In this article, we offer, through a new typology, a way to portray and understand the diversity of community music’s organizational foundations and purposes. Typologies are a common descriptive and interpretive device for understanding patterns of activity. Some researchers of community music have, explicitly or implicitly, developed a number of typologies of community music organizations. Our new typology is systematically aligned to capture the social and musical variability among community music organizations. It then puts the typology to work by providing brief examples, drawn from Australian research, of each of its proposed types. This new typology is intended to allow researchers and practitioners to understand how different community music ensembles are similar or dissimilar, and make comparative discussions clearer and more systematic, offering give a clear frame for understanding present and possible future community music-making groups and organizations.
{"title":"A new typology of community music groups","authors":"Adam Hardcastle, Jane Southcott","doi":"10.1386/ijcm_00051_1","DOIUrl":"https://doi.org/10.1386/ijcm_00051_1","url":null,"abstract":"In this article, we offer, through a new typology, a way to portray and understand the diversity of community music’s organizational foundations and purposes. Typologies are a common descriptive and interpretive device for understanding patterns of activity. Some researchers of\u0000 community music have, explicitly or implicitly, developed a number of typologies of community music organizations. Our new typology is systematically aligned to capture the social and musical variability among community music organizations. It then puts the typology to work by providing brief\u0000 examples, drawn from Australian research, of each of its proposed types. This new typology is intended to allow researchers and practitioners to understand how different community music ensembles are similar or dissimilar, and make comparative discussions clearer and more systematic, offering\u0000 give a clear frame for understanding present and possible future community music-making groups and organizations.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90915583","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}
As the field of community music scholarship continues to evolve, opening up a dialogue around music making with trauma survivors and implementation of trauma-informed practice is both timely and critical. Whilst there has been an acknowledgement of the presence of trauma connected to specific contexts, community music literature has not yet begun to respond to the potential prevalence of trauma within any community music setting. As a field in which music projects will often be operating with groups of vulnerable people, trauma-informed practice is beginning to be acknowledged, but without a broad base of research to support training and implementation. As a community musician working with known trauma survivors, it is my assertion that the question of whether pedagogic frameworks should be developed in order to promote safe and appropriate practices needs to be addressed, especially where traumatic experience can remain hidden, but still be profoundly impactful. This article explores the origins of trauma-informed practice as well as providing an example framework from the York St John University Prison Partnership Project. A literature review of community music scholarship explores the potential benefits of music making for those who have experienced trauma and emerging themes are examined through the lens of trauma-informed practice. This article also suggests that trauma-informed practice could be integrated more widely within community music in order to: (1) acknowledge that in any group or context, statistically, a number of participants are likely to have experienced trauma; (2) acknowledge that because trauma is often hidden, having an understanding of manifestations of trauma responses will better equip practitioners; (3) understand that trauma-informed practice enables practitioners to work reflexively and responsively within their groups, thereby building solid foundations on which to develop safe and secure environments in which music making can flourish.
{"title":"Hidden voices: Towards a trauma-informed framework of community music practice","authors":"Catherine Birch","doi":"10.1386/ijcm_00055_1","DOIUrl":"https://doi.org/10.1386/ijcm_00055_1","url":null,"abstract":"As the field of community music scholarship continues to evolve, opening up a dialogue around music making with trauma survivors and implementation of trauma-informed practice is both timely and critical. Whilst there has been an acknowledgement of the presence of trauma connected to\u0000 specific contexts, community music literature has not yet begun to respond to the potential prevalence of trauma within any community music setting. As a field in which music projects will often be operating with groups of vulnerable people, trauma-informed practice is beginning to be acknowledged,\u0000 but without a broad base of research to support training and implementation. As a community musician working with known trauma survivors, it is my assertion that the question of whether pedagogic frameworks should be developed in order to promote safe and appropriate practices needs to be\u0000 addressed, especially where traumatic experience can remain hidden, but still be profoundly impactful. This article explores the origins of trauma-informed practice as well as providing an example framework from the York St John University Prison Partnership Project. A literature review of\u0000 community music scholarship explores the potential benefits of music making for those who have experienced trauma and emerging themes are examined through the lens of trauma-informed practice. This article also suggests that trauma-informed practice could be integrated more widely within community\u0000 music in order to: (1) acknowledge that in any group or context, statistically, a number of participants are likely to have experienced trauma; (2) acknowledge that because trauma is often hidden, having an understanding of manifestations of trauma responses will better equip practitioners;\u0000 (3) understand that trauma-informed practice enables practitioners to work reflexively and responsively within their groups, thereby building solid foundations on which to develop safe and secure environments in which music making can flourish.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87116265","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 describes how a group of music therapists and a music sociologist working on the AHRC-funded research project Care for Music responded to the situation they found themselves during the 2020–21 COVID pandemic, both in terms of their practice and the ongoing research project they shared. In particular, the article outlines how the challenging situation has produced interesting new practical, methodological and theoretical perspectives – functioning as a helpful ‘accidental experiment’. The article presents three vignettes of music therapists coping with the initial pandemic situation and how they adapted music therapy practice, followed by preliminary reflections on emerging themes from the ‘accidental experiment’ in relation to the central concern of the AHRC Care for Music research project: the co-creation of mutual ‘scenes of care’ through music within later life and end of life settings.
本文描述了一群音乐治疗师和一位音乐社会学家如何在ahrc资助的研究项目“关爱音乐”(Care for music)中应对他们在2020-21年COVID大流行期间发现的情况，包括他们的实践和正在进行的共同研究项目。特别是，文章概述了具有挑战性的情况如何产生了有趣的新的实践，方法和理论观点-作为一个有用的“偶然实验”。本文介绍了音乐治疗师应对最初的流行病情况以及他们如何适应音乐治疗实践的三个小插曲，随后是对与AHRC音乐护理研究项目的中心关注相关的“偶然实验”的新主题的初步反思:在晚年和临终环境中通过音乐共同创造相互的“护理场景”。
{"title":"Music therapy research during a pandemic: An accidental experiment in caring for music","authors":"W. Schmid, F. Simpson, T. DeNora, Gary Ansdell","doi":"10.1386/ijcm_00050_1","DOIUrl":"https://doi.org/10.1386/ijcm_00050_1","url":null,"abstract":"This article describes how a group of music therapists and a music sociologist working on the AHRC-funded research project Care for Music responded to the situation they found themselves during the 2020–21 COVID pandemic, both in terms of their practice and the ongoing research project they shared. In particular, the article outlines how the challenging situation has produced interesting new practical, methodological and theoretical perspectives – functioning as a helpful ‘accidental experiment’. The article presents three vignettes of music therapists coping with the initial pandemic situation and how they adapted music therapy practice, followed by preliminary reflections on emerging themes from the ‘accidental experiment’ in relation to the central concern of the AHRC Care for Music research project: the co-creation of mutual ‘scenes of care’ through music within later life and end of life settings.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76099358","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 COVID-19 pandemic was unexpected and changed most aspects of our lives in a very short period; it led to surprising and unexpected experiences and changes for most people. To cope with these changes and hardship, Italians turned to songs as a medium of emotional and communicative expression. The songs that resounded from the windows, balconies, and homes of families came from the past and the present, connecting generations and serving as a medium to strengthen people’s individual and collective resilience. This study offers a reflection of qualitative research using a phenomenological approach on the impact of the COVID-19 pandemic on the practical musical experience of local communities from a Transformative, Lifelong, and Intergenerational Learning perspective. Purposeful sampling for this study was conducted through invitations to choral- and music associations for families to volunteer to participate in the study. Of the more than 30 families who volunteered, 82 individuals from 15 families in the provinces of Emilia Romagna (n=50) and South Tyrol (n=32), Italy, best met the sampling criteria. The methodology relied on semi-structured interviews as a research tool, accompanied by a thematic analysis of the narratives according to the aforementioned perspectives. The results show that participants used communal singing and music-making as important forms of helping, caring and sharing. This demonstrates the positive role of shared music-making and singing in improving wellbeing and promoting various forms of learning during social isolation COVID-19.
{"title":"MUSICOVID-19: When the world paused but singing continued","authors":"Johann van der Sandt, A. Coppi","doi":"10.1386/ijcm_00042_1","DOIUrl":"https://doi.org/10.1386/ijcm_00042_1","url":null,"abstract":"The COVID-19 pandemic was unexpected and changed most aspects of our lives in a very short period; it led to surprising and unexpected experiences and changes for most people. To cope with these changes and hardship, Italians turned to songs as a medium of emotional and communicative expression. The songs that resounded from the windows, balconies, and homes of families came from the past and the present, connecting generations and serving as a medium to strengthen people’s individual and collective resilience. This study offers a reflection of qualitative research using a phenomenological approach on the impact of the COVID-19 pandemic on the practical musical experience of local communities from a Transformative, Lifelong, and Intergenerational Learning perspective. Purposeful sampling for this study was conducted through invitations to choral- and music associations for families to volunteer to participate in the study. Of the more than 30 families who volunteered, 82 individuals from 15 families in the provinces of Emilia Romagna (n=50) and South Tyrol (n=32), Italy, best met the sampling criteria. The methodology relied on semi-structured interviews as a research tool, accompanied by a thematic analysis of the narratives according to the aforementioned perspectives. The results show that participants used communal singing and music-making as important forms of helping, caring and sharing. This demonstrates the positive role of shared music-making and singing in improving wellbeing and promoting various forms of learning during social isolation COVID-19.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74677546","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 Irish World Music Café was created in 2015 in Limerick, Ireland, in the context of the Irish Refugee Protection Programme. The Café is grounded in the four ‘PERC’ principles of participatory, ethical, reflexive and creative engagement. In the context of the COVID-19 pandemic, the Café moved online on World Refugee Day 2020 with two additional online Cafés thereafter. In January 2021, a review of participation in the Café commenced to guide the decision-making processes regarding content, format and mode of engagement for the immediate and long-term future. The review was qualitative, comprising ten ethnographic interviews and author fieldnotes. Data generated were interpreted using thematic analysis. Three themes were identified through this process: enablers, activities and experiences. It concludes with the proposal that the expanded temporal, spatial and relational opportunities created through the online environment correlate with reduced opportunities for kinaesthetic-tactile embodied experiences. Understanding the dynamic relationship between planes of lived experience is important in the future development of the Café.
{"title":"‘We are all facing the same problem’: Lived experiences of online participation in the Irish World Music Café community music initiative in the context of the COVID-19 pandemic","authors":"Hala Jaber, Fran Garry, Helen Phelan","doi":"10.1386/ijcm_00048_1","DOIUrl":"https://doi.org/10.1386/ijcm_00048_1","url":null,"abstract":"The Irish World Music Café was created in 2015 in Limerick, Ireland, in the context of the Irish Refugee Protection Programme. The Café is grounded in the four ‘PERC’ principles of participatory, ethical, reflexive and creative engagement. In the context of the COVID-19 pandemic, the Café moved online on World Refugee Day 2020 with two additional online Cafés thereafter. In January 2021, a review of participation in the Café commenced to guide the decision-making processes regarding content, format and mode of engagement for the immediate and long-term future. The review was qualitative, comprising ten ethnographic interviews and author fieldnotes. Data generated were interpreted using thematic analysis. Three themes were identified through this process: enablers, activities and experiences. It concludes with the proposal that the expanded temporal, spatial and relational opportunities created through the online environment correlate with reduced opportunities for kinaesthetic-tactile embodied experiences. Understanding the dynamic relationship between planes of lived experience is important in the future development of the Café.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73347433","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}
A. Crooke, Mariko Hara, J. Davidson, Trisnasari Fraser, T. DeNora
As COVID-19-driven lockdowns and social distancing became the new normal in 2020, musicians experienced a reshuffling of their social networks. This article uses in-depth interviews with nine community arts practitioners in Australia, Norway and the United States to explore the impact of COVID-19 on their ability to practise, collaborate and connect with their musical communities. Results showed that, while social distancing has significantly disrupted active connection with localized communities and musical networks, participants reported increased connection and engagement with wider networks through technology. Applying Putnam’s concepts of bonding and bridging capital, the authors posit that COVID-era music engagement has seen a shift towards decentralized communities through an emphasis on bridging capital. Ultimately, however, analysis showed Putnam’s concepts to be unhelpful in describing online music connections, and ‘crystal capital’ is proposed as a possible way to theorize the subjective nature of online music engagement.
{"title":"Fractured bonds and crystal capital: Social capital among COVID-era music communities","authors":"A. Crooke, Mariko Hara, J. Davidson, Trisnasari Fraser, T. DeNora","doi":"10.1386/ijcm_00047_1","DOIUrl":"https://doi.org/10.1386/ijcm_00047_1","url":null,"abstract":"As COVID-19-driven lockdowns and social distancing became the new normal in 2020, musicians experienced a reshuffling of their social networks. This article uses in-depth interviews with nine community arts practitioners in Australia, Norway and the United States to explore the impact of COVID-19 on their ability to practise, collaborate and connect with their musical communities. Results showed that, while social distancing has significantly disrupted active connection with localized communities and musical networks, participants reported increased connection and engagement with wider networks through technology. Applying Putnam’s concepts of bonding and bridging capital, the authors posit that COVID-era music engagement has seen a shift towards decentralized communities through an emphasis on bridging capital. Ultimately, however, analysis showed Putnam’s concepts to be unhelpful in describing online music connections, and ‘crystal capital’ is proposed as a possible way to theorize the subjective nature of online music engagement.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85493360","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}
Javier Rivas, Rhys Sparey, Jonathan Davies, Caroline Gleason-Mercier, S. Hughes, S. Knights, Esther Cavett
Situated in the context of current examinations of inequality and underrepresentation in music education in the United Kingdom, this article offers perspectives on a community music school and outreach initiative based in Southwark, London, where King’s College London music students, mentored by an experienced local teacher, facilitate small group music-making for primary school children who would not otherwise have opportunities for collaborative performance. Due to COVID-19, the project shifted to fully online delivery, and later to a hybrid model, combining virtual and in-person interaction. Based on ethnographic research amongst pupils, parents, teaching assistants and coordinators, we invoke the collaborative ethos of the project and explore its social and affective impact on participants at a time of great challenge and change.
{"title":"Voices from Southwark: Reflections on a collaborative music teaching project in London in the age of COVID-19","authors":"Javier Rivas, Rhys Sparey, Jonathan Davies, Caroline Gleason-Mercier, S. Hughes, S. Knights, Esther Cavett","doi":"10.1386/ijcm_00043_1","DOIUrl":"https://doi.org/10.1386/ijcm_00043_1","url":null,"abstract":"Situated in the context of current examinations of inequality and underrepresentation in music education in the United Kingdom, this article offers perspectives on a community music school and outreach initiative based in Southwark, London, where King’s College London music students, mentored by an experienced local teacher, facilitate small group music-making for primary school children who would not otherwise have opportunities for collaborative performance. Due to COVID-19, the project shifted to fully online delivery, and later to a hybrid model, combining virtual and in-person interaction. Based on ethnographic research amongst pupils, parents, teaching assistants and coordinators, we invoke the collaborative ethos of the project and explore its social and affective impact on participants at a time of great challenge and change.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73404808","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 survey members of New Horizons International Music Association (NHIMA) instrumental ensembles and community band members (N = 1184) with regard to their music-making experiences during the COVID-19 pandemic. Results of the survey revealed that New Horizons Band (NHB) members and community band members value the social aspect of rehearsals the most, and that suspension of these rehearsals had negative impact on participants’ experiences. Results also indicate that less than 20 per cent of participants engaged in remote learning with their NHB group, suggesting a need to examine the use of technology and remote learning strategies both among senior adult musicians and within the contexts of community music-making.
{"title":"COVID-19 and community band participation: Impacts and the road forward","authors":"Matthew D. Talbert, Philip B. Edelman","doi":"10.1386/ijcm_00044_1","DOIUrl":"https://doi.org/10.1386/ijcm_00044_1","url":null,"abstract":"The purpose of this study was to survey members of New Horizons International Music Association (NHIMA) instrumental ensembles and community band members (N = 1184) with regard to their music-making experiences during the COVID-19 pandemic. Results of the survey revealed that New Horizons Band (NHB) members and community band members value the social aspect of rehearsals the most, and that suspension of these rehearsals had negative impact on participants’ experiences. Results also indicate that less than 20 per cent of participants engaged in remote learning with their NHB group, suggesting a need to examine the use of technology and remote learning strategies both among senior adult musicians and within the contexts of community music-making.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87634958","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 study investigates the emotional wellbeing of community choral musicians during the early lockdown stage of the COVID-19 pandemic in the United States. In an effort to understand participant wellbeing and document lived experiences in rapidly changing circumstances, the researchers gathered quantitative and qualitative data from almost 400 self-identified musicians in May–June 2020. Responses from community choir members indicated decreased wellbeing as a result of cancelled rehearsals and performances, unfamiliar online musicking practices and loss of community. Other themes included sadness, worry and grief concerning separation from fellow ensemble members and, in the case of ageing choristers, fear that they might not sing with others again in their lifetimes. Ultimately, this article sheds light on the complexity and necessity of sustaining community choirs during the COVID-19 pandemic while addressing the decreased wellbeing of singers as they were isolated in an effort to prevent viral spread through aerosolized means.
{"title":"How can I keep from singing? The effects of COVID-19 on the emotional wellbeing of community singers during early stage lockdown in the United States","authors":"Felicia K. Youngblood, Joanna Bosse, C. Whitley","doi":"10.1386/ijcm_00045_1","DOIUrl":"https://doi.org/10.1386/ijcm_00045_1","url":null,"abstract":"This study investigates the emotional wellbeing of community choral musicians during the early lockdown stage of the COVID-19 pandemic in the United States. In an effort to understand participant wellbeing and document lived experiences in rapidly changing circumstances, the researchers gathered quantitative and qualitative data from almost 400 self-identified musicians in May–June 2020. Responses from community choir members indicated decreased wellbeing as a result of cancelled rehearsals and performances, unfamiliar online musicking practices and loss of community. Other themes included sadness, worry and grief concerning separation from fellow ensemble members and, in the case of ageing choristers, fear that they might not sing with others again in their lifetimes. Ultimately, this article sheds light on the complexity and necessity of sustaining community choirs during the COVID-19 pandemic while addressing the decreased wellbeing of singers as they were isolated in an effort to prevent viral spread through aerosolized means.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77897891","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}
During the COVID-19 pandemic, a large number of Sacred Harp singers took their activities online, adopting and adapting various platforms for the purpose of participatory music-making. While many singers found online activity to be meaningful, others did not, and an additional group lacked access altogether. This study, which was conducted by means of an online questionnaire, surveys the experiences of Sacred Harp singers who were unable or unwilling to participate in online singing. It documents the practical concerns and negative experiences that contributed to non-participation and considers the impacts of non-participation on the Sacred Harp community. Although technological barriers denied access to some singers, dissatisfaction with the online singing experience was the most significant factor in non-participation. Even with the improvement of online platforms, however, many singers will remain unable to participate in virtual singing due to lack of access to a private domestic space.
{"title":"Non-participation in online Sacred Harp singing during the COVID-19 pandemic","authors":"Esther M. Morgan-Ellis","doi":"10.1386/ijcm_00046_1","DOIUrl":"https://doi.org/10.1386/ijcm_00046_1","url":null,"abstract":"During the COVID-19 pandemic, a large number of Sacred Harp singers took their activities online, adopting and adapting various platforms for the purpose of participatory music-making. While many singers found online activity to be meaningful, others did not, and an additional group lacked access altogether. This study, which was conducted by means of an online questionnaire, surveys the experiences of Sacred Harp singers who were unable or unwilling to participate in online singing. It documents the practical concerns and negative experiences that contributed to non-participation and considers the impacts of non-participation on the Sacred Harp community. Although technological barriers denied access to some singers, dissatisfaction with the online singing experience was the most significant factor in non-participation. Even with the improvement of online platforms, however, many singers will remain unable to participate in virtual singing due to lack of access to a private domestic space.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88488035","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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