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Orchestral-Dialogues: Accepting Self, Accepting Others – Orchestral-Dialogues: Accepting Self, Accepting Others – Translating Deep Listening Skills to Transformative Dialogue Skills A Dissertation Submitted to the Faculty of Drexel University by Janelle S. Junkin in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2017 Orchestral Dialogues Ethnography ii ©Copyright 2017 Janelle S. Junkin. All Rights Reserved. Orchestral Dialogues Ethnography iii Acknowledgements To my friends, family and faith community, I could not have completed this PhD journey without you. Your words of encouragement, of support, and your presence have been invaluable. To Andrea and Chantelle, our monthly spiritual direction meetings kept me grounded and reminded me who I am; I love you both and treasure our friendship and sisterhood. Karen, you are brilliant and your ability to give (and receive) is incomparable. I know that I would not have completed this process without your spiritual guidance, your encouragement and your loving support, thank you for all that you have done for me. A huge thank you to the staff, parents and guardians and children of Orchestral Dialogues. You are the reason that this dissertation is what it is. I have learned so much from each of you and I have appreciated all of you checking in about the research, asking me how I am doing and in general being a support to me through this whole process. It was a humbling experience to learn with and from you, thank you for trusting me and allowing me to be a part of this new community experience. Nathan Corbitt and Vivian Nix-Early and the staff at BuildaBridge International without you Orchestral Dialogues might have remained only a dream. Thank you for your encouragement, your support, and for allowing me to join the organization. It was in collaborating with you that Orchestral Dialogues became the program it is through your assistance in designing, implementing and refining, thank you. Nathan and Vivian, you have been a part of my educational journey since my time as an undergraduate student. Thank you for always believing in me, for encouraging me in my career and pursuit of higher education. You have contributed to making me the person I am today. Orchestral Dialogues Ethnography iv Thank you to the faculty at Drexel University, most specifically to Dr. Kaimal who has guided me, reminded me to always do better, and taught me to always maintain a posture of learning. I have learned so much and know that I will continue to hear your voice in my head, in a good way, as I grow in my future career and endeavors. Thank you to my committee, Dr. Bryant Alexander, Dr. Natalie Carlton, Dr. Vivian Nix-Early, and Dr. Loretta Jemmott. I am so appreciative of you sharing your knowledge with me and of the time you invested in participating in this final area of my doctoral journey. Thank you for your time, effort and encouragement. To Kate and Karola, my partners in learning. It was such a joy to learn from and with you both. You have influenced me in my own doctoral journey and I know that I would not be where I am now without you. I love you both and am so thankful that you were on this learning journey with me. I acknowledge my friends, colleagues and professors from my International Psychology PhD program. Dr. de Merode and Dr. Taylor, you are the reason I pursued my dissertation topic. You guided me and reminded me that my training as a music therapist had a place in international psychology and conflict transformation. I am so grateful for the learning I experienced with you and my cohort. Though my journey detoured, you are an intimate part of my doctoral process. Thank you for all your encouragement and support even when I was no longer your student. Thank you to everyone who is in my chosen family and community. As they say, it takes a village, and I know that I am only here because I have an amazing village of people from all walks of life who have invested in me. Thank you everyone, I did not do this alone. Orchestral Dialogues Ethnography v Table of Contents LIST OF TABLES ......................................................................................................................... ix LIST OF FIGURES .........................................................................................................................x ABSTRACT .................................................................................................................................. xi 1. CHAPTER I: INTRODUCTION ..............................................................................................1 1.1 What is an Orchestra? ...............................................................................................................1 1.2 BuildaBridge International.........................................................................................................4 1.3 Background of Study ................................................................................................................5 1.3.1 Rationale .............................................................................................................................5 1.4 Orchestral Dialogues: Accepting Self, Accepting Others Project Description ..........................7 1.5 Community Music Therapy (CoMT) .......................................................................................10 1.5.1 CoMT in Practice .............................................................................................................11 1.6 Significance of Study ...............................................................................................................12 1.7 Overview of Chapters ..............................................................................................................13 2 CHAPTER II LITERATURE REVIEW ................................................................................14 2.1 Glossary of Terms ....................................................................................................................14 2.2 Introduction of Main Themes ..................................................................................................16 2.3 Melody: Creating Music Together does not equal Musicking ................................................17 2.3.1 Counter-melody: West-Eastern Divan Orchestra .............................................................19 2.4 Theme I: Deep Listening ........................................................................................................21 2.4.1 Music is contextual ...........................................................................................................22 2.5 Theme II: Community Music Therapy ....................................................................................23 2.5.1 Orchestral Dialogues as CoMT .........................................................................................25 Orchestral Dialogues Ethnography vi 2.6 Theme III: Conflict Transformation ........................................................................................27 2.6.1 The arts in conflict transformation ....................................................................................28 2.6.2 Intergroup contact .............................................................................................................30 2.6.3 Dialogue workshops...........................................................................................................31 2.6.4 To reflect trust, dialogic example .....................................................................................32 2.6.5 United States context ........................................................................................................34 2.7 Theme IV: Young People as Agents of Change .....................................................................35 2.7.1 Children, identity development & music ...........................................................................36 2.8 Ethnography in CoMT .............................................................................................................38 2.9 Literature Gap .........................................................................................................................38 2.10 Limitations and Delimitations................................................................................................40 2.11 Research Statement ................................................................................................................42 3 CHAPTER III METHODOLOGY .........................................................................................43 3.1 Worldview & Paradigm ..........................................................................................................43 3.2 Research Design ......................................................................................................................43 3.3 Data Sources ............................................................................................................................46 3.3.1 Archival data ......................................................................................................................46 3.3.2 Rhythm-based focus group design .....................................................................................46 3.3.3. Communications with staff and parents and guardians .....................................................47 3.4 Recruitment .............................................................................................................................48
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