Music therapy and music centre group performance may not seem like natural partners, but they have come together in the Chilterns with moving results. Two not-for-profit organisations – Chiltern Music Therapy (CMT) and Chiltern Music Academy (CMA) – have collaborated for the last two years to provide annual inclusive music events, bringing young people together, whatever their musical or personal background, disability or ability, to experience orchestral music-making in a new and interactive way.
The collaborators
CMA (CMA) is an independent centre of vibrant community music-making, involving parents and carers in every aspect of delivery and management. The centre's motto of ‘play, passion, performance’ succinctly describes its frequent concerts.
CMT is a not for profit national music therapy organisation, offering individual and group music therapy in settings as diverse as neo-natal wards and community arts centres. Its motto is ‘make music, make change’, highlighting the subtle journeys that people make through music therapy,
Why collaborate?
CMT is committed to meeting the needs of vulnerable people living with difficulty and disadvantage, often at times of stress or crisis. Therapists are trained to engage people of any age or difficulty in music-making, to meet specific aims and enhance wellbeing. Frequently, a dilemma occurs as a person nears the end of their therapeutic journey: now that their wellbeing is improved, and they are motivated to make music, where can they turn to continue their musical journey? To provide such opportunities, the organisation has a highly skilled team of community musicians who understand the vulnerabilities of these individuals and are equipped to lead them into further music-making in community singing and jamming groups, or in individual music sessions. This is the CMT pathway, but until two years ago, it lacked a significant strand – accessible and inclusive performances for participants and their families.
While CMT was pondering this strand, CMA was considering how to reach out to people in the community for whom the centre's activities were inaccessible. Aware of the privilege of classical music training and wishing to share it, the centre offers a full programme of school assemblies bringing live music to numerous local schools. However, staff had become conscious that families are not typically included in these. Furthermore, they were unsure how to involve concert goers with additional needs, while at the same time ensuring quiet listening that would encourage the young players. CMA was also seeking a pathway for its young musicians to engage with new audiences.
The musical outcome
Inspired by the BBC Power of Music day in 2017, staff from both organisations began planning the first ‘Interactive Orchestra’ event, which was repeated in 2018. The CMA's symphony orchestra prepared an hour of music for CMT families to listen and respond to. Essential to the process was the setting of expectations for all concerned: families were reassured that there was no expectation whatsoever that their children would sit on seats or stay quiet, and they were invited to bring siblings and friends. The young people in the orchestra were reassured that vocalising, jumping or close gazing was a natural response and demonstrated participation, interest and engagement. The conductor chose motivating and familiar music – the theme from The Pirates of the Caribbean. and Holst's The Planets – and, together with the link music therapist, devised a literal pathway through the orchestra. CMA parents provided refreshments and its staff manned lifts and car parking. CMT staff met the families and remained with them as ‘buddies’ for the duration of the event.
Inclusivity doesn't mean compromising on quality
The young orchestral musicians rose to the challenge of stepping out of their comfort zones – they presented their instruments and moved around the hall allowing visitors to touch them, where safe, and listen at close range. Later, they remained focussed as they performed with visitors moving amongst them. The young music therapy participants responded with overwhelming motivation and interest – a young boy with autism lay on the floor next to the double basses to feel the vibration, a young adult rocked and laughed in the loud, rhythmic passages, while a girl with visual impairment took over the role of timpanist. The evening closed with an invitation for all visitors to participate with percussion, joining in a grand finale with the orchestra. There was a spontaneity and excitement in the music-making that was clearly audible.
A nice idea, or something more?
The benefit to all involved was significant: the young music therapy participants had an opportunity to experience the sound, sight and feel of orchestral music that is generally denied to them; the young players had the chance to observe the immense impact of live music on people who were unfamiliar with it; the music centre coaches witnessed moving relationships develop between players and visitors; the music therapists, who are more used to the power of music to engage and draw responses from people who may not find communication easy, or whose movement and engagement may be limited, felt affirmed in their belief in music-making; the family members saw their loved ones’ animated engagement in a new context.
But why is this significant? Disability and difference still divides society. Carers and parents of children with additional needs can feel isolated and exhausted, discouraged by negative comments about their children, and can face disadvantage themselves in daily life. Meanwhile, music-making has found conventional routes and settings that are hard to break out of, whatever the good intentions. The magic ingredient in the CMT-CMA collaboration was young people. Music therapy can unlock creative engagement in young people with additional needs and the energy and openness of young players is appealing. When both groups are brought together in a safe, inclusive space, with music-making as the focus, there is a level playing field: the event would not have been the success it was without the authentic responses of the visitors, nor could they have responded without the generous music-making of the players. Music hubs and centres are a fantastic resource for music therapists wishing to find sustainable musical pathways for their participants.
Considerations for planning an inclusive, interactive, musical collaboration
- Choose an accessible venue, with parking, and complete a thorough risk assessment
- Hold the event at a time of day that works for families, and keep it short
- Make sure all contributors understand the purpose of the event – to share music-making, not to give an unblemished performance
- Be prepared to feel nervous – you cannot predict how visitors will respond, but their carers and family members are the experts and will guide you
- Put chairs out as if for a concert – this is comfortingly normal – but communicate repeatedly that there is no expectation to sit on them!
- Reassure families that any responses are welcome and provide ‘buddies’
- Prepare the young players to expect unexpected responses. It is fine to protect their instruments if they need to. Explain that carers and parents will help with communication and it is ok to ask
- Prepare a ‘break-out’ room for families – many visitors may have sensory processing difficulties and need time out
- If you do a ‘walk-through’ orchestra, practise with this lay out – players are much further apart
- Collect feedback and learn what could be even better next time!
