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«1 MUSIC, EMPATHY, AND CULTURAL UNDERSTANDING Music, Empathy, and Cultural Understanding Eric Clarke, Tia DeNora, and Jonna Vuoskoski Executive ...»

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Cultural Value

Music, Empathy, and

Cultural Understanding

Eric Clarke, Tia DeNora, and Jonna Vuoskoski

1

MUSIC, EMPATHY, AND CULTURAL UNDERSTANDING

Music, Empathy, and Cultural

Understanding

Eric Clarke, Tia DeNora, and Jonna Vuoskoski

Executive Summary

In the age of the internet and with the dramatic proliferation of mobile listening

technologies, music has unprecedented global distribution and embeddedness in

people’s lives. It is a source of intense experiences of both the most individual (personal stereos) and massively communal (large-scale live events, and global simulcasts) kind;

and it increasingly brings together or exploits a huge range of cultures and histories, through developments in world music, sampling, the re-issue of historical recordings, and the explosion of informal and ‘bedroom’ music-making that circulates via YouTube.

For many people, involvement with music can be among the most powerful and potentially transforming experiences in their lives. To what extent do these developments in music’s mediated and mediating presence facilitate contact and understanding, or perhaps division and distrust, between people? This project has pursued the idea that music affords insights into other consciousnesses and subjectivities, and that in doing so may have important potential for cultural understanding. The project: 1) brings together and critically reviews a considerable body of research and scholarship, across disciplines ranging from the neuroscience and psychology of music to the sociology and anthropology of music, and cultural musicology, that has proposed or presented evidence for music’s power to promote empathy and social/cultural understanding through powerful affective, cognitive and social factors, and to explore ways in which to connect and make sense of this disparate evidence (and counter-evidence); 2) reports the outcome of an empirical study that tests one aspect of those claims – demonstrating that ‘passive’ listening to the music of an unfamiliar culture can significantly change the cultural attitudes of listeners with high dispositional empathy.

Researchers and Project Partners Eric Clarke, Faculty of Music, University of Oxford Tia DeNora, Sociology, Philosophy & Anthropology, Exeter University Jonna Vuoskoski, Faculty of Music, University of Oxford Key words Music, Empathy, Cultural Understanding, Sympathy, Attunement, Intersubjectivity, Alterity 2

MUSIC, EMPATHY, AND CULTURAL UNDERSTANDING

1. Introduction Music is a source of intense experiences of both the most individual (personal stereos, headphone listening) and massively communal (large-scale live events, and global simulcasts) kind; and it increasingly brings together – or exploits – an exceptional range of cultures and histories, through developments in ‘world music’, sampling, historical recording and hybridization. At a time when musicology, the social and cultural study of music, have become far more circumspect about essentializing and romanticizing claims, it is still not uncommon to find claims being made for music as a ‘universal language’ that can overcome (or even transcend) cultural difference, break down barriers of ethnicity, age, social class, ability/disability, and physical and psychological wellbeing.

There are widespread symptoms of this belief or claim, including the activities of the West-Eastern Divan Orchestra (founded by Edward Said and Daniel Barenboim, to bring together Israeli and Palestinian musicians);1 and the appointment by UNICEF of classical musicians to act as ‘goodwill ambassadors’, bringing their music to people in deprived, war-torn, or disaster-hit parts of the world so as to offer emotional support, solidarity, and a kind of communion. An extract from the violinist Maxim Vengerov, who in 1997 was the first classical musician to be appointed a goodwill ambassador, reads: “1997, September: For Maxim Vengerov’s first official undertaking with UNICEF, he organized a musical exchange with children from Opus 118 – a violin group from East Harlem, New York. The children of Opus 118, aged 6 to 13, came from three different elementary schools in this inner-city neighbourhood. This innovative programme has spurred a whole generation to learn ‘violin culture’. Along with the youths, Mr. Vengerov not only played Bach but also southern blues and tunes such as ‘Summertime’ and ‘We Shall Overcome’.” And from the same webpage (http://www.unicef.org/people/people_47229.html), beneath a picture showing the violinist in jeans and T-shirt playing as he leads a line of children in the manner of a latter-day Pied Piper is the caption: “In the remote village of Baan Nong Mon Tha, children from the Karen hill tribe ethnic group follow Maxim Vengerov, in a human chain, to a school run by a UNICEF-assisted NGO. Thailand, 2000.” Similarly, the 1985 Live Aid, and 2005 Live 8, events were global pop music events intended not only to raise money (in the case of Live Aid) and popular pressure on politicians (in the case of Live 8) for the relief of famine and poverty, but also to galvanize a global consciousness and a united ‘voice’: as Bob Geldof, the prime mover of Live 8 put it: “These concerts are the start point for The Long Walk To Justice, the one way we can all make our voices heard in unison.” And finally, the popular UK television series ‘The Choir’ (which has run to six series so far) documents the powerful ‘identity work’ and intense emotional experiences that accompany the formation of choirs in schools, workplaces, and military establishments out of groups of people who have had little or no previous formal musical experience, and who come from very varied walks of life (from bank executives to fire officers and military wives).





In all these very public examples of a much wider if less visible phenomenon, we see a complex mixture of implicit musical values, discourses about music’s ‘powers’, folk psychology and its sociological equivalent, and (in some cases) more or less grounded or unsupported claims about the impact of music on the brain (cf. Tame, 1984; Levitin,

3 MUSIC, EMPATHY, AND CULTURAL UNDERSTANDING

2006). It would be easy to be hastily dismissive of some of these claims, but a considerable volume of research by highly-regarded scientists and scholars, coming from disciplines that range from neuroscience and philosophy through psychology and sociology to anthropology and cultural studies has also made a significant case for the capacity of music and musicking (Small, 1998) to effect personal and social change (e.g.

Becker 2004; DeNora 2013; Gabrielsson 2011; Herbert 2011). If music can effect change, and speak across barriers, it can also offer a means of intercultural

understanding and identity work. As Cook (1998: 129) puts it:

“If both music and musicology are ways of creating meaning rather than just of representing it, then we can see music as a means of gaining insight into the cultural or historical other … If music can communicate across gender differences, it can do so across other barriers as well. One example is music therapy… But the most obvious example is the way we listen to the music of other cultures (or, perhaps even more significantly, the music of subcultures within our own broader culture). We do this not just for the good sounds, though there is that, but in order to gain some insight into those (sub)cultures. … And if we use music as a means of insight into other cultures, then equally we can see it as a means of negotiating cultural identity.” In different ways, these (and other) claims seem to make use of a generalized notion of empathy. Empathy has recently seemed to gain considerable attention/currency in musicology, psychology of music, sociology of music and ethnomusicology as a way to conceptualize a whole range of affiliative, identity-forming, and ‘self-fashioning’ capacities in relation to music. But what is brought together or meant by the term ‘empathy’, and is it a useful and coherent way to think about music in relation to its individual and social effects?

Our project, and this report, arise from the disparate nature of the evidence for the claims about music’s transformative power, individually and socially, and the ‘scattering’ of the case across theories and findings in a huge disciplinary range: from research on music and mirror neurons (Overy and Molnar-Szakacs 2009) to the ethnomusicology of affect (Stokes 2010), the history of musical subjectivity (Butt 2010) and sociological studies of music and collective action (Eyerman and Jamieson 1998), the case has been made for different perspectives on music’s capacity to afford compassionate and empathetic insight and affiliation, and its consequent power to change social behaviour.

These diverse research strands all point to the crucial role that musicking plays in people’s lives, to its transformational capacity, and to the insights that it can afford.

There is no single window onto ‘what it is like to be human’, but musicking seems to offer as rich, diverse, and globally distributed a perspective as any – and one that engages people in a vast array of experiences located along dimensions of public and private, solitary and social, frenzied and reflective, technological and bodily, conceptual and immediate, calculated and improvised, instantaneous and timeless. The fact that music can be heard and experienced by large numbers of people simultaneously and in synchrony (orchestral concerts, stadium gigs, live simulcasts) means that the embodied experience of music can also be shared – fostering entrainment and a sense of cosubjectivity. Indeed, some theories of the evolutionary significance of music highlight the 4

MUSIC, EMPATHY, AND CULTURAL UNDERSTANDING

importance of music’s empathy-promoting aspects, suggesting that a fundamental adaptive characteristic of music is its capacity to promote group cohesion and affiliation (Cross & Morley, 2008).

While a whole range of studies has suggested that empathic interaction with other human beings is facilitated by musical engagement, the direct empirical evidence for this important possibility is scattered and disciplinarily disconnected. The aim of the project summarised in this report was to examine critically a substantial body of research evidence that relates to claims for music’s capacity to engender cultural understanding, primarily through the mediating construct of empathy; examine its consequences and significance, and provide a framework within which to connect its disparate elements and highlight points of interdisciplinary convergence and divergence; and carry out a focused empirical study that was designed to investigate a specific aspect of that complex case.

The report follows the general disciplinary outlines of the initial literature search, which revealed in excess of 300 items relating to the broad theme (‘Music, Empathy and Cultural Understanding’) of the project.

2. Empathy The word empathy has had currency in English for little more than 100 years, listed by the Oxford English Dictionary as being first used by the psychologist Edward Titchener in 1909, and defined by the OED as:

“a. Psychol. and Aesthetics. The quality or power of projecting one's personality into or mentally identifying oneself with an object of contemplation, and so fully understanding or appreciating it.

b. orig. Psychol. The ability to understand and appreciate another person's feelings, experience, etc.” Titchener’s ‘empathy’ was his attempt to translate the term Einfühlung coined by the philosopher Robert Vischer (1873) in a book on visual aesthetics. But it was Theodor Lipps (1903) who really championed the concept of empathy, developing it from an essentially aesthetic category (the ability to ‘feel into’ an artwork) into a much more general psychological/philosophical concept to account for the human capacity to recognize one another as having minds. Laurence (2007) gives an important account of the origin and development of the idea of empathy, tracing a line back to Adam Smith’s (1759) The Theory of Moral Sentiments, and Smith’s appeal to a notion of sympathy and ‘fellow feeling’ as the basis for understanding and living a moral life that is based on imagining how we would feel in the circumstances of others. The distinction between imagining how we would feel and simply identifying with how another feels is crucial, since it places Smith’s notion of sympathy in the domain of imaginative reason rather than blind contagion, and makes clear the role of cultural artefacts (paintings, literature, drama, music) as a means of socially learning that sympathetic attitude. Laurence also draws significantly on the work of Edith Stein (1917) – a doctoral student of Edmund Husserl – whose On the Problem of Empathy also engages with the problem of how it is that we can know or experience the mental states of others, whether this knowledge or

5 MUSIC, EMPATHY, AND CULTURAL UNDERSTANDING

experience is given in some direct and primordial sense, and Stein’s conclusion that empathy is dependent on the mediating role of similarity with the person (or even animal) with whom/which we attempt to empathize. Laurence ends up with definition of empathy that emphasizes empathy as both a process, and as a social and educable

achievement:



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