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grudnia 3, 2019
Opublikowane
grudnia 31, 2018
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Music is a form of leadership. Music-based interventions in organizations and society are being used throughout the world, including in situations of extreme conflict and consequence. Artists are going beyond the dehydrated language of economics, politics, and war to achieve goals that have eluded those using more traditional approaches. This article presents musical interventions in Bosnia-Herzegovina, Cyprus, Estonia, Northern Ireland, the Middle East, South Africa, the United States, and Venezuela, in which musicians have had the inspiration and courage to make a difference.T=The radical shift in the structure of the world begs for creativity; it asks us to rethink who we are as human beings… It may be that writers, painters, and musicians have an unprecedented opportunity to be co-creators with society’s leaders in setting a path. For art, after all, is about rearranging us, creating surprising juxtapositions, emotional openings, startling presences, flight paths to the eternal. —Rosamund and Benjamin Zander (1998, p. 7)2Art transforms apathy into action.3 Social scientist Ken Gergen (1999) invites us all to become “poetic activists” (p. 12). Perhaps there is no better label for the use of musical interventions in global and organizational crises than that of poetic activism. Activists, great artists, and great leaders share three fundamental perspectives (Adler, 2006, 2010, 2011, 2015). They all demonstrate the courage to see reality the way it is. They all exhibit the courage to imagine possibility—positivefutures—even when the world labels such imagination as naïve for daring to express optimism. And they all have the courage to inspire people to move from current reality back to possibility.Over the past half-century, with no singular organized movement or unifying philosophy to guide them, artists and artistic processes have attempted to transform reality in numerous contentious situations. In particular, music has been used to address extreme conflict and the threat of conflict, along with the dysfunction and degradation that conflict so often causes (see Tongeren, 1999; Urbain, 2008; Ippolito, 2008).4 Music, most often when combined with other approaches, appears to have produced generative outcomes in some, although not all, situations in which it has been introduced. In many circumstances, musical interventions have inspired the broader community (see Tongeren, 1999; Welch & LeBaron, 2006; Ippolito, 2008; Cohen, Gutiérrez Varea, & Walker, 2011). Such initiatives exemplify the frame-breaking perspectives and approaches that music has the potential to offer.
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musical
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Autor (Autorzy) artykułu oświadcza, że przesłane opracowanie nie narusza praw autorskich osób trzecich. Wyraża zgodę na poddanie artykułu procedurze recenzji oraz dokonanie zmian redakcyjnych. Przenosi nieodpłatnie na Oficynę Wydawniczą SGH autorskie prawa majątkowe do utworu na polach eksploatacji wymienionych w art. 50 Ustawy z dnia 4 lutego 1994 r. o prawie autorskim i prawach pokrewnych – pod warunkiem, że praca została zaakceptowana do publikacji i opublikowana.
Oficyna Wydawnicza SGH posiada autorskie prawa majątkowe do wszystkich treści czasopisma. Zamieszczenie tekstu artykuły w repozytorium, na stronie domowej autora lub na innej stronie jest dozwolone o ile nie wiąże się z pozyskiwaniem korzyści majątkowych, a tekst wyposażony będzie w informacje źródłowe (w tym również tytuł, rok, numer i adres internetowy czasopisma).
Osoby zainteresowane komercyjnym wykorzystaniem zawartości czasopisma proszone są o kontakt z Redakcją.
Jak cytować
J. Adler, N. ., & M. Ippolito , L. . (2018). Musical Leadership and Societal Transformation: Inspiration and Courage in Action. Edukacja Ekonomistów I Menedżerów, 50(4), 41–65. https://doi.org/10.5604/01.3001.0013.0629
Referencje
-
1. Adler, N.J. (2006). The arts and leadership: Now that we can do anything, what will we do? Academy of Management Learning and Education, 5(4), 466–499.
2. Adler, N.J. (2011). Leading beautifully: The creative economy and beyond. Journal of Management Inquiry, 20(3), 208–221.
3. Adler, N.J. (2010). Going beyond the dehydrated language of management: Leadership insight. Journal of Business Strategy, 31(4), 90–99
4. Adler, N.J. (2015). Finding beauty in a fractured world: Art inspires leaders–Leaders change the world. Academy of Management Review, 40(3), 480–494.
5. Allport, G. W. (1954). The nature of prejudice. Cambridge, MA: Perseus Books.
6. Apthorp, S. (2005). Classical escape from life on the mean streets. Financial Times. Retrieved from http://www.ft.com/intl/cms/ s/0/c4d1458c-0228-11da-9481-00000e2511c8. html#axzz1qVxTRJCc
7. Asuaje, L. (2008). El Sistema in penitentiaries, El Nacional. Translated from Spanish by José Bergher. Retrieved from https://tipom.wordpress.com/2008/05/27/8/
8. Barenboim, D., & Said, E.W. (2004). Parallels and paradoxes. New York: Vintage Books.
9. Beckles Willson, R. (2009a). Whose utopia? Perspectives on the West-Eastern Divan Orchestra. Music & Politics, 3(2), 1–21.
10. Beckles Willson, R. (2009b). The parallax worlds of the West-Eastern Divan Orchestra. Journal of the Royal Musical Association, 134(2), 319–347.
11. Benzon, W. (2001). Beethoven’s anvil. New York: Basic Books.
12. Bergh, A. (2007). I’d like to teach the world to sing: Music and conflict transformation. Musicae Scientiae, 11(Suppl. 2), 141–157.
13. Bergh, A. (2008). Everlasting love: The sustainability of top-down vs bottom-up approaches to music and conflict transformation. In S. Kagen and V. Kirchberg (Eds.), Sustainability: A new frontier for the arts and cultures (pp. 351–382). Bad Homburg, Germany: VAS-Verlag.
14. Bergh, A. (2010). I’d like to teach the world to sing: Music and conflict transformation. PhD. University of Exeter
15. Bergh, A. (2011). Emotions in motion: Transforming conflict and music. In I. Deliege & J.W. Davidson (Eds.), Music and the mind (Essays in honour of John Sloboda) (pp. 363–378). Oxford: Oxford University Press.
16. Bergh A., & Sloboda, J. (2010). Music and art in conflict transformation: A review. Music and Arts in Action, 2(2), 2–17
17. Blackstone. (2008). ‘The Toyi-Toyi of South Africa’, Power to the People [blog] February 18. Retrieved from http://power-2-people. blogspot.ca/2008/02/toyi-toyi-of-southernafrica.html
18. Burton-Hill, C. (2012). José Antonio Abreu on Venezuela’s El Sistema miracle. The Guardian. Retrieved from http://www.theguardian. com/music/2012/jun/14/abreu-el-sistemavenezuela-interview-clemency-burton-hill
19. Chopra, S. (2007). The cellist of Sarajevo. Retrieved from http://www.lifepositive. com/the-cellist-of-Sarajevo
20. Cohen, C.E., Gutiérrez Varea, R., & Walker, P.O. (Eds.). (2011). Acting together: Performance and the creative transformation of conflict. New York: New Village Press
21. Cohen D., & Crabtree, B. (2006). Qualitative research guidelines project. Princeton: Robert Wood Johnson Foundation. Retrieved from http://www.qualres.org/HomeExtr-3808. html
22. Cohen, M.L. (2009). Choral singing and prison inmates: Influences of singing in a prison choir. Journal of Correctional Education, 60(1), 52–65.
23. Deliege, I., & Davidson, J. (Eds.). (2011). Music and the mind (Essays in honour of John Sloboda) (pp. 363–378). Oxford University Press.
24. Djurichkovic, A. (2011). Art in prisons: A literature review of the philosophies and impacts of visual arts programs for correctional populations. University of Technology, Sydney (UTS), Shopfront Student Series 3, UTS e-PRESS
25. Freeman, W. (2000). A neurobiological role of music in social bonding. In N.L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music. Cambridge, MA: MIT Press
26. Gergen, K.J. (1999). An invitation to social construction. Thousand Oaks, CA: Sage.
27. Gienger, V.G. (2003). Interfaith choir builds ‘spiritual bridges to heal division of war.’ Religion News Service. Retrieved from http://archives.religionnews.com/politics/ government-and-politics/news-featureinterfaith-choir-builds-spiritual-bridges-toheal-divisions-of
28. Ginkel, J. (2002). Identity construction in Latvia’s “singing revolution”: Why inter-ethnic conflict failed to occur. Nationalities Papers, 30(3), 403–433.
29. Grainger, S. (2011). Venezuela prison orchestra gives hope to inmates. BBC News. Retrieved from http://www.bbc.com/news/ world-latin-america-14050825?print=true
30. Ippolito, L.M. (2008). Collaborative vocal music-making – An innovative approach to conflict resolution and peacebuilding. Masters. York University
31. Ippolito, L.M. (2015). Changing our tune: A musicbased approach to teaching, learning and resolving conflict. PhD. York University.
32. Ippolito, L., & Adler, N.J. (2015). From aspiration to evidence: Music, leadership and organizational transformation. In Ulla Johansson Sköldberg, Jill Woodilla, & Ariane Berthoin Antal (Eds.), Artistic interventions in organizations: Current practice and theory (pp. 125–150). London: Routledge.
33. Johansson Sköldberg, U., Woodilla, J., & Berthoin Antal, A. (Eds.). (2015). Artistic interventions in organizations: Current practice and theory. London: Routledge.
34. Johnson, L.M. (2008). A place for art in prison: Art as a tool for rehabilitation and management. Southwest Journal of Criminal Justice, 5(2), 100–120.
35. Lederach, J. P. (1997). Building peace: Sustainable reconciliation in divided societies. Washington, DC: United States Institute of Peace Press.
36. Lederach, J. P. (2005). The moral imagination: The art and soul of building peace. New York: Oxford University Press.
37. Marković, I. (2004). The history of Pontanima is a short story of reconciliation in BosniaHerzegovina. Report on the workshop ‘conflict resolution from below’. ASEM People’sForum V Hanoi, [online] 6-9 September. Retrieved from http://www.asi enhaus.de/public/archiv/marcovictext.pdf.
38. Makky, N. (2007). Song in the anti-apartheid and reconciliation movements in South Africa. Masters. Ohio State University.
39. McNeill, W.H. (1997). Keeping together in time. Cambridge, MA: Harvard University Press.
40. Mills, A.J., Durepos, G., & Wiebe, E. (2010). Encyclopedia of case study research. Thousand Oaks: Sage.
41. Musical Connections. (2014). Carnegie Hall-Weill Institute. Retrieved from http://www.carne giehall.org/MusicalConnections
42. Pascale, R., & Sternin, J. (2010). The power of positive deviance: How unlikely innovators solve the world’s toughest problems. Boston: Harvard Business Press
43. Rand Corporation. (2015). Israelis stand to gain $120 billion, Palestinians $50 billion in two-state solution over next decade. Press Release, June 8.
44. Riiser, S. (2010). National identity and the WestEastern Divan Orchestra. Music and Arts in Action, 2(2), 19–37
45. Schuman n, A. (2008). The beat that beat apartheid: The role of music in the resistance against apartheid in South Africa. Stichproben. Wiener Zeitschrift für kritische Afrikastudien Vienna Journal of African Studies, 8(14), 17–39.
46. Smailović, V. (1998). Memento Mori Albinoni Adagio. In Sarajevo Belfast [sleeve notes]. West Chester, PA: Appleseed.
47. Smaczny, P. (Director). (2005). Knowledge is the beginning. (Documentary Film)
48. Spreitzer, G.M., & Sonenshein, S.T. (2004). Toward a construct definition of positive deviance. American Behavioral Scientist, 47, 828–847.
49. Thomson, C. (1992). The singing revolution: A political journey through the Baltic States. London: Joseph.
50. Tillotson, K. (2014). “A higher key: Music program helps kids learn new skills.” Star Tribune. Retrieved from http://www.startribune. com/music-program-helps-kids-learn-newskills/261563421/
51. Tongeren, P. van (Ed.). (1999). People building peace: 35 inspiring stories from around the world. Utrecht, Netherlands: European Centre for Conflict Prevention.
52. Tunstall, T. (2012). Changing lives: Gustavo Dudamel, El Sistema, and the transformative power of music. New York: W. W. Norton & Company.
53. Ungerleider, J. (1999). My country is cut in two. In P. van Tongeren (Ed.), People building peace: 35 inspiring stories from around the world (pp. 297–301). Utrecht, Netherlands: European Centre for Conflict Prevention.
54. Urbain, O. (Ed.). (2008). Music and conflict transformation: Harmonies and dissonances in geopolitics. New York: I. B. Tauris
55. Uy, M. (2012). Venezuela’s national music education program El Sistema: Its interactions with society and its participants’ engagement in praxis. Music and Arts in Action, 4(1), 5–21.
56. Vesilind, P. (2008). The singing revolution. Tallinn, Estonia: Varrak.
57. Vogt, H. (2004). Between utopia and disillusionment. New York: Berghahn Books.
58. Washington, D.M., & Beecher, D.G. (2010). Music as social medicine: Two perspectives on the West-Eastern Divan Orchestra. New Directions for Youth Development, Spring Issue (125), 127–140.
59. Welch, D., & LeBaron, M. (2006). Arts, creativity and intercultural conflict resolution literature and resource review. Vancouver: University of British Columbia.
60. Whitehead, B. (2008). We shall overcome: The roles of music in the US civil rights movement. In O. Urbain (Ed.), Music and conflict transformation: Harmonies and dissonances in geopolitics (pp. 78–92). London: I. B. Tauris.
61. Zander, R.S., & Zander, B. (1998). Leadership: An art of possibility. Cambridge, MA: Harvard Business Press.
62. Simon, B. (Reporter). (2008, July 16). El Sistema: Changing Lives through Music. In H. A. Radliffe II (Producer), 60 Minutes. [Video file]. Retrieved from http://www.cbsnews.com/news/ el-sistema-changing-lives-through-music/
Referencje
1. Adler, N.J. (2006). The arts and leadership: Now that we can do anything, what will we do? Academy of Management Learning and Education, 5(4), 466–499.
2. Adler, N.J. (2011). Leading beautifully: The creative economy and beyond. Journal of Management Inquiry, 20(3), 208–221.
3. Adler, N.J. (2010). Going beyond the dehydrated language of management: Leadership insight. Journal of Business Strategy, 31(4), 90–99
4. Adler, N.J. (2015). Finding beauty in a fractured world: Art inspires leaders–Leaders change the world. Academy of Management Review, 40(3), 480–494.
5. Allport, G. W. (1954). The nature of prejudice. Cambridge, MA: Perseus Books.
6. Apthorp, S. (2005). Classical escape from life on the mean streets. Financial Times. Retrieved from http://www.ft.com/intl/cms/ s/0/c4d1458c-0228-11da-9481-00000e2511c8. html#axzz1qVxTRJCc
7. Asuaje, L. (2008). El Sistema in penitentiaries, El Nacional. Translated from Spanish by José Bergher. Retrieved from https://tipom.wordpress.com/2008/05/27/8/
8. Barenboim, D., & Said, E.W. (2004). Parallels and paradoxes. New York: Vintage Books.
9. Beckles Willson, R. (2009a). Whose utopia? Perspectives on the West-Eastern Divan Orchestra. Music & Politics, 3(2), 1–21.
10. Beckles Willson, R. (2009b). The parallax worlds of the West-Eastern Divan Orchestra. Journal of the Royal Musical Association, 134(2), 319–347.
11. Benzon, W. (2001). Beethoven’s anvil. New York: Basic Books.
12. Bergh, A. (2007). I’d like to teach the world to sing: Music and conflict transformation. Musicae Scientiae, 11(Suppl. 2), 141–157.
13. Bergh, A. (2008). Everlasting love: The sustainability of top-down vs bottom-up approaches to music and conflict transformation. In S. Kagen and V. Kirchberg (Eds.), Sustainability: A new frontier for the arts and cultures (pp. 351–382). Bad Homburg, Germany: VAS-Verlag.
14. Bergh, A. (2010). I’d like to teach the world to sing: Music and conflict transformation. PhD. University of Exeter
15. Bergh, A. (2011). Emotions in motion: Transforming conflict and music. In I. Deliege & J.W. Davidson (Eds.), Music and the mind (Essays in honour of John Sloboda) (pp. 363–378). Oxford: Oxford University Press.
16. Bergh A., & Sloboda, J. (2010). Music and art in conflict transformation: A review. Music and Arts in Action, 2(2), 2–17
17. Blackstone. (2008). ‘The Toyi-Toyi of South Africa’, Power to the People [blog] February 18. Retrieved from http://power-2-people. blogspot.ca/2008/02/toyi-toyi-of-southernafrica.html
18. Burton-Hill, C. (2012). José Antonio Abreu on Venezuela’s El Sistema miracle. The Guardian. Retrieved from http://www.theguardian. com/music/2012/jun/14/abreu-el-sistemavenezuela-interview-clemency-burton-hill
19. Chopra, S. (2007). The cellist of Sarajevo. Retrieved from http://www.lifepositive. com/the-cellist-of-Sarajevo
20. Cohen, C.E., Gutiérrez Varea, R., & Walker, P.O. (Eds.). (2011). Acting together: Performance and the creative transformation of conflict. New York: New Village Press
21. Cohen D., & Crabtree, B. (2006). Qualitative research guidelines project. Princeton: Robert Wood Johnson Foundation. Retrieved from http://www.qualres.org/HomeExtr-3808. html
22. Cohen, M.L. (2009). Choral singing and prison inmates: Influences of singing in a prison choir. Journal of Correctional Education, 60(1), 52–65.
23. Deliege, I., & Davidson, J. (Eds.). (2011). Music and the mind (Essays in honour of John Sloboda) (pp. 363–378). Oxford University Press.
24. Djurichkovic, A. (2011). Art in prisons: A literature review of the philosophies and impacts of visual arts programs for correctional populations. University of Technology, Sydney (UTS), Shopfront Student Series 3, UTS e-PRESS
25. Freeman, W. (2000). A neurobiological role of music in social bonding. In N.L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music. Cambridge, MA: MIT Press
26. Gergen, K.J. (1999). An invitation to social construction. Thousand Oaks, CA: Sage.
27. Gienger, V.G. (2003). Interfaith choir builds ‘spiritual bridges to heal division of war.’ Religion News Service. Retrieved from http://archives.religionnews.com/politics/ government-and-politics/news-featureinterfaith-choir-builds-spiritual-bridges-toheal-divisions-of
28. Ginkel, J. (2002). Identity construction in Latvia’s “singing revolution”: Why inter-ethnic conflict failed to occur. Nationalities Papers, 30(3), 403–433.
29. Grainger, S. (2011). Venezuela prison orchestra gives hope to inmates. BBC News. Retrieved from http://www.bbc.com/news/ world-latin-america-14050825?print=true
30. Ippolito, L.M. (2008). Collaborative vocal music-making – An innovative approach to conflict resolution and peacebuilding. Masters. York University
31. Ippolito, L.M. (2015). Changing our tune: A musicbased approach to teaching, learning and resolving conflict. PhD. York University.
32. Ippolito, L., & Adler, N.J. (2015). From aspiration to evidence: Music, leadership and organizational transformation. In Ulla Johansson Sköldberg, Jill Woodilla, & Ariane Berthoin Antal (Eds.), Artistic interventions in organizations: Current practice and theory (pp. 125–150). London: Routledge.
33. Johansson Sköldberg, U., Woodilla, J., & Berthoin Antal, A. (Eds.). (2015). Artistic interventions in organizations: Current practice and theory. London: Routledge.
34. Johnson, L.M. (2008). A place for art in prison: Art as a tool for rehabilitation and management. Southwest Journal of Criminal Justice, 5(2), 100–120.
35. Lederach, J. P. (1997). Building peace: Sustainable reconciliation in divided societies. Washington, DC: United States Institute of Peace Press.
36. Lederach, J. P. (2005). The moral imagination: The art and soul of building peace. New York: Oxford University Press.
37. Marković, I. (2004). The history of Pontanima is a short story of reconciliation in BosniaHerzegovina. Report on the workshop ‘conflict resolution from below’. ASEM People’sForum V Hanoi, [online] 6-9 September. Retrieved from http://www.asi enhaus.de/public/archiv/marcovictext.pdf.
38. Makky, N. (2007). Song in the anti-apartheid and reconciliation movements in South Africa. Masters. Ohio State University.
39. McNeill, W.H. (1997). Keeping together in time. Cambridge, MA: Harvard University Press.
40. Mills, A.J., Durepos, G., & Wiebe, E. (2010). Encyclopedia of case study research. Thousand Oaks: Sage.
41. Musical Connections. (2014). Carnegie Hall-Weill Institute. Retrieved from http://www.carne giehall.org/MusicalConnections
42. Pascale, R., & Sternin, J. (2010). The power of positive deviance: How unlikely innovators solve the world’s toughest problems. Boston: Harvard Business Press
43. Rand Corporation. (2015). Israelis stand to gain $120 billion, Palestinians $50 billion in two-state solution over next decade. Press Release, June 8.
44. Riiser, S. (2010). National identity and the WestEastern Divan Orchestra. Music and Arts in Action, 2(2), 19–37
45. Schuman n, A. (2008). The beat that beat apartheid: The role of music in the resistance against apartheid in South Africa. Stichproben. Wiener Zeitschrift für kritische Afrikastudien Vienna Journal of African Studies, 8(14), 17–39.
46. Smailović, V. (1998). Memento Mori Albinoni Adagio. In Sarajevo Belfast [sleeve notes]. West Chester, PA: Appleseed.
47. Smaczny, P. (Director). (2005). Knowledge is the beginning. (Documentary Film)
48. Spreitzer, G.M., & Sonenshein, S.T. (2004). Toward a construct definition of positive deviance. American Behavioral Scientist, 47, 828–847.
49. Thomson, C. (1992). The singing revolution: A political journey through the Baltic States. London: Joseph.
50. Tillotson, K. (2014). “A higher key: Music program helps kids learn new skills.” Star Tribune. Retrieved from http://www.startribune. com/music-program-helps-kids-learn-newskills/261563421/
51. Tongeren, P. van (Ed.). (1999). People building peace: 35 inspiring stories from around the world. Utrecht, Netherlands: European Centre for Conflict Prevention.
52. Tunstall, T. (2012). Changing lives: Gustavo Dudamel, El Sistema, and the transformative power of music. New York: W. W. Norton & Company.
53. Ungerleider, J. (1999). My country is cut in two. In P. van Tongeren (Ed.), People building peace: 35 inspiring stories from around the world (pp. 297–301). Utrecht, Netherlands: European Centre for Conflict Prevention.
54. Urbain, O. (Ed.). (2008). Music and conflict transformation: Harmonies and dissonances in geopolitics. New York: I. B. Tauris
55. Uy, M. (2012). Venezuela’s national music education program El Sistema: Its interactions with society and its participants’ engagement in praxis. Music and Arts in Action, 4(1), 5–21.
56. Vesilind, P. (2008). The singing revolution. Tallinn, Estonia: Varrak.
57. Vogt, H. (2004). Between utopia and disillusionment. New York: Berghahn Books.
58. Washington, D.M., & Beecher, D.G. (2010). Music as social medicine: Two perspectives on the West-Eastern Divan Orchestra. New Directions for Youth Development, Spring Issue (125), 127–140.
59. Welch, D., & LeBaron, M. (2006). Arts, creativity and intercultural conflict resolution literature and resource review. Vancouver: University of British Columbia.
60. Whitehead, B. (2008). We shall overcome: The roles of music in the US civil rights movement. In O. Urbain (Ed.), Music and conflict transformation: Harmonies and dissonances in geopolitics (pp. 78–92). London: I. B. Tauris.
61. Zander, R.S., & Zander, B. (1998). Leadership: An art of possibility. Cambridge, MA: Harvard Business Press.
62. Simon, B. (Reporter). (2008, July 16). El Sistema: Changing Lives through Music. In H. A. Radliffe II (Producer), 60 Minutes. [Video file]. Retrieved from http://www.cbsnews.com/news/ el-sistema-changing-lives-through-music/
2. Adler, N.J. (2011). Leading beautifully: The creative economy and beyond. Journal of Management Inquiry, 20(3), 208–221.
3. Adler, N.J. (2010). Going beyond the dehydrated language of management: Leadership insight. Journal of Business Strategy, 31(4), 90–99
4. Adler, N.J. (2015). Finding beauty in a fractured world: Art inspires leaders–Leaders change the world. Academy of Management Review, 40(3), 480–494.
5. Allport, G. W. (1954). The nature of prejudice. Cambridge, MA: Perseus Books.
6. Apthorp, S. (2005). Classical escape from life on the mean streets. Financial Times. Retrieved from http://www.ft.com/intl/cms/ s/0/c4d1458c-0228-11da-9481-00000e2511c8. html#axzz1qVxTRJCc
7. Asuaje, L. (2008). El Sistema in penitentiaries, El Nacional. Translated from Spanish by José Bergher. Retrieved from https://tipom.wordpress.com/2008/05/27/8/
8. Barenboim, D., & Said, E.W. (2004). Parallels and paradoxes. New York: Vintage Books.
9. Beckles Willson, R. (2009a). Whose utopia? Perspectives on the West-Eastern Divan Orchestra. Music & Politics, 3(2), 1–21.
10. Beckles Willson, R. (2009b). The parallax worlds of the West-Eastern Divan Orchestra. Journal of the Royal Musical Association, 134(2), 319–347.
11. Benzon, W. (2001). Beethoven’s anvil. New York: Basic Books.
12. Bergh, A. (2007). I’d like to teach the world to sing: Music and conflict transformation. Musicae Scientiae, 11(Suppl. 2), 141–157.
13. Bergh, A. (2008). Everlasting love: The sustainability of top-down vs bottom-up approaches to music and conflict transformation. In S. Kagen and V. Kirchberg (Eds.), Sustainability: A new frontier for the arts and cultures (pp. 351–382). Bad Homburg, Germany: VAS-Verlag.
14. Bergh, A. (2010). I’d like to teach the world to sing: Music and conflict transformation. PhD. University of Exeter
15. Bergh, A. (2011). Emotions in motion: Transforming conflict and music. In I. Deliege & J.W. Davidson (Eds.), Music and the mind (Essays in honour of John Sloboda) (pp. 363–378). Oxford: Oxford University Press.
16. Bergh A., & Sloboda, J. (2010). Music and art in conflict transformation: A review. Music and Arts in Action, 2(2), 2–17
17. Blackstone. (2008). ‘The Toyi-Toyi of South Africa’, Power to the People [blog] February 18. Retrieved from http://power-2-people. blogspot.ca/2008/02/toyi-toyi-of-southernafrica.html
18. Burton-Hill, C. (2012). José Antonio Abreu on Venezuela’s El Sistema miracle. The Guardian. Retrieved from http://www.theguardian. com/music/2012/jun/14/abreu-el-sistemavenezuela-interview-clemency-burton-hill
19. Chopra, S. (2007). The cellist of Sarajevo. Retrieved from http://www.lifepositive. com/the-cellist-of-Sarajevo
20. Cohen, C.E., Gutiérrez Varea, R., & Walker, P.O. (Eds.). (2011). Acting together: Performance and the creative transformation of conflict. New York: New Village Press
21. Cohen D., & Crabtree, B. (2006). Qualitative research guidelines project. Princeton: Robert Wood Johnson Foundation. Retrieved from http://www.qualres.org/HomeExtr-3808. html
22. Cohen, M.L. (2009). Choral singing and prison inmates: Influences of singing in a prison choir. Journal of Correctional Education, 60(1), 52–65.
23. Deliege, I., & Davidson, J. (Eds.). (2011). Music and the mind (Essays in honour of John Sloboda) (pp. 363–378). Oxford University Press.
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