Abstract
Black/African American adolescents from limited-resource communities face challenges and circumstances that are unique to their racialization and socioeconomic status; this merits community-engaged resources, such as community music therapy, that are equally unique in creating culturally responsive opportunities for limited-resource adolescents to engage socially with peers and experience meaningful success in a safe, supportive environment. The purpose of this study was to pilot and explore the feasibility of and behavioral processes in a community-based referential music-making intervention for limited-resource adolescents labeled as “at-risk.” The methods consisted of a concurrent nested (embedded) mixed methods design based on the principles of participatory actions research (PAR), during which qualitative data were collected during 8 focus group style music-making sessions. Quantitative data assessing self-efficacy were collected prior to first and following the 8th music-making session. The validity of quantitative results was challenged by the lowered reading level of participants and a high amount of mis-labeled (and thus unusable) data. Qualitative data suggest 3 themes, including creating community, artistic prioritization, and pride. All results were impacted by issues, such as inconsistent attendance and malfunctioning recording equipment. Nevertheless, participants expressed a collective desire to share their work with their community group. Discussion points are raised including how participants in this community music therapy-based approach were able to create and direct their own stories. The implementation of community music therapy approaches seems a valuable way to bring authentic representations of limited-resource adolescent participants into clinical practice.
Is music a form of knowledge? Probably not, even if music is undoubtedly an important part of our cultural heritage. Music is not a type of knowledge, at least in first approximation, because music has no consensual, shared meaning. One of the main reasons why music has no meaning, as opposed to text or even pictures, is that music is not referential: music is made of elements (notes, chords, sounds) which do not refer to any objects or concepts outside the musical world (Meyer, 1956). Being without meaning, music is not a type of knowledge.
Is music a form of knowledge? Probably not, even if music is undoubtedly an important part of our cultural heritage. Music is not a type of knowledge, at least in first approximation, because music has no consensual, shared meaning. One of the main reasons why music has no meaning, as opposed to text or even pictures, is that music is not referential: music is made of elements (notes, chords, sounds) which do not refer to any objects or concepts outside the musical world (Meyer, 1956). Being without meaning, music is not a type of knowledge.
Is music a form of knowledge? Probably not, even if music is undoubtedly an important part of our cultural heritage. Music is not a type of knowledge, at least in first approximation, because music has no consensual, shared meaning. One of the main reasons why music has no meaning, as opposed to text or even pictures, is that music is not referential: music is made of elements (notes, chords, sounds) which do not refer to any objects or concepts outside the musical world (Meyer, 1956). Being without meaning, music is not a type of knowledge.
Community-Based Referential Music Making with Limited-Resource Adolescents: A Pilot Study
