Blog Layout

Sarah Pearson • February 15, 2017

Dimensions of Music Care Part 3: Community Music

In this, our third instalment of this blog series on the ten dimensions of music care, we are focusing on Community Music. There is exciting academic research being done in the field of Community Music, and that largely refers to the broader sense of how a) music can create and change community, and b) how music can become more accessible in communities outside of traditional Western parameters. In the Music Care framework, we use it specifically to describe access between institutions or facilities such as hospitals, LTC homes, or prisons, and music that takes place in the community such as symphonies, touring shows, or community musical theatre.

One of big markers of culture change in health care is the focus on de-institutionalization. As care culture slowly transitions from the medical model to relational and person-centered models of care, more services are offered in the community, and more emphasis is put on keeping people out of institutions.

But institutions remain, out of necessity. There are still hospitals and nursing homes, hospices and psychiatric residences. Making these facilities connected to the wider community, rather than segregated from it, is part of how institutions respond to a changing culture of care. For example, open-concept building design for new or pre-fab facilities reflects a message that these institutions are connected to the community, and are stigma-free. Similarly, access to community-based music is a beautiful way of creating a more open facility, and also creating instant opportunities for relationship-based care.

One of my favourite programs at the hospital where I work is the relationship we have developed with the Kitchener-Waterloo Symphony.

The KWS runs an outreach program where, through generous sponsorships, they are able to send small groups of musicians into various health care facilities to play concerts. For the past year and a half, the KWS has made afternoon musical visits to our hospital. On these days, two string players play short programs – 20-30 minutes, in various parts of the hospital. They play in the main entrance and in small communal spaces on the hospital wards. Patients, families, and staff gather to listen and chat with the musicians between pieces.

Thanks to both the music therapy program at the hospital, and the work of a few wonderful volunteers, live music is already a regular occurrence in the hospital. However, there’s a special, unique feel to these KWS visits.

Having professional-level performances in the clinical space adds a layer of beauty and experience that is unusual and unlikely for a hospital. This can make the music all the more impactful to the listeners. The musicians themselves have always expressed how rewarding it is to play in the hospital – they get to interact with their listeners in a more casual way than they ever do in a concert hall, and they see the direct emotional impact their playing has on people going through tough times. They experience the relationship-building quality of music-making in a deeper way than the traditional classical concert experience usually affords.

Furthermore, there is an outside-inside benefit that takes place, which seems to make their playing all the more meaningful to the hospital community. Knowing that the musicians are formally coming from an outside music organization, into the hospital, feels connective. We are reminded that the hospital is a part of the wider community. We are reminded that we are more than patients, staff, visitors of the sick – we are people.

Creating community music programs within a facility doesn’t need to be hard. So many musicians in the community are searching for opportunities to perform. Here are a few suggestions:

  1. Partner with a local conservatory or community music school, inviting their students to give regular recitals in your facility. Organizing recitals within the school can be time-consuming and tiring. If students have the opportunity to perform regularly somewhere with a built-in audience, they will be able to practice their performance skills, grow as musicians, and experience something meaningful.
  2. Connect with a local musical theatre and/or opera company, and invite them to give workshop dress rehearsals in your facility. These may look like simplified performances of a scene or act, with minimal props. This gives them an opportunity to practice, as well as promote their upcoming performances. It provides exciting and unusual entertainment in the facility.
  3. Reach out to a local booking agency that schedules big touring musical acts. See if they can set aside 5 tickets for each show that you can raffle off in your facility, or even better, see if they can occasionally send a big-name artist to your facility to give a little performance. Artists – particularly highly successful ones – are often looking for ways to connect to their communities and do something morally gratifying through their art.
By Shelley Neal March 8, 2024
I initially trained with MUSIC CARE to work with Seniors in Long Term Care who were experiencing dementia and Alzheimer’s Disease. This is the path I travelled with my mom. My training with Music Care and Room 217 supported capacity building in selecting music that was played on my harp or chosen recorded music. The music centered on the care of the individual and their specific needs. My job was to determine the individual’s specific and select music to address these needs. The music selected helped to build community, support sleep, talk about life experiences, create a background landscape of sound, support connection to decrease isolation and loneliness, as well as coming alongside people dying. My training with Music Care helped me understand how to support people “where they were” physically, emotionally, and spiritually. Through using beat, tempo, melody, and timbre, I could cater the music and desired support required for individuals or small groups. My profession is teaching. I am a special education teacher and use music in my primary teaching as a method for learning, practicing language skills, transmitting information about science studies or math equations, as well as having fun and creating our own songs. My teacher toolkit married exceptionally well with the knowledge and skills provided by the Music Care Certification training. Recently, my work with students has involved individual programming for the medically fragile children and the palliative children. I use music (repeating the chorus several times) to engage and connect with the kiddos. We use music to "talk" about feelings (our communication is through eye gaze, eye blinks, and squeezing hands), and content material. I use music to enjoy our relationship of being together. At times, due to medication for seizures, my little ones can be very sleepy. I increase the tempo, engaging in tapping the beat on her hands and using silly action songs. The giggles and wiggles make it magical. I also use music to tell stories (my students have CVI, cortical vision impairment, so visual perception is difficult). This helps the child to engage in the story arch and adventures. Music is my conduit for reaching out and being with the students. Recently, I had the sacred journey of visiting one of my children in ICU at Sick Kids. I was invited to come to say "goodbye". A dear friend who was an ICU nurse in a different department told me (AKA, insisted) that I bring my harp with me. I wasn't sure if this would be appropriate for the family. However, with the permission of the mom, I bravely packed my harp up and took it to the Unit. It was a beautiful evening of talking with their mom and dad about how special their child was in my life. I played the kiddo's favorite songs and then ended with "The More We Get Together". The little one opened their eyes and stared at me. We hugged, and I left. They passed the next morning. I consider this time to be a sacred gift. Music Care Certification has given me the confidence and toolset to work alongside people and to journey together. It is a time a beautiful, difficult, or sacred time that I have been honoured to participate in.  Thank You
By Julia Cara March 29, 2022
This article was written by Julia Cara, and is part of a series provided by upper year Health Sciences students at McMaster University.
By Bev Foster January 10, 2022
I will never forget the call that came on that cold, crisp January afternoon twenty years ago. I knew it was imminent. I was expecting it and I thought I was ready. But would I ever be ready to say the final farewell to my father?
By Deb Bartlett September 11, 2020
Poodles skirts, saddle shoes, ducktails and fins on your cars. If these words don’t evoke memories and images from the ‘50s maybe this will:
By Deb Bartlett August 28, 2020
Ask people what folk music is, and you'll get a variety of answers. Is it about the music? The lyrics? The song's history? According to Wikipedia's entry on folk music , it's all of those things: music that's performed by custom over a long period of time; that has no known composers; and that has been transmitted orally. It can describe the traditions of the "uncultured classes" and definitely means it's music of the people. And because it's been shared orally, it is music that has a place, or is indicative of a community. In some circles, because folk music tells stories about events and history, it's known as world music. In a dissertation, Rachel Clare Donaldson simply stated "Folk music is what the people sing."
By Deb Bartlett August 24, 2020
As explained in this blog post Not Afraid album, the intent behind the Not Afraid album was not to tell people in hospice palliative care that they needn't be afraid; it was to let them know there are people who love them and are sharing the journey.
By Deb Bartlett August 17, 2020
Room 217 ’s music was designed for use in palliative care. The music is produced at 60 beats per minute (resting heart rate) which has several benefits for the person receiving palliative care. It also aids others in the circle of care. This link will take you to a report that discusses the benefits of music in hospice palliative care .
By Deb Bartlett August 11, 2020
Do you remember where you were the first time you heard them? The Beatles? Had you heard them on the radio? Or was your first experience with The Beatles watching the Jack Paar show, or Ed Sullivan?
By Deb Bartlett July 29, 2020
Room 217’s British Invasion album features 16 tracks of soloists and bands from the U.K. that changed the North American music scene.
By Deb Bartlett July 16, 2020
R-E-S-P-E-C-T. That’s all you need to read and you know the song. In fact, you likely sang it as you read it.
More Posts
Share by: