First Of All Be Friends: Rock music, social connection, inclusion and mobility in Kosovo and North Macedonia (original) (raw)

Social Sustainability in Adolescents' Music Event Attendance

Sustainability, 2020

This study focuses on social sustainability of music events in adolescents' lives through their perceptions and own words as they describe their live music experiences. Scrutinizing music event attendance from the social sustainability perspective demonstrates that the cultural content per se is not as meaningful as the social network that comes together in such events. The research questions were: How is social sustainability manifested in adolescents' music event attendance, and what are the implications? The research data comprised the results of a web survey directed at 15-18 year old adolescents. Bonding and bridging, as well as the sense of community, were present in adolescents' descriptions of live music experiences, producing various forms of well-being effects. The sense of belonging was almost missing from the narratives, which suggests that how adolescents consume music has a decaying interest in the grassroots culture that fosters the sense of belonging. This has major implications for the development of popular culture.

A Study of Community Band Participants: Implications for Music Education

2012

As viewed through the theoretical frameworks of Lave and Wenger’s situated learning, leisure theory, and quality-of-life theory, the purpose of this study was to examine the characteristics, attitudes and perceptions of adult community band musicians (N = 275) in nine randomly selected ensembles in order to glean insights into how music education might facilitate (a) more meaningful connections between school and community, and (b) greater lifespan engagement with participatory music making. The “typical” survey respondent was over 45, physically healthy, white, nonsmoker, nondrinker, churchgoer, well-educated, upper-middle class, married with children, active in the community, studied piano and sung in a choir at some point, learned their instrument in school, enjoyed classical music, and chose to play in the band for both musical and social reasons. Significant differences between those who learned to play their instrument in school and those who did not were minimal. Implications for music educators concerned about the “car- ryover” of school music to music making later in life are discussed.

The role of community music in helping disadvantaged young people in South Wales to confront social exclusion

International Journal of Community Music, 2010

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. 1 In most cases, the 'papers' presented in this issue of the IJCM were never conceived as finished research articles. Instead, many of the pieces present 'impressions' of SUGGESTED CITATION

Social innovation at the grassroots: pathways towards social inclusion through music for disaffected youth and those at risk

2009

This paper documents the ways in which music-based activities and music-based arts programs have been used to offer positive pathways to disaffected young people at risk or in detention in Australia, Britain and the US. Drawing on ethnographic research from 'Playing for Life', an Australian Research Council funded longitudinal comparative project, I outline the ways in which opportunities for social engagement through everyday music activities have been developed in the broader community and even in correctional institutions in Adelaide, South Australia; London; Berlin; Boston, Massachusetts; and Providence, Rhode Island. Documenting examples of how these programs appear to have been effective in facilitating youth agency, I outline how engaging disaffected and disadvantaged youth, especially at risk and incarcerated youth, in music activities and workshops can lead to opportunities for employment and the development of social capital and of socio-economic inclusion. ______________________________ The most politically relevant point is surely that music today is also a place of employment, livelihoods and labour markets. This fact is obscured because being creative remains in our collective imaginations as a sort of dream world or utopia, far apart from the real world of making a living (McRobbie 1999:134).

Music as a Tool of Human Development: An Intergenerational Perspective

ICERI20 Proceedings. 13th annual International Conference of Education, Research and Innovation 9th-10th November 2020, 2020

The study investigates the significance of formal, informal and non-formal music learning through the attitudes and perspectives of 34 people (12 young people; 11 people belonging to the middle generation; and 11 people belonging to the older generation). In-depth semi-structured interviews were conducted in Latvia with the representatives of three (in exceptional cases-two) generations from 10 families in the period from September 2019 until January 2020. Families represent geographical differences, various degrees of openness to inter-group communication, and heterogeneous socio-demographic variability. The case study demonstrates that formal and informal educational and cultural institutions, including music and art schools, interest clubs, youth organizations a. o. are integral cultural and social networking centres of Latvia, assisting families to improve the level of young people's cultural education, develop and perfect their talents, and express their creativity. They offer alternative opportunities for leisure thereby reducing the adverse effects of the surrounding environment and the variability of young people's objectives. Participation in group musical interactions (choirs, ensembles, folk groups, music making in a family etc.) and performance yield emotional, social, behavioural, and cognitive benefits therefore families support their children's music learning as a tool of youth (human) development. The majority of the interviewed young people, irrespective of the socioeconomic status of their families, have attended and graduated from music schools, play a musical instrument, or have actively participated in some cultural activities (including music competitions, concerts, folklore and religious festivals, Song and Dance Festivals) to complement their general education. Being an element of a totality of creations of a community, a constituent of the "traditional culture", and a value handed down from generation to generation, music is also perceived in the context of national and cultural identity; it is closely linked to the preservation of national cultural inheritance via music engagement in formal (schools), intergenerational informal (families) and non-formal (amateur groups) contexts. Independent of the context, music is perceived as a tool of the human development that strengthens young people's sense of belonging and togetherness. Their engagement with music collectively with peers and representatives of different generations broadens their world outlook, shapes them as cultured persons, develops their soft skills, and ensures preservation of ancestors' traditions and values.

Bridging Musical Worlds: Musical Collaboration Between Student Musician-Educators and South Sudanese Australian Youth

Landscapes: the Arts, Aesthetics, and Education, 2019

This chapter reports results of an innovative contemporary model of applied urban ethnomusicological research investigating the effects of collaborative musical engagement between students from the Sydney Conservatorium of Music (SCM) and South Sudanese Australian youth in the culturally diverse metropolis of Sydney, Australia. The Bridging Musical Worlds project was conducted in 2016 during a period of extraordinary global migration. In Australia, children and young people of South Sudanese heritage occupy a prominent place in emerging communities in many large urban areas but are often subject to discriminatory discourse. The project enabled SCM music education students to engage in reciprocal teaching and learning opportunities relating to South Sudanese music and culture and globalised popular music. In this chapter we outline the major outcomes of the project, including social inclusion through collaborative participatory music making, and explore the impact of these musical activities on the development of cultural competence and intercultural understanding for tertiary students.