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dave.camlin@rcm.ac.uk
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(Clift, 2013; Clift, Manship and Stephens, 2017; Shakespeare and Whieldon, 2017; Dingle et al., 2019)
Strong spiritual dimension to singing (Clift and Hancox 2001; Latimer 2008; Tonneijck et al. 2008).
Mood enhancing (Bailey and Davidson 2002, 2005; Burkeman, 2015; Bungay et al. 2010; Clift et al. 2008b, 2010b; Clift and Hancox 2001, 2010; Clift, Manship and Stephens, 2017; NICE, 2015; Palmer 2008; Shakespeare and Whieldon, 2017; Williams, Dingle and Clift, 2018)
A physical activity which is both ‘energizing and relaxing’ and can help to relieve stress and tension (Bailey and Davidson 2003; Tonneijck et al. 2008; Jacob et al. 2009).
Distract attention from personal worries (Clift and Hancox 2010; Clift et al. 2010b).
When we attune to others we allow our own internal state to shift, to come to resonate with the inner world of another. This resonance is at the heart of the important sense of “feeling felt” that emerges in close relationships. Children need attunement to feel secure and to develop well, and throughout our lives we need attunement to feel close and connected. (Siegel 2011, p.27)
Also see (Lewis, Amini and Lannon, 2001; Dunbar, 2013, pp. 16–19; Camlin, 2015)
Improve lucidity, mood, focus and to relax for PWD and their carers. (Davidson & Almeida 2014)
Helps to improve breathing and lung capacity, improves voice quality, and promotes good posture (Clift and Hancox 2001; Clift et al. 2009).
"Group singing workshops could help speed the recovery from symptoms of PND among new mothers"
(Fancourt & Perkins 2018)
If many of the benefits of group singing are relational / social, how valid is it to infer inter-personal outcomes from intra-personal effects?
The individual is 'the wrong unit of anlysis' (SIAP cited in Crossick et al 2016)
(BBC Health Check, no date; Kreutz et al., 2003, 2004; Skingley et al., 2011; Clift et al., 2013; Morrison and Clift, 2013)
"Singing modulates mood, stress, cortisol, cytokine and neuropeptide activity in cancer patients and carers." (Fancourt et al 2016)
Assists in the maintenance and recovery of mental health
(Clift et. al. 2017; Clift & Morrison 2011; Clift & Hancox 2001; Coulton et. al. 2015; Dingle et. al. 2019; Dingle et. al. 2017; Fancourt et. al. 2016; Livesey et. al. 2012; NICE 2015; Shakespeare & Whieldon 2017; Skingley & Bungay 2010;
MIND n.d.; Williams et. al. 2018)
Help to develop skills, self-confidence, self-esteem, and a sense of achievement (Bailey and Davidson 2002, 2005; Silber 2005).
Singing brings people together and helps to create a sense of group identity, social support and friendship (Bungay et al. 2010; Clift and Hancox 2001; Lally 2009; Latimer 2008; Livesey et al., 2012; Southcott 2009; Welch et al., 2014).
Performing 'works'
Performing 'relationships'
'Preliminary studies have shown that music listening and performing modulate levels of serotonin, epinepherine, dopamine, oxytocin, and prolactin' (Levitin et al 2017, p.1)
'singing in particular can reduce levels of stress hormones such as cortisol, cortisone and progesterone and increase social bonding including the release of oxytocin' (Fancourt et al 2016 p.2)
listening to music and making music provokes motions and emotions, increases between-subject communications and interactions, and—mediated via neurohormones such as serotonin and dopamine—is experienced as a joyous and rewarding activity through activity changes in amygdala, ventral striatum, and other components of the limbic system. (Altenmüller and Schlaug 2013)
'Explanations of social bonding during group musical activities should include reference to endorphins, which are released during synchronized exertive movements.' (Tarr et al 2014)
See also (Bernatzky et al., 2013; Kreutz, Quiroga Murcia and Bongard, 2013; Levitin, Mallik and Chanda, 2017; Macdonald and Macdonald, 2010)
'Resonance circuitry' attunemment inc. heartrate variability and Mirror Neuron System (MNS) synchronisation
(Lewis et al 2001; Molnar-Szakacs and Overy, 2006; Siegel 2016;
Vickhoff et al., 2013)
'A phenomenon in
which two or more independent rhythmic processes synchronize with each other... a process whereby two rhythmic processes interact with each other in such a way that they adjust towards and eventually ‘lock in’ to a common phase and/or periodicity'
(Clayton et al 2004; Clayton 2012; Daffern, 2017; Keil, 1987; Knight, Spiro and Cross, 2016)
"entities and activities organized in such a way that they are responsible for the phenomenon." (Illari & Williamson 2012)
"creating an ‘ideal’ community through group singing which participants can subsequently mobilise as a positive resource for everyday life" (Camlin 2019)
creative practice as "a powerful tool for bringing together a range of social actors and communities of practice in the field of physical and mental health] ... [to establish and connect communities in a mutual or reciprocal fashion to enhance physical and mental health and well-being." (Crawford et al 2015)
"The arts and social activities can help save money for the NHS and social care system. Social prescription reduces over subscription of drugs. It can lead to the same or better outcomes for patients without popping pills. And it saves the NHS money, because many of these social cures are cheaper or free." (Matt Hancock, UK Health Secretary, Nov 2018)
Responses to, and indeed, capacities for, music are the result of active participation in, and engagement with, the dynamics and specificities of particular cultural contexts and processes, as well as of individual life histories. They are shaped by the conceptions and uses of music that exist within a specific cultural framework (Nettl, 2005), by the contingencies of cultural formation and change (Feld, 1996), by enculturative, formal and personal learning processes (Deliège & Sloboda, 1996), and by associations of music with episodes in and aspects of an individual's life history (MacDonald et al, 2002). (Cross & Woodruff 2009, p.7)
Participatory music making and dance are among a variety of activities that can be potent resources for social change and provide alternative models for citizenship precisely because (a) they operate according to values and practices diametrically opposed to a capitalist ethos; (b) they are voluntarily open to anyone who is interested and, by nature, engender a kind of egalitarian consensus building (Turino 2016, p.298)
'The importance of the historic, inherited environment to communities today [is] its social value manifesting itself in a sense of identity, belonging and place, in addition to forms of memory and spiritual association (see also Hewison & Holden, 2004). People live these places in a fluid way, often quite different from the official ways of valuing the historic environment, and only in recent decades have identity and belonging, memory and symbol, spiritual meanings and cultural practices, come to be seen as a significant part of what we mean by heritage.' (Cultural Value Report 2016)
Whole music sector’s contribution to economy - £4.5bn (+2%)
Exports (whole sector) - £2.6bn (+7%)
(Measuring Music 2018)
Agent-driven sounds, and the associated perception of movement of another person, engage motor regions in the listener’s brain, potentially resulting in “self-other merging,” which has been argued to arise when individuals experience their movement simultaneously with another’s. (Tar et al 2014, p.1)
performative actions and sound structures that could be interpreted as affording cues about shared intentionality that direct attention in interaction. (Cross & Woodruff 2009, p.8)