“Singing my Spirit of Identity”: Aboriginal Music for Well-being in a Canadian Inner City

In this article the author explores relationships between Aboriginal Canadian music -making, personal meaningfulness, identity and well-being in urban Canada, through a case study of Aboriginal singing in Vancouver’s Downtown Eastside. Healing programs for remediating situations of substance misuse, crime, and violence, are examined as contexts for revealing how Aboriginal musical expressions, including ceremony, and associated teachings and world views, become significant as individuals choose and affirm lifestyles of wellness and dignity

The Second Wave of Applied Ethnomusicology

Building on the increasing popularity of applied ethnomusicology approaches since the early 1990s, a “second wave” of developments in the field’s methodology and practice raises various questions about its topics, terms and definitions, as well as the worksites and motivating factors for such applied work. Why has applied ethnomusicology come to focus on what Timothy Rice (2013) calls “music in times of trouble”? This article argues that the term applied ethnomusicology has taken on new definitions and meanings since about 2007. Yet what are the recently popularized definitions of applied ethnomusicology, and why has the field been redefined? The worksites of applied projects have long involved institutions. In the second wave, though, the scope of involved private, public and third sector institutions is broadening. What are the diverse types of institutions in which applied ethnomusicology work occurs today? As well, what are some factors that currently motivate the development of applied work in music? I explore aspects such as concrete problems in society, the repurposing of universities and academic trends and histories. I reflect on challenges proposed by the second wave.Résumé : Si l’on considère la popularité croissante, depuis le début des années 1990, de l’ethnomusicologie appliquée, cette « seconde vague » de développements méthodologiques et pratiques de la discipline soulève diverses questions quant à ses objets, ses termes et ses définitions, ainsi qu’au sujet des terrains de recherche et des motivations à l’origine de ces travaux de terrain. Pourquoi l’ethnomusicologie appliquée en est-elle venue à se concentrer sur ce que Timothy Rice (2013) appelle la « musique en des temps troublés ? » Cet article avance que le terme « ethnomusicologie appliquée » s’est chargé de nouveaux sens et de nouvelles définitions depuis 2007 environ. Mais quelles sont ces définitions, en vogue depuis peu, de l’ethnomusicologie appliquée, et pourquoi la discipline a-t-elle été redéfinie ? Les terrains des projets appliqués impliquent depuis longtemps des institutions. Mais avec la « seconde vague », la portée de l’implication des institutions privées, publiques et du secteur tertiaire s’élargit. De même, quels sont les facteurs qui motivent actuellement le développement des travaux appliqués dans le domaine de la musique ? J’explore des aspects tels que les problèmes réels de la société, les nouvelles raisons d’être des universités, ainsi que l’historique et les tendances de la recherche. Je m’interroge sur les défis que lance cette « seconde vague »

Indigenous Cosmopolitanisms of Music in Sámi Theatre

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Why Applied Ethnomusicology?

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New Skies Above

"© 2018: Xavier Albano, Djamiww, Naomi Sunderland, Vanessa Garrido, Fouad Ibrahim, Rosa Rantanen, Ahmed Zaidan, Nora Al Zubaidi, Raad Obaid Al Zubaidi, Kristina Jacobsen, Klisala Harrison Recorded by Naomi Sunderland in Turku, Finland Mixed and mastered by Phil Graham at Electric Monk Music, Sunshine Coast, Australia Produced by Klisala Harrison, Naomi Sunderland, Kristina Jacobsen and Rosa Rantanen

Introducing the Musical Care International Network

UIDB/00472/2020 UIDP/00472/2020In this paper we report on the inaugural meetings of the Musical Care International Network held online in 2022. The term “musical care” is defined by Spiro and Sanfilippo (2022) as “the role of music—music listening as well as music-making—in supporting any aspect of people's developmental or health needs” (pp. 2–3). Musical care takes varied forms in different cultural contexts and involves people from different disciplines and areas of expertise. Therefore, the Musical Care International Network takes an interdisciplinary and international approach and aims to better reflect the disciplinary, geographic, and cultural diversity relevant to musical care. Forty-two delegates participated in 5 inaugural meetings over 2 days, representing 24 countries and numerous disciplines and areas of practice. Based on the meetings, the aims of this paper are to (1) better understand the diverse practices, applications, contexts, and impacts of musical care around the globe and (2) introduce the Musical Care International Network. Transcriptions of the recordings, alongside notes taken by the hosts, were used to summarise the conversations. The discussions developed ideas in three areas: (a) musical care as context-dependent and social, (b) musical care's position within the broader research and practice context, and (c) debates about the impact of and evidence for musical care. We can conclude that musical care refers to context-dependent and social phenomena. The term musical care was seen as useful in talking across boundaries while not minimizing individual disciplinary and professional expertise. The use of the term was seen to help balance the importance and place of multiple disciplines, with a role to play in the development of a collective identity. This collective identity was seen as important in advocacy and in helping to shape policy. The paper closes with proposed future directions for the network and its emerging mission statement.publishersversionpublishe

Perspectives on musical care throughout the life course : introducing the musical care international network

In this paper we report on the inaugural meetings of the Musical Care International Network held online in 2022. The term “musical care” is defined by Spiro and Sanfilippo (2022) as “the role of music—music listening as well as music-making—in supporting any aspect of people’s developmental or health needs” (pp. 2–3). Musical care takes varied forms in different cultural contexts and involves people from different disciplines and areas of expertise. Therefore, the Musical Care International Network takes an interdisciplinary and international approach and aims to better reflect the disciplinary, geographic, and cultural diversity relevant to musical care. Forty-two delegates participated in 5 inaugural meetings over 2 days, representing 24 countries and numerous disciplines and areas of practice. Based on the meetings, the aims of this paper are to (1) better understand the diverse practices, applications, contexts, and impacts of musical care around the globe and (2) introduce the Musical Care International Network. Transcriptions of the recordings, alongside notes taken by the hosts, were used to summarise the conversations. The discussions developed ideas in three areas: (a) musical care as context-dependent and social, (b) musical care’s position within the broader research and practice context, and (c) debates about the impact of and evidence for musical care. We can conclude that musical care refers to context-dependent and social phenomena. The term musical care was seen as useful in talking across boundaries while not minimizing individual disciplinary and professional expertise. The use of the term was seen to help balance the importance and place of multiple disciplines, with a role to play in the development of a collective identity. This collective identity was seen as important in advocacy and in helping to shape policy. The paper closes with proposed future directions for the network and its emerging mission statement.The United Kingdom Research and Innovation’s Knowledge Exchange Fund, administered through the Royal College of Music, United Kingdom (2021–2023).http://journals.sagepub.com/home/mnsam2024MusicNon

Perspectives on Musical Care Throughout the Life Course: Introducing the Musical Care International Network

Giorgos Tsiris - ORCID: 0000-0001-9421-412X https://orcid.org/0000-0001-9421-412XIn this paper we report on the inaugural meetings of the Musical Care International Network held online in 2022. The term “musical care” is defined by Spiro and Sanfilippo (2022) as “the role of music—music listening as well as music-making—in supporting any aspect of people's developmental or health needs” (pp. 2–3). Musical care takes varied forms in different cultural contexts and involves people from different disciplines and areas of expertise. Therefore, the Musical Care International Network takes an interdisciplinary and international approach and aims to better reflect the disciplinary, geographic, and cultural diversity relevant to musical care. Forty-two delegates participated in 5 inaugural meetings over 2 days, representing 24 countries and numerous disciplines and areas of practice. Based on the meetings, the aims of this paper are to (1) better understand the diverse practices, applications, contexts, and impacts of musical care around the globe and (2) introduce the Musical Care International Network. Transcriptions of the recordings, alongside notes taken by the hosts, were used to summarise the conversations. The discussions developed ideas in three areas: (a) musical care as context-dependent and social, (b) musical care's position within the broader research and practice context, and (c) debates about the impact of and evidence for musical care. We can conclude that musical care refers to context-dependent and social phenomena. The term musical care was seen as useful in talking across boundaries while not minimizing individual disciplinary and professional expertise. The use of the term was seen to help balance the importance and place of multiple disciplines, with a role to play in the development of a collective identity. This collective identity was seen as important in advocacy and in helping to shape policy. The paper closes with proposed future directions for the network and its emerging mission statement.https://doi.org/10.1177/205920432312005536aheadofprintaheadofprin

Value Alignment in Applied and Community-Based Music Research

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