2023
DOI: 10.1177/10298649231157099
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Music, social cohesion, and intercultural understanding: A conceptual framework for intercultural music engagement

Abstract: Regional conflict, growing technological developments, and climate change have seen high migration rates, which are likely to rise. Discrimination and violence at the hands of host societies continue to threaten the well-being of immigrant communities, as well as wider social cohesion in migration destinations. The urgency of the situation has been highlighted in several international policy documents released since 2020 by the United Nations (UN) and related agencies. In response, we have seen a global moveme… Show more

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Cited by 4 publications
(1 citation statement)
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“…Indeed, our research deals directly with the connections between music and dance of different cultures. We define intercultural music engagement broadly as any form of musical activity (e.g., individual or collective listening, performing, composing, improvising) that involves interaction or exchange between different cultural identities and/or musical forms, and we consider its practice in more detail elsewhere (Crooke et al 2023). As Seeger observes, "Today, most musics and dance are also parts of a huge, nearly global communications and entertainment industry" (2019:19), going on to note that "Ethnomusicologists today live in a transnational and interdisciplinary world" (ibid.:21).…”
Section: Introductionmentioning
confidence: 99%
“…Indeed, our research deals directly with the connections between music and dance of different cultures. We define intercultural music engagement broadly as any form of musical activity (e.g., individual or collective listening, performing, composing, improvising) that involves interaction or exchange between different cultural identities and/or musical forms, and we consider its practice in more detail elsewhere (Crooke et al 2023). As Seeger observes, "Today, most musics and dance are also parts of a huge, nearly global communications and entertainment industry" (2019:19), going on to note that "Ethnomusicologists today live in a transnational and interdisciplinary world" (ibid.:21).…”
Section: Introductionmentioning
confidence: 99%