Category Archives: Health and Well being

Threshold Choir Tecoma offers Songs for the Dying

For the close-knit community in the hills above Melbourne, comfort and support in the form of song will soon be available to those on the threshold of life, offered by a fledgling new group of singers, Threshold Choir, Tecoma, led by experienced singing leader, Barb Mcfarlane.

“I went to the Sacred Edge Festival about four years ago and there was a singing session which, of course, I went to. The woman leading it was from the Threshold Choir in Melbourne. Speaking with her afterwards I was fascinated by the idea of singing for the sick and the dying and immediately wanted to be part of it, but Melbourne Threshold Choir meets on a Wednesday night which is when my choir Vokallista rehearses.”

Barb let the idea ride for a while until the subject came up again in conversation with her friend, Christina Reeves, who is a trained death doula. A death doula supports the person who is dying and their loved ones in whatever way is required to come to terms and be able to deal with what is happening. Christina shared and encouraged Barb’s excitement about the idea of a Threshold Choir and the possibility of forming one based in the hills. And so, this particular story begins.

‘The Mother Ship’ as Barb calls it, is the Threshold Choir established in California in 2000, by a woman called Kate Munger. The Threshold Choir is a secular organisation run by volunteers which supports people all over the world to establish their own chapter of the choir with the shared goal ‘to bring ease and comfort to those at the thresholds of living and dying’.

Permission to sing Threshold Choir songs is granted only to members of the organisation. There is no set rate to join; singers pay what they are able or would like to, from one dollar upwards. This membership facilitates access to tips, mentorship and a cappella singing resources to support them in their journey.

It was important to Barb to feel completely at ease with the rules set by the Threshold Choir before introducing any of her singers to the organisation. “I thought about going maverick and doing it my way, then I thought some more. The Threshold Choir Mother Ship has many beautiful songs which are tested, tried and trusted. They also offer mentoring support meaning if something happens I can contact my ‘coach’ or anyone else I meet through that network, and say, ‘hey look, this happened…what would you have done?’ It’s a way to de-brief and check in. On balance it’s worth it for the peace of mind.”

Barb’s coach, Cathy, is based in the US and mentoring is possible via Skype and email. Cathy has been available to Barb since the inception of her initial idea through to the launch of Threshold Choir, Tecoma. It’s an ongoing relationship and she offers Barb mentoring and advice on some of the more common questions which come up, and advises how to prepare the singers for the emotional aspect of what they’re preparing to do.

Barb knows that it’s difficult for anyone to know what to expect in the emotional sense: “There’s a huge range of possibilities to prepare for in a room where someone’s dying.” Threshold Choir, Tecoma rehearsals runs for three hours and at the end Barb finds people are keen to stay and keep talking and singing.  “It’s common for people to feel that we’ve lost the art of talking about death and dying and the experience of belonging to the Threshold Choir allows a way for the singers to reconnect with memories and share their own experiences of bereavement and loss should they wish to do so, or if they find grief and emotion is triggered by what they are doing. It’s a safe, empathic space where people are free to open up. If you bring it out by way of tears and having other people listen it’s always a healthy process.”  

Having spent a year familiarising herself with the material, Barb now has 15 Threshold Choir songs which she’s taught to her group. “We sing them for a long time, each of them might be the length of a Short Stuff style song, and we’ll sing that for around 15 minutes.”  

As somebody highly experienced in leading community choirs and singing groups, having guidelines to follow has required some adjustment for Barb. “I’m still getting my head around how to behave within the rules, cos that’s a bit of a challenge for me, I’m used to doing my own thing, but I also feel protected by it as well because they’ve all been doing it for a very long time.”

In preparing for a session, Barb sets up a circle with a reclining chair covered with a blanket and cushions in the middle. The singers are then invited into the centre to experience the sensation of being sung to for themselves. “We’ve taken a lot of time to do that. We’ll sing for a good 20 minutes to give the person in the chair the feeling of what they might be giving to someone else when they go out and start singing. We then allow for some space and listen to whatever they might want to share about sensations or how they felt.”

Threshold Choir guidelines suggest that singers go out in groups of 2-4 to avoid crowding  out a space. Most hospital rooms and private bedrooms aren’t able to accommodate more singers than that without their presence becoming overwhelming. This means that the singers who attend not only have to be confident in singing their parts but need to be able to hold it on their own, which is what takes the time for most people.

Barb now has around 30 singers who’ve been to gauge whether singing in a Threshold Choir is something they think they could do, with a good core of 12 coming along to most sessions. She’s happy to allow for a slow build of interest, the work may not be for everyone. Barb’s also working to factor in obsolescence for herself in order to ensure longevity for the group. As an ongoing part of rehearsals, Barb models and shares solid CMVic Singing Leadership skills, offering others in the core group the opportunity to teach and lead songs, encouraging them to develop their own skills in leading rehearsals and eventually, to deliver the actual work with people in the community.

The services of the Threshold Choir, Tecoma will be available for people in Palliative Care at home, or in a hospice. The songs may also be used as a way for soothing the room down after somebody has passed. Effects of the singing are reported as calming, peace inducing and pain relieving for the person who is ill, for their relatives, for the staff if the person is in a facility and, of course, for the singers themselves. 

Living in such a connected community, Barb foresees a high demand for the services of the Threshold Choir Tecoma in time and is hopeful to have enough singers available to manage a roster service available to voluntarily sing for the sick, the dying and their families. 

This weekend, Christina Reeves, Death Doula, is heading up a ‘Dying to Knowexpo being held in the Hills (August 8-11). The focus of the weekend is to explore ways to ‘create a world where we all know what to do when someone is sick, dying or grieving’. Threshold Choir, Tecoma will be singing at this event and Barb will host immersion sessions on Sunday 11th August for anyone keen to experience the songs or who would like to try singing with the group and find out further for themselves, what this incredible service is all about.

Written by Deb Carveth, CMVic Online Editor, and Barb Mcfarlane for Community Music Victoria.

Photo by Bobby Stevens on Unsplash

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Music Helps Spoken Language Development For Children With Impaired Hearing

A new study from the University of Helsinki has found that music, in particular singing, is beneficial to the brain of children with hearing impairment, and the development of their spoken language.

Ritva Torppa, a university Lecturer of Logopedics and Speech Therapist, and Professor Minna Huotilainen have published their findings together with those made by other researchers in a comprehensive paper called “Why and how music can be used to rehabilitate and develop speech and language skills in hearing-impaired children” published by Hearing Research.

This paper is a comprehensive review of the reasons why music could and should be used for improving the speech and language skills of children with mild to severe hearing impairments with cochlear implants and/or hearing aids, and contains a series of ten guidelines by Torppa and Huotilainen for the use of music with children of different ages and varying backgrounds for parents, caregivers, educators and therapists.

These recommendations can be found in section 3 of the paper, sub-titled How to use music to enhance speech and language skills of hearing-impaired children. Emphasis is placed on the value of using singing as your main instrument, especially with a young child, and the benefit of supporting the musical hobbies of teenagers with hearing impairments. The recommendations are made on the basis of the intervention studies and correlational studies described in the article, and on the basis of the traditional auditory rehabilitation, music therapy methodologies, and speech and language therapy methods.

“…the current evidence seems enough to urge speech therapists, music therapists, music teachers, parents, and children and adolescents with hearing impairments and/or cochlear implants to start using music for enhancing speech and language skills. For this reason, we give our recommendations on how to use music for language skill enhancement in this group.” – Rita Torppa and Minna Huotilaienen

Read the full article here: Hearing Research. doi:10.1016/j.heares.2019.06.003

Deb Carveth, online editor for Community Music Victoria
Photo by Christopher Campbell on Unsplash

Reunited: A Short Film about Music and the Human Spirit

Edward Harding, a 93 year old man living with severe dementia, was affected by depression and confusion as a result of his illness. He was withdrawn and not  really communicating with anyone anymore.

One day a young musician, Sam Kinsella, began working at Ed’s care home in Somerset, (UK). A connection emerged between the two men, sparked by their shared love of playing music. This film captures what unfolded next in their story.

‘Reunited’ is moving, it’s beautiful and it’s a poignant reminder of the power of making music and the positive effect this has upon the brain and the human spirit.

It isn’t only playing music which demonstrates the lasting connection between music and memory.

The clip below shows how listening to music is also highly effective in helping people affected by Alzheimer’s and dementia  to regain temporary access to memories and return to presence for a short time. After listening to old tunes on an iPod, Henry is momentarily restored to his former self: “he’s remembered who is and has re-acquired his identity for a while through the power of music.”

The benefit of such experience is positive not only for the person with dementia, it offers families and carers a way to share quality moments of connection and peace with them.

Further reading:

Study: Memories of music cannot be lost to Alzheimer’s and dementia

Dementia and Music 

www.musicandthebrain.org.au/

Find a group to play music with on the CMVic website: www.cmvic.org.au/groups

Come to a CMVic event! The 2019 CMVic Music Camp takes place next weekend, May 10-12 in Grantville. Bookings and info here.

How playing an instrument benefits your brain – TED Ed

This TED Ed video is as engaging and share-worthy today as it was when it was very first published.  It’s a great incentive for anyone wondering whether to dust off an old instrument or pick up a new one for the first time. It’s also the perfect incentive to practise! If you’re looking for new music-making opportunities yourself, try the group search section of the CMVic website and get a party going in your own brain.

When you listen to music, multiple areas of your brain become engaged and active. But when you actually play an instrument, that activity becomes more like a full-body brain workout. What’s going on? In this TedTalks video from 2014, Anita Collins explains the fireworks that go off in musicians’ brains when they play, and examines some of the long-term positive effects of this mental workout. [Directed by Sharon Colman Graham, narrated by Addison Anderson, music by Peter Gosling].

Source: https://www.ted.com/talks/anita_collins_how_playing_an_instrument_benefits_your_brain?language=en#t-8963

Full transcript available here

Photo by David Clode on Unsplash

An Amberley awakening

By Matt Phillips

They say that music can rejuvenate the soul, and that was what I was hoping for on Saturday 10th November as I arrived in leafy Amberley for the 2018 CMVic Singing Camp on a beautiful sunny morning.  I had been struggling with my own emotional demons the day before so I was hoping to find my centre; my support again.  Perhaps music could reorganise my brain’s foggy neural connections again into something clearer?

After the standard check-ins for new arrivals (most people had stayed over from the Friday welcome event the previous evening), all attendees gathered in the Banksia Room for an acknowledgement to country, welcomes, warm ups and an innovative “Body Percussion” musical game led by Jane York and Nicki Johnson.  It was a great way to meet some new people and to experience the unnerving sensation of speaking a simple repeated chant while engaging our bodies in a series of percussive movements.  Think of the frustration you get trying to pat the top of your head while rubbing your belly, and you get the idea.  It was fun, fast and quite furious!  Well done Jane and Nicki for waking us up and energising us all into a frenzy!

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After morning tea, we divided into three groups based on our chosen segment and I stayed in the Banksia Room to meet the “Voices of Peace” a vibrant Assyrian singing group who taught us a few songs based on stories and poetic verse from their beautiful ancient culture.  Sarah Mandie facilitated this session with help from Salam Dankha who sings in Voices of Peace.  It was a privilege to hear Salam and other choir members provide personal experiences about how their words and rhythms led to the creation of new songs.  Despite personal hardship, isolation and in some cases social exclusion, the community networks created by the Assyrian women have been an invaluable support mechanism for them, and the Voices of Peace Project has clearly added an extra layer to this community by giving them the means to express their ideas, history and poetry through the medium of music.  The session ended with an impromptu Assyrian dance lesson in a large circle with the Assyrian women teaching us their familiar tongue-cry “lel-lel-lel-lel-lel” sound.  As someone with classical vocal experience, these guys really know how to use their diaphragms well to support their sound!!!

After a lunch break, which was a great way to network and meet some new attendees (I sat down to lunch with some new Assyrian choir friends!), I chose another break out session in the Banksia Room.  This time, it was Laura Brearley facilitating her “Come to the River” session, (see below) with the support of Nicki Johnson and the unexpected input from a new attendee for the day – a respected musician and pillar within the Maori community, Arnold Tihema.  The session was intensely powerful, and encouraged participants to understand and more deeply respect the songs and cultures of first nation people, culminating in a trip to the nearby river (Birrarung) to actually listen and sing to Country.  There were tears, tingles and the quiet, respectful acknowledgement of a beautiful experience shared.

The next afternoon session was back with the full group and the amazingly talented Jessie Vintila taught us to sing an original Massed Song called “Every Dollar” about the importance of fair trade purchases for consumers.  It was fun, informative, challenging and very engaging.  Wait for some amazing video footage from this event!

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Singing Leader Jessie Vintila in action at the CMVic Singing Camp

Following a delicious roast dinner evening meal, Emily Hayes facilitated the launch of the evening Soul Party, which had an Aretha Franklin musical theme.  There were amazing solos as well as ensemble pieces to be heard.  We again had the chance to listen to the amazing voice of Arnold Tihema.  Gee, can that man sing with all of his heart and soul!!!!  Musical instruments were played and impromptu jam sessions entailed around the soul theme.  It was a chance for everyone to unwind, have a drink, collaborate and close off an amazing day.  We all felt uplifted, invigorated, inspired and loved.

Once again, the Amberley music event had delivered – no majorly exceeded – my expectations.  I once again felt good about the world because my sense of local community, through music, had weaved its magic!

Below is a video by Terry Melvin of ‘Come to the River’ a workshop co-facilitated by Laura Brearley, Nicki Johnson and  Arnold Tihema, at the 2018 CMVic Singing Camp

 

 

Take karaoke to Noongar country and you get … Noongaroke

 

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Noongaroke was far more than a good night out; it was an inspired intervention to support grieving Noongar families.
Mika Hiltunen

Anna Haebich, Curtin University

The following article was co-authored by Jim Morrison, who is a senior Noongar man, a traditional custodian of Western Australia’s pristine southern coast. He has been operating in a range of pivotal roles dealing with Aboriginal advancement for more than three decades.

This is the story of how karaoke, that quintessentially global entertainment, came to Noongar country in Western Australia in the 1990s and was transformed into Noongaroke, a 21st-century version of corroboree events of bygone days.

Noongar people engaging with karaoke created a contemporary process for cultural healing and wellbeing that dealt at a profound level with the anguished politics of death in their community. Leading the charge was the “deadly Noongaroke singing DJ” Jim Morrison.

Jim’s parents, both from the stolen generations, survived to raise their large family whose members are now prominent in Noongar service organisations, politics and the arts in Perth. Jim generously shared his journey in an interview with my partner Darryl Kickett and myself that is quoted extensively here.

Noongar people are the traditional custodians of the south-west region of Western Australia. They bore the full force of settler invasion and colonisation: the deaths, dispossession, loss of land and culture, racism, segregation, removed children, forced assimilation and dire poverty within a rich country.

What survived of their way of life was invisible to most outsiders: the ancient family lineages, connection to country, kinship values and obligations, hidden knowledge and rituals and elements of language.

Today most Noongar people live in city suburbs and country towns. Numbering more than 40,000, they constitute the largest Aboriginal language group in Australia. Many identify as members of a distinct Noongar nation within the Australian settler state. In 2006, Noongar claimants won Australia’s first and only successful native title claim over metropolitan lands.

This was a rude shock for most West Australians, who assumed there was no Noongar culture. In 2013, the West Australian government presented an offer intended to resolve native title claims across Noongar country but one of the negative effects has been to divide the Noongar community and encourage public racism based on fear and ignorance.

What karaoke can do

Karaoke is a form of public singing using the simple technology of a microphone and sound box and a book of lyrics.

Popularised in Japan in the 1970s, it soon spread to South-East Asia and then further to become a global phenomenon. In her 2012 book Karaoke Culture, Dubravka Ugresic uses karaoke metaphorically to denote the “unoriginality” of global culture that is repeated everywhere, endlessly and that encourages bad late-night performances, such as the actor Bill Murray singing More Than This in the 2003 movie Lost in Translation.

In Karaoke: The Global Phenomenon, Zhou Xun and Francesca Tarocco present a contrasting perspective. They describe karaoke as “an interactive global network”, a form of “global traffic” with “no centre or periphery” moving out in all directions. Like a fluid, karaoke takes on different forms as it “rushes and trickles” through.

Local people incorporate karaoke into their cultural traditions and imbue it with their own “cultural-specific meanings and symbolisms”.

That’s exactly what happened when karaoke came to Noongar country.

Noongaroke

Noongaroke was far more than a good night out; it was an inspired intervention to support grieving Noongar families during an unprecedented crisis of deaths in the community during the late 1990s and early 2000s. Noongaroke nights were performances of global culture enmeshed in Noongar ways of being and doing. Noongaroke merged karaoke technology and public singing with Noongar traditions and strategies of survival.

The simple technology fitted neatly into family gatherings to mourn loved ones by providing an attractive way to sing and dance and to restore wellbeing in the manner of earlier corroboree events. It was this combination of the past in the present that powered Noongaroke.

Performance theorist Diana Taylor describes a similar process in Mexican village communities where contemporary performances are structured according to hidden ancient principles and relationships and how performers draw on this embodied knowledge as a repository of strategies for their current struggles and for envisioning new futures.

Jim Morrison started Noongaroke in the late 1990s after years of DJing for Noongar fundraising events and working with street kids in Northbridge, the heart of Perth’s club scene. His first intention was to raise funds for funerals and impoverished families. He recalls that Noongaroke quickly gathered a huge following:

It grew and grew and grew, if you did a head count, you know, thousands and thousands of people have come through Noongaroke. There are people who were just there every night. They just love to sing. It’s always a good atmosphere.

In fact it was a unique atmosphere of pride and enjoyment from being together as Noongar people. Apart from sports carnivals and funerals there were few other community gatherings, although in early days corroborees had been a constant activity. This was due to a lack of resources – land, venues, funds – and an over-zealous police force.

So what was so Noongar about Noongaroke?

We may as well ask what was not Noongar, apart from the equipment and the venues. The singers were all Noongar people and the audience was made up of their extended families. The atmosphere was relaxed, warm and friendly. Noongar colours – red, black and yellow – were everywhere to be seen in flyers, decorations, flags, coloured lights and clothing.

The venues were rooms in hotels in Noongar suburbs that were private and “Noongar comfortable”.

Jim explains:

Sadly we had to use a hotel because we don’t own nothing. Aboriginal people don’t own nothing. We don’t have our own places.

Noongar values of respect replaced the usual impersonal rules for behaviour at karaoke nights. Few people drank alcohol. Jim explains:

there’s a code of conduct based on respect: respect yourself, respect others, respect other people’s property and respect other cultures. And that was the Kanya Code of Conduct, Kanya meaning, shame, behave yourself.

But Jim admits it would have been unusual if there weren’t any problems because:

it’s part of our culture. That’s a culture thing. If we’re going to disagree we’re going to do it publicly so you accept it. But mostly, they’d never bring their fights to a fundraiser.

And there were the unmistakable sounds of Noongar talk – the words, tones of voice and the accents – as families reminisced about the good and sad times and the texture of the singers’ voices and their choices of nostalgic rock and country songs – Johnny B. Goode, Brown-eyed Girl, Neon Moon, Satin Sheets, Seven Spanish Angels – from the Noongaroke Top Ten and a book called Lubbli Songs.

And there were Noongar people dancing – young girls and women in groups and couples skilfully negotiating their way around them. Jim explained:

When you go to a karaoke night, it’s mostly singing. But ours was about singing and dancing … you had to do it – it was a bit of a balance.

Noongar music

Community music-making continued down the generations. In rural areas, families segregated in town camps and the bush made their own entertainment: corroborees with traditional singing and accompaniment and family dances round the campfire with singers, harmonica, piano accordion and guitar.

In the early 1950s, when the policy of assimilation was in force but Perth was still a prohibited area for Noongar people, an Aboriginal political organisation, the Coolbaroo League, held popular dances at the Coolbaroo Club in a hall in East Perth with Noongar musicians like drummer Ron Kickett and singer Gladys Bropho and visiting Afro-American performers.

New song and dance styles spread through the Noongar community at Coolbaroo dances organised in country towns. Noongar rock bands were playing in Perth in the 1970s for youth dances at the Aborigines Advancement Council Hall and in the 1990s at the Kyana festivals on Perth Esplanade. Whenever the opportunity arose, Noongar people joined in to sing and dance.

During the rush of deaths in the late 1990s and early 2000s, Noongaroke helped to clear distressed bodies and minds of sorrow and haunting spirits.

Jim described how DJing and singing at the events raised his sense of wellbeing:

You see, singing is really good for therapy, you know, to really tear yourself inside and sing a good rock and roll song … and with all the people in the room, the temperature goes up.

This link between singing and wellbeing, known intuitively by singers, has been the subject of much research in recent years, demonstrating improved physical and mental fitness and relief from stress, depression and anxiety. Noongaroke performances were special events that we were all privileged to attend. Sitting in the audience we were carried away by the power of the singing to unite us and to evoke memories and emotions.

This is an edited extract from an essay by Anna Haebich and Jim Morrison that appeared in the Griffith Review 46: Cultural Solutions.The Conversation

Anna Haebich, Senior Research Professor, Curtin University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

http://theconversation.com

Music lessons improve children’s cognitive abilities & academic performance

Findings from new research conducted in the Netherlands show that structured music lessons have a significant and positive effect on a child’s cognitive abilities, improving verbal intelligence, inhibition and planning skills.

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The study which followed 147 children from six schools over a 2.5 year period, was undertaken in response to the increasing disappearance of music from school timetables in countries across the world:

“Despite indications that music has beneficial effects on cognition, music is disappearing from general education curricula,” said lead author Dr. Artur Jaschke, who is a researcher at the Vrije Universiteit Amsterdam. “This inspired us to initiate a long-term study on the possible effects of music education on cognitive skills that may underlie academic achievement.”

Read their findings and the full article here

Sources: 
Music Education Works: https://musiceducationworks.wordpress.com/2018/03/28/music-lessons-improve-childrens-cognitive-skills-and-academic-performance/ 
Frontiers: https://www.frontiersin.org/articles/10.3389/fnins.2018.00103/full

Ageing in harmony: why the third act of life should be musical

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It’s never too late to pick up a musical instrument. In fact there are many reasons why it’s a great idea, particularly in old age.We normally hear about reasons to increase music education for children, and for good cause. There are many cognitive and social benefits to playing an instrument that aid a child’s development. Consequently, as an older adult, there are long-term effects of having taken part in these musical activities, as it can limit cognitive decline.

Even a small amount of training can have long lasting effects. But this doesn’t mean that those who have never played an instrument in childhood have missed the boat. The ageing brain is plastic: that means it is able to learn new things all the time. So, should we consider an increase in music programs for those in the third age?

Playing music as a workout for the brain

Learning to play a musical instrument is an extremely complex task that involves the coordination of multiple sensory systems within the brain. Many instruments require precise coordination between the eyes, the ears and the hands in order to play a musical note. Using the resulting sound as feedback, the brain prepares for the next note and so it continues. The act of music-making is quite a brain workout.

The relationship between the motor and auditory parts of the brain is strengthened when physically playing music. This may explain why adults trained to play certain melodies have an enhanced representation of music in the brain compared to adults only trained to listen to the same melodies.

As playing music involves many different parts of the brain, even a short-term program for older adult musical novices can lead to generalised improvements for cognitive ability.

Music as a workout for the fingers

Learning to play an instrument such as the piano involves many complex finger sequencing and coordination tasks. As such, it can be a great test-bed for learning to move fingers independently.

The creativity of music and the enjoyment people take in playing is particularly important for rehabilitation, as it encourages sustained practice leading ultimately to higher benefits.

It’s thanks to this that piano lessons have been used to successfully retrain hand function for patients who have had a stroke. The immediate auditory feedback from each finger movement is thought to help adults reduce errors in movement and work towards moving at a more regular pace.

Music training is an excellent environment to train cognitive and motor abilities, both in the contexts of child development and for rehabilitation. The question for older adults is this: can learning a musical instrument not only put the brakes on cognitive and motor decline, but actually allow development of new skills?

Older adults can improve their motor learning – that is, they can improve their rate of learning new things – and the best environments for brain training are ones that are novel and flexible.

Of course many activities can be novel such as juggling or knitting, but the advantages of learning an instrument can be found in the breadth of skills required to play. At Western Sydney University, we are currently investigating how piano training can be used with healthy older adults to improve their general hand function in unrelated daily tasks.

Music for health and wellbeing

Often, the worry is that playing an instrument will be too difficult for older adults to manage. On the contrary, learning to play an instrument can provide a great sense of achievement and satisfaction.

Older adults relish the opportunity to learn something new. Cogntive benefits aside, music can also be a great social activity for older adults, facilitating social bonding and decreasing feelings of loneliness or isolation.

Music programs are linked to improvements measured in markers of the body’s immune system such as the presence of antibodies and vital signs (heart rate/blood pressure).

It’s suggested that this is a consequence of decreases in stress that can happen when taking part in musical activities. However, further research is needed to determine exactly how this relationship functions.

Music for all

It’s vital to understand how we can aid the current generation of older adults, in terms of both health and personal enjoyment. With the myriad benefits provided by playing a musical instrument, it would seem beneficial to have a wider variety of musical activities on offer to the older generation.

Wouldn’t it be great if the third age wasn’t viewed as a final descent from some mid-life peak, but some new act of life that opens up these opportunities? Perhaps we should give older adults the chance to develop in ways they could never have imagined before.

Activities such as singing in a choir, or playing the piano can provide this opportunity, as well as offering many general benefits to health and wellbeing.

Ageing in harmony: why the third act of life should be musical was written by
Jennifer MacRitchie, Research Lecturer in Music Perception and Cognition, Western Sydney University

This article was originally published on The Conversation. Read the original article.

Image: Playing music is good for people at all stages in their lives – including the elderly – photo by Jeremy Brooks, CC BY-NC

 

Playing to Spin: Celtic tunes keep Contra dancers on their toes

Contra dance… que’est-ce-que c’est? For those of us who’ve never dipped a heel or toe into this aspect of the folk or social dance scene, a quick spot of online research explains contra dancing as ‘social interaction, meeting people, and making new friends, set to music.’ A hot stepping cousin of square dancing or bush dancing, contra dancing is done in pairs with couples moving up and down a line or in sets in response to a caller. It originates from North America and is steadily gaining an enthusiastic following of new, young dancers here in Australia. It is also a fantastic way to link social dancing with community music making.

Melbourne based musician, Judy Oleinikov is a big fan of the inclusive nature of contra dance and for the past three years or so has been doing her bit to bring a wider awareness of it to musicians and dancers alike: “ Contra dances can  be more vivacious and also a little bit more informal than some of the other dances we have here… unlike something more structured such as Scottish Dancing, it isn’t intimidating to beginners.”

It may be a relief to hear that a sleek technique isn’t required and you don’t need to point your toes to take part. Contra dancing is open to anyone of any age and people seem to find it highly addictive due to its inherent element of fun. That and the amount of spinning involved.

For Judy, Contra dance kicks come from her involvement as a fiddle player for the dance:

 “What I love about social dance is seeing a roomful of people in sync, the dancers and the musicians. There’s just nothing better, that buzz of live music and everyone responding to it.

In addition to the fact it’s fun, Judy considers the resurgence in contra dancing important in helping to sustain a complex skill and a vital element of musicality which she believes is at risk of becoming lost: the ability to play for dancers.

“A lot of Celtic musicians learn the music completely separate from the dance and so they haven’t quite got the feel… they can be brilliant players but to a dancer it just wouldn’t be right. We’ve grown used to hearing recordings or playing tunes in pubs and so what I really like about bringing a dance back is doing it while people are learning the music to go with it.”

Contra dance music is lively, and drives and energizes the dancers. Like all forms of music, it has originated from a blend of traditions, noticeably Irish, Scottish, Breton, Québecois, Cape Breton, New England, and Appalachian, and is constantly evolving, as living traditions do. As an avid player of Celtic music herself, Judy explains that the origin of this form of music was in playing tunes for people to dance along to as entertainment.

 “People used to dance every week. There’s the story of how in Ireland, people used to meet on the crossroads whenever there was a full moon because there were no halls big enough to fit everyone into… it’s been people’s enjoyment for so long.”

While this form of dancing fell out of favour as other new and exciting ways to pass the time were thought up and invented throughout the twentieth century, there’s plenty of evidence to suggest that when people rediscover it as a form of unplugged entertainment, it becomes a bit of an addiction.

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Photo supplied

As a musician, one of the things Judy loves most about this form of traditional music is that tunes are learnt and carried by ear. There are no scores to follow and whilst a framework is essential to prevent chaos breaking out on the dance floor, musicians can be spontaneous and creative in their playing and because they’re not following markings on a piece of paper, their interpretation can come across.

 “Because there are no hard and fast rules about chord choices and where the notes should be played, you’ll hear something different about the melody each time… there’s no break out like there is in jazz, it’s more about taking the framework of the tune and finding elements in it to change around or highlight, and that’s really exciting.”

For the past four years, Judy has run the Quasitrad Quebec Fiddle Weekend, a music camp dedicated to French Canadian music, a type of Celtic music that’s “as much fun to play as it is to listen to” which has remained very rhythmic, very lively and is a style extremely well suited to contra dancing.

Each year, Judy has included a dance in the camp’s program, inspired by the social dancing she’d seen in Quebec to this particular style of music. “I thought it would be absolutely brilliant to run a dance like that here at my camp!” Two friends of Judy’s are dance callers and dancers in different styles, and they each asked if she’d consider a contra dance.

 “They’d fallen in love with the style and knew of hardly any contra dance happening here in Victoria. Once we had a go I could see their point – it’s a really great form of social dancing.”

Jeanette Mill, who is an experienced Contra dance caller from Canberra, has worked with Judy for the past three years. “Jeanette is highly experienced with a range of dances up her sleeve for whoever comes along and, in order to be as inclusive as possible, starts each of the dances quite simply.” As Judy points out, the skill of the caller has to combine with the skill of the musicians to ensure that the dancers can pick up and maintain a rhythm and flow.

“We have kids, we have parents holding toddlers, we have more elderly people and even teenage boys joining in! It’s great to get all the age groups up and dancing with people they may feel too shy to sit and talk to and, as some of the dances are progressive, it mixes everyone up.”

Whilst Contra dancing isn’t actually a French Canadian thing, it’s been carried across the borders into Quebec from the New England states of Maine, New Hampshire, and Massachusetts, the heartland of Contra Dance. Subsequently, a lot of the musicians from that region make their money as dance players and tend to be extremely good at it.

In November this year, Judy will once again be hosting a four-day French Canadian music camp in Gippsland ‘which will honour the traditional way of learning music by providing an environment open to all players, teaching the music by ear and enjoying a great community atmosphere.’

The Quebec Fiddle Camp will offer musicians and dancers the opportunity to participate in an afternoon’s contra dance workshop led by visiting musicians from Quebec. “Australia has very few musicians who can play for contra dances so far, and it’s great to have the opportunity to book visiting musicians here who are strong in the genre.”

Judy is keen to encourage players who attend the weekend to have a go at the dancing in order to experience it from a dancing perspective, to feel the music and the impact it has.

The 2018 Quebec Fiddle Camp will take place over cup weekend, (Nov 2-6) and on Monday November 5, (Cup Eve), Judy is planning a big contra dance in Trafalgar. This event will be open to anyone out there in the community who’s keen to join in and – literally – give it a whirl.

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Getting into the swing of things: Photo supplied

For information about the annual Quasitrad Quebec Fiddle weekend, visit www.quasitrad.com

Article by Deb Carveth, online editor for Community Music Victoria, with Judy Oleinikov

 

 

 

 

 

 

 

 

To improve future relationship with your kids, turn up the music

If you’re a parent whose teenagers spend family road trips with earbuds firmly in place, you may want to encourage them to unplug, then turn the car radio to something the whole family can enjoy.

It just might do wonders for your future relationship with your son or daughter, according to a new study from the University of Arizona.

Researchers found that young men and women who shared musical experiences with their parents during childhood — and especially during adolescence — report having better relationships with their mums and dads as they enter young adulthood.

“If you have little kids, and you play music with them, that helps you be closer to them, and later in life will make you closer to them,” said study co-author Jake Harwood, professor and head of the UA Department of Communication.

“If you have teenagers and you can successfully listen to music together or share musical experiences with them, that has an even stronger effect on your future relationship and the child’s perception of the relationship in emerging adulthood.”

Researchers surveyed a group of young adults, average age 21, about the frequency with which they engaged with their parents, as children, in activities such as listening to music together, attending concerts together or playing musical instruments together.

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Read the full article written by Alexis Blue and published by the University of Arizona, here. 

 

 

Feature photo: Markus Spisk; Violin and Flute: Micaela Parente on Unsplash