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CUMIN: Contemporary Urban Music for Inclusion Network

CUMIN：当代城市音乐包容性网络

基本信息

批准号：
AH/V009761/1
负责人：
Peter Robin William Dale
金额：
$ 3.63万
依托单位：
University of York
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2022
资助国家：
英国
起止时间：
2022 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FV009761%2F1
关键词：
CUMIN Contemporary Urban Music Inclusion

项目摘要

Contemporary urban music (hip-hop, grime, contemporary R&B and more) is arguably the most listened to music in the world (The Independent), with an estimated global audience of 1.5 billion for dance/electronic music (IMS report 2019). Nonetheless, hip-hop is 'frequently excluded' from even popular music education (Journal of Popular Music Education, 2(1/2)), let alone the mainstream music curriculum. In the UK, the current National Curriculum for Music places emphasis on 'music from great composers and musicians'. Some rock and pop has found a place in schools over recent decades, but contemporary urban music (a far more ethnically/ racially diverse music, typically) remains marginalised, not only in schools but also in mainstream culture. Given the wealth of compelling research evidence on the value of the arts and music in education and for our lives (APPGAHW 2017: Bruin and Burnard 2018; Biesta; Dewey; Vygotsky; Routledge Reader on the Sociology of Music 2015), we need to ask whether music and arts which are more relevant to contemporary urban communities might be more engaging to those communities. The contemporary urban environment is ethnically and racially diverse, yet schools and mainstream culture/society leave the most popular contemporary urban music at the margins: the choice of Grime artist Stormzy for Glastonbury headliner in 2019, for example, met outcry from some within the mainstream popular music establishment. Questions of cultural identity (Hall 1996) and around race and music (Gilroy 1993) remain of crucial importance to lived experience. Researchers have shown that a sense of cultural inclusion can impact on attendance, behaviour and attitude in schools and help to make individuals of all ages and ethnicities feel that they belong (Count Me In 2002; NESF 2007; Voices of Culture 2018). Can projects using contemporary urban music impact significantly on educational/social inclusion? If so, how can we best measure this impact?Individuals and small organisations (e.g. Grime Pays, Noise Solution, In Place of War and others listed in the Case for Support), who will be key project partners in the planned Contemporary Urban Music for Inclusion Network (CUMIN), have already begun to demonstrate that their use of contemporary urban music enables impact. This music has even been used for US cultural diplomacy (Katz 2019). However, a funded network would allow knowledge exchange between such practitioners, based on critical examination of practice and world-leading guidance on measurement of impact.CUMIN will place knowledge exchange and rigorous measurement of impact at the heart of its innovative workshops and its large-scale conference at the end of the funded period. Each workshop will feature one or more practitioner from the contemporary urban music field, and will bring together the voices of music producers, consumers and social project organisers, as well as expert researchers. Regarding the measurement of impact, Prof Anna Vignoles and Dr Sonia Ilie (both Cambridge University) will play a key role in Workshop 1 by showing what existing measures are available and how best they could be applied/adapted by CUMIN-affiliated organisations.To date, the role contemporary urban music plays in the recognised successes of the projects which are affiliated to CUMIN has been under-theorised: they have demonstrated impact in different ways (for example, improvements to health and well-being measured through WEMWBS), but there is limited knowledge exchange amongst practitioners in the field as to why they have this impact. There is a great need, therefore, for practitioners to meet, publicly share their experiences and co-create new knowledges around the value of contemporary urban music for social engagement: how is it that these projects achieve such positive levels of social engagement?

当代城市音乐（嘻哈、尘垢、当代R&B等）可以说是世界上收听最多的音乐（《独立报》），估计全球舞蹈/电子音乐观众达15亿（IMS报告2019）。尽管如此，嘻哈音乐“经常被排除”，甚至流行音乐教育（流行音乐教育杂志，2（1/2）），更不用说主流音乐课程。在英国，目前的国家音乐课程强调“伟大作曲家和音乐家的音乐”。近几十年来，一些摇滚和流行音乐在学校里找到了一席之地，但当代城市音乐（通常是一种更加种族/种族多样化的音乐）仍然被边缘化，不仅在学校，而且在主流文化中。鉴于艺术和音乐在教育和我们生活中的价值的大量令人信服的研究证据（APPGAHW 2017：Bruin和Burnard 2018; Biesta; Dewey; Vygotsky;音乐社会学的读者2015），我们需要问，与当代城市社区更相关的音乐和艺术是否可能对这些社区更有吸引力。当代城市环境在民族和种族上是多样化的，但学校和主流文化/社会将最受欢迎的当代城市音乐置于边缘：例如，2019年格拉斯顿伯里的头条新闻选择了Grime艺术家Stormzy，遭到了主流流行音乐机构内部一些人的强烈抗议。文化认同（Hall，1996）和种族与音乐（Gilroy，1993）的问题对生活经验仍然至关重要。研究人员已经表明，文化包容感可以影响学校的出勤率，行为和态度，并有助于使所有年龄和种族的个人感到他们属于（计数我2002; NESF 2007;文化之声2018）。使用当代城市音乐的项目能否对教育/社会包容产生重大影响？如果是这样，我们如何最好地衡量这种影响？个人和小型组织（如Grime Pays，Noise Solution，In Place of War和其他在支持案例中列出的组织）将成为计划中的当代城市音乐包容网络（Contemporary Urban Music for Inclusion Network，简称CIMIN）的主要项目合作伙伴，他们已经开始展示他们对当代城市音乐的使用能够产生影响。这种音乐甚至被用于美国的文化外交（Katz 2019）。然而，一个得到资助的网络将使这些从业人员能够根据对实践的严格审查和关于衡量影响的世界领先指南进行知识交流，该网络将把知识交流和严格衡量影响作为其创新讲习班和在资助期结束时举行的大规模会议的核心。每个研讨会都将有一个或多个来自当代城市音乐领域的从业者，并将汇集音乐制作人，消费者和社会项目组织者以及专家研究人员的声音。关于影响力的测量，安娜·维尼奥尔斯教授和索尼娅·伊利博士（均为剑桥大学）将在研讨会1中发挥关键作用，展示哪些现有的措施是可用的，以及如何最好地应用/适应这些措施。到目前为止，当代城市音乐在城市音乐信息网下属项目的公认成功中所起的作用还没有得到充分的理论化：它们以不同的方式显示出影响（例如，通过妇女、管理和福利状况统计来衡量的健康和福祉的改善），但实地从业人员之间关于它们为什么产生这种影响的知识交流有限。因此，从业者非常需要见面，公开分享他们的经验，并围绕当代城市音乐对社会参与的价值共同创造新知识：这些项目是如何实现这种积极的社会参与水平的？