Moving in musicking: the evolving pedagogical practice of the artist-facilitator within asylum seeker centers.

The field of community music has been continuously expanding during the last years alongside the need for experienced musicians who can carry out music activities for culturally diverse groups. Based on previous studies, we identified a need for research-based practices for training musicians and music teachers who wish to facilitate community music projects. We believe that it is important to incorporate reflexive practice in order to inform the planning of the workshops, but also to support the needs of the participants. The article examines the evolution of the pedagogical practice of the artist-facilitator in active music making with children, during a series of movement-based musical workshops at an asylum seeker center in Netherlands. We used an exploratory case study integrating Action Research, in order to focus on the artist-facilitator's pedagogical practice, the participatory role of the children and the content of this type of workshops. The researchers describe the adopted pedagogical approach based on a set of guiding principles and key components that supported the design and content of the workshops. Based on a cyclical process (plan-act-observe-evaluate), the findings from every cycle were incorporated in the next one by analyzing the video footage of the workshops and the immediate reflections of the artist-facilitator. Data analysis revealed a set of recurring themes that reflect crucial aspects of the artist-facilitator's practice. Furthermore, a set of pedagogical implications are proposed that can be directly implemented within the practice of artists-facilitators who wish to engage in activities with children at asylum seeker centers.

Implementation of a Remote Instrumental Music Course Focused on Creativity, Interaction, and Bodily Movement. Preliminary Insights and Thematic Analysis.

In a newly designed collaborative online music course, four musical novices unknown to each other learned to play the clarinet starting from zero. Over the course of 12 lessons, a special emphasis was placed on creativity, mutual interaction, and bodily movement. Although addressing these dimensions might be particularly challenging in distance learning contexts, a thematic analysis of semi-structured interviews with the learners revealed how the teaching approach proposed has generally facilitated learning. Qualitative findings highlight the importance of establishing meaningful relationships with the musical instrument as well as with other students to build musicality, and of the interplay between creativity and control in individual and collective music-making activities. We suggest that remote music tuition with a small group can be a valuable resource to start learning music and that a creative, collaborative, and movement-based approach can contribute to musical growth.

Flourishing in Resonance: Joint Resilience Building Through Music and Motion.

Worldwide, children face adverse childhood experiences, being exposed to risks ranging from, exposure to political violence and forced migration over the deleterious effects of climate change, to unsafe cultural practices. As a consequence, children that seek refuge or migrate to European countries are extremely vulnerable, often struggling with integration in school, peer community, and their broader social circle. This multifaceted struggle can derive from external factors, such as the adaptation process and contact with other children, or internal factors such as the fears and trauma that every child carries within them since they departed from their homeland. To bounce, grow, connect, and create in both adversity and opportunity, children need to build resilience, i.e., the capacity of an individual to maintain stable psychological functioning throughout the course of adversity. On the one hand, building resilience requires developing a set of individual skills (internal protective factors), such as self-control, emotion regulation, self-esteem, and agency. On the other hand, building resilience involves developing social skills (external protective factors), connection, and close relationships. In this theoretical contribution, we review and map existing research to argue that activities based on the combination of music and movement has a strong potential to intensively build resilience. First, we connect the concepts of resilience and eudaimonia, based on the protective factors and key components of resilience. Then we discuss how music and movement, separately, may contribute to building resilience. Next, drawing on the basic mechanisms of musical sense-making, we argue that through combining music and movement, children engage in empowering musical sense-making processes that support building resilience, and in this way, support them to grow together and deeply experience eudaimonic values such as self-awareness, confidence and self-esteem, personal autonomy, connection, belonging, and bonding. Finally, we connect theory to practice. Based on the presented theoretical elaborations and on the authors' experience as practitioners, we propose a set of guiding principles for the design of movement-based musical activities that foster the internal and external factors necessary to build resilience.

A Space for Collaborative Creativity. How Collective Improvising Shapes 'a Sense of Belonging'.

In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept of eudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a music ensemble within which homeless adults and individuals with a psychiatric or alcohol/drug related background engage in collective musical improvisation. Between 2017 and 2019 data was collected through open interviews and video recordings of rehearsals and performances. Participant data was analyzed through inductive analysis based on the principles of grounded theory. One interesting finding was the discrepancy in the participant interviews between social relationships indicative of a negative affect about social group interaction versus strong feelings of group coherence and belonging. Video recordings of performances and rehearsals showed clear enjoyment and pleasure while playing music. Alongside verbal reflection through one-on-one interviews video recordings and analysis of moment-to moment observations should be used, in order to capture the complexity of community music projects with homeless people. The initial open coding was aligned with the five elements of the PERMA model. Overall, we observed more focus on Relationship (sense of belonging), Engagement (flow in rehearsals and performances) and Meaning (belonging to something greater than yourself) and less on Positive Emotion and Accomplishment (goal setting).

Selective Attention and Inhibitory Control of Attention Are Correlated With Music Audiation.

Executive functions (EFs) are cognitive functions needed for adaptive and targeted behavior. Music aptitude is the potential or capacity for musical achievement. A key element of music aptitude is audiation, defined as the process through which sound becomes music and meaning is attributed to that music. In this paper, we report on the association between audiation skills and executive skills. Not only is this important to consider the validity of the audiation tests, but also to better understand the concept of audiation and its link to cognitive skills. We conducted an empirical study, in which a sample of second grade school students from two elementary schools, one from Ghent, Belgium (N = 36) and the other from Santiago, Chile (N = 25), were administered both a musical aptitude and an attention and inhibitory control test. We hypothesized that a positive correlation exists between sustained attention, inhibitory control and music aptitude.

Listener evaluations of violins made from composites.

For centuries, wood, and more specifically spruce, has been the material of choice for violin top plates. Lately, carbon fiber instruments have entered the market. Some studies show that composite materials have potential advantages for making instruments [Damodaran, Lessard, and Babu, Acoust. Aust. 43, 117-122 (2015)]. However, no studies exist that evaluate violins made of different composite materials as judged by listeners. For this study, six prototype violins, differing only by the material of the top plate, were manufactured in a controlled laboratory setting. The six prototype violins were judged by experienced listeners in two double-blind experiments. In contrast to popular opinion that violins made from carbon have or lack a specific sound quality, the study provides insights in the diverse sounds and timbres violins from fiber-reinforced polymers can create. It allows an investigation of the links between the perception and the variations in material properties of the soundboards. Additionally, as neither players nor listeners are acquainted with these instruments, these results provide an interesting view on what type of qualities of violin-like sounds are preferred by listeners.