Music Intervention Structure

Music interventions, in the form of peacebuilding music education programs, have sprouted worldwide in several forms.

Structures of peacebuilding music education programs will be recognized along a developed spectrum analyzing the driving forces behind these programs: locality of administrative and program planning activities, and narrative-emphasis. These categories are not static and will most likely adapt over time according to geopolitics and continual world globalization. Shared by all structures are the implementations of music interventions, development of partnerships, and devotion to the overarching goal of peacebuilding in and through music education. A music intervention, which can occur in multiple forms depending on contextualization, is the utilization of the creative process of music to constructively affect an individual’s personal and societal development through the expression of multiple identities in a proactive cultivation of people-to-people diplomacy.

Distinguishing between whether administrative and program planning activities are locally driven, outside driven, or mixed sets the stage in determining effectiveness of program implementation, contextualization of the program, partnership development, and funding capacities. Narrative-emphasis distinguishes where the “call to” these peacebuilding music education programs are originating from, which affects the overall extension of their message and lens of the program. Narrative-emphasis is identified by the program’s vision in choosing this particular peacebuilding music education program from locality and constituents to programming and pedagogy. This in turn also influences the effectiveness of program implementation, contextualization of the program, partnership development, and funding capacities.

The majority of peacebuilding music education programs fall into three common structures currently. These structures are as follows:

1. Structure Type One

  • Administrative activities are highly driven from outside.
  • Program planning activities are highly driven locally.
  • Narrative-emphasis is highly based in general global citizenship.

2. Structure Type Two

  • Administrative activities are highly driven from outside.
  • Program planning activities are highly driven from outside.
  • Narrative-emphasis is highly based in interest.

3. Structure Type Three

  • Administrative activities are mixed from outside and locally.
  • Program planning activities are highly driven locally.
  • Narrative-emphasis is highly interconnected.

Depending on the structure of the music intervention youth program, different types of timelines could be suitable. When considering an achievable timeline, it is also important to keep in consideration the effect of the timeline on donor relations. Many donors want to see their money at work, expecting noticeable results to happen immediately. Practioners must honor and explain to donors that any form of transformational intervention-based education focused on youth does not necessarily produce results for tomorrow, but rather for the next decade or generation to come.

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