Jahrestagung der Deutschen Gesellschaft für Musikpsychologie, Gießen, 14.-16.9.07

1. Jahrestagung der Deutschen Gesellschaft für Musikpsychologie, Gießen, 14.-16.9.07 Richard Parncutt and Angelika DorferUniversity of Graz, AustriaThe role of music in cultural integration

2. Why music and integration? • Integration • social, cultural, political • globalisation • Music • an aspect of culture • influences identity and well-being • Music and integration • a neglected topic?

3. Integration: Definitions • social, cultural, political • all interactions among all cultural groups • majority • “indigenous” = implicit ownership of territory? • minorities • migrants • “indigenous” • multiple identities • e.g. old and new, overlapping groups

4. Integration: Dimensions • independence in social/political/cultural context • language • income • shopping, transport, administration… • frequency of intergroup contact • friends, acquaintances, events… • acceptance by other groups • lack of prejudice • feeling of belonging • Do I feel at home in Graz?

5. Contact hypothesis more frequent contact  better integration  collective activities promote integration • sport • music • festivals

6. Multiple identities • e.g. Turkish + Austrian + woman + Muslim Intergroup contact • new cultural orientation • modification of traditions Auernheimer, G. (1996). Einführung in die interkulturelle Erziehung (2. Aufl.). Darmstadt: Wissenschaftliche Buchgesellschaft.

7. Role of “old” culture • The familiarity of migrant children with their “old” culture enhances: • self esteem • ability to integrate Hansson, S. (1990). Invandrarföreningar.

8. Research on integration • language skills • Greenberg et al. (2001) • education, occupation, income • Hou & Balakrishnan (1991) • (un-) employment • Gowricharn (2002) • social capital • Jacobs & Tillie (2004) • opinions and prejudices of majority culture • Bobo & Zubrinsky (1996)

9. Music and cultural identity Music can both promote and hinder integration • Folkestad, G. (2002). National identity and music. • In R. McDonald, D. Hargreaves, & D. Miell (Ed.): Musical identities (pp. 151-162). Oxford: Oxford University Press. • Frith, S. (1996). Music and identity. • In S. Hall & P. Du Gay (Ed.): Questions of cultural identity (pp. 108-127). London: Thousand Oaks. • Müller, R. et al. (2002). Wozu Jugendliche Musik und Medien gebrauchen. Jugendliche Identität und musikalische und mediale Geschmacksbildung. Weinheim: Juventa.

10. Music and integration Stockholm choirs Pawlig, M. (2003). Chor als Arena für kulturelle Integration. Eine Fallstudie in den Stockholmer Vororten Tensta und Rinkeby. Magisterarbeit, Berlin.

11. Our aims • What is the role of music in integration? • pilot study • non-representative sample from Graz • non-general conclusions

12. Method • semi-structured interviews • musicology students & Graz residents • summary transcription by students • qualitative analysis • hermeneutic formulation of hypotheses • formulate or revise (top-down) • search for quotes for & against (bottom-up) • repeat • quantitative analysis • demographics, quantitative measures

13. Interviews: Participants • interviewers • 24 participants of a musicology course unit • in 7 groups • respondents • 52 “new Austrians” • Albania • China • Egypt (Copts) sex: 28 female 24 male age: 17 to 53 mean 29 years in EU: 0.2 to 23 mean 8 • Iraq (Kurds) • Italy • Nigeria • Serbia

14. Not analysed 8 respondents • significant communication difficulties • significant missing data

15. Interviews: Issues • (any) music in everyday life • own performance of (any) music • cultural identities • social contacts • favourite CDs • culture of main cultural group • music, customs, traditions • views on role of music in integration

16. Degree of integration 2nd author’s interpretation of transcripts main criteria: • How much contact between respondent and other groups (majority, other minorities)? • To what extent does respondent feel at home in Graz? 1: very low 2: low 3: neutral 4: high 5: very high

17. Degree of integration

18. Respondents: Years in EU r = .35 p = .07 N = 28

19. Respondents: Practical musicianship no: 0 years / don’t play some: <=10 years / as a hobby professional: >10 years / as a profession

20. Respondents:Practical music experience r = -.66 p = .002 N = 19

21. Importance of own music • “own” music = of main cultural group • 2nd author’s interpretation of transcripts main criteria: • How often does respondent play or listen to own music? • How important is own music for respondent? 1: very low 2: low 3: neutral 4: high 5: very high

22. Importance of own music “We have very many different instruments and directions in our traditional music… we are all very proud of our music… it is very beautiful.” Respondent 7, Chinese, female, age 27, 4.5 yr in EU, 20 yr music, degree of integration 3 “For me, music is mainly for entertainment and relaxation. Chinese music has no meaning for me and I don’t listen to it.” 6, Chinese, m, 19, 9, 0, 5

23. Importance of own music

24. Respondents:Importance of own music r = -.50 p = .007 N = 28

25. Group differences • Nigerians: • music seen as universal, promotes peaceful coexistence • Copts: • music important for religion & identity but rather private • Kurds & Copts: • high degree of cultural self-organisation • Chinese, Albanians, Italians: • low degree of cultural self-organisation • Italians: • music important for identity although no integration problem • Many, e.g. Serbs: • music important for identity but job, language more important for integration

26. Contact Thesis Music can help cultural groups to get to know each other “You hear the music and immediately get an impression of what Albanians are like. That is quite different from reading about Albanians in the newspaper.” 12, Albanian, f, 27, 5, >2, 3

27. Music and language Thesis Music is easier to understand across cultures than language. “I think music is very important because music is a world language. Everyone can understand it.” Respondent 28, Copt, male, 40 yrs, 17 yrs in EU “I can’t speak Italian but I like to listen to Italian music. I can’t speak Turkish but I can listen to Turkish music.” 26, Copt, m, 44, 17 “On the radio I prefer to listen to music than language (news, documentaries) because I don’t understand the language very well.” 8 Chinese, f, 20, 2, 16, 1

28. Emotion Thesis Own music is more emotional For “There are so many songs in Albanian that could make me cry because the words are so sad.” 11, Albanian, f, 23, 23, 4, 5 “When I hear songs about freedom fighters I start to cry.” 25 Kurd, m, 45, 18, 0, 5 Against “Classical music is very emotional, I often get goose bumps … pop music is emotional if the text goes well” 2, Chinese, f, 21, 4, 10, 2

29. Association Thesis Own music is strongly associated with other aspects of own culture For “The music reminds me of the Kurd’s situation, their suffering, the beauty of the country.” 36, Kurd, f, 25, 4, 0, 5 Against “But the music in Austria reminds me of my adolescence in Egypt, e.g. ABBA, Bonny M., Bee Gees, .. Tina Charles…, I have them all on CD” 26, Copt, m, 44, 17, >1, 3

30. Homesickness Thesis Own music can either increase or decrease homesickness “I avoid listening to Albanian music when I have not been home for a while because it makes me homesick.” 10, Albanian, f, 27, 7, 0, 4

31. Migrants versus locals Thesis Own music is more important for migrants than for locals (back home) “The young people in Albania seem to avoid folk music. But when they are away from home they want you to send them CDs of folk music.” 10, Albanian, f, 27, 7, 0, 4

32. Music as part of culture Thesis Any aspect of culture can equally well promote integration: music, food, costumes, architecture… “Maybe people can understand our food more easily than our music … Many people have come to look at our church because it is so beautiful” 33, Copt, f, 17, 17, >1, 2

33. Cultural freedom Thesis Integration is promoted when minorities feel free to express their identity through their music. “We play loud Albanian music. We go to an Albanian pub so we can be alone because we are so loud. When you are homesick and have not been home for a long time that is really nice.” 10 Albanian, f, 27, 7, 0, 4

34. Feeling of acceptance Thesis Low self-rated integration is associated with belief that others do not like own music. “The people here accept other music, but our music is very difficult (for prayer, meditative). Austria is a land of music, but I think they would find our music boring.” 32, Copt, f, 49, 15, 10, 2

35. Will any music do? Thesis Integration is about feeling good wherever you are. Perhaps any kind of music (own or foreign) can help. Q: Does that bring you closer to Kosovo? A: I feel better when I listen to music. But that is true only for Albanian music but for any music that I like. 9, Albanian, f, 33, 9, 5, 4 Q: What kind of music helps you feel at home in Austria? A: Musicals. I sing along and lose myself in the music to forget my homesickness. 2, Chinese, f, 21, 4, 10, 2

36. Practical proposals • public events with different aspects of each culture 6, Chinese, m, 19, 9, 0, 5 (and others) • an entertaining multicultural concert for children 9, Albanian, f, 33, 9, 5, 4 • a multicultural weekend with folklore, football, music… 26, Copt, m, 44, 17, >1, 3 • financial support for performance of own music 35, Kurd, m, 45, 18, 0, 5 • media reports on culture as well as economics, politics 12 Albanian, w, 27, 5, >2, 3

37. Conclusions • These and other data suggest that: • Integration can be promoted in many ways • One of these is musical • Possible integration strategies: • Promotion of minority music • Promotion of intercultural musical contact

38. What next? • Repeat interviews with selected participants • New interview questions based on new hypotheses • Recommendations to City of Graz

39. Example • Turkish woman in Graz • contact mainly with husband and two children • limited contact with majority or other groups • little knowledge of German language • Listens to recordings of Turkish music • feels sad, nostalgic Does music promote integration?

40. Identity Thesis Public local display of own music strengthens identity Referring to a concert of Albanian traditional music on Graz’s main square: “The people stopped to look and were interested. ‘Where do they come from? Oh, that’s what it’s like in Albania! … Aha, Albania is real and Albanians live right here among us in Graz.’ “ 12, Albania, f, 27, 5, >2, 3

41. Cultural opportunities Thesis Musicians feel more integrated when they can play their own music with others. Q: What role does the music of your cultural group play in your everyday life? A: At home I used to play a lot of traditional Chinese music with my family. Here I cannot do that, so I sing the (classical) music that I learn at university and listen to pop music. 7, Chinese, f, 27, 4.5, 20, 3

42. Dual identity • Integration is promoted by engagement with both own and local music

43. Role of style Thesis The integration-promoting function of music depends strongly on style.

44. Role of own music Thesis If own music is preferred, it is because of emotional associations and identity, not an absolute aesthetic (No respondent suggested that their own music might be intrinsically superior)