Although group drumming has been found to help improve well-being among marginalized populations, including incarcerated individuals, additional study into the possible benefits of drumming within maximum-security facilities is still required. This phenomenological study examines the experiences of fifteen maximum-security-incarcerated individuals who participated in a twelve-session group drumming and the meaning of this group for them. An analysis of interviews that took place after the sessions revealed three main categories: (1) perceptions regarding the djembe ‐ describing how participants initially perceived the djembe as insufficiently masculine, but then changed their minds about this; (2) benevolent relationships ‐ relating to the facilitators’ non-judgemental, non-patronizing and egalitarian approach within a joyful atmosphere, and how this filtered into the mutual relationships among group members; (3) revealing new possibilities ‐ describing how participants were able to unmask themselves and discover new aspects of their peers, express emotions within a pleasurable and safe space and release aggression. This study suggests that the use of drumming groups as a rehabilitative tool may enable incarcerated individuals to shift from a hegemonic masculinity, that fosters aggression, toughness, boldness, violence and control of others, towards an alternative masculinity that encourages openness, respect, support and the expression of emotions.
{"title":"Into the groove of an alternative masculinity: Drumming groups for incarcerated individuals in a maximum-security facility","authors":"Noa Ze’evi, Moshe Bensimon, Avi Gilboa","doi":"10.1386/ijcm_00062_1","DOIUrl":"https://doi.org/10.1386/ijcm_00062_1","url":null,"abstract":"Although group drumming has been found to help improve well-being among marginalized populations, including incarcerated individuals, additional study into the possible benefits of drumming within maximum-security facilities is still required. This phenomenological study examines the\u0000 experiences of fifteen maximum-security-incarcerated individuals who participated in a twelve-session group drumming and the meaning of this group for them. An analysis of interviews that took place after the sessions revealed three main categories: (1) perceptions regarding the djembe\u0000 ‐ describing how participants initially perceived the djembe as insufficiently masculine, but then changed their minds about this; (2) benevolent relationships ‐ relating to the facilitators’ non-judgemental, non-patronizing and egalitarian approach within a joyful\u0000 atmosphere, and how this filtered into the mutual relationships among group members; (3) revealing new possibilities ‐ describing how participants were able to unmask themselves and discover new aspects of their peers, express emotions within a pleasurable and safe space and\u0000 release aggression. This study suggests that the use of drumming groups as a rehabilitative tool may enable incarcerated individuals to shift from a hegemonic masculinity, that fosters aggression, toughness, boldness, violence and control of others, towards an alternative masculinity that\u0000 encourages openness, respect, support and the expression of emotions.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":"4 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76375728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Masamba Samba School is an Irish community music collective, working with disadvantaged communities through percussion and dance. This report looks at how an Irish community music project, Masamba Samba School, reacted to the demands of COVID-19 across a number of arenas ‐ rehearsal, performance, teaching and research. By casting the virus as an uninvited stakeholder in our projects, we began to investigate what the ‘needs’ of the virus were, and whether we could accommodate them and still deliver meaningful work with our clients. Masamba Samba School’s story is somewhat unique in that it continued to operate throughout the lockdowns, first by concentrating on online and offline activities, and then by slowly moving back into the ‘in-person’ teaching space. This article begins with a brief description of how our projects operated pre-COVID-19 and then describes the immediate response to the pandemic (largely a shut-down), recounting how COVID-19 affected school operations in different ways, detailing the practical steps Masamba Samba School took to resume the teaching and research arms of its work and discussing the advantages and disadvantages of these strategies. The final section speculates about the future for the organization and whether Masamba Samba School can return to the way it was.
{"title":"The COVID carnival: Coping and recovering from the chaos of the coronavirus pandemic","authors":"Simeon Smith","doi":"10.1386/ijcm_00061_1","DOIUrl":"https://doi.org/10.1386/ijcm_00061_1","url":null,"abstract":"Masamba Samba School is an Irish community music collective, working with disadvantaged communities through percussion and dance. This report looks at how an Irish community music project, Masamba Samba School, reacted to the demands of COVID-19 across a number of arenas ‐ rehearsal,\u0000 performance, teaching and research. By casting the virus as an uninvited stakeholder in our projects, we began to investigate what the ‘needs’ of the virus were, and whether we could accommodate them and still deliver meaningful work with our clients. Masamba Samba School’s\u0000 story is somewhat unique in that it continued to operate throughout the lockdowns, first by concentrating on online and offline activities, and then by slowly moving back into the ‘in-person’ teaching space. This article begins with a brief description of how our projects operated\u0000 pre-COVID-19 and then describes the immediate response to the pandemic (largely a shut-down), recounting how COVID-19 affected school operations in different ways, detailing the practical steps Masamba Samba School took to resume the teaching and research arms of its work and discussing the\u0000 advantages and disadvantages of these strategies. The final section speculates about the future for the organization and whether Masamba Samba School can return to the way it was.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":"49 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80822901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
1:1 CONCERTS is a performance initiative where a listener and a musician share a ten-minute, non-verbal musical encounter in a non-traditional performance space. The authors conducted a survey and focus groups with musicians, listeners and ‘hosts’ (facilitators) of 1:1 CONCERTS in Australia, seeking perspectives on their experiences of the Concerts during the COVID-19 pandemic. David Camlin’s three dimensions of music ‐ aesthetic/presentational, praxial/participatory and social ‐ served as a framework for data analysis. The intimate locational and musical aspects of the encounter generated feelings of connection, privilege and pleasure for many participants; for some, COVID-19 lockdowns, social distancing and live-arts deprivation heightened those feelings. We argue that while 1:1 CONCERTS retain presentational features typical of western classical music concerts, the model emphasizes the praxial and social dimensions of music-making, prioritizing process as well as product in ways relevant for music and music-making as a social resource, well beyond the pandemic.
{"title":"1:1 CONCERTS for a pandemic: Learnings from intimate musical encounters","authors":"C. Grant, Zoë Loxley Slump, Sally Walker","doi":"10.1386/ijcm_00059_1","DOIUrl":"https://doi.org/10.1386/ijcm_00059_1","url":null,"abstract":"1:1 CONCERTS is a performance initiative where a listener and a musician share a ten-minute, non-verbal musical encounter in a non-traditional performance space. The authors conducted a survey and focus groups with musicians, listeners and ‘hosts’ (facilitators) of 1:1 CONCERTS\u0000 in Australia, seeking perspectives on their experiences of the Concerts during the COVID-19 pandemic. David Camlin’s three dimensions of music ‐ aesthetic/presentational, praxial/participatory and social ‐ served as a framework for data analysis. The intimate locational\u0000 and musical aspects of the encounter generated feelings of connection, privilege and pleasure for many participants; for some, COVID-19 lockdowns, social distancing and live-arts deprivation heightened those feelings. We argue that while 1:1 CONCERTS retain presentational features typical\u0000 of western classical music concerts, the model emphasizes the praxial and social dimensions of music-making, prioritizing process as well as product in ways relevant for music and music-making as a social resource, well beyond the pandemic.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":"78 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79295679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wendy K. Matthews, Amy Bertleff, Mary Dellmann-Jenkins, Meredith Flory
This study describes the development of the Dimensions of Community Band Participation (DCBP) Scale to measure musicians’ motivations for participating in community bands. Participants (N = 67) included members of a university-sponsored community band consisting of both university students and community members. Members ranged in age from 18 to 73 (M = 28). In addition to completing the DCBP Scale, participants responded to two additional open-ended questions that allowed researchers to assess participant involvement and retention in the community band. The DCBP provides insight into key reasons for participation across all age groupings within adulthood and calls attention to three important aspects of participation: fellowship, personal musicianship and conductor leadership. Implications for this measure include providing community band directors with insight into members’ expectations and motivations for joining and continued participation.
{"title":"Dimensions of Community Band Participation Scale (DCBP): Development of a survey","authors":"Wendy K. Matthews, Amy Bertleff, Mary Dellmann-Jenkins, Meredith Flory","doi":"10.1386/ijcm_00063_1","DOIUrl":"https://doi.org/10.1386/ijcm_00063_1","url":null,"abstract":"This study describes the development of the Dimensions of Community Band Participation (DCBP) Scale to measure musicians’ motivations for participating in community bands. Participants (N = 67) included members of a university-sponsored community band consisting of both\u0000 university students and community members. Members ranged in age from 18 to 73 (M = 28). In addition to completing the DCBP Scale, participants responded to two additional open-ended questions that allowed researchers to assess participant involvement and retention in the community\u0000 band. The DCBP provides insight into key reasons for participation across all age groupings within adulthood and calls attention to three important aspects of participation: fellowship, personal musicianship and conductor leadership. Implications for this measure include providing community\u0000 band directors with insight into members’ expectations and motivations for joining and continued participation.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":"1 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90297677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this study was to examine the well-being of older adults who participated in New Horizons ensembles and their perceptions of benefits from participation. The positive psychology framework, PERMA, was selected as a lens through which to explore participant well-being. Florida New Horizons members (N = 112) completed a survey that included the PERMA-profiler measure of well-being and researcher-designed questions that explored perceived benefits of participating. Benefits reported were consistent with past research on well-being supports from participation in community music groups. Participants received normal or high-functioning mean scores in all sub-domains of well-being. Participants in the 65+ age group (N = 95) also demonstrated significantly higher scores than the general population for overall well-being and for positive emotion, relationships and meaning sub-domains. Scores for negative emotion were significantly lower than the general population. Results suggest that participation in community music ensembles like New Horizons may have a positive impact on overall well-being for older adults.
{"title":"Investigating well-being and participation in Florida New Horizons ensembles through the PERMA framework","authors":"Nicholas Matherne","doi":"10.1386/ijcm_00064_1","DOIUrl":"https://doi.org/10.1386/ijcm_00064_1","url":null,"abstract":"The purpose of this study was to examine the well-being of older adults who participated in New Horizons ensembles and their perceptions of benefits from participation. The positive psychology framework, PERMA, was selected as a lens through which to explore participant well-being.\u0000 Florida New Horizons members (N = 112) completed a survey that included the PERMA-profiler measure of well-being and researcher-designed questions that explored perceived benefits of participating. Benefits reported were consistent with past research on well-being supports from participation\u0000 in community music groups. Participants received normal or high-functioning mean scores in all sub-domains of well-being. Participants in the 65+ age group (N = 95) also demonstrated significantly higher scores than the general population for overall well-being and for positive emotion,\u0000 relationships and meaning sub-domains. Scores for negative emotion were significantly lower than the general population. Results suggest that participation in community music ensembles like New Horizons may have a positive impact on overall well-being for older adults.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":"32 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81061697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
L. Dahm, Jack Flesher, Juliana Cantarelli Vita, P. Campbell
This article considers the musical lives of eleven US-based families, micro-communities of sorts, as they were affected by the COVID-19 pandemic and associated physical isolation directives. With a focus on family pods as sites and sources of community, we employed processes of virtual ethnography including interviews, observations and the distribution of cameras to help empower participants, especially the children, to become active collaborators in a research study called Project COPE. Families indicated that musical practices during this time of learning, listening, moving and creating with instruments, voices and one another served a variety of purposes. These included self-regulation, identity formation, transmission, social cohesion, emotional bonding, embodied communication, well-being and a recognition of communal music expression as a human need. We note that in some cases, this rupture has been an opportunity for refocusing, reworking and re-envisioning in ways that impact community music practice. In returning to in-person music making, practitioners should be aware of the creative ways in which families were musically active during this time apart. We urge diligent community musicians to continue responsive practices in relation to the ways in which families facilitate their own musical lives and community in the home.
{"title":"Families as small-community quarantine pods of sociomusical engagement","authors":"L. Dahm, Jack Flesher, Juliana Cantarelli Vita, P. Campbell","doi":"10.1386/ijcm_00060_1","DOIUrl":"https://doi.org/10.1386/ijcm_00060_1","url":null,"abstract":"This article considers the musical lives of eleven US-based families, micro-communities of sorts, as they were affected by the COVID-19 pandemic and associated physical isolation directives. With a focus on family pods as sites and sources of community, we employed processes of virtual\u0000 ethnography including interviews, observations and the distribution of cameras to help empower participants, especially the children, to become active collaborators in a research study called Project COPE. Families indicated that musical practices during this time of learning, listening, moving\u0000 and creating with instruments, voices and one another served a variety of purposes. These included self-regulation, identity formation, transmission, social cohesion, emotional bonding, embodied communication, well-being and a recognition of communal music expression as a human need. We note\u0000 that in some cases, this rupture has been an opportunity for refocusing, reworking and re-envisioning in ways that impact community music practice. In returning to in-person music making, practitioners should be aware of the creative ways in which families were musically active during this\u0000 time apart. We urge diligent community musicians to continue responsive practices in relation to the ways in which families facilitate their own musical lives and community in the home.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":"24 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90783438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There are many things stirring within a given community music event. As practitioners, how do we look beyond our planned outcomes to access the unplanned, the unexpected or, as Lee Higgins terms it, the impossible? Understanding affect theory as the social, cultural and psychological manifestation of reactions and emotions arising from encounters between subjects and people, and between people and objects in the environment, this article discusses the value of this theoretical framework to uncover a deeper understanding of the interactions and responses from participants in a community music event. Using a case study of the organization KW Junk Music, I interviewed participants of three junk music events in Kitchener, ON, Canada. The lens of affective atmosphere, described as the atmosphere produced as a result of the intermingling of affects, emotions and sensations within a given space, provides an informative perspective through which to acknowledge the complexities surrounding all stages of a community music event. I argue that the affective atmosphere that emerges out of each event, both by design and by happenstance, has the potential for change, agency and transformation.
{"title":"The effect of affect: The role of affective atmosphere for community music practitioners","authors":"Mary Abdel-Malek Neil","doi":"10.1386/ijcm_00058_1","DOIUrl":"https://doi.org/10.1386/ijcm_00058_1","url":null,"abstract":"There are many things stirring within a given community music event. As practitioners, how do we look beyond our planned outcomes to access the unplanned, the unexpected or, as Lee Higgins terms it, the impossible? Understanding affect theory as the social, cultural and psychological\u0000 manifestation of reactions and emotions arising from encounters between subjects and people, and between people and objects in the environment, this article discusses the value of this theoretical framework to uncover a deeper understanding of the interactions and responses from participants\u0000 in a community music event. Using a case study of the organization KW Junk Music, I interviewed participants of three junk music events in Kitchener, ON, Canada. The lens of affective atmosphere, described as the atmosphere produced as a result of the intermingling of affects, emotions and\u0000 sensations within a given space, provides an informative perspective through which to acknowledge the complexities surrounding all stages of a community music event. I argue that the affective atmosphere that emerges out of each event, both by design and by happenstance, has the potential\u0000 for change, agency and transformation.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":"138 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77467733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
P. Paolantonio, S. Cavalli, M. Biasutti, A. Williamon
A significant number of studies suggest that engagement with music, in its different forms, can play an important role in terms of health and well-being for a diverse range of people, including older adults. Research focusing on the impact of these activities on the practitioners, namely the musicians carrying out the interventions, is at a more preliminary stage. This study investigated how tertiary-level music students experienced group music making with residents in nursing homes. A music team delivered ten weekly music sessions in four nursing homes, focusing on singing, rhythm-based activities with percussion instruments and listening to short, live performances. The team was composed of an experienced workshop leader, a researcher and nine student musicians enrolled in an elective seminar. Qualitative data were collected from the students through semi-structured interviews and oral diaries and analysed using thematic analysis. The results show that the overall experience had a positive impact on students in both professional and personal dimensions. The findings are discussed using the lenses of mutual recovery and the PERMA model of well-being.
{"title":"Group music making in nursing homes: Investigating experiences of higher education music students","authors":"P. Paolantonio, S. Cavalli, M. Biasutti, A. Williamon","doi":"10.1386/ijcm_00054_1","DOIUrl":"https://doi.org/10.1386/ijcm_00054_1","url":null,"abstract":"A significant number of studies suggest that engagement with music, in its different forms, can play an important role in terms of health and well-being for a diverse range of people, including older adults. Research focusing on the impact of these activities on the practitioners, namely\u0000 the musicians carrying out the interventions, is at a more preliminary stage. This study investigated how tertiary-level music students experienced group music making with residents in nursing homes. A music team delivered ten weekly music sessions in four nursing homes, focusing on singing,\u0000 rhythm-based activities with percussion instruments and listening to short, live performances. The team was composed of an experienced workshop leader, a researcher and nine student musicians enrolled in an elective seminar. Qualitative data were collected from the students through semi-structured\u0000 interviews and oral diaries and analysed using thematic analysis. The results show that the overall experience had a positive impact on students in both professional and personal dimensions. The findings are discussed using the lenses of mutual recovery and the PERMA model of well-being.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":"36 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79989068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This qualitative study investigates the experiences of individuals with learning difficulties who participate in Makaton choirs. Semi-structured interviews were conducted with five choir members and a leader. Thematic analysis revealed that participants reported increased opportunities for social connection with others. Participants also reported that performing sign language to song supported the acquisition of Makaton, leading to improvements in communication. Through providing a space for the development of communication and increased social interaction, Makaton choirs present opportunities for creating social relationships and for accessing and participating in new social contexts. In addition, an improved ability to use and understand Makaton sign language allows participants to access the lyrical content of songs, leading to an enhanced understanding of the experience of emotion through music. It is argued that participation in such a group may promote health and well-being by providing participants with a number of psychological and social benefits. Directions for future research are also presented.
{"title":"A qualitative study of an online Makaton choir for individuals with learning difficulties","authors":"Hannah Quigley, R. MacDonald","doi":"10.1386/ijcm_00052_1","DOIUrl":"https://doi.org/10.1386/ijcm_00052_1","url":null,"abstract":"This qualitative study investigates the experiences of individuals with learning difficulties who participate in Makaton choirs. Semi-structured interviews were conducted with five choir members and a leader. Thematic analysis revealed that participants reported increased opportunities\u0000 for social connection with others. Participants also reported that performing sign language to song supported the acquisition of Makaton, leading to improvements in communication. Through providing a space for the development of communication and increased social interaction, Makaton choirs\u0000 present opportunities for creating social relationships and for accessing and participating in new social contexts. In addition, an improved ability to use and understand Makaton sign language allows participants to access the lyrical content of songs, leading to an enhanced understanding\u0000 of the experience of emotion through music. It is argued that participation in such a group may promote health and well-being by providing participants with a number of psychological and social benefits. Directions for future research are also presented.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":"52 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85582584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article charts the composition of the Multitude of Voyces’ Makaton Mass, commissioned by the director of Multitude of Voyces, Louise Stewart. This is the first Mass of its kind, devised to be simultaneously sung and signed using the communication programme Makaton. In this article, I propose that to be inclusive, music for worship needs to be all-embracing: straight-forward, but not simplistic, and easily memorable without being twee. Opportunity for congregational participation for both those with special educational needs and disability (SEND) and those without is at the heart of a successful composition of this sort.
{"title":"Creating a Makaton Mass: A composition for unison voices and piano to be sung and signed using Makaton","authors":"Olivia Sparkhall","doi":"10.1386/ijcm_00053_1","DOIUrl":"https://doi.org/10.1386/ijcm_00053_1","url":null,"abstract":"This article charts the composition of the Multitude of Voyces’ Makaton Mass, commissioned by the director of Multitude of Voyces, Louise Stewart. This is the first Mass of its kind, devised to be simultaneously sung and signed using the communication programme Makaton. In this\u0000 article, I propose that to be inclusive, music for worship needs to be all-embracing: straight-forward, but not simplistic, and easily memorable without being twee. Opportunity for congregational participation for both those with special educational needs and disability (SEND) and those without\u0000 is at the heart of a successful composition of this sort.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":"53 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76000944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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