheINACouncilatISME.

AnDebisschop,SchoolofArts,Ghent,Belgium

[email protected]

Myprofessionalbackgroundiscompletelyorientedtowardscommunityartspractices;atdifferentlevels

and in different geographical contexts. I wrote a Phd focused on community arts discourses

(policy/press/science) in both Flanders (Belgium) and the Western Cape (South Africa). During this

researchtimeIlivedparttimeinSouthAfrica,butalthoughmylifeItravelledalottovisitandresearch

communityartspractices(embeddedinprofessionalartscontexts,insocialworkcontexts,indevelopment

cooperation).IwasthedirectorofDemos-Flemishsupportorganizationforcommunityarts-for5years,

andamnowteachinga.o.thistopicattheteachertrainingdepartmentoftheSchoolofArtsinGhent.I

36

teachtostudentsofallartisticdisciplinarybackground(drama/visualarts/music/design),andamfocused

in thatonhowanartist/art teachercandevelopaproductivedialoguebetweentheartisticandsocial

aspectsinthesekindofprojects/organisations.Takingitfromthere,myinterestintheconferencetheme

isobvious,asformusiciansworkinginthisprojectsfindingthesekindofbalanceiscrucial,thoughoften

thistopicisoftenneglectedoronlymarginallypresentintheirprofessionaldevelopmentasamusician.I

believethatthisischangingorshouldchange,asmusiccanplayavitalroleinsocialchange(thatisonly

neededmorenowadaysassocialinequalityisgrowing),butthiscanonlybethecaseifmusiciansaswell

learntobeactivewithdifferentsocialgroups.Fortheartsschoolitisthecasethat,inordertoplayour

roleas 'activeagent' inahighlyunequalsocietybetter(e.g.reflectedinthechoicesbeingmadeinthe

curriculum),moreexpertiseisneededonsocialimpactofmakingmusic,andhowthispotentialcan-ina

criticalway-influencetheartisticandpedagogicalskillsweaimatintheartsschool.

AndreaRodríguez,AndreaRodríguez(SEMPREAward),UniversityJaumeIofCastellon,Spain

[email protected]

Socialworkerandmusician.Herworkfocusesonpeacebuildingtroughcollectivemusicalprogrammesin

Colombia. She is a PhD candidate at UNESCO Chair of Philosophy for Peace - Institute for Social

Development (University Jaume IofCastellon, Spain),withadoctoralprojectentitled“A studyon the

collective musical programs as spaces for social reconstruction in communities with victims of the

Colombianarmedconflict”.SheundertookaresearchexchangeattheRobertOwenCentreforEducational

ChangeoftheUniversityofGlasgowbetweenSeptemberandDecemberof2015.Currentlysheismember

ofthePeaceProgrammeattheNationalUniversityofColombia.

AlbertoCabedo-Mas,UniversityJaumeIofCastellon,Spain

[email protected]

AssociateProfessorinMusicandEducationattheUniversityJaumeIofCastellón,Spain.Heisauthorof

severalpublications in internationalandnationalbooksand refereed journals.He is co-directorof the

journal“Eufonía:DidácticadelaMúsica”andservesaseditorialboardmemberinseveralnationaland

international academic journals. His research interests include music education, musical heritage,

coexistence,interculturalityandthetransmissionofmusicacrosscultures.

We twowish to attend to the seminar due to our interest in the research topic.We have concluded

internationalresearchprojectsusingmusicasatooltosocialchangeandwehaveinterestindeveloping

37

newcollaborativenetworksthatmayresultinsharingandcooperatinginfurtherresearch.Theseminaris

agoodopportunitytomeetpeoplewhosharesimilarinterests.

AndrewManning,EuropeanConcertHallOrganisation,Brussels,Belgium

[email protected]

TheECHOnetworkbrings together21ofEurope’s leadingconcerthalls (ranging fromthe19thcentury

Concertgebouw Amsterdam through to the Philharmonie de Paris and Elbphilharmonie Hamburg).

TogetherasaEuropeannetworkweworkonthreecoreareas:a)Professionalexchange,workinggroups

fortheCEOsofallmemberhallsaswellastheHeadsofEducation,ArtisticProgrammingandMarketing.b)

Shared initiatives, which include regular artistic commissions, a young artists’ series, research and

seminars.c)Advocacy,ontopicswithinoursectorsuchasMusicEducationordigitalstreamingbutalso

political lobbying tonational governmentsor at EU level. ECHOhasbeenawardedEU funding for the

period2018-2021toleadaEuropeanPlatformsupportingemergingtalentinclassicalmusic.LukasPairon

came to present the SIMMplatform at this year’sworking groupmeeting of theHeads of Education,

LearningandParticipationofalloftheECHOhalls.FromECHO’spointofviewweareinterestedtoattend

the Porto seminar to learn about the range and specific research interests of the SIMM community

involved in thehope thatwecan link these researcherswhereappropriate tomusicpractitionersand

educationalistswithinournetworkandbeyond.PriortoECHOmypreviousroleshaveincludedHeadof

Arts at theBritish Council in France andworkingwith theBBCMusic department andNational Youth

OrchestraofGreatBritain.

AnemoneG.W.vanZijl,MaastrichtConservatoryofMusic,NL

[email protected]

I have a background in Arts and Cultural Sciences (BA with distinction, Maastricht University, The

Netherlands),Science,TechnologyandSocietyStudies(MPhil,MaastrichtUniversity,TheNetherlands),

andMusic Psychology (MScwithdistinction, KeeleUniversity,UnitedKingdom). I obtainedmyPhD in

MusicCognitionResearchfromtheUniversityofJyväskyläinFinland.Assuch,Iamatrulyinterdisciplinary

scholar,beingabletointegrateinsightsandapplymethodsfromcontrastingresearchparadigms,taking

intoaccountthecomplexityofdifferentcontexts. Ibelieveinthepotential impactofmusic,andmusic

practitionersareofspecialinteresttome.TheworkI’mmostknownforfocusesonperformingmusicians,

theiremotions,andtheeffectoftheiremotionsonperformancecharacteristicsandaudienceperception.

AsaresultofmypreviousandcurrentjobsinaMusicTherapyandMusicEducationdepartment,myfocus

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hasshiftedmoreandmorefrommusiciansontheconcertstagetowardsmusiciansinmusiceducationor

music therapy context. In addition to the practical teaching of students to become qualified music

therapistsormusiceducators,I’minvestigatingthepsychophysiologicaleffectsofmusictherapyandthe

socialimpactofmusiceducationasamemberoftworesearchteams.IwouldliketoattendtheSIMM-

posiuminordertosharethe latest insightsonexperienceswithandresearchintothesocial impactof

musicmaking.TheSIMM-posiumwillbeagreatinspirationformypracticeasalecturerinmusiceducation

andprovide input for thespecialisation Iamrunning.Moreover, theSIMM-posiumwill formthe ideal

settingtogettogetherwiththe‘SIMMImpactonPractitioners’teamledbyJohnSloboda.


[email protected]

Forthelastsevenyearsmyresearchhasfocusedondocumentingandanalysingthemultifacetedusesof

musicindetentionincold-warGreece(bothfromtheauthoritiesbutalsooftheprisonersthemselves),

focusingnotonlyonthepracticesusedbutalsoonthe(long-term)effectsonprisoners.Iamalsointhe

processofdevelopingresearchprojectswithpresentsituationsofdetentioninGreece(bothprisonsand

refugeecamps),soparticipatingattheconferencewouldbeofgreatimportancetome.

AntónioÂngeloVasconcelos,PolytechnicInstituteofSetúbal,CIPEM-INET-md,Portugal

[email protected]

Inthedifferentiatedcomplexitiesthatcrosscontemporarysocieties,problemsrelatedwiththeconviviality

betweendifferencesandsocial,culturalandschoolinclusionareparticularlyrelevant.Artsingeneraland

musicinparticularhavebeentakingdifferentrolesinreconfiguringtheidentitiesofvulnerableaudiences

bymobilizingparticipatoryandcreativemodesandprocessesinwhichchildren,youngpeopleandadults

arenotmerelypassiveagentsbutarecentralintheco-constructionofartisticandformativework.Within

this framework, theproject "Otherbands - Instrumentsof Inclusion" is inscribed. "OtherBands" is an

interventionandresearchprojectinwhich,startingfromaproposalofPublicHigherSchool,asetoffive

wind bands were created in different Schools of Almada. Through collaborative musical and artistic

practices,oneseekstocontributetothereconstructionof the identitiesofchildrenandyoungpeople

aged10-15fromdisadvantagedbackgroundsandwithproblemsinschoolsuccessandincreasetheirlinks

todifferenttypesknowledgeandcommunitiesofbelonging.Itinvolvesnotonlythecreationoforiginal

works commissioned to Portuguese composers aswell as the arrangement ofworks designed for the

particular contexts of each instrumental grouping and its inscription with the artistic work of the

39

philharmonicbandsandothergroupsinthecommunity.Inthiscontext,theinterestinparticipatinginthis

symposiumhasadoubleobjective.Ontheonehand,sharesomeofthepreliminaryresultsoftheresearch

work inwhich children and young people are questioned about perceptions of the different types of

impactsthattheplayingandmakingmusictogetherproduceintheirpersonal,schoolandcommunitylife.

Ontheotherhand,throughthediscussionandcriticalanalysisofthecolleagues,interrogatetheanalytical,

interpretativeandmethodologicalframeworktofostertheinterventionandanalysisoftheeducational-

artisticandinvestigativeworkaboutthedifferenttypesofimpactsofmusicinthepromotionofCultural

democracyandintheaccesstomusicmakingandlearning.

CarmenRamirez-Hurtado,UniversityofGranada,Spain

[email protected]

I got my PhD in 1992 with a dissertation about Music in Plato —summarizing the title—, from the

philosophicpointofview.Atthesametime,Ihadfulfilledmystudiesattheconservatory,astwodifferent

andparalleltrajectories.ButasIgotapositioninaFacultyofEducationinthefieldofMusic,Irealizedof

themutualimplicationofbothareas,andIgotinvolvedincomprehensiveactivities,asconductingchoirs,

workingwithchildrenatschools,andtryingto leadthiswork fromthedeepconceptsandconvictions

aboutpersonsandsocietyasworkofart,withastronghumanisticandspiritualmark.Nevertheless,itwas

my engagement with the Institute of Peace and Conflicts of University of Granada

(http://wdb.ugr.es/~eirene/en/)thatmademereallyfoundmyplace.Iwasworkingintheimplementation

of the Master Degree in Peace Culture, Conflicts, Education and Human Rights

(http://www.ugr.es/~masterculturapaz/main_english.html),acollaborativeintercollegiateprojectamong

fourAndalusianUniversities(Granada,Málaga,CórdobaandCádiz).IwascoordinatorofthatMasterfor

atimeandnowIamamemberoftheacademicboardandsoIteachcompulsoryandoptionalcoursesor

tuition. At the Institute I started a research line onmusic and peace that intends to be an extensive

approach,comprisingtraditionalinquiryandotherpractices.Regardingmyresearch,forthelasttenyears

Ihavefocuseditintherelationshipofmusicandpeace,thereforeincludingmusicimpactinsociety.This

iswhyIaminterestedinparticipatingintheSIMM:theresearchareasandeventhemethodologycoincide

withmineinthelastyears.


[email protected]

IcompletedanM.St.inMusicology(supervisedbyProfessorEricClarke)atOxfordUniversityin2016.My

40

work focused on exploring the social benefits of group music participation. I considered whether

performing in anorchestra can increase self-esteem, and I explored the relationshipbetweenmusical

groupactivityandempathy.Formydissertation, Ispentthreeweeks inGhanaexaminingtheeffectof

musical participationon social bonding, perceptionsof social support, andpeer-relatedproblemsat a

children’shome.DuringthisdegreeIalsoworkedwithOxfordUniversitiesNHStoevaluatetheir‘Music

on theWards’ programme, assessing the impact of the project on patients, visitors and staff. I work

currently as the Trusts& Foundations Coordinator at the London SymphonyOrchestra,where Iwrite

fundingproposalstosupportLSODiscovery–anaward-winningeducationandcommunityprogramme,

whichreachesover60,000people,fromadiverserangeofbackgrounds,everyyear.Ihavethepleasure

of seeing the broad range of LSO Discovery projects first-hand. I have previously worked with the

PhilharmoniaOrchestra andOrchestras For All.My future aim is to complete further interdisciplinary

researchintothesocialimpactofmusicparticipation,andIhopetoembarkonadoctoralprogrammein

thenext coupleof years. I believe that attending this conferencewill beanenrichingexperience that

broadensmyknowledgeandunderstanding,andIwouldbethrilledtoparticipateandsharewithsuchan

eminentcohortofscholars.

ConsueloPérez-Colodrero,UniversityofGranada,Spain

[email protected]

As a teacher and researcher, my professional practice and output has focused and encouraged the

understandingandpromotionofAndalusianCulturalHeritage,asameansofendorsingandempowering

group and individual identity in postmodern society. More specifically, I have approached

historiographical, cultural and gender studies, considering them valid instruments to fulfil the

aforementionedobjectives.Morerecently Ihavealsobecome interested inMusicEducation,primarily

fromlegislationanddisabilitypointofview,consideringtheyareaswellafundamentalwayofmeasuring

andunderstandingmusicsocialimpact.Myinterestinthissymposiumderivesfromtheorientationand

senseofbothmyteachingandresearchinginterestsinmusicanditssocialimpact,lookingforwardtolearn

fromandmeetandfostersuccessfulandfruitfulrelationshipswithotherexpertsinthefieldworldwide.

CraigRobertson,Min-OnMusicResearchInstitute,Tokyo,Japan/NordoffRobbins,London,UK

[email protected]

My research interest is in the roleofmusicalexperiences in social changeand the interplaybetween

articulationsofidentities,memories,emotionsandbeliefsandtheirinfluenceonsocialbehaviour.Iam

41

particularlyinterestedinhowthisresearchcanbeappliedinpeacebuildingstrategiesandeducationaland

cultural policymaking. More recently, I have been exploring how this research relates to current

developmentsinpublichealthandwellbeing.Thissymposiumisofparticularrelevance,sinceitinvolves

socialimpactandmusic-making.Oneofthekeyelementsthatislackinginmuchofthisresearchiseffective

evaluation.Thusfar,modelsborrowedfromotherdisciplineshavenotbeeneffectiveenoughtouseasa

projectplanningtool.Iamkeentomeetanddiscussthisissuewiththeattendees.Ihavebeenworking

withafewNGOsonthismatteranditwouldbeveryusefultohaveaworkingmodelofmusicandsocial

impactandhowtomeasureit,notonlytoimprovepracticebutalsoforlobbyinggovernmentforsupport

andpublicopinionaswellastoattractfurtherfunding.

DirkProost,ConservatoireofAntwerp,NL

[email protected]

Professionalroles:Co-founderofChampd’Action,ensembleofContemporaryMusic,Antwerp.Teacher

ofOboeandContemporaryMusic+FreeMusicandCommunityMusicatTheMusicAcademyofLierand

attheAPHighSchool,departmentMusic(ConservatoireofAntwerp).Since2000Ihavebeenmakingmusic

withallpopulationsofsocietyandallages.ThisexperiencebroughtmetoavisionwhichIcallAMI:A=

Art:Everythingrelatedtoart intriguesandinspiresme.M=Music:Everything ismusic,everybodyisa

musician.I=Investigation:Myprojectsareaconstantresearchinhowtoconnectpeopletroughmusic

andart.InthisspiritIdevelopedmanyprojects,suchasMULTICOLORSandIN/OUT:For‘MULTICOLORS’I

developedagraphicscore.Thisisalargefloorscoretostimulateteamworkandinteraction.Theconductor

offers through its course and movements some parameters (rhythm, dynamics, combined action,

silence...)WiththisprojectIhadthepossibilitytoconnectforeignyoungsterswithseveralAcademiesof

Art fromAntwerp. ‘IN/OUT, Escape ThroughArt’ is amultidisciplinary art projectwithmany different

participants.Professionalartists,artistsintrainingandmanyamateursaregoingincommunicationwith

inmates.Theprojectstarts inprisonwhereIdevelopseveralactswiththeprisoners.Theseactsorthe

processofitarefilmedorrecordedandtakenoutoftheprison.Alltheotherparticipantsstarttoassimilate

ortointerpretthismaterial.Theresultsareshownonarepresentationthatisfilmedandshowntothe

inmatesagain.Thiscirclemovementhadanamazingeffect:‘Theinmatesstartedmakingplansforfuture

projects’. InallAMI–projects I aim tomakecommunication throughmusicamongall sectionsof the

populationwithafocusonpeopleofthevulnerablesociety,refugeesandprisoners.Ijoinedthetwofirst

SIMMposiainGhentandLondon.

42

EnaPervan,CommunityArtsLab,Austria

[email protected]

IworkasaGrantManager for theCommunityArtsLab (CAL),anewunitwithinPorticus.CALaimsat

fosteringsocialchangethrougharts.Wefocusonprojectsinthefieldofmusicandperformingartswitha

social impact. We believe that Community Arts, leveraged effectively and to a high standard, are a

powerfulandunderexploitedforce,capableofsettingthestageforthesocialchangetheworldneeds.

Theyprovidea safe space forpeople–especially in timesof crisisandconflict– tonurturehopeand

resilience, to discover their full potential, build bridges through common language and, ultimately,

contributemeaningfullytothecommongood.Tothisend,wepartnerwithartists,educators,prestigious

institutions, grassroots organizations and change agents to bring communities together in solidarity,

inspiringthemtotranscendchallengesanddrivetransformative,sustainedsocialchange.Iwouldwishto

attendthissymposium,tobeabletoconnectwithresearchers,practitionersandpolicymakersinthefield

ofmusicmakingwithasocialimpact.


[email protected]

I have published on a range of topics in the psychology of music, ecological approaches to music

perception, musical meaning, music and consciousness, and musical creativity. Recent and ongoing

projectsincludeworkonmusic,empathyandculturalunderstanding;empiricalandhistoricalapproaches

totheperformanceofC19thorchestralandchambermusic;andanewthreeyearcollaborativeprojecton

MusicalSociabilities.PublicationsincludeEmpiricalMusicology(2004,withNickCook),WaysofListening

(2005),MusicandMindinEverydayLife(OUP2010,withNicolaDibbenandStephaniePitts),Musicand

Consciousness(OUP2011,withDavidClarke),andDistributedCreativity:CollaborationandImprovisation

inContemporaryMusic(OUP2017,withMarkDoffman).Since2015Ihaveconvenedandtaughtonanew

course at Oxford on ‘Music in the Community’, and as my research on music, empathy and cultural

understanding,andthenewprojectonmusicalsociabilitiesindicate,Iamincreasinglyinterestedinthe

social impactofmusic.This includesboth thepracticalperspectiveof ‘making thecase’ formusicand

findingwaysinwhichtotrytoenactmusic’ssociallybeneficialpotential;andtheresearchperspectiveof

trying to understand and theorise music’s emancipatory attributes in a manner that steers a course

betweentherisksofpsychologicalandsociologicalreductionism.Iamthereforeextremelyinterestedin

theSIMMinitiativeasaforuminwhichtodiscovermoreaboutwhatpeoplearedoinginthisdomain,and

thekindsofexplanatoryframeworksthattheyemploy.

43

FilipeLopes,PortoPolytechnicInstitute,Portugal

[email protected]

I have been involved in music making, music education and research in music for many years. I got

especially involved and interestedwith the relationship ofmusical practice and social inclusionwhile

workingattheeducationaldepartmentatCasadaMúsicaand laterwhileworkingwithCompanhiade

MúsicaTeatral.WhenIwasleadingtheeducationaldepartmentofOrquestraJazzdeMatosinhos,much

more than pure music pedagogies or formal knowledge, I nurtured practical musical work and

investigationfocusedoncollectivemusicmakingasawaytocongregateeducationalinstitutions,social

institutionsandpeoplefromthecity.IoftenusedigitaltechnologieswithinmyprojectsbecauseIbelieve

ithelpstomakemusicmakingavailabletoanyone,inadditiontoprovidewaystodeveloporiginalmusical

instrumentsand/orsoundsources,supportingaswellthecompositionofsonicenvironmentsadaptedto

specificaimsandneeds.

FrankHeuser,UniversityofCalifornia,LosAngeles,USA

[email protected]

IworkinthefieldofmusiceducationataUniversitywheremyprimaryresponsibilitiesinvolvepreparing

undergraduate students to become school music teachers. Obviously, helping emerging teachers to

acquireexcellentmusicalskillsandimpartingtheabilitytonurturesuchskillsintheirownfuturestudents

isafundamentalgoalofmywork.OfequalimportanceistheroleIplayinhelpingourstudentsdevelop

thecriticalskillsneededtoevaluatetherhetoricthatissooftenemployedtosupportandjustifymusic

education.Mostofourstudentsentertheuniversitywithnaïveconceptsacquiredfrompopularmedia

regardingthepositiveimpactmusichasonallaspectsofhumanlife.Nurturingtheabilitytoseparatefact

fromfictionandtoacquiredispositionstowardsexploringthemultiplemeaningsmusichasinpeople’s

lives has emerged as a central theme inmypreparation of teachers.Helping our graduates construct

instructional programs that create social cohesion in classrooms within the structure of our current

Americanschoolmusicpracticeshasbecomeamajorinterest.Iworkatthisbyhavingstudentsactively

engagewithteacherswhoareadvocatesforsocialjusticeandwhotrytohavetheirownsecondaryschool

studentsparticipateinsocialoutreachactivities.Iamhopingtoattendthe3rdSIMMResearchSymposium

tointeractwithothermusicians/researchers/educatorswhohavesimilarinterests.Thiswillallowmeto

learnfromandcontributetoanimportantdialogueregardingthesocialbenefitsofparticipatorymusic

making.

44

GenevièveLacey,performer,Australia

[email protected]

GenevieveLaceyisarecordervirtuoso,serialcollaboratorandartisticdirector,withasignificantrecording

catalogue and a career as an international soloist. Genevieve also creates large-scale collaborative

projects, recent examples includingPleasureGarden (a kinetic sound sculpture), one infinity (amusic-

dancepiece),LifeinMusic(a5-partradioseries),Namatjira(atheatrepiece,anddocumentaryfilm).Her

wide-rangingmusicalinterestshaveseenherrepresentingAustralianculturewithaperformanceatthe

LindauInternationalConventionofNobelLaureates,performingfortheQueeninWestminsterAbbey,as

concerto soloist in the BBC Proms,makingmusic in a prison in remoteWesternAustralia, and at the

openingnightoftheLondonJazzFestival.Herrepertoirespanstencenturiesandlong-termcollaborators

include filmmakers, theatre makers, instrumentalists, choreographers and regional communities.

Genevieve is Chair of the Australian Music Centre board, Artistic Director of FutureMakers, and is

MelbourneRecitalCentre’s2018ArtistinResidence.“Allmyworkstemsfrommyfundamentalbeliefthat

musicisapowerfulforceforchangeandgood.Perhapsthestrongestlinktothiscontextismyworkas

artisticdirectorforFutureMakers,aprogramthatdiscoversandenablesthenextgenerationofAustralia’s

musical leaders (https://musicaviva.com.au/about-us/futuremakers/). My work with indigenous

communities,bothforBlackArmBand(https://www.blackarmband.com.au/),andTheNamatjiraProject

(https://www.namatjiradocumentary.org/)isalsohighlyrelevant.Itwouldbeilluminatingformetohear

cultural leaders fromothercountriesandcontexts talkaboutsimilarmatters -beingatyourgathering

wouldbeaprivilege,andanimportanteducation.”(www.genevievelacey.com)

GeoffreyBaker,MusicDepartment,RoyalHollowayUniversityofLondon,UK

[email protected]

GeoffBakerisaProfessorinthemusicdepartmentatRoyalHolloway,UniversityofLondon.Hespecialises

inmusic inLatinAmerica.He istheauthorof ImposingHarmony:MusicandSociety inColonialCuzco

(Duke,2008),whichwontheAmericanMusicologicalSociety’sRobertStevensonAward,andBuenaVista

intheClub:Rap,Reggaetón,andRevolutioninHavana(Duke,2011).Hewasaresearchassociateonthe

ERCProject“Music,Digitisation,Mediation:TowardsInterdisciplinaryMusicStudies,”forwhichhecarried

outfieldworkinArgentinaandColombia.Inrecentyears,hehasfocusedprimarilyonmusiceducation

andchildhoodmusicallearninginVenezuelaandCuba.Hehasbeenresearchingtheorchestraltraining

program El Sistema since 2007. He received a British Academy Research Development Award and

45

undertookoverayearoffieldwork inVenezuela,whichresultedinthebookElSistema:Orchestrating

Venezuela’sYouth (OUP,2014).Heguest-editedaspecial issueofAction,Criticism&Theory inMusic

Education (15:1, 2016) on El Sistema, and has been blogging on this topic since 2012 (see

geoffbakermusic.wordpress.com). New articles on El Sistema will be published this year in Music

EducationResearch,theBritishJournalofMusicEducation,andLatinAmericanMusicReview.Hewasco-

investigatoron the three-yearAHRCBeyondTextproject “Growing IntoMusic,” forwhichhemadea

seriesoffilmsaboutchildhoodmusiclearninginCubaandVenezuela(seegrowingintomusic.co.uk).He

currentlyholdsanAHRCLeadershipFellowshipandisworkingonmusic,citizenship,socialdevelopment,

andurbanrenewal.

GeorgiaNicolaou,(SEMPREAward),CodartsUniversityoftheArts,Rotterdam,NL

[email protected]

Iamagraduate(July2016)oftheMasterofMusicatCodarts,UniversityoftheArtsinComposition,and

duringthisperiodIamworkingasafreelancecomposer,performerandmusicteacher.Iamalsopreparing

myPhDproposalforapplyingatthenewlylaunchedSIMMdoctoralprogramattheGuildhallSchoolof

Music andDrama in London. Specifically, Iwill proposea researchprojectonhow the involvement in

collaborativemusicalprojectswheretheco-creationisthemainprinciple,betweenmusicstudentsfrom

twodifferentcommunalgroupsinCyprus(Greek-CypriotandTurkish-Cypriot)couldinitiateachangein

theircurrentrelationship.Moreover,howcoulditcontributetothebuildingoftrustandthereductionof

dispute,insecurity,superstitiousnessandsuspiciousnessbetweenthetwocommunities;thathavebeen

dividedbecauseofwarandsignificanthistoricaleventsofthepast.Regardingmycurrentinvolvementin

projects where there is a social impact in music making, I am currently teachingmusic at a Cultural

EducationCenter-MusicSchoolwithagroupofchildrenfromacriticalpartofthesocietyinRotterdam,

theNetherlands,within the foundation: Culturele Educatie Charlois, carrying out several activities for

children in the area. These children comemostly from immigrant families, with lower education and

relativelypoorandarelocatedinthefocus-districtsofRotterdamSouth,withCharloisbeingoneofthem.

Besidesthisactivity,IcurrentlyprepareaprojectwithagroupofscientistsfromtheUniversityCollege

London(UCL),developingnewformsofengagingthepublicwiththePhysiologyofthebody,bycomposing

electroacousticmusicwith the internal sounds of the nervous system. This sounds andmusicwill be

applied later on, on an interactive installation/application, which will be open to the public with the

ultimategoaltoengagetheaudienceandthepotentialyoungscientists.Theprojectwillberealizedifour

applicationforfundingisaccepted.Ibelievethatthissymposiumcouldbeagreatopportunityformeto

46

presenttheworkIamcurrentlydoing,benefitfromtheinterestinglectures,contributetothediscussions,

aswellastoexpandmynetwork.IparticipatedinthelastSIMMposium2withoutdoingapresentation

myselfandIwasreallyintriguedbytheworkthatishappeningrightnowaroundtheglobe.ThistimeI

would like tobepresentwithmyownpresentation. Iattach inaseparatedocumentanabstract fora

presentationabouttheworkandtheactivitiesIamdoingwithintheCulturalCentreCharlois.

GildaRipamonti,UniversitàdegliStudidell’Insubria,Italy

[email protected]

InadditiontoresearchinterestsfocusingonCriminalLawtopics,asdevotedtovoluntaryactivitiesinnon-

profitassociationsandtomusic,Ibecamefounder,ChairmanandArtisticDirectoroftheassociationcalled

Accademia dei Piaceri Campestri, settled in the city of Varese, Italy, and I organised an International

AncientMusicFestivalfor6years,havingtheopportunitytoknowmusiciansthataresociallyinvolvedin

prison's music programs. Last summer I was part of the 2017 EFRJ Summer school on the use of

RestorativeJusticeforseriouscrimeswhichtookplaceinourUniversity, inComo,co-organisedbythe

RJMSC, where I seat as member of the Scientific Board. In this occurrence, I made an introductory

considerationonthepotentialofmusicindealingwithvictimsandoffenders,accordingtoarestorative

perspective. I wrote then a brief contribution to the EFRJ booklet "Restorative Imagination: Artistic

Pathways. Ideas and experiences at the intersection between art and restorative justice- Edited by

EmanuelaBiffi&BrunildaPali(2017),acollectionofarticlesontheintersectionsbetweenartsandRJ,

entitled"Musiclanguageandtherestorativeapproach".Itwastheoccasionformetorealizemyinterest

inbeginning a researchevaluating relationshipbetween themakingofmusic andRestorative Justice,

namelyexploringmusicimpactoncriminaloffendersinstateofdetention.TheparticipationtotheSIMM-

posiuminPortowouldbeagreatopportunitytofollowthispathway.


[email protected]

IamamusiceducatorwithamasterinPsychopedagogyfromAntioquiaUniversity(Medellin-Colombia)

andaPhDinMusicPsychologyandEducationfromRoehamptonUniversity(U.K).CurrentlyIworkasa

Coordinatorof theMaster inArts, EducationandPeace Studies at the Schoolof EducationandSocial

SciencesofFundaciónUniversitariaJuanN.CorpasinBogotá.IamtheChairoftheColombianSocietyof

ResearchersinMusicPsychologyandEducation-PSICMUSE.IhaveworkedasaconsultantfortheMinistry

of Culture of Colombia and the Secretary of Culture of Bogotá. My research interest focuses on the

47

relationship between musical development, cultural context and education, which has led me to

undertakeseveralresearchprojectsinvulnerablecommunitiesandeducational institutionsaffectedby

theColombianconflict.IwouldliketoattendtheThirdSIMM-posiuminPortoandjointhetopicofCultural

democracy, inequalities, access tomusicmakingand learning.My interest inparticipate in theSIMM-

posium is to share a research project that we are carrying out withmusicians ex-combatants of the

guerrillaFARCinordertoexploretheiridentitiesintransitionfromex-combatantstomusicians,andinthis

waytoexplorehowmusiccouldbeapossibilityforthemtoreincorporateintotheColombiansociety.

GraçaBoal-Palheiros,PortoPolytechnicInstitute,Portugal

[email protected]

Ihavebeeninvolvedinmusicteachereducation(initial, in-serviceandcontinuingeducation)formore

than30yearsattheMusicDepartmentoftheSchoolofEducationofthePortoPolytechnicinPortugal.I

haveservedformanyyearsinnationalandinternationalassociations(APEM-PortugueseAssociationof

MusicEducation,AWPM-WuytackAssociationofMusicPedagogy,andISME),withthehopetocontribute

formoreaccessofyoungpeopletomusiceducationandofteachers,tomusicteachereducation.Ibelieve

ineducationasthemainforceforhumandevelopmentanddemocracy.Ialsobelievethatresearchcan

directlycontributetoimprovesocieties.AsaresearcherattheCIPEM(ResearchCentreinPsychologyof

Music andMusic Education) branch of INET-md (Institute of Ethnomusicology – Studies inmusic and

dance),Iaminterestedintopicsrelatedtobothschoolmusiceducationandtomusicalpracticeinthe

society, inparticular, ofpeople indeprived contexts.Along these lines, I have recently investigateda

homelesschoirandIhavebeenamemberofaresearchprojectonayoungpeople’sSistemaorchestra.

GraçaMota,PortoPolytechnicInstitute,Portugal

[email protected]

Ihavebeenformorethan25yearsengagedinmusicteacher’seducationattheMusicDepartmentofthe

CollegeofEducationinthePortoPolytechnicInstituteinPortugal.Currently,IamDirectoroftheCIPEM

(Research Center in Psychology of Music and Music Education) branch of INET-md (Institute of

Ethnomusicology–studiesinmusicanddance)atthePortoPolytechnic.Mypresentresearchinterests

areverymuchconcernedwithmusicalpracticeandsocialinclusion,andhowtodovaluableresearchon

findingevidencesofsocialinclusionandsocialmobilitythroughparticipationincollectivemusicmaking.

WithinthisdomainIhavebeenthemaininvestigatorofarecentlycompletedresearchprojectaboutthe

Portuguese Sistema affiliated Orquestra Geração from which the book “Growing while playing in

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Orquestra Geração - contributions towards understanding the relationship between music and social

inclusion”hasbeenrecentlylaunchedinon-lineversion.IamamemberoftheboardofSIMM.

GrietVerschelden,UniversityCollegeGhent,Belgium

[email protected]

GrietVerscheldenhas aPhD in social pedagogy. She is headof thedepartmentof SocialWorkat the

University College Ghent. Her research and teaching interests are on adult education, youth work,

communityarts,communitydevelopment,childfriendlycitiesandurbanrenewalprojects.Shepublished

severalbooks,bookchaptersandarticlesonthesesubjects.Inaprojectonurbancracksinthecity(Steel,

VanEeghem,Verschelden&Dekeyrel,2012),shestudiedhowandwhysocialworkersandartistssetup

artisticandsocialpracticesinurbancracks.


[email protected]

IamaPhDstudentattheUniversityofLimerick,Ireland.Myresearchexploresthepotentialofcommunity

music interventions for refugees who are coming to Europe, with special reference to the Syrian

community in Ireland. I am originally from Palestine. I gained my degree in music performance in

Damascus Syria. I worked with Musicians Without Borders in their community music projects in the

refugeecampsinBethlehem.Moreover,Iwasthefluteteacher,andthefacilitatorofthepre-instrumental

children’sprogramintheEdwardSaidConservatoryofMusic,inBethlehemandHebronbranches.Iwould

liketoattend,andpresent inthisconferencebecauseofall thespecialistanduniqueexpertiseonthe

committee.Ihavereadanumberofpublicationsbymembersofthepanelandthesehavesignificantly

influencedmy research and it would be a great experience to meet and hear from them in person.

Moreover,presentingthispartofmyresearch inthisconferencewillallowmetoobtainfeedbackand

commentsfromdifferentanglesthatmightnotariseelsewhere.Iwouldalsoliketoexpresstheneedfor

financial aid. At thismoment I am fundingmyself inmy research through part timework. As a non-

Europeancitizen,Iwouldrequirevisastobeabletoattend.TheIrishre-entryvisaalongwiththeEuropean-

Schengen visa are expensive and I will be financing thesemyself, so any financial help will bemuch

appreciated.

49

HansVanRegenmortel,ImpulscentrumvoorMuziek,Belgium

[email protected]

Asanartisticcoordinatorinvolvedinmusicalprojectsfeaturingdiverseeducationalsettingsandlevelsof

expertise, Iwouldbeverygladtoactivelycontributetothe3rdSIMM-posium2018 inPorto.Frommy

experienceasateacherofviolinandmyinvolvementwithcreativemusickinginFlemishmusicschoolsand

in non-formal contexts, I very soon became aware of the impact ofmusic (making) on the personal,

interpersonal and group level. Before that, some rather negative experiences in my own musical

developmentalready inanearly stagealreadyhad led towardsapositivelyorientedquest for amore

integrativeapproachinmusiceducation.Theliteratureinthefieldoftheearlyyearsandthecooperation

withspecialistcolleaguesatMusica,ImpulseCentreforMusic,resultedintakingtheidiosyncrasiesofthe

baby-caregiverdyadasaprototype formusical interaction. Ihavebeen translatingandexamining the

relevanceof these stance into formal andnon-formal educational andartistic contexts. Bydoing so, I

becameawareof the strong relationshipbetweenmusic’sbondingcapacitiesand thedevelopmentof

musicalexpertiseingeneral.Mypreliminaryconclusionis,thatthephenomenonwecallmusic,inallits

conformations,hasaprofoundintegrativecapacity,butnotnecessarilyunderallcircumstances.Asaresult

ofmyworkinthisfield,IhavebeenaskedtoorganisethenextEuNETMeryc(MusicEducationResearchers

ofYoungChildren)Conference2019incooperationwiththeIPEMInstituteofGhentUniversity.


[email protected]

I am the Founder and Executive Director of theMateo Oliva Oliva Non-Profit Association, which has

developed severalprojectswhichaim toencourageequal access tomusicandmusiceducation in the

NaolincoareainMexico.Currently,IamworkingasaResearchAssistantinaprojectthatisfocusedon

public schools throughout British Columbia, Canada, inwhichmusic educators have been successfully

workingtogetherwithIndigenouscommunitymemberstofacilitatetheembeddingof local Indigenous

knowledge in music classes, schools, and their broader communities. This is related to my doctoral

dissertationtopicthatwilladdresstheembeddingofmusicwithIndigenousrootsintoMexico’snational

elementary and secondary curriculum. I wish to attend the symposium to be able to interact with

participantswhoareinterestedinaddressingtheimplicationsofmusicandmusiceducationbeyondan

aestheticperspective.Instead,recognizinginmusicandmusiceducationthepotentialtopromotesocial

changesthroughtheimplementationofconcreteactionsthatwillenhanceanactiveparticipationofthe

communitybyputtingupfronttheirspecificcontexts,needsandworldviews.Ibelievethatthissymposium

50

willallowmetokeepcriticallyexanimating,reframingandreshapingmyresearchexperience,aswellas

thecurrentandfutureprojectsofournon-profitAssociation.

InêsLamela,INET-md,UniversityofAveiro,Portugal

[email protected]

InêsLamelaisaPortuguesepianistandpianoteacherwithalmost20yearsofexperienceonspecialized

musicschoolsinhercountry.Inthelastyears,shedevelopedaparticularinterestonCommunityMusic,

particularlyinthefieldofmusicinprisons.ShefinishedherPh.D.in2017attheUniversidadedeAveiro

(Portugal)withthethesisMúsicaereclusão:apráticadepianoemcontextprisional,throughwhichshe

developed a unique project inside a female prison with four inmates, during eight months, with the

individualpianopracticeatthecenterofthemusicalwork.InêshaspresentedatconferencesinPortugal,

Scotland,NorwayandEngland.HerresearchispublishedinjournalssuchasTheInternationalJournalof

CommunityMusicandTheInternationalJournalofSocial,Political,andCommunityAgendasintheArts.

JamesButterworth,UniversityofOxford,UK

[email protected]

IjoinedtheFacultyofMusicattheUniversityofOxfordin2016asaBritishAcademyPostdoctoralFellow,

having previously been a Postdoctoral Research Associate on the AHRC-funded Performing Hip Hop

EnglishnessprojectattheInstituteofCriminology,UniversityofCambridge.Myresearchfallsprimarily

withinthefieldofethnomusicologyandfocussesvariouslyon1)musicinPeru2)theroleofhiphopin

state-fundedinstitutionsintheUKand3)musicinUKprisons/criminaljustice.Myresearchonhiphop,

withDrRichardBramwell(LoughboroughUniversity),centresontheimpactofhiphopwithinavarietyof

socialandpenal institutionsfundedwhollyorpartiallybytheBritishstate(e.g.youthcentres,charities

andprisons).Iaminterestedinhowhiphopisusedforitsperceivedsocialimpact;thatis,howhiphopis

employed to engage (young) people, to promote pro-social behaviours and to support the moral

developmentofcitizens.Developingonfrommyresearchinprisons,IamnowPrincipalInvestigatorfor

theproject‘Music,TransformationandRehabilitationinUKCriminalJustice’(fundedbytheJohnFellFund

attheUniversityofOxford,2017-18).Thisprojectdevelopsanempiricalunderstandingofhowmusicis

used and conceptualised bymusic charities as a tool for transformation in the prevention of criminal

behaviour and rehabilitation of criminal offenders in theUK. As part of the project I am organising a

workshopattheUniversityofOxfordincollaborationwithSIMMonmusicinprisons/detention.

51

JanLeysen,SIMMCoordinator,Belgium

[email protected]

JanLeysenispresentatthe3rdinternationalSIMM-posiumorganizedbyCIPEMinPortoascoordinator

oftheinternationalresearchplatformSIMM,ajobhewillstartinJune2018.SIMMwantstoorganizeand

accompanytheannualSIMM-posia,conferencesaswellasseminars,bothforpractitioners,fundersand

governmental representatives interested in developing research on the rolemusicmaking can play in

socialandcommunitywork.SIMMalsowantstoaccompanydoctoralandpost-doctoralresearchinthis

field.ThefirstsuchSIMMPhD-researchprogramisstartingthisyearattheLondonbasedGuildhallSchool.

In2018JanalsojoinedtheMusicFundteam(www.musicfund.eu)inBrussels.Previouslyheworkedfor

11.11.11,thecoalitionofNGOs,unions,movementsandvarioussolidaritygroupsinFlandersinthefield

ofdevelopmentcooperation.Heworkedasavolunteercoachandprojectmanagerforashelterprogram

forHumanRightsDefenders.


[email protected]

MyroleatRCMinvolvesdevelopingmusiceducationasacorestrandinboththeteachingandresearch

activitiesoftheCollege.Thishasinvolveddevelopingteachingforthecurrentstudentstoenablethemto

engageincriticalthinkinginrelationtomusiceducationandtheirroleineducationasbothmusiciansand

teachers.Ithasalsoinvolveddesigninganewmasters’programmeforexperiencededucatorswhohave

not necessarily come through conservatoire education themselves. This will bring a different type of

studentandeducatorintoRCMwhocanactivelycontributetothechangingcultureoftheconservatoire.

The themes of this research symposium are of particular interest as in my teaching I am seeking to

challengeassumptionsheldthatthesolepurposeofmusicallearningisto(re)createamusicalobjectthat

canbeperformed.Inaddition,myresearchinterestsincludethewaysthatmusicallearningprocessesgive

rise toa rangeofdifferentoutcomes, includingemotionalandsocialdevelopment.Thishas ledmeto

explorewaysthatpedagogiesgiverisetoorinhibitemotionalandsocialdevelopment,andchallengethe

assumption that emotional and social development occur as a result of engagement with universal

emotionalcontentembeddedwithinamusicalobject.

52

JoãoCristianoCunha,INET-md,PolytechnicInstituteofBragança,Portugal

[email protected]

Ph.D. inMusic,UniversityofAveiro–Portugal (2013);M.A. inMusicEducation,UniversityofMinho–

Portugal (2006); Orff-Schulwerk approach International Courses: 2017: Slovak; 2016: Austria; 2014;

Hungary; 2013: Spain; 2012: United Kingdom; 2010: Finland; 2008: Canada, 2008: Spain; 2008: The

Netherlands;2006:UnitedStatesofAmerica;2004:Spain;2003:Spain;2002:Salzburg–Austria;Music

EducationTeacher(2008–present)atSuperiorSchoolofEducation–PolytechnicInstituteofBragança,

Portugal (B.A andM.A courses).Music Education Teacher (2000 – present) at PortugueseMinistry of

Education(Preschool,ElementaryandSecondarylevels).MusicEducationTeacher(2014topresent)at

SeniorUniversityofVinhais-Portugal.Thegoalofmysubmissionisnotonlytoattendthesymposium(a

goodopportunitytoenlargemyknowledgebackground),butalsotoestablishnewcontactsandshare,

withthecommunity,partofthemusicworkIhavebeendeveloping,inthisparticularcase,regardingthe

applicabilityoftheOrff-Schulwerkapproachforseniorageinweekly'Music,MovementandDance'classes

ataSeniorUniversityofNorthernPortugal.

JoãoEmanoelAncelmoBenvenuto,UniversidadeFederaldoCeará/CampusSobral,Brazil

[email protected]

Dr.JoãoEmanoelA.BenvenutohasaMaster(2012)andPhD(2015)inMusicEducationattheFederal

University of Ceará (UFC) Brazilian Education Postgraduate Program.He is a full Professor in and,

currently,co-coordinatorofUFC/SobralMusicEducationUndergraduateProgram.Recently,hejoined

asaprofessoraMasterofArtsProgram.Since2013,hecoordinatesresearchesrelatedtothetheme

"EducationandPerformanceofTeachers inMusic", linkedtothePESQUISAMUSresearchgroupof

UFC/Sobral.Since2016,throughapartnershipbetweenPESQUISAMUSandMODALgroups,hehas

beencontributingwithhisexpertisetoaresearchthatconnectsArtisticcollaboration, intercultural

communication and global education. Dr. Benvenuto has experience in the area of Arts, with an

emphasisonmusic,actingonthefollowingtopics:musiceducation;supervisededucation;teacher

education in music and; collective teaching methodology applied to guitar. Considering that,

participatinginSIMM2018isanopportunityforhimtolearnandshareknowledgeconcerningmusic

andmusiceducationasatoolforsocialtransformationandimpact.

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JohnSloboda,GuildhallSchoolofMusic&Drama,London,UK

[email protected]

IamResearchProfessorattheGuildhallSchool,whereIleadresearchonperformer-audienceinteraction

inliveconcerts.IamalsoEmeritusProfessoratKeeleandwasastaffmemberoftheSchoolofPsychology

atKeelefrom1974-2008,whereIwasDirectorofitsUnitfortheStudyofMusicalSkillandDevelopment,

foundedin1991.Since1974myspecialistareaofresearchhasbeenthePsychologyofMusic,butinrecent

years my interests have extended outside psychology, particularly to the effects of war on civilian

populations. I now co-direct two NGOs concernedwith the better documentation of people killed in

contemporary war, iraqbodycount.org and everycasualty.org. Through this focus, I started to take an

interest in theeffortsofmusicians tohelpcivil societydealwith theaftermathofwar,andcame into

contactwiththeworkofLukasPaironandothers.IattendedandspokeatSIMMPOSIUM1inGhent,and

volunteeredtohelporganiseSIMMPOSIUM2atGuildhallSchool.GuildhallSchool isanaturalplaceto

growresearchinthisareabecauseitalreadyplaysaleadingroleinthetrainingofpractitionersforsocially

engaged work in diverse contexts. Since the formation of www.simm-platform.eu as a scholarly

association in late 2017, I have accepted the role of President. The association is collaboratingwith

Guildhall School in the sponsorshipofanewdoctoral studentship tobegin inAutumn2018,and I am

developing a research interest, with international partners, in documenting who are the music

practitionersthatengageinSIMMworkindifferentcountrycontexts.

JohnSpeyer,MusicInDetention,UK

[email protected]

Music In Detention runs participatorymusic activities in UK immigration detention centres, and with

excludedgroupsinnearbycommunities.Wehelpparticipantscreate,performandrecordoriginalsongs

andmusic.Ourworksupportswellbeingandresilienceindetaineesandcommunities,andempathyand

understandingbetween them. Setup in2005,we remain theonlyartscharity focusedon thespecial

challengesof immigrationdetention,andtheonlydetentionNGOusingthearts.Following10yearsof

primary school teaching I have spent20 years in the voluntary sector, duringwhich I havedeveloped

services, organisations and partnerships to support disadvantaged groups and bring about changes in

people’slives.Inpaidandvoluntaryrolessocialchangeandsocialjusticehavebeencentralconcerns.I

havebeenMID’sDirectorsince2008.InthisroleIhaveshapeditsaims,rangeofworkandimpact;led

the development of our delivery models, evaluation methods and support for best practice; and

collaboratedwithuniversitiesonresearchproposalsandprojects.MID’snewstrategysetsusthechallenge

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offurther improvementinsocial impactandartisticquality,whichourexperiencetellsusaremutually

reinforcing,andofbecomingequallyfocusedonboththeseperspectivesonourpractice.Wearealsoin

theprocessofamajorreviewofourevaluationframework,towhichexternalresearchprojectsofvarious

kindscouldaddenormousvalue.ByattendingtheSIMM-POSIUMIwouldhopetosharewithandlearn

fromothers,contributetothedevelopmentofcollaborationbetweenresearchersandpractitioners,and

ifpossibleidentifypotentialpartnersforresearchintoMID’swork.

JorgeAlexandreCosta,INET-md,PortoPolytechnic,Portugal

[email protected]

JorgeMiguelOliveira,SchoolofEducation,PortoPolytechnic,Portugal

[email protected]

JoãoGomesReis,SchoolofEducation,PortoPolytechnic,Portugal

[email protected]

JorgeAlexandre Costa is lecturer in theMusic Department of Escola Superior de Educação do Porto,

member of CIPEM (Research Centre for Psychology of Music and Music Education) and part of the

investigationteamofseveralresearchprojectssponsoredbyFCT(FoundationforScienceandTechnology

fromthePortugueseMinistryofEducation).JorgeMiguelOliveiraandJoãoGomesReisarebothmaster’s

degreestudentsatEscolaSuperiordeEducaçãodoPorto,andhavebeencollaboratingwithCIPEM,since

2016,inaprojectaboutbraillemusicandteaching-learningpracticesfortheblind.

Our presence in the 3rd Research Symposium on Social Impact of MakingMusic 2018 gives us the

opportunity to publicly discuss the main issues concerning the inclusion of blind students in music

educationandtheuseofbraillemusicasanessentialtoolforthispurpose.Thiscommunicationisintended

tobeakindofalerttothemusiccommunityaboutacomplexsubjectinordertofindnewpedagogical

andtechnologicalsolutions.ThelackofscientificworkdevelopedinPortugalregardingthistheme,results

inalackofinformationandinsufficientpreparationbytheeducatorsteachingmusictostudentswiththis

disability. Despite some technological breakthrough and general information about the subject, most

teachersofmusiceducationarenotyetfamiliarizedwiththeappropriateteaching-learningpractices.

KamielFabry,TheOstendStreetOrkestra,Belgium

[email protected]

MynameisKamielFabry, IworkforthecommunityartsorganisationkleinVerhaalatOstend,Belgium.

Kleinverhaal isameeting-andcreativespacewhofurnishesandorganizesworkshopsaboutmusicand

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filmwherepeoplefromdifferentpartsofoursocietycancometogether.Fromtheheartofoursociety

andthroughthemanywaysthatartcanbetranslated,kleinVerhaalwillquestionanddocumentonthe

complexityofoursocietyinrecalcitrantcreations.Faces,voicesandstorieswhoinmajoritycannottake

partofthecontemporaryartstreamgetthechancetospeakuponstagethroughkleinVerhaal

KaterinaJanku,ZürichUniversityoftheArts,Switzerland

[email protected]

AsassistanttotheHeadofInternationalRelationsinMusic,prof.RankoMarkovic,Ihavebeeninvolvedin

the department`s project «Music for Change». It is the music department`s contribution to the

internationalizationprojectoftheZurichUniversityoftheArtscalled«ArtsforChange».Withinthisproject

eachofthefivedepartmentsestablishcollaborativerelationshipswithpartnerorganizationsathomeand

abroad. My contribution to «Music for Change» involves, among other responsibilities, budget and

activities planning/tracking. Therefore, I would verymuch appreciate to attend the upcoming SIMM-

POSIUM 2018 in Porto to be able to obtain first-hand experience and get a good overview of the

symposium`sactivitiesandorganisationonsite.Ialreadytookpartinthe2ndSIMMPosiuminLondonin

2017,whichwasveryhelpfulandinspiringintermsoforganizingeventsonalargerscaleatourUniversity.

Althoughnotbeinginvolvedinmakingmusicprofessionallyorpersonally,asaformersocialworkerand

graduateinPsychology(minor),IcanstillrelatetothetopicsoftheSIMMPOSIUM.Hence,takingpart,I

woulddefinitelybenefitfromtheinputandgaingreaterinsightintothechallengesandopportunitiesof

thesocialimpactofmakingmusic.Asaresult,abetterunderstandingofthematterwouldenablemeto

successfully coordinate futureactivitiesandeventswithin the«Music forChange»projectand further

activitiesrelatedtothetopicaspartofmypositionasAssistantInternationalRelationsinMusicatthe

ZurichUniversityoftheArts.

KirstinAnderson,TheUniversityoftheWestofScotland,UK

[email protected]

KirstinAndersonhasaPh.D.fromtheUniversityofEdinburgh.Herthesis,MusicEducationandExperience

inScottishPrisons,contributestothedevelopingresearchonthebenefitsofartsprovisionforpeoplein

custodyandprovidesabaselineforfurtherworkonmusiceducationinScottishprisons.Shehasworked

asaresearcherwiththeScottishPrisonService,theScottishCentreforCrimeandJusticeResearch,the

InstituteforMusicinHumanandSocialDevelopmentandtheScottishHumanRightsCommission.Kirstin

haspresentedatconferencesinScotland,England,Cyprus,CanadaandNorway.Herresearchispublished

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in journals including The International Journal of Community Music, The Prison Service Journal and

theHowardJournalofCriminology.

KlisalaHarrison,UniversityofHelsinki,Finland

[email protected]

Iamanethnomusicologistwhohasbeenconductingresearchonthesocialimpactofmusicforacouple

ofdecades.ThecurrentpaperreportsonresearchconductedinCanadaontherolesofmusicinpositively

impactingthelivesofpeopleexperiencinghealthissues.Myotherresearchconcernsavarietyoftopics

andmusic genres, sometimes focusing onmusic teaching and learning. I edited the first collection of

articlesonmusic–povertyrelationships(YearbookforTraditionalMusic,2013).Inadditiontoresearching

IndigenousmusicsinCanada,IstudyArcticmusicsofGreenland(Inuitpeople)andtheNordiccountries

(Sámi people). I have published various articles and edited volume theorizing applied scholarship in

ethnomusicology. I currently work as Academy of Finland Research Scholar in Musicology and

EthnomusicologyattheUniversityofHelsinki,Finland. Inthiscapacity, Idirectaprojectfundedbythe

GovernmentofFinlandtitled“ArcticIndigenousMusicsforHealthandWell-being.”Myarticlesappearin

journalsincludingEthnomusicology,theYearbookforTraditionalMusic,TheWorldofMusic,MUSICultures

andtheJournaloftheCentralConservatoryofMusic(inChinese)aswellaseditedvolumessuchasthe

Oxford Handbook of Applied Ethnomusicology, Applied Ethnomusicology in Institutional Policy and

Practice,andMusic,Health,andWell-being:ExploringMusicforHealthEquityandSocialJustice.

LuisGustavoFlorezCote(SEMPREAward),FellowshipProgram,Yong,Myanmar

[email protected]

Myprofessional experience is in peacebuilding and development. Duringoneyear and a half I

workedasProgramManageratCord,apeacebuilding INGOinYangon,Myanmar.Concurrently, I

havebeen voluntarilycollaboratingwith Turning TablesMyanmar-TIM -an organizationworking

onempoweringyouth inmarginalizedareasthroughmusicandfilm-onpeacebuildingandM&E.

HowtointegrateapeacebuildingapproachintoTIMmusiclearningprogramisoneofmyroles.Such

roleledmetoidentifychallenges inTIMwork.Motivatedbythequestion"howtobreachtheloss

ofconnection betweenyouthandbetweenthe latterandTIM",Isubmittedaprojectto the Build

Up 2017-2018 Fellowship Program. I was awarded the fellowship

(http://howtobuildup.org/index.php/fellows2017/)and now I'minthe implementation phaseofa

project to develop a mobile music-making appwhich aims, among others, to innovate onTIM

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educationaltool.AttendingtheSymposiumwillbe aunique opportunitytoexpandmy network, gain

specific knowledge, enrich the project I am currently working on, and share my ideas and

experience.This will be of great value for the work Iam doingwith TIM on social change through

participatory music-making.

LukasPairon,UniversityofGhent,Belgium

[email protected],www.simm-platform.euandwww.lukas-pairon.eu

LukasPaironispresentatthe3rdinternationalSIMM-posiumorganizedbyCIPEMinPortoasaresearcher

fromtheFacultyofPoliticalandSocialSciencesoftheUniversityofGhent(doingresearchonthesocial

impactofmusicmakingonstreetchildrenandformermembersofviolentgangsinKinshasa,DRCongo),

andasthefoundingdirectoroftheinternationalresearchplatformSIMM,whichwasfoundedin2017and

hassince2015beendevelopedthankstothesupportoftheUniversityandUniversityCollegeofGhentin

Belgium.TheresearchplatformSIMMisthecomingyearsplanningtheorganizationandaccompaniment

of annual SIMM-posia (2019: Bogota, 2020: Brussels), conferences as well as seminars especially for

scholars in this field, as well as for practitioners, funders and governmental representatives who are

interestedindevelopingresearchontherolemusicmakingcanplayinsocialandcommunitywork.The

start-upoftheinternationalresearchplatformSIMMwasmadepossiblethankstoagenerousbudgetfrom

FondBaillet-Latour,thelargestfoundationinBelgium.TheaimoftheresearchplatformSIMMistoalso

accompany doctoral and post-doctoral research in this field. The first such SIMM PhD-research

programmesisthisyearstartingattheLondonbasedGuildhallSchool.Contact.

MaijaPuromies,[email protected]

Ihaveworkedasateacher,educatorandeducationdesignermorethan20yearsinavarietyofinstitutions.

Mybasicdegreesare:kindergartenteacher,masterofearlychildhoodeducationandclassteacher.Ihave

specializedinmusic,specialeducationandeducationofmulticulturalism.Ihavegivenseveralyears’music

educationinpianoasaninstrumentforchildrenandgroupsofchildrenofdifferentages.CurrentlyIam

on study leave frommy class teacher andmusic teacher post, to be a doctor of education inmusic

educationtopic.Mydissertationisabout:TheSocialMusicEducationSystem(Sistema)inFinland.Idomy

research on love and passion formusic education, and because Juha Ahvenainen, the coordinator of

SistemaFinland,hasaskedmetodoaresearchaboutquiteanewSistemaactivityinFinland.Withmy

research,Iwanttosupportthedevelopmentofthesystemintherightdirection.Ihaveparticipatedto

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practicalactivities inSistemaFinland:beingwith inSidebySide-festivals inGothenburg2016,Sistema

concertsandparents’meetings.Conferences thatmeetpeople in thesame fieldandhearabout their

researcharereallyimportanttoanindependentresearcher.

MarcSarazin,(SEMPREAward),UniversityofOxford,UK

[email protected]

Mygoalinattendingthe3rdSIMM-Posiumistobuildknowledgeonthehow,when,where,andwhoof

music-making’s social impact, particularly in educational contexts. I amcurrently in the final stagesof

writingmyPhDdissertation,whichlooksatasocially-drivenmusiceducationprogrammeimplementedin

a school for disadvantaged students. I carried out 10 months of ethnographic fieldwork and two

quantitativemeasurementroundsintheschoolandprogramme,focusingonstudents’socialrelationsand

experiences.InmydissertationIcontextualiseprocessesintheprogrammeintermsofstudents’social

lives inthewiderschool,showinghowbothsettings influencedeachother. Iwishtodiscussmy latest

resultswithcolleaguestocontinuebuildingunderstandingsofthedifferentimpactsthatdifferentkindsof

music-making can have in different contexts. The first results frommy PhD study have recently been

publishedintheLondonReviewofEducation.InadditiontotheknowledgeIhavegatheredthroughmy

PhD, IhavepreviouslycollaboratedwithProfGrahamWelchandcolleaguesattheInternationalMusic

Education Research Centre (iMerc, UCL Institute of Education). I have published reports and a peer-

reviewedpublicationwiththem,lookingattwoin-schoolmusiceducationprogrammes:thenation-wide

UKSing-UpprogrammeandtheInHarmonyOperaNorthprogramme.IhavealsopresentedattheEl

SistemaSIGatthe2014and2016InternationalSocietyforMusicEducation(ISME)conferences,whereI

helpedorganisetheSIG’ssocialactivities.

MariaJoséAraújo,INET-md,PortoPolytechnicInstitute,Portugal

[email protected]

Ihavebeenengaged ineducationformorethan30years,andhavetaught inthe last18years,atthe

School of Education in the Polytechnic Institute in Porto. I ama researcher at theResearchCentre in

Psychology of Music and Music Education (CIPEM), and my research interests are concerned with

education, free timeand leisure,especially inwhat concerns childrenand theireducators.Within this

domain,Iamparticularlyinterestedinstudyingludicity(playfulness)asahumanphenomenonwithhigh

socialimpactthathasbeenpoorlyunderstood,particularlyinwhatregardsplaygroundmusicalactivities,

game-playing,musicrecreationandtheconstructionofludicorcreativemusicalartefacts.

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MariaMajno,MarianoFoundationforChildNeurology,Italy

[email protected]

Theimpactofsocialandcognitiveaspects liesatthecrossroadsbetweenthetwomainpursuits inmy

activities,whichreflectmyhistoryasmusician,culturalmanagerandsocialadvocate.

1.Since1987IhavebeenleadingtheMarianiFoundationforChildNeurology(fondazione-mariani.org)

whoseactivitiesincludeamajorinvolvementintherelationsbetweentheNeurosciencesandMusic.In

thiscapacityIhavepromotedandrealizedthesix“Neuromusic”conferences(todate):thenextoneis

plannedfor2020inAarhus.

2.Afteralongtenureofartisticdirector,Ihaveshiftedmycommitmenttothefieldofyouthandmusic

education and am responsible for the Sistema-inspired project of “SONG onlus” in Italy

(sistemalombardia.eu), as well as vice-president of the network “Sistema Europe” joining over 30

programsin20countries(sistemaeurope.org).Astotheongoinginterestintheeffectsofmusic-making,

especially in connection to collective practices, I have also participated in the Salzburg Seminar

“Instrumental Value - The Transformative Power ofMusic” and in the previous SIMM-posia in Gent,

October2015,andLondon,2018.Iamalsoactiveininquiriesontheeffectsofmusiconcognitiveand

socialfactors,includingthe“SanSiroProject”ledbyprof.EraldoPaulesuofUniversitàMilanoBicocca.I

amfrequentlyinvitedtoparticipateininternationalconferencesandtocontributetopublicationsonthis

theme (most recentlyRevue Internationaled’Educationde Sèvres, vol. 75) and serveon the advisory

committeesofDEMOS(PhilharmoniedeParis)andCentreEuropéendeMusique.

Marie-HeleneSerra,PhilharmoniedeParis,France

[email protected]

DirectorofEducationandLibraryattheCitélamusique-PhilharmoniedeParisinParissince2002,Marie-

HélèneSerracontributestowardsthedevelopmentoftheaccessofeveryonetomusicwithmanydifferent

approaches,atthecrossroadsofseveraldomains(musiceducation,culturalmediation, library,cultural

heritagedigitization,multimedia,etc.).FollowingascienceandengineeringdoctorateinFrance,shespent

several yearsdoing computermusic research atCarnegie-MellonUniversity (Pittsburg,USA), Cemamu

(Paris)directedbycomposer IannisXenakisand Ircam(Paris).ShebecameheadofEducationat Ircam

in1998organizingtheMusicandTechnologycursusforyoungcomposers.Between2002and2014sheran

themusiceducationactivitiesofCitéde lamusique(familyconcerts,primarymusicprograms,musical

practiceworkshops,musicalcultureforadults…)intendedtoyouth,families,schoolsanddisadvantaged

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people,aswellasthedigitalresourceswebdisseminationforschools,musicschoolsandlibraries.Since

2015,theEducationdepartmenthasexpandedbyincludingthenewbuildingofPhilharmoniedeParis.It

gavetheopportunitytodevelopalargerofferandnewactivities,withaviewtoculturaldemocratisation,

aglobalapproachbasedoncollectivemusicpracticeandaspecialattentiontoculturaldiversity.Demos

(8-12years’childrenorchestras)isoneofthemostimportantprojectamongmanyothersartandculture

educationdevicessuchasmusicworkshops forbabies,outreachprojects forculturally-deprivedareas,

singingprogramsforchildrenhavinglearningdisabilities,collectivemusiccreationforyoungadultswith

socialdifficulties.

MartaAmico,MusicDepartment,Rennes2University,France

[email protected]

Iamanthropologistandethnomusicologist,IhadmyPhDattheEHESSinParisin2013andIamcurrently

Lecturer inethnomusicologyatRennes2University-France.Myrecent researches focuson theMalian

musical stages during the armed conflict and the symphony orchestras for disadvantaged children

organizedbyParisPhilharmonic.I’dliketoparticipateinthissymposiumbecauseIaminterestedinthe

developmentofnewconnectionsbetweenresearch,culturalpoliciesandculturalactions.In2012-2013,I

wasprojectmanager foranetworkofsix festivalsworkingwithAfricanmusiciansmigrated inEurope,

financedbytheEuropeanUnion(CultureProgram).Icollaborateregularlyasartisticconsultantwiththe

FestivalauDésert(Mali)andFestivalPresenzed’Africa(Italy),whereIalsotakeinchargetheorganization

andmoderationofpublictalks.Since2013Imakeexpertiseworksforprojectsinvolvingmusic,education,

migrationandculturaldiversityforFranceFoundation,ParisPhilharmonicandRoyaumontFoundation.In

2016IwasResearchManageratParisPhilharmonic,responsibleforthecreationofaresearchprogram

aboutmusiceducationandsymphonyorchestrasinFrenchsuburbs.Today,Icontinuetocollaboratewith

theParisPhilharmonicgivingoccasionalpublictalksandseminarsonmusicaltopics.

MartelOllerenshaw,IndependentCreativeProducer,London,UK

[email protected]

BasedinLondonandworkinginternationally,MartelOllerenshaw’scareerspansaudiencedevelopment

attheSydneyOperaHousetoworkingontheHull2017UKCityofCulturecelebrations.Between2002

and2017shewasanAssociateDirectoratSeriousInternationalMusicProducers,whichincludedawide-

rangingportfoliotakinginartistandrightsmanagement;devising,programmingandproducingprojects

for all kindsof audiences from community to specialist tomainstream; aswell as producing Seriously

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Talented,asuiteofacclaimedtalentdevelopmentprogrammesforemergingprofessionalmusicians.With

aspecialisminthedevelopmentoftalentatallstagesofcareers,Martelisastrategicadvisorforfunding

and philanthropic organisations in the UK and abroad – devising, developing and evaluating talent

developmentprogrammes foremergingmusiciansacross a rangeof genres. She sitson theboardsof

PacittiCompany(producersofSPILLFestivalofPerformance),hcmf//(HuddersfieldContemporaryMusic

Festival), AustralianMusic Centre and Europe Jazz Network, where she has worked on projects that

researchanddevelopgenderbalance,projectsforchildrenandyoungpeople,andsocialinclusion.Martel

alsoworksactivelywithartists,organisationsandfestivalswhocreateandproduceworkthatispioneering

andoftengenreblurring.Thisincorporatesprogramming,producingandevaluatingliveperformancesthat

haveasignificantcommunityparticipationelementandincludesprojectsthatrangefromanniversariesof

historicevents suchasmulti-racialdemocracy inSouthAfricaand land rightsdecisions inAustralia, to

large-scalecommunityprojectsformassedprofessionalandnon-professionalmusiciansofallagesand

abilities.

MaryL.Cohen,UniversityofIowa,USA

[email protected]

InformedbyChristopherSmall’sconceptofmusicking,Iresearchmusic-makingandwell-beinginprison

contexts,writing and songwriting, and collaborative communities. Since 2009, I have led theOakdale

PrisonCommunityChoir,comprisedofmaleinmatesandwomenandmenfromoutsideprison.Ifacilitate

songwritingandreflectivewritingwiththischoir.AsofDecember2017,we’vecreated127originalsongs

and18newsletters.Seehttp://oakdalechoir.lib.uiowa.edu/.Myresearchispublishedinvenuessuchas

the International Journal of Research in Choral Singing, Journal of Research in Music Education, the

Australian Journal of Music Education, Journal of Historical Research in Music Education, Journal of

CorrectionalEducation,the International JournalofCommunityMusic,andthe International Journalof

Music Education, and book chapters. I am a commissioner for the Community Music Activity (CMA)

CommissionoftheInternationalSocietyofMusicEducationandamCo-Chairingthe2018CMASeminarin

Tbilisi,Georgia.IamespeciallyinterestedinparticipatingattheSymposiumontheSocialImpactofMaking

MusicasthistopiccloselyrelatestomyfocusofexploringandapplyingChristopherSmall’sconceptof

musicking.MymostrecentwritingprojectdoesthisinauniquewayasIco-wroteitwithanincarcerated

OakdaleChoirmemberandaformerlyincarceratedmanfromTexaswhocomposedapiecethatthechoir

performedinMay2017.Wehavesubmittedthispaperforpotentialpublicationinaforthcomingedited

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book:WalkingtheBoundaries,BridgingtheGaps:Howcommunitymusicengagesthoseinthemarginsof

society.


[email protected]

Master of Arts in Music Education of the Institute of Education IOE, University College London UCL

(awarded). Bachelor of Musical Arts of the Superior Academy of Arts of Bogotá ASAB of the District

University“FranciscoJosédeCaldas”(awarded).FounderandmemberoftheColombianAssociationof

Researchers inMusic Psychology andMusic Education PSICMUSE. Broad experience as coordinator of

projectsinthefieldofmusiceducation,arts,researchandculturalmanagement.Shehasbeencoordinator

of theMusic Education Component of the National Plan ofMusic for Living Together (PNMC) of the

ColombianMinistryofCulture,designingandimplementingpoliciesandprogramsatlocalandnational

level;aswellaspedagogicaladviserfortheMusicSchoolsNetworkofMedellínoftheMayorofMedellín

andAntioquiaUniversity,andfortheprogramme“SchoolSounds”oftheMinistryofCultureinpartnership

with sixteen Secretaries of Education of the country, amongst others. Currently, she is teacher and

researcheroftheMusicEducationDepartmentoftheNationalPedagogicUniversityofColombiaandthe

PontificalJaverianaUniversityinBogotá.Iwouldliketoattendthis3rdResearchSymposiumtoenrichmy

comprehensionaboutofhowmusic,-itslearning,practiceandenjoyment-iscontributingtostrengthen

andenrichcommunities’life.Specifically,Iaminterestedthistimeinexchangeexperiencesonhowhigher

education and conservatoires are thinking the training of artists, pedagogues and researchers, in the

contextofthesocialandhumanitarianchallengeswefacecurrently.Iassistedtothe2ndversionofSIMM,

andIwanttokeepcontributingtotheSIMMnetwork,particularly,exchangingexperiencesfromColombia

andSouthAmerica.

PaulWoodford,UniversityofWesternOntario,Canada

[email protected]

ProfessorandformerChairoftheDepartmentofMusicEducationattheDonWrightFacultyofMusic,the

UniversityofWesternOntario,Canada.Amemberoftheinternationaladvisoryboardsofseveralmajor

musiceducationjournals,hisinterestsinphilosophical,historical,sociological,andpoliticalissuesaffecting

theprofessionhaveledtomanypublications,includinghis2005bookDemocracyandMusicEducation:

Liberalism,Ethics,andthePoliticsofPractice,co-editorshipofTheOxfordHandbookofSocialJusticein

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Music Education (2015) and his latest book,Music Education in an Age of Virtuality and Post-Truth,

currentlyunderreviewwithRoutledgeintheUnitedKingdom.


[email protected]

Professor at theGranadaUniversity,Music EducationDepartment (Spain). He is leading two research

projects about the impact of schoolmusic education andmusic teacher education for the knowledge

economy and society, both funded by the Spanish government. He is editor of the journal Revista

InternacionaldeEducaciónMusicalandisamemberoftheeditorialboardsofinternationaljournals.

AlexandraKertz-Welzel,LudwigMaximilianUniversityinMunich,Germany

[email protected]

ProfessoranddepartmentchairofmusiceducationatLudwigMaximilianUniversityinMunich(Germany).

From2002-2005,shewasvisitingscholarattheUniversityofWashingtoninSeattle(USA).Withresearch

interestsininternationalmusiceducation,philosophyofmusiceducation,andmusiceducationpolicy,she

hasregularlypresentedatinternationalconferences.Sheisauthorandeditorofseveralbooks.Hernew

book,GlobalizingMusicEducation:AFramework,willbepublishedin2018byIndianaUniversityPress.

SheiscurrentlychairoftheInternationalSocietyforthePhilosophyofMusicEducationandco-chairof

theISMECommissiononPolicy.


[email protected]

DeanandProfessorofMusicEducationoftheDonWrightFacultyattheUniversityofWesternOntario,

Canada.Previoustothis,shewasattheUniversityofMichiganfor11years,servingasAssociateDeanfor

AcademicAffairsandChairofMusicEducation.Researchinterests includecriticalandcreativethinking

within the disciplines of music philosophy and psychology. Over 100 publications and presentations

includearticlesinnationalandinternationaljournals,chaptersinbooks,andpresentationsacrossnational

and international settings. Serving on several editorial boards and committees across professional

organizations,sheisPastPresidentofTheCollegeMusicSociety.

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[email protected]

Professor of Arts, Creativities and Education at the Faculty of Education, University of Cambridge

(www.educ.cam.ac.uk/people/staff/Burnard/). She co-convenes the British Educational Research

Association(BERA)SpecialInterestGroup,CreativitiesinEducation(www.bera.ac.uk/group/creativities-

in-education),andthebiennialinternationalconference,BuildingInterdisciplinaryBridgesAcrossCultures

andCreativities(www.BIBACC.org).Shehaspublishedwidelywith12booksandover100articleswhich

advanceandexpandtheconceptualizationandpluralexpressionofdiversecreativitiesacrosssectorsand

settings.

Thepanelmembersareinternationallyrenownedmusiceducationscholarsconcernedthatanydeclinein

music education internationally might be attributable in part to an overly narrow and routinized

conceptualization of curriculum and pedagogical practice that has relegatedmusic to themargins of

education by over-emphasizing performance above all else. This has had the effect of devaluing the

importanceinschoolmusicclassesofothermodesofmusic-makingandinvolvementsuchascomposition,

arranging,improvisation,conducting,history,theory,listening,dance(e.g.,ballet,hiphop)etc.allofwhich

are also important to understanding music’s social, cultural and political significance and to the

developmentofpersonalandcollectiveagencyandwell-being.Moreover, ifmusiceducation inpublic

institutionsistosurvive,theprovisionofthosemodesofmusicmakingandstudyneedstoberadically

reformedandrevitalizedsomademoresociallyrelevantandimpactfulinanincreasinglytechnologized,

virtualandpoliticizedworld.Nowisatimeforcontinuedscrutinyofthepoliticsandeconomicsshaping

musiceducationbutalsoforboldnewideasabouthowmusiceducationmightlookandsoundlikeinthe

future.SIMMpresentsanidealvenueinwhichtovoiceourconcernsandideasforthefutureofmusic

education while seeking helpful input and advice from members of the broader academic music

(education)communityalsointerestedinensuringandmaximizingtheaccessibilityofchildrenandyouth

tomusicinschoolssothatthebenefitsofmusic-making(understoodbroadly)arenotjustavailabletoa

privilegedoralreadyinterestedfew.

PedroS.Boia,INET-md,PortoPolytechnicInstitute,Portugal

[email protected]

IamcurrentlyaPost-DoctoralresearcheratCIPEM(ResearchCentreinPsychologyofMusicandMusic

Education),branchofINET-md(InstituteofEthnomusicology–studiesinmusicanddance)atthePorto

Polytechnic,andalsoacollaboratingresearcheratIS-UP(InstituteofSociologyofPortoUniversity).Iseek

65

tocombineculturalandmusicsociology,socialpsychology,psychology,performancestudiesandmusic

education. I have been concerned with the orchestral socialization in a Portuguese Sistema-inspired

program,carryingoutanempiricallygroundedreflectiononitsimpactandimplications.Aspartofthis,I

elaboratedandanalysedsociologicalportraitsofOrquestraGeraçãoyoungparticipants,andhavebeen

studying how orchestral socialization happens in real-time, with a focus on the production of order,

disciplineandauthorityduringrehearsals.AspartofmywiderinterestinSistemastudiesIamcurrently

editing the thematic issue of the peer-reviewed journalMusic and Arts in Action ‘El Sistema, Youth

Orchestras and Ensembles as socio-artistic intervention: exploring contradiction, ambivalence and

complexity’.

PedroMoreira,INET-md,PolytechnicInstituteofLisbon,Portugal

[email protected]

PedroRussoMoreirahasadegreeinMusicologyandaPhDinEthnomusicologyatFaculdadedeCiências

Sociais eHumanas,UNL. He is an IntegratedResearcher at Instituto de Etnomusicologia – Centro de

EstudosemMúsicaeDança(INET-md),andcurrentlyadjunctprofessoratEscolaSuperiordeEducaçãode

Lisboa,whereheteachesinCommunityMusicandArtisticandCulturalMediationDegrees.Inthiscontext,

hesupervisesseveralstudents’ internships inthefieldofCommunityMusic.Apart fromtheUniversity

context,healsotaughtinProfessionalSchoolsandMusicConservatories(EspinhoandMetropolitana)and

inBasicEducation(E.B.2,3MarquesadeAlorna).Hewasapostdoctoralresearcherfrom2014to2017,

withagrantfromFundaçãoparaaCiênciaeTecnologia,atINET-md,developingaresearchprojectabout

the relationshipbetweenmusicand radio in thecontextof thePortuguesecommunity inParis.Pedro

Russo Moreira was a member of the Board of Directors of the National Orchestra Academy

(Metropolitana) and coordinator of the Master's Degree in Music Teaching in association with

UniversidadeLusíada,aswellasaMaster'sDegreeinMusicTeachingatInstitutoPiaget(ISEIT)inAlmada.

HecollaboratesregularlywithseveralculturalinstitutionslikeCalousteGulbenkianFoundation,Casada

MúsicaFoundationandSãoCarlosNationalTheater,writingprogramnotes.


[email protected]

Iamanethnomusicologistwhostudiespeoplemakingmusicpayingspecialattentiontothesocialimpact

ofmusicking.Ihave-amongothersubjectmatters-beenstudyingindigenousmusicssincemid-70swhen

I first collected researchmaterial among theGurungsofNepal. Thereafter, Ihave studied themusical

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practicesoftheSámiofNorthernEuropeand,morelately,musickingsoftheInuitofGreenland.These

field sites have provided me much material about how social, political, religious, cultural and even

natural ecologies form music-making and vise versa, how music-making impacts social and cultural

formations. I have worked as a professor of musicology, 1998-2007 (at Åbo Academy and Turku

universities)and,since2008,asprofessorofmusicologyandethnomusicologyatHelsinkiUniversity. In

thepast,IhavealsotaughtworldmusicpedagogytomusiceducatorsoftheSibeliusAcademy.Through

thismultidisciplinarysymposium,Iwishtobroadenmyunderstandingofthesocialimpactofmakingmusic

beyondethnomusicology.

RebeccaRinsema,NorthernArizonaUniversity,USA

[email protected]

AsLecturerofMusic inGeneralStudies, I teacha rockcourseandapopcourse toprimarily first year

students.Iamattunedtotheethicalcomponentsofthisrole:listeningtomusicisacentralwayinwhich

youngadultsdeveloptheiridentitiesandcreatemeaningintheirlives;astheinstructorofthesecourses,

Iinterveneinthoseidentityformationandmeaningmakingprocesses.Basictothesecoursesisthatmusic

isanactivity,ratherthanpurelyanaestheticobject.Ihelpstudentsseehowmusiccanbeinterpretedas

such,bysituatingitwithinitsmicroandmacrocontexts(technological,political,historical,listeneractivity

etc.) and perspectives (music maker, listener, collaborator, producer). I guide them in relating the

interpretedmeaningstotheirownlivedexperiences,ideas,andactions.Criticalthinkingisacentralfocus.

There is a natural affinity between this pedagogical approach and a stated focus of this conference:

‘promoting critical thinkingbeyond a focus onpuremusicaloutcomes.’Mypast and current research

projects share an affinity with the other stated focus of the conference of exploring the social

responsibilities music teachers and institutions have in the tumultuous social climate. My first book

exploreshowmusic curriculamightbeadapted for thenewdigital landscape.My second, in-progress

book,MusicLiteracyasMediaLiteracy:AGuidetoCriticalityintheMusicClassroom,addressesboththe

critical thinking focusandthechangingsocialclimate (anticipatedpublisher:OxfordorRoutledge)The

exchangeofideasatthisconferencewouldbedeeplyconstructiveforthissecondbookproject.

RitaGomes,UniversidadeFederaldoCeará/CampusSobral,Brazil

[email protected]

Dr.RitaGomeshasaPh.D.inModernPhilosophyandis,since2007,aProfessorinGeneralPhilosophyat

theFederalUniversityofCeará (UFC)wheresheteachesseveralcoursesat theundergraduate level in

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Psychology,Music,ComputerEngineeringandElectricalEngineeringandatthepostgraduatelevelinthe

Master of Arts program. Hermain research interest since 2011, when UFC began aMusic Education

Program at the Sobral campus, has been onmusic education and its relation to philosophical issues.

Specifically,shehasfocusedonthebody/mindproblemanditsconsequencesforartsandmusiceducation

andpedagogiesthatfavoranon-dualisticandtransformativeapproach.Shewasavisitingprofessorat

SimonFraserUniversity(2014-2015)whereshebeganhercollaborativeworkwithDr.SusanO'Neilland

otherscholarsfromMODAL(Canada)andPesquisaMus(Brazil)researchgroups.Dr.Gomesisinterested

inresearchaimedatcreatinganddevelopingeducationalprogramsthatengagestudentsandteachersin

socialissuesthroughtransformativepedagogiesandinterculturaleducation.Inthoseprograms,thetarget

audience,childrenand/oryoungadults,areencouragedtocollaborateusingmusicandartsasameansof

sharingtheirhistories,culturesandidentities.Therefore,participatinginSIMM2018isanopportunityto

sharetheknowledgewehavesofarcollectedaboutthepotentialofmusiceducationasatoolforsocial

transformationinaworldmarkedbyglobalexchanges,andtolearnnewideasfromscholarsconcerned

aboutthesocialimpactofmakingmusicthatcaninformourfutureresearch.

RuiBessa,INET-md,PortoPolytechnicInstitute,Portugal

[email protected]

IamateacheroftheMusicDepartmentoftheCollegeofEducationinthePortoPolytechnicInstitutein

Portugalsince1998.Iamcurrentlythevice-presidentoftheScientificBoardoftheCollege.Asamember

oftheresearchteamofCIPEM(ResearchCenterinPsychologyofMusicandMusicEducation)thePorto

PolytechnicbranchofINET-md(InstituteofEthnomusicology–studiesinmusicanddance)I’vebeenan

investigatorofarecentlycompletedresearchprojectaboutthePortugueseSistemaaffiliatedOrquestra

Geração from which the book “Growing while playing in Orquestra Geração - contributions towards

understandingtherelationshipbetweenmusicandsocialinclusion”hasbeenrecentlylaunchedinon-line

version.Mypresentresearchinterestsareverymuchconcernedwithmusicalpracticeandsocialinclusion

in a broad sense and specifically within the wind band’s context. I am a member of the organizing

committeeofSIMM3.

RuiFerreira,INET-md,PortoPolytechnicInstitute,Portugal

[email protected]

For the last 30 years I’vebeenengaged inmusic teacher’s educationat theMusicDepartmentof the

CollegeofEducationinthePortoPolytechnicInstituteinPortugal.

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IamDirectorofMusicandDramaDepartmentandsince1998amemberoftheresearchteamofCIPEM

(ResearchCenterinPsychologyofMusicandMusicEducation)thePortoPolytechnicbranchofINET-md

(InstituteofEthnomusicology–studiesinmusicanddance).Mypresentresearchinterestsareverymuch

concernedwithmusicalpracticeandsocialinclusion,andhowtodovaluableresearchonfindingevidences

ofsocialinclusionandsocialmobilitythroughparticipationincollectivemusicmaking.I’malsointerested

inITsupporttomusicalpracticeandthecurriculachangesthroughoutthelast20years.Asamemberof

CIPEMIhavebeenaninvestigatorofarecentlycompletedresearchprojectaboutthePortugueseSistema

affiliated Orquestra Geração from which the book “Growing while playing in Orquestra Geração -

contributions towards understanding the relationship between music and social inclusion” has been

recentlylaunchedinon-lineversion.IamamemberoftheorganizingcommitteeofSIMM3.

SalwaEl-ShawanCastelo-Branco,INET-md,NovaUniversity,Lisbon,Portugal

[email protected]

IamaprofessorofEthnomusicologyandtheDirectorofthe InstitutodeEtnomusicologia–Centrode

EstudosemMúsicaeDança,basedat theUniversidadeNovadeLisboa,Portugal,withbrancesat the

UniversityLisbon,theUniversityofAveiroandattheInstitutoPolitécnicodoPortowhereSIMMistaking

placethisyear.IwaselectedaspresidentoftheInternationalCouncilforTraditionalMusicforafirstterm

in2013andforasecondin2017.IreceivedmydoctoratefromColumbiaUniversity,taughtatNewYork

University (1979-1982), was visiting professor at Columbia University, Princeton University; Tinker

ProfessoratChicagoUniversity,OverseasVisitingScholaratSt.John’sCollege,CambridgeUniversityand

GulbenkianProfessorattheUniversityofCaliforniaatBerkeley.IcarriedoutfieldresearchinPortugal,

EgyptandOman.Myresearch focusesonculturalpolitics,musicalnationalism, identity,musicmedia,

modernity, heritage, and music and conflict. My main publications include: Portugal and Spain:

ExperiencingMusic,ExpressingCulture.WithSusanaMorenoFernàndez.GlobalMusicSeries.NewYork

andLondon:OxfordUniversityPress(2018);“Jazz,RaceandPoliticsinColonialPortugal:Discoursesand

Representations(1924-1971),”withPedroRoxo(2016), inPhilipBohlmanandGoffredoPlastino(eds.)

JazzWorlds/WorldJazz,Chicago:ChicagoUniversityPress(2016);“ThePoliticsofMusicCategorizationin

Portugal”inPhilipBohlman(ed.)TheCambridgeHistoryofWorldMusic,Cambridge:CambridgeUniversity

Press (2013); Enciclopédia da Música em Portugal no Século XX (4 vols) (ed.), Lisboa: Círculo de

Leitores/TemaseDebates(2010);MusicandConflict.(co-editorwithJohnO’Connellandauthorofthe

Epilogue),Urbana:IllinoisUniversityPress(2010);TraditionalArtsinSouthernArabia:MusicandSociety

inSohar,SultanteofOman(withDieterChristensen),Berlin:VWBVerlagfürWissenschaftundBildung

69

(2009). My past academic responsibilities and awards include: Vice President of the Society for

Ethnomusicology (2007–2009)andof the InternationalCouncil forTraditionalMusic (1997-2001and

2009-2013); Vice Chancellor of the Universidade Nova de Lisboa (2007-2009). I received the Glarean

AwardformusicresearchoftheSwissMusicologicalSociety(2013),theGold&SilverMedalsforCultural

meritoftheCityHallsofLisbonandCascais,respectively(2012&2007),andthePro-AuthorAwardofthe

PortugueseAuthor’sSociety(2010).

SeanPrieske,HumboldtUniversity,Germany

[email protected]

AftermystudiesinmusicandmediaandGermanlinguisticsinBerlinandNewcastle,IreceivedmyMaster

in musicology at Humboldt University of Berlin in 2016. My research interests include transcultural

processesinmusic,thesocialinmusic,andmusicalexperience.In2017,IstartedaPhDprojectonmusic

andself-placementintheBerlinrefugeereliefatHumboldtUniversity.Continuingresearchonmusicand

migrationin2016,Igavepresentationsatseveralconferences,includingMozarteumUniversitySalzburg,

Humboldt-University of Berlin, University of Kassel, and Magdeburg-Stendal University of Applied

Sciences. IamamemberoftheSocietyforMusicResearch(GfM), InternationalCouncil forTraditional

Music (ICTM), German Network of Refugee Researchers, and Berlin Ethnomusicology and the

AnthropologyofMusicResearchGroup(BEAM).RecentpublicationsareFLUCHTNACHVORNE.In:BLATT

3000,08, July2017,AfghanistanMusicResearchCentre. In:Szego:Yearbook forTraditionalMusic.49,

November2017,andMusikaufderFlucht.In:Gratzer/Grosch:MusikundMigration.Waxmann,2018.I

am the founder of the project Freiraum Musikraum that enables refugees to take music lessons.

Furthermore, I am volunteer adviser of the MitMachMusik Verein, coordinating the musicological

evaluationof theassociation’smusicworkwith refugee children.Asamusician for severalbandsand

musicprojects,IhavetouredinGermanyandreleasedsomerecords.Havingattendedthe2017SIMM-

posium, Iwant tocontribute to it thisyearwithmyownknowledgeandexperience. I lookverymuch

forwardtomeetingallthewonderfulpeopleagainandbeingpartofinspiringdiscussions.


[email protected]

L’AuditorideBarcelonaisamajorconcerthallcomplexandhomeoftheOrquestraSimfònicadeBarcelona

INacionaldeCatalunya(OBC).Thecomplexconsistsofthreeconcerthalls,andalsohousesCatalonia’

musicConservatoire-EscolaSuperiordeMúsicadeCatalunya(ESMUC))andtheMusicMuseum.Itisthus

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acentreofexcellenceinmusicperformance,teachingandresearch,andaprimeculturalcentreinthe

cityofBarcelona.

SoniaGainza,atrainedbusinessprofessional(MBAbyESADE)andmusician(voiceandpiano),hasworked

fortheadministrationofL’Auditoriforthelast15years.SheisthecreatoranddirectorofApropaCultura,

thesocialadministrativeentityofL’Auditori,whichisdedicatedtomakingcultureaccessibletothosewho

areat riskof social exclusion, reachingout tonearly30,000people in2017. The initiative,which she

founded10yearsago,providesacriticallinkbetweenmorethan50culturalcentresandsome950social

centres.TheflagshipofthesocialinitiativeofL’Auditoriisahighlyapplaudedparticipativemusicalproject

called‘AnorchestralMorning.’Thisproject,whichhasbeenrunningfor6years,wasdesignedforpeople

withintellectualdisabilityandhassubsequentlybeenadaptedforparticipantswithAlzheimer’sdisease.

Groupsof15-20participantsmeeta coupleoforchestralmusicianswith their instruments; then they

attend part of the orchestra’s rehearsal, and finally the participants play orchestral instruments

themselvesinapracticalworkshoprunbyamusictherapist.Some3,000peoplehaveparticipatedinthis

projectsinceitbegan.


[email protected]

Mybackground is both as a post-doctoral researcher at theUCL Institute of Education’s International

MusicEducationResearchCentreandalsoasFounderandDirectorofGrowingtheVoices:Festival500–

a movement with a mission to develop access to and diverse opportunities for singing across the

lifespan.Asaresearcher,myprincipalfocusisonadultsingingrecovery/discoveryandinenablingpublic

engagement with social singing. This research had fed into the development of a specially-designed

programmeinNewfoundlandtosupportsinginginthewidercommunity. Also,IfoundedFestival500:

Sharing the Voices in 1997, an international choral festival with a symposium component, regularly

hosted at Memorial University, Newfoundland, where I am Chancellor. The symposia bring

togetherresearchers,cliniciansandpractitionerswhoshareaninterestinthenature,developmentand

social impactofsingingacrossthelifespan.AttendingtheSIMMResearchSymposia(suchasinLondon

last year) is particularly enriching as it enables me to keep in touch with research and researchers

internationally who are engaged in exploring music's social impact and ensures that our work in

Newfoundlandisgroundedinthelatestevidence.

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SusanO’Neill,SimonFraserUniversity,Vancouver,Canada

[email protected]

SusanO’NeillisProfessorandAssociateDean,AcademicandResearchintheFacultyofEducationatSimon

FraserUniversity.SheisDirectorofMODALResearchGroup(Multimodal/MusicOpportunities,Diversity

and Learning) and President-Elect of the International Society for Music Education. Susan has been

awardedvisiting fellowshipsat theUniversityofMichigan,USA (2001-2003),UniversityofMelbourne,

Australia(2012),andTrinityCollegeDublin,Ireland(2015).Shehaspublishedwidelyinthefieldsofmusic

psychologyandmusiceducation,includingcontributionsto15bookspublishedbyOxfordUniversityPress.

She edited two books for the CanadianMusic Educators’ AssociationPersonhood andMusic Learning

(2012)andMusicandMediaInfusedLives(2014).Herrecentco-authoredbookWhyMultimodalLiteracy

Matters(2016)isonintergenerationalmultimodalcurriculaandispublishedbySensePublications.She

hasbeenawardedmajorgrantsforinternationalcollaborativeresearchanddevelopedMusicLearningin

ActionandUnityThroughMusicadvocacyandinterculturalprogramsinBrazilandCanada.Hercurrent

researchincludesalargesurveyandinterviewstudyofyoungpeople’smusicandcreativetechnologies

engagementinprovincesacrossCanadaandthesocialimpactofmusiconyoungpeople’slives.

SusanaSardo,INET-md,UniversityofAveiro(DepartamentodeComunicaçãoeArte),[email protected]

I'mAssociateProfessorofEthnomusicologyattheUniversityofAveiro/PortugalandVisitingProfessorat

GoaUniversity/India for the Cunha Rivara Chair. Since 1987 I've been carrying out fieldwork in Goa,

especiallyaboutmusicperformedbythecatholiccommunity.Myresearch interests includemusicand

post-colonialapproach,soundarchives,musicinthelusophonicandlusosonicworld,andmusicandpost-

dictatorship regimes. In the last few years I've been dedicated to apply shared research practices in

ethnomusicology, based on a decolonial framework, and been using research as a tool for social

transformationinthefield.I'mespeciallyconcernedwithsituationsoftraumarelatedtopost-colonialand

migrant conditions, where music seems to be the only expressive behaviour which allows people to

achieve freedom through a process of social reversibility and of auto-empowerment. Working with

migrant communities of Goans and Cape-Verdians in Portugal and also with non-independent post-

colonialterritoriesinÍndia,mademereachthiskindofconcernsandthinkofresearchasadynamicprocess

ofsocialinteractionandchallengeonthepathforamorefairersocietywithplaceforall.

I’mtheauthorofthebook“GuerrasdeJasmimeMogarim:Música,IdentidadeeEmoçõesemGoa”(Texto

2011)which received the 2012CultureAward from the LisbonGeographical Society, and co-editor of

“HistoricalSources inEthnomusicology inContemporaryDebate”(CambridgeScholars2017).Myother

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publicationsincludethescientificcoordinationofthe12CDcollectionJourneyofSounds(Tradisom1998),

amongotheraudio-visualpublicationsandpapers.I’mthecoordinator,since2007,oftheUniversityof

Aveiro’sbranchoftheResearchCentreforEthnomusicology(INET-md).

TobyMartin,UniversityofHuddersfield,UK

[email protected]

TobyisamusicianandhistorianfromSydney,Australia,andiscurrentlyLecturer inPopularMusicand

HeadofPopularMusicandJazzattheUniversityofHuddersfield.Hisresearchlooksatculturalhistory,

historiesofpopularmusic,andAboriginalHistory.Hehaspublishedwidelyinthesefields,includingthe

2015monographYodellingBoundaryRiders:countrymusicinAustraliasincethe1920s.Morerecently,

Toby’s research has become increasingly practice-based, and looks at developing strategies to enable

collaborativesongwritingandinterculturalmusic-making.His2016albumSongsFromNorthamAvenue

wastheresultofcollaborativeresearchbetweenAustralianmusicianswithawidevarietyofbackgrounds:

Vietnamese,IraqiandLebanese,andarecentarticle‘MakingMusicinBankstown:respondingtoplacein

song’ in@IASPMJournalcontextualisesthisresearch.Tobyhasalsoco-writtenandco-producedmusic

withAboriginalsongwriterRogerKnox,andin2016wasaworkshopfacilitatorforMomentumIIwhich

wasaseriesofcompositionworkshopswithrefugeesandprisoners innorthernEnglandaspartofthe

HuddersfieldContemporaryMusicFestival.

VaivaJucevičiūtė-Bartkevičienė,LithuanianUniversityofEducationalSciences,Lithuania

[email protected]

I’m Head of the research programme Non-Formal Education of Children, Youth and Adults of the

EducationalResearchInstitute(LEU)andSeniorresearchworker(since2014).Idevelopedcontactswith

scholars from Estonia, Finland, Latvia, Spain and Turkey and carried out joint research. Also I’m a

professional singer and teaching singing in LEU (since 2005). I have obtained my PhD in this sphere

(successfullydefendeddissertationStrategyofFutureMusicTeachers’IndividualVocalEducation,2013).

IhavebeenactivelyparticipatinginErasmus+andNord+exchangeprogrammes(Turkey,Portugal,Spain,

Norway), also I deliver the presentations in international conferences (Finland, Spain, Sweden, Latvia,

Turkey,theNetherlands)andwritepublications. Iwould liketoapplyforanentrytoSIMM-POSIUM3,

becauseI’minterestedintheroleofhighereducationinstitutionsindeliveringsocial impactofmaking

music.I’mtheleaderofthegroupofresearchers,whoareworkingwiththetheme-Children'sandAdult's

Non-Formal Education: Music Activities (this group is one part of research programme Non-Formal

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EducationofChildren,YouthandAdults).Ithinkitisimportanttoshareourfindingswithotherresearchers

andtogetnewideas.ThisSymposiumwouldbeaperfectopportunitytomakesomecontactswiththe

researchers,whohavethesimilarpointofviewtomusicanditssocialimpact.

YaroslavSenyshyn,SimonFraserUniversity,Vancouver,Canada

[email protected]

Asapracticingmusician,educatorandphilosopher Ihavegained insights into thewaysyoungpeople

navigate learning activities. What is particularly striking is that these music activities are sometimes

unrelatedtotheformalcurriculumsintheirschools.Althoughtherearevariousperceptionsthatsucha

disconnectneednothindermusicaldevelopment,wetaketheviewthatitcancreatealackofopportunity

andcontributefeelingsofdisconnectednessinstudentslearningmusic.MyworkwithSusanO'Neillhas

suggestedthatarelationalphilosophyandontologyalongwithIndigenousrelationalitycanbecoupled

witharestorativeparadigmthatcanresultinvarioussynergiesthatcontributetoapositiveexperience

ofmusiclearningthroughsocialimpact.Suchanapproachcontributestoabetterunderstandingofsocial

andpersonalselves.Lastsummer,Iwasmostfortunatetoparticipateviapianoconcertoperformances

withaninternationalstudentorchestra(EurochestrieinSobral,BrazilundertheauspicesofMarcoAntonio

ToledoandAdelineStervinou),thathascontributedinsightsintosignificantsocialimpactsontheartsin

theareasofsocialdemocracyandthepossibilityofalatentinequalitythatcanlurkinothersuchsettings

thatlackconnectedness.Interestinglyenough,ourresearchwithsecondaryschoolstudentsfromthree

CanadianprovincescombinedwithmyrecentexperienceinBrazilcontributetoinsightsthatfitintoall

the categories of focus for this research symposium: collaborative research, impacts of context and

culture,theconservatory-professionalschoolconundrum(!),musicalrepertoiresandthelatentissuesof

possibleinequalityinculturaldemocracy.

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SponsoringOrganisations

ThePolytechnicInstituteofPortowasestablishedin1985,andintegrateseightschoolsspreadinthree

campi:TheSchoolofEducation,theSchoolofMusicandthePerformingArts,theAccountingandBusiness

School, the School of Engineering, the School of Management and Industrial Studies, the School of

Healthcare,theSchoolofMediaArtsandDesignandtheSchoolofHospitalityandTourism.Theinstitution

is proudof its high standardsof teaching, qualityof the learning and training infrastructure, scientific

researchandsports,partnerships,protocolsandcooperation,inPortugalandglobally,andthedynamics

of itsculturalagenda.Today,theP.Portoranksfourthamongfirst-choicehighereducationinstitutions,

andfifthinnumberofstudents.

TheSchoolofEducationhasthestrongholdofteachertraining,butalsoofthetrainingofeducators,and

socialandculturalplayersinnumerousareas-fromlanguagestomusic,tosports.TheSchoolstartedin

1985, providing undergraduate degrees in primary education, as well as in-service teacher training

programmesforteachersandeducators.WiththeconsolidationoftheEuropeanHigherEducationArea,

its educational offerwas updated so as to include Professional andVocationalMasters. Itsmission is

teaching,educationandsocialintervention.Theinstitutiontrainsprofessionalsinscientific,technical,art

and pedagogical areas, never loosing sight of ethics and citizenship education. ESE is a school where

education,culture,sportsandcitizenshipconvergeinasinglespaceoftrainingandknowledge.

TheCIPEM(CentreforResearchinPsychologyofMusicandMusicEducation),wascreatedin1998by

theMusicDepartmentof thePortoPolytechnic Schoolof Education. It aims topromote researchand

contribute to professional development in music, psychology and education in Portugal. It fosters

collaborationamongresearchersandmusicteachers,namelythroughresearchprojects,seminars,and

thejournalMúsica,PsicologiaeEducação(inprocessofbecominganopen-accesson-linejournal)which

has published articles by national and international authors. CIPEM has carried out various research

projects,someofwhichfundedbytheFCT-FoundationforScienceandTechnology.InJanuary2015,CIPEM

becameabranchoftheINET-md(InstituteofEthnomusicology-studiesinmusicanddance)atthePorto

Polytechnic,whichhasbeenamajordevelopmentinitshistory.

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SocietyforEducationandMusicPsychologyResearch(SEMPRE)

sempre.org

TheSocietyforEducation,MusicandPsychologyResearch(SEMPRE)wasfoundedin1972,growingoutof

theReadingConferencesonResearchinMusicEducationthatwerestartedin1966byArnoldBentley.

Originallyknownasthe'SocietyforResearchinPsychologyofMusicandMusicEducation'('SRPMME'),

SEMPREremainstothisdaytheonlysocietywhichembracesresearchinbothmusiceducationandmusic

psychology, providing an international forum to encourage the exchange of ideas and to disseminate

researchfindings.

TheSocietyisparticularlykeentoencouragetheparticipationofthoseatthestartoftheirresearchcareer

andtomaintainabroadmembershipthatreflectstheconsiderablerangeofintereststhatarerepresented

withinmusic educationand thepsychologyofmusic.Membership includes free copiesof the journal,

reducedfeesforattendanceatconferences,andentitlementtoapplyforarangeoffinancialawardsthat

areintendedtofosternewresearchandassisttheworkofnewresearchers.

NineofthedelegatesattheSIMM-posium3aresupportedbySEMPREtravelawards,asindicatedinthe

detailedprogramme.

InternationalResearchPlatformSIMMBrussels/Belgium

TheresearchplatformSIMM(SocialImpactofMusicMaking)hasthelastyearsbeendevelopedbyPhD-

researcherLukasPaironoftheUniversityofGhent.ThefirstinternationalSIMM-posiumwasorganisedin

Ghent in October 2015. Building on the incubation support given since 2015 by the University and

UniversityCollegeofGhent,SIMMwassinceSeptember2017-thankstothegenerousfinancialinputfrom

theBelgianBaillet-LatourFund-establishedasanindependentinternationalscholarlyassociation.SIMM

hasitsheadofficeinBrussels,andhasaninternationallycomposedmanagementboardaswellasadvisory

board.TheresearchplatformSIMMisthecomingyearsplanningtheorganisationandaccompanimentof

annual SIMM-posia, conferences as well as research-seminars for scholars, practitioners, funders and

governmental representatives interested in developing research on the rolemusicmaking can play in

socialwork.SIMMwantstobeaninter-disciplinary,inter-facultyandinter-universityresearchplatform

ontheroleofmusicinsocialwork.FromOctober2018on,theLondonbasedGuildhallSchoolofMusic

andDramaisstarting-inaclosepartnershipwiththeresearchplatformSIMM-thefirstdoctoralresearch

programmeinthisfield.Contact:[email protected].

MAY SOCIAL IMPACT OF MAKING MUSIC - P.PORTO · 2018-05-09 · 2 WELCOME TO SIMM-POSIUM 3 2018 On...

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