Play On: Storying a global conversation on urgent issues of community-engaged practice and research

<p>This qualitative research project set out to explore my role as a student music therapist within a community music setting. I am a student music therapist, working with a community music company involved in a variety of community music groups and projects. I wanted to understand what I might offer the community music company by bringing a community music therapy perspective to the work. The research involved an exploration into the literature relating to Community Music Therapy as well as Community Music and required me to regularly question the reasoning and philosophy behind Community Music Work. To answer my question I engaged in secondary analysis of data generated during the first 24 weeks at this community music placement. The data included session notes, audio recordings of supervision sessions, and my reflective journal. The literature includes examples of collaboration between community music therapists and community musicians, and I sought to experience this at my placement. The hoped for collaboration did take place during the period of data collection, enabling detailed reflections of it. This exploration therefore helped me to develop as a community musician and music therapy student. The practice was broad and involved regular transitions in role, often within the same session. These included participant, accompanist, song-leader, community music therapist, and drum circle facilitator. Findings suggest that Community Music and Community Music Therapy are disciplines with many similarities in appearance and structure, but tend to diverge when looking at goals and overall objectives and foci. Social equality seems to be commonly shared value between Community Music and Community Music Therapy. The ways in which this value is acted upon is also explored. Performance and Performativity as aspects of group behaviour was found to be mentioned in the literature, and again this was mentioned in the data collected as part of the researcher’s placement.</p>

<p>This qualitative research project set out to explore my role as a student music therapist within a community music setting. I am a student music therapist, working with a community music company involved in a variety of community music groups and projects. I wanted to understand what I might offer the community music company by bringing a community music therapy perspective to the work. The research involved an exploration into the literature relating to Community Music Therapy as well as Community Music and required me to regularly question the reasoning and philosophy behind Community Music Work. To answer my question I engaged in secondary analysis of data generated during the first 24 weeks at this community music placement. The data included session notes, audio recordings of supervision sessions, and my reflective journal. The literature includes examples of collaboration between community music therapists and community musicians, and I sought to experience this at my placement. The hoped for collaboration did take place during the period of data collection, enabling detailed reflections of it. This exploration therefore helped me to develop as a community musician and music therapy student. The practice was broad and involved regular transitions in role, often within the same session. These included participant, accompanist, song-leader, community music therapist, and drum circle facilitator. Findings suggest that Community Music and Community Music Therapy are disciplines with many similarities in appearance and structure, but tend to diverge when looking at goals and overall objectives and foci. Social equality seems to be commonly shared value between Community Music and Community Music Therapy. The ways in which this value is acted upon is also explored. Performance and Performativity as aspects of group behaviour was found to be mentioned in the literature, and again this was mentioned in the data collected as part of the researcher’s placement.</p>

There is wide acknowledgement of the need for community engagement in biomedical research, particularly in international settings. Recent debates have described theoretical approaches to identifying situations where this is most critical and potential mechanisms to achieve it. However, there is relatively little published experience of community engagement in practice. A major component of the Kenya Medical Research Institute (KEMRI) Wellcome Trust Research Programme is centred on Kilifi District General Hospital and surrounding community of 240,000 local residents. Documented community perceptions of the research centre are generally positive, but many indicate a low understanding of research and therapeutic misconceptions of its activities. As in other settings, these misunderstandings have contributed to concerns and rumours, and potentially undermine ethical aspects of research and local trust in the institution. Through a series of consultative activities, a community engagement strategy has been developed in Kilifi to strengthen mutual understanding between community members and the Centre. One important component is the establishment of a representative local resident network in different geographic locations commonly involved in research, to supplement existing communication channels. Early implementation of the strategy has provided new and diverse opportunities for dialogue, interaction and partnership building. Through the complex social interactions inherent in the community engagement strategy, the centre aims to build context specific ethical relations with local residents and to strengthen understanding of how ethical principles can be applied in practice. Evaluations over time will assess the effectiveness and sustainability of these strategies, provide generalisable information for similar research settings, and contribute to debates on the universality of ethical principles for research. This paper aims to summarise the rationale for community engagement in research, drawing on published literature and local findings, to outline the process of community engagement in Kilifi and to describe issues emerging from its development and early implementation.

Community engagement (CE) has been highlighted as a key process in the prevention and transmission control of coronavirus disease 2019 (COVID-19). However, the nature of the virus and national response strategies such as social distancing have challenged traditional methods of community engagement. In this paper, we discuss the role of community engagement in research during COVID-19. We first set out the case for community engagement that emerges from international guidance for research during public health emergencies. We then describe the challenges that are emerging with community engagement in health research generally, and on COVID-19 related research specifically in Africa in the context of the COVID-19 pandemic. We further describe the strengths and weaknesses of the current engagement and communication platforms, and suggest ways to overcome some of these challenges. We provide an ethical argument for researchers and research institutions to respond directly to addressing the COVID-19 pandemic by responding to emergency health care needs of the community; and provide some challenges and critiques of such an approach. Finally, we support the call for concerted efforts in responding to the global pandemic, requiring flexibility in funding.

This paper looked into the role of Rhythm in Bronze (RiB), a local music group in Malaysia, in community music work practices that uses Malay gamelan as the medium. The research delved into the different aspects of the approaches used to enhance music learning through community music; particularly the activities used and how they relate to Vygotsky’s theory of socialization in learning. Community music gathers people from different backgrounds. Experiences and knowledge shared helps the community through the development in terms of personal growth, self- esteem and self-confidence. These terms are just some of the aspects that community music promotes, apart from music making. Along the process of community music, creativity and expression are important in music making, as this will further develop creative thinking skills among musicians. Qualitative approaches such as observation, interview, and group’s past work were used in this research to gather information and data on how music has been taught to children through community music. Social interaction has certainly shown a big role in developing children thinking and perceptions through the activities implemented. In the other hand, Zoltán Kodály, Carl Orff, and Émile Jaques-Dalcroze approaches identified through data analysis as it has helped the children to have more fun and always looking forward to the sessions. This documented writing will certainly help people to understand between the whole concepts of community music in the context of Rhythm in Bronze

Singing is a rich and dynamic part of South African cultural and national identity. The authors explore the identity of two choirs in the Cape Town metropole against the background of response to ongoing social change. The disparate yet similar choirs enhance the well-being of their members as communities and who sing for community. Community development as an outcome of community music is understood as process-driven. The Identity Process Theory serves as a useful integrative framework in which identity, social action and social change can be collectively examined with qualitative thematic analysis to code and analyse questionnaire and interview data (2017–2022). Three overarching themes are discussed, focusing on the experiences as perceived by research participants from the two choirs in relation to ‘singing as a music community’, ‘having a place to belong’ and ‘singing during COVID-19’. The discussion highlights differences, similarities, challenges and opportunities for these choirs in relation to community musicians, identity and place. Although generalizations to other choirs cannot necessarily be made, recommendations are offered, both for further research and of a practical nature. This paper argues that diverse forms of communal singing continue to play an important role in South Africa’s group identity for choirs, fostering hope for communities and their development. Notions of community development and community music should not become narrowly defined, excluding many choral groups and their contributions to society from the global conversation.

The type of community music defined as an ‘active intervention’ can suggest a political, usually left-leaning, flavor to the practice. But the trajectory of the work in the United Kingdom over the last half-century suggests that government policies, rather than politics, have been the driver for the development of much community music work. Moreover, the practice adapts well to frequent changes in such policies. From an original stance of opposition to authority, through to a confidence in its own authoritativeness, the practice's instrumentality and focus on its participants have been key ingredients in helping community music in the United Kingdom to mature as a profession and continue to thrive.

Disengaged: A systematic review of community engagement in psychedelic-assisted therapy research.

BackgroundSuccessful community-engaged research depends on the quality of the collaborative partnerships between community -members and academic researchers and may take several forms depending on the purpose which dictates the degree to which power dynamics are handled within the collaborative arrangement.MethodsTo understand the power dynamics and related concepts within community-engaged research arrangements, a secondary analysis of an existing qualitative data set was undertaken. Two models of community-engaged research, a review of literature, and the applied experiences of researchers familiar with community engagement practices confirmed the power dynamics concepts used to carry out the analysis of the qualitative data set according to the principles of directed content analysis. This analysis yielded quotes on power dynamics and related issues. Tools to address the power dynamics exposed by the quotes were selected using the literature and lived experience of the researchers. Finally, to ensure trustworthiness, the selected quotes on power dynamics and the recommended tools were subjected to naturalistic treatment using peer debriefings and triangulation.ResultsAnalysis of existing qualitative data made clear that community-engaged research between health practitioners and communities may take several forms depending on the purpose and dictate how power dynamics, including inequities, biases, discrimination, racism, rank and privilege, are handled within the collaborative arrangement. Three tools including implicit bias training, positionality, and structural competency may be used to address power dynamics and related concepts.ConclusionAnalysis of the qualitative data set highlighted the power dynamics within different community-engaged research models and the tools that may be used to address inequitable power dynamics including implicit bias training, positionality, and structural competency.

Music as Magic

IntroductionCommunity engagement and participatory research are widely used and considered important for ethical health research and interventions. Based on calls to unpack their complexity and observed biases in their favour,...

This paper discusses how some of the music projects supported and developed by Community Music Wales have attracted the interest of disaffected young people. In addition, the paper describes how project participants are able to have their learning formally recognized under a national accreditation system, thus gaining access to employment or further training opportunities. The paper concludes with a brief look at some of the key issues that have emerged through the organizations' community music work.

This paper details U.S. Research Centers in Minority Institutions (RCMI) Community Engagement Cores (CECs): (1) unique and cross-cutting components, focus areas, specific aims, and target populations; and (2) approaches utilized to build or sustain trust towards community participation in research. A mixed-method data collection approach was employed for this cross-sectional study of current or previously funded RCMIs. A total of 18 of the 25 institutions spanning 13 U.S. states and territories participated. CEC specific aims were to support community engaged research (94%); to translate and disseminate research findings (88%); to develop partnerships (82%); and to build capacity around community research (71%). Four open-ended questions, qualitative analysis, and comparison of the categories led to the emergence of two supporting themes: (1) establishing trust between the community-academic collaborators and within the community and (2) building collaborative relationships. An overarching theme, building community together through trust and meaningful collaborations, emerged from the supporting themes and subthemes. The RCMI institutions and their CECs serve as models to circumvent the historical and current challenges to research in communities disproportionately affected by health disparities. Lessons learned from these cores may help other institutions who want to build community trust in and capacities for research that addresses community-related health concerns.

Statement of the problem. If the study of various aspects of teaching by musicians-performers has always been under consideration of scientists, then the question of the method of teaching composition is a poorly covered area. As a rule, the main subject of research is primarily the composer’s musical works. However, understanding the composer’s work and his activity as a whole, in the unity of all components, requires the systematization of his pedagogical principles. In turn, such research can help to evaluate the composer’s work in a new way, especially if it belongs to the modern musical space. Research and publications. The article is based on the works devoted to fixation and transmission of the composer’s experience (Rameau, 1971; Mann, 1971; Dyletsky, 1970/1723; Riemann, 1902; Hindemith, 1984; Messiaen, 1956; Schoenberg, 1999), the memories about composers-teachers (Galas, 2020; Bevz, 2021; Hrabovsky & Shchetynsky, 2017), scientific reference literature (Borysenko et al., 2017). Also, the theoretical basis was created by the works that reveal the concepts of “composition”, “school” (Dmytriyeva, 2018; Siuta, 2008; Kucherenko, 2019). Objectives, methods, novelty of the research. The purpose of the study – a systematization of the pedagogical principles of S. Turnieiev, a composer, teacher, musical and social activist, who made a significant contribution to the development of compositional activity in Luhansk and Kharkiv. The article uses historical, historical-theoretical and biographical research methods. The scientific novelty of the study is that S. Turnieiev pedagogical principles are investigated in the scientific literature for the first time. Results. There are difference between composer and pedagogical principles. If the composer principles are the aesthetic views and technological techniques of the composer himself, so the pedagogical ones are the transformation of the first into creative instructions for the student. In determining the composer’s principles, one can rely on the composer’s works, but the pedagogical principles of the composer can be fined in the works of his students and their memories of his teacher. Different composers prefer the distinct roles of a composition teacher: teachermentor, teacher-friend, teacher-colleague. These roles dictate work approaches. Serhii Turnieiev formulated his own creative guidelines, which defined his pedagogical principles based on a gradual change in role: from the teachermentor to the colleague-composer or even a friend. During this time, the student becomes aware of the composer’s profession syncretic essence, the importance of regular work, and studying traditions and innovations. After graduation, the student becomes a member of the musical community, in which professional and friendly relations should prevail. Conclusion. So, the following S. Turnieiev’s pedagogic principles are revealed and systematized: a) composer is an universal artist; therefore, his education should be broadbased – in addition to special classes, to include in-depth courses in musical and theoretical disciplines (music history, musical analysis, polyphony and harmony), philosophy, cultural studies, and management; b) emotional-rational approach to creating music; c) appeal to heritage and modernity; d) the model “from mentor to colleague / friend” in student-teacher relationships; e) regular and honesty work; e) sociability and friendship within the musical community.

The article is devoted to the influence of chamber – instrumental creativity works of the Belgian-British pianist and composer of Polish origin Lady Dean Paule on the development of the violinist’s performance. For quite a long time, women could not achieve success and recognition in the profession of a composer. So they had to resort to various tricks to share their creativity with their fans. A more frequent case was the choice of a male pseudonym by female artists. And such an example is the youngest daughter of a famous Polish composer Henryk Wieniawski – Irena Regina (1879–1932) by her husband Lady Dean Paule, who was known to the public as Poldowski or Paul Poldowski. At first she published her musical works under the name of Irena Wieniawska, but after her marriage she took a pseudonym. Her compositions were mainly created for a small ensemble and they included about 30 songs to lyrics by William Blake, Jeanne Dominique, Jeanne Marias, Albert Saman, Anatol Le Bra, Adolf Rette and others. The best and the most interesting are 16 song based on texts by Paule Verlaine in a style close to contemporary French composers. The artist’s creative output also included operetta “Laughter”, symphonic drama “Silence”, works for orchestra, suite for wind instruments, 11 pieces for piano, pieces for violin and piano and sonata for violin and piano in d minor. This article exemines Paul Poldowski’s “Tango” for violin and piano and sonata for violin and piano in d minor. The purpose of the article is to carry out a historical and methodological analysis of Paul Poldowski’s heritage and popularize her violin works on the territory of Ukrain. Due to the war between russia and Ukraine, our musical community is trying to expand its concert and educational repertoire. In this connection, it is relevant to refer to works for the violin by female composers of the late 19-th and the early 20-th centuries, among which is the works of Paul Poldowski. One of the main tasks of this article is to learn stylistic parameters in the chamber- instrumental works of the female composers of the late 19-th and the early 20-th centuries, on the example of studying the genre of the violin sonata and the piece for the violin and piano “Tango” by Belgian – English female composer Paul Poldowski. The practical significance of the research lies in the possibility of using the materials in the pedagogical and performing practice of violinists.