Music is Omnipresent
Since collaborating with Dr. Camea Davis, her use of poetic inquiry as a research process has been inspirational for me. She was doing exactly what I desired: integrating her art into every aspect of her life. The first time I saw it in action was when she synthesized responses from Season 2 podcast guests of 'Why Change?'. To achieve this, guest responses were extracted from transcripts, organized by question, and then inductively coded to identify key ideas and salient themes. The words, key ideas, and all images of the poems are direct quotes from the transcripts. Dr. Davis, functioning as a poet-researcher, gathered the data and presented it as a synthesis of how all participants responded.
Click here to hear and read the poems in this series.
All I could think of was, ‘How can I apply a similar approach to music?'
As someone being classically trained, a dabbler in jazz, and exploring musical versatility, I've been eager to integrate more of my musician-self into my arts management work.
When I decided to pursue Arts Management in graduate school, I made a personal commitment to ensure that music remained an integral part of my life. I had a genuine fear that the demands of the business side might overshadow my passion for music. Viewing the degree as an opportunity to both sustain my financial stability and make a meaningful impact in the field, I embarked on this journey.
Having dedicated 19 years to studying the flute, I made sacrifices, including transferring undergraduate majors from Mathematics Education to music to pursue my dreams and find happiness. These decisions came with a financial burden, and the arts sector, known for its uncertainties, presented additional challenges.
Incorporating music into my arts management work is not just a professional strategy; it's a personal lifeline. It reminds me that I am still investing in dreams and happiness, even as I navigate the complexities. My experiences, though financially taxing, have been invaluable. Today, as I continue this path, I am not only keeping my passion alive but also advocating for others to have the same opportunities for fulfillment.
Consequently, musical inquiry is a promising avenue for this exploration.
Dippin’ Our Toes
Dr. Davis' influence has expanded beyond just analysis for ‘Why Change?” being a significant component of Creative Generation’s 2023 Summer Residency Program, particularly the Capstone Projects. As she reinforced arts-based research within residents’ projects, it led to the following projects which included audio components.
The Black Music Teacher
Destiny King created a nature soundscape using recordings from a local park and free resource audio of nature sounds. The audio mixing process includes cutting and sequencing interviews, ensuring a clear expression of each interviewee's values. The interviews were conducted with a focus on natural delivery, allowing for freedom in inflection. The recording captures ambient sounds, including the frequent crowing of a nearby crow, which is intentionally kept in the audio as a symbolic element, inviting open interpretation for listeners in connection with spirituality and personal meanings.
The Artist’s Sacrifice: Perspectives On The “Starving Artist”
Danny Maggs produced an accompanying audio piece for the project using their typical approach to composing and recording songs, involving semi-improvisatory vocalization. They generated several vocal and vocal percussion loops, overlaying them with selected audio from their capstone presentation. The intention was not to create a musical masterpiece or something for casual listening, but rather to highlight, explore, and self-reflect on the communication aspect of their learning and evaluate how they perceived their work presentation.
It was truly a privilege to witness and be part of their experimental journey. As someone relatively new to this experience, I valued the opportunity to approach it as a novice with an eagerness to learn. Their endeavors served as inspiration, fueled further by a challenge from Dr. Davis. This challenge, to incorporate music into my writings and processes, encouraged two artistic products within a recent fellowship application and blog. It’s difficult to not evoke feelings of perfectionism or imposter syndrome when creating something new, but I’m proud I tried.
During this reflective process, prompted an additional challenge from Jeff M. Poulin, we pondered how to move beyond the confines of the written word as Creative Generation aims to challenge traditional Western approaches that have historically marginalized the wealth of insights held by a diverse array of knowledge bearers.
Breaking the Ceiling
In my research on the topic, I've come across various resources exploring the study of music, especially at the intersections of music and health. However, there seems to be a gap when it comes to investigating subjects using music as a tool. What intrigues me is the increasing accessibility of music listening, thanks to platforms like Spotify and Apple Music. Still, I wonder if people truly grasp the depth of music beyond its surface.
This isn't a reflection on human intelligence, but rather a questioning of the existing music ecosystem, often deeply rooted in the Western Classical Tradition, which can harbor elitist frameworks. Consider factors such as the costs associated with instruments and equipment, the expenses related to teachers, the need for dedicated practice spaces, the presence of complex rules and structures that hinder participation, and the absence of comprehensive music theory and history instruction at the K-12 level.
Yet, experimental (i.e. Contemporary and Jazz) and world music can be vehicles to accessibility.
In my blog titled "The Universe Is On The Side Of Justice," I amplify the connections between Martin Luther King Jr.’s Nonviolence Principles and El Sistema’s Fundamentals. Exploring beyond the conventional, as done here, enables us to dream and imagine futures where every individual is a crucial ingredient for success, success that looks different from one experience to another.
Conflict by examining dissonance (conflict) and consonance (resolution) with musical works to describe, understand, and connect musical conflicts to our own lived experiences, which ultimately provides comfort and confidence.
Interrelatedness/Interdependence through “Democratic polyphony,” which involves multiple performers sharing a piece of music meant for one. Here, each player becomes essential as they depend on one another.
Courage, such as going on stage, composing music, offering and accepting criticism, taking musical risks, and making mistakes is a feat. Music supports “...the courage to explore and express feelings in a safe and healthy way” (Southard 73).
Listening to unfamiliar or disliked music strengthens our perspectives and appreciate of other points of view.
Empathy as “musical interaction can serve as a significant platform for the development of self-other sensitivity, enhancing the experience of empathic creativity and perhaps even a general capacity for empathy within the interacting players” (Southard 87).
Forgiveness as mistakes are expected. For example, Jazz groups quickly make adjustments and continue forward.
Below are examples that advocate just that: a truth where “There is always another way.”
The Role of Music in an Arts-Based Qualitative Inquiry
This article, The Role of Music in an Arts-Based Qualitative Inquiry, shows that interest in arts-based research methods has witnessed a surge in recent years, propelled by the acknowledgment of diverse forms of knowledge. This shift draws explicitly on the power of the arts, enhancing representation, generating insights, and deepening understanding (Reason, 1988; 1994). As we venture into arts-based methodologies, we find ourselves breaking down boundaries and embracing reflection on our own experiences (Richardson, 1998).
While the use of literature and visual arts is prevalent in such inquiries, the utilization of music remains surprisingly rare, despite its well-recognized powerful, educational, and healing powers. The historical perspective of Western classical music has, to some extent, contributed to the oversight of music as a valuable resource in human inquiry. Music, particularly in the context of modernist influences, has often been perceived as inaccessible, emphasizing internal over external satisfaction.
The idea that music can "speak for itself" is questioned when we acknowledge that the meaning of music is an intricate blend of the creator's intent, embedded voices, and the subjective perspectives of those who engage with it. This complexity is further compounded by the idea that music is a system of "symbols without concrete meanings."
Narrative analysis emerges as a universal process for making sense of experience, shaping our understanding of identity and the life course. Musical structures, such as the sonata form, are likened to quest narratives, offering an exploration of uncharted territories before returning to the known—a journey of delay and gratification that mirrors broader societal processes.
However, music, while powerful, cannot merely "speak for itself" and requires contextualization. The paper argues for the transformative power of music in challenging dominant notions of creativity and identity, offering a unique lens for exploring new dimensions of data.
Music as an Arts-Based Method in Migrant Health Research
In their piece “Music as an Arts-Based Method in Migrant Health Research” published by the National Institutes of Health, Garry, Murphy Tighe, MacFarlane, and Phelan points out that the role of music in health research is expanding, with compelling evidence showcasing its effectiveness in fostering participation, empathy, and multi-modal communication. Musical practices, particularly singing, have demonstrated positive impacts on various health and well-being areas, ranging from mother-infant bonding to trauma and abuse recovery. Surprisingly, the specific literature on music's role in migrant health is still emerging but holds promise.
However, the integration of music into health research is not without its challenges. While there's clear evidence of music being used as a participatory strategy in health contexts, its role as a research tool remains less well-defined. This anomaly can be attributed to a couple of key factors:
Firstly, some research treats music as an object of study rather than an intrinsic part of the research design. In such cases, the music practice becomes the subject of observation, with participation being an element of the observed practice but not necessarily embedded in the research method.
Secondly, there is a lack of consensus on the terminology used in describing research through the arts. The term "arts-based research" (ABR) has gained traction, but not all research involving music aligns with this terminology. The slow adoption of ABR terminology in health research further complicates the landscape, with various terms like practice as research (PaR) adding to the confusion.
There is a note that ABR is sometimes narrowly applied, either as a data collection or dissemination technique. However, in a more comprehensive ABR approach, the arts play a primary role in all steps of the research method, leveraging expressive forms to capture life's qualities that impact what we know and how we live.
Exploring Music Accessibility in Art-Based Research
In Western culture, music, often confined to a select few with specific skills, has been an underutilized resource in Arts-Based Research (ABR). Exploring Music Accessibility in Arts-Based Research, by Solé i Salas and Poole, delves into the challenges hindering the integration of music into ABR, highlighting issues like semantic meaning, representation, and narrative complexity. In the context of music therapy, there are expressed reservations about ABR, emphasizing the need for results to possess artistic value, linking this reluctance to the complexity of Western music structures.
Addressing these challenges, the authors advocate for broader music participation, assert that musicality is inherent to humanity, predating language. However, culturalization has distanced many from music-making abilities. The complexity-based musical model in Western culture has created barriers, with skill specialization excluding individuals from diverse traditions.
The resource presents four approaches to enhance music accessibility:
Structural Way: Importing simplified musical structures from diverse cultural traditions, promoting inclusivity. African traditions, with their call-and-response structures, exemplify this approach, fostering equity in participation.
'On-Gaku' Way: Expanding the definition of music to include various sound elements, embracing the idea that all sounds, even silence, can be considered music. This widens accessibility, allowing anyone, regardless of musical abilities, to engage in musical activities.
Sound Generators Way: Utilizing more accessible musical instruments and technologies, including mobile apps, tablets, and non-tonal instruments. This approach recognizes the varying difficulties associated with different instruments and seeks to minimize barriers for beginners or non-experienced players.
Universal Design Way: Applying principles of Universal Design (UD) to music playing and performing, ensuring equity for individuals with diverse abilities. This involves considerations like providing free activities, facilitating collaborative work, and minimizing hazards for all participants.
The authors acknowledge potential critiques, such as resistance to music-making and cultural variations in relevance. They also address the debate on the aesthetic value of results, emphasizing the democratization of music composition.
Reimagining Music Studies in an Age of Change
In a dynamic age of change, the question arises: How can higher education not only prepare musicians for survival but empower them to thrive in the public sphere? Dr. Patricia Shehan Campbell, a distinguished music educator, researcher, ethnomusicologist, and world music pedagogue, spoke at Reimagining Music Studies in an Age of Change, which advocated for a transformative approach based on three foundational pillars: creativity, diversity, and integration.
Creativity, Diversity, Integration: A Trifecta for Reimagining Music Studies
Dr. Campbell underscores the need for music education to evolve, positioning creativity, diversity, and integration as the cornerstones of a reimagined music studies program. This triad, she argues, is essential for preparing musicians to navigate the challenges of an ever-changing world.Breaking Cultural Boundaries: A Global Perspective on Music
Dr. Campbell challenges the tendency of individuals to gravitate towards the music of their own culture. She emphasizes the importance of breaking these cultural boundaries, advocating for exposure to diverse global musical traditions. This, she contends, not only deepens one's understanding of music but also cultivates cultural empathy, a key tool in combating unconscious bias.Beyond Western Classical Dominance: Embracing World Music Traditions
Questioning the conventional focus on Western classical music, Dr. Campbell argues for a more inclusive approach aligned with our multicultural world. She advocates for embracing the rich tapestry of world music traditions, emphasizing the ethical imperative of recognizing and appreciating diverse musical heritages.Music as a Multifaceted Human Experience
Dr. Campbell broadens the perspective on music, viewing it as an integral part of the human experience. Beyond entertainment and expression, she explores its role in language, motor control, tonality, and various behavioral contexts. This holistic understanding positions music as a complex interplay of perceptual, cognitive, and affective components.Adapting Curricula to Changing Demographics
Acknowledging the changing demographics and needs of students, Dr. Campbell calls for a transformation of music curricula. This adaptation should address equity, diversity, and inclusion issues at every stage, from recruitment and admission processes to ongoing support, mentorship, and professional development after graduation.Fostering Diversity Through Community Engagement
Reducing the cost of participation, engaging with communities, recruiting a diverse student body, and providing continuous professional development for faculty are key strategies Dr. Campbell advocates. These initiatives aim to foster diversity and inclusivity within music programs.Musicians as Connectors and Catalysts for Change
Dr. Campbell emphasizes the pivotal role of musicians as connectors, bridging communities through music. She encourages musicians to be open to experimentation, learn from diverse sources, and actively engage with students and communities. In doing so, they contribute to positive social change, reinforcing music's power to connect people emotionally, culturally, and socially.
Dr. Patricia Shehan Campbell's vision for music education transcends traditional boundaries, urging a shift towards inclusivity, cultural appreciation, and a holistic understanding of music's profound impact on society. Her insights challenge the status quo, inspiring a generation of musicians to be not just performers but catalysts for positive change in the world.
Silence as a Discourse
One of my favorite humans, Dr. Elisa Dekaney, did a presentation titled “Silence as Discourse: Voice Equity in Research Practices” at Rethinking the Future, an event, hosted by the National Institute of Science and Technology on Social and Affective Neuroscience and the Social and Cognitive Neuroscience Laboratory of the Mackenzie Presbyterian University, São Paulo, Brazil, which challenged individuals to imagine a more just world.
In the pursuit of a more just world, she inspires a systems shift towards inclusive and collaborative research. The essence of Voice Equity lies in embracing inclusive research practices, challenging structural hierarchies, and sharing decision power throughout the research process. Dekaney advocates for the incorporation of Indigenized and Afrocentric approaches, emphasizing a holistic perspective that supports social and emotional well-being.
The call to move away from a "talking-to" style signifies a rejection of Eurocentric structures that limit participation. Instead, storytelling becomes a powerful practice valuing culture and identity, while elevating oral literacy to the same level as written literacy. Afrocentric approaches further dismantle the belief in European cultural superiority, embracing Afrofuturism and Black Excellence (high achievement or ability in a black person or generally in black people), making knowledge accessible without coded language, and highlighting interrelated Afrocentric oral traditions.
To move forward, prioritizing community commitment is essential. Shifting the framework and increasing the representation of groups who have been minoritized, developing partnerships with local collaborators, and crafting inclusive language are crucial steps. The path toward inclusivity involves challenging assumptions about underrepresented groups, making community involvement a high priority, and utilizing circular logic, storytelling, and diversity advocates. Additionally, implementing equity audits to ensure adherence to inclusive research practices.
Ultimately, the incorporation of non-Eurocentric views through Indigenized and Afrocentric practices enriches and expands the traditional research approach. Dr. Dekaney provides a seat at the table for diverse voices, fostering dialogue, storytelling, and cultural excellence. This shift does not negate the contributions of traditional research but broadens the horizon, inviting a diverse range of perspectives to contribute to the collective understanding of our world.
Hello, Are You There?
As I reflect on my journey in exploring the intersection of music and research, the question persists: "How can we incorporate music into research inquiry without relying solely on the written word?" This inquiry takes us into uncharted territories, as research has shown, creating an opportunity for exploration.
From this initial exploration, several takeaways emerged, urging a lean into the unknown. Delving into this new territory requires acknowledging the wisdom in the mantra, "There is always another way." This acknowledgment prompts us to recognize and celebrate the accomplishments of traditional methods while simultaneously divesting from a sole reliance on Western influence. It invites us to dream of futures where every individual contributes uniquely to success, acknowledging that success varies from one experience to another.
Representation holds a profound significance for individuals, especially in their everyday lives. Music, being a daily ritual for many, has a purpose in human inquiry. Therefore, challenging the notion that music can "speak for itself" and instead understanding music as a complex mix of how we perceive, think, and feel. Narrative analysis, a universal process for making sense of experience, becomes a crucial tool in shaping our understanding of identity and life altogether.
The journey ahead involves a commitment to inclusive research practices, challenging structural hierarchies, and sharing decision power throughout the research process. Indigenized and Afrocentric approaches, for example, bring a holistic perspective, supporting social and emotional well-being. Shifting away from Eurocentric structures does not diminish traditional contributions but broadens our horizons, inviting diverse perspectives to contribute to our collective understanding of the world.
Regardless of the artistic medium, creatives understand that the arts transcend beyond their art because the arts remind us how to be human by offering a chance for introspection. Music, as an innate ability within us all, requires more pathways to codify this natural understanding universally.
Therefore, will you join me in the exploration of how music is a part of our everyday lives? I invite you to connect, share resources and thoughts, and form collaborations that focus on mutual benefit.
I look forward to what we can discover, together.
