International Journal of Community Music - Volume 18, Issue 2, 2025

Refugees were among the social groups most severely impacted by the COVID-19 pandemic. With many already living in sequestered communities, the imposed restrictions on their mobility amplified their isolation, causing them to be further separated from the outside world. Particularly impacted were Syrian refugees, one of the world’s largest displaced populations, living in camps in Lebanon, Jordan and Turkey. Prior to the pandemic, several non-governmental organizations (NGOs) offered music programmes in the Syrian refugee camps, in the form of psychosocial community-music interventions. At the onset of the pandemic, this option was limited in the refugee camps, which became off-limits to social workers for fear of spreading the virus in the overcrowded camps. Drawing on personal and virtual interviews conducted since 2018, alongside virtual ethnographic research through social media platforms, this article examines two music-based intervention programs, Fayha National Choir and Sounds of Change, as case studies within Syrian refugee camps. It analyzes their resilience during the global lockdown and identifies the key enabling factors and obstacles that affected their ability to sustain engagement with their target communities. How and why have (or have not) these programmes prevailed during the COVID-19 pandemic, and how has the pandemic continued to influence their activities in the aftermath?

This study explores how participants experience Common Wheel’s community music group and perceive its influence on their well-being. Five adults (aged 20–70) with pre-existing mental health conditions, each of whom had completed at least one six-week block, were interviewed using semi-structured interviews incorporating music elicitation. Three key themes were developed: the rhythm and routine of recovery; how staff and facilitators orchestrate support and the perks of public performance. Participants described perceived improvements in well-being through regular structure, strength-based support from facilitators and the confidence gained from performing in public. These findings align with Common Wheel’s facilitation aims and the pillars of Seligman’s PERMA model. The use of music elicitation helped capture participants’ experiences in depth, offering insight into how creative, socially inclusive interventions can support mental health recovery. Further research into similar programmes across Glasgow is recommended to assess broader outcomes and inform practice.

This study, the first of its kind in Bolivia, examines the role of community music programmes in fostering social cohesion in the country, focusing on the case of EnseñARTE, a non-profit organization supporting vulnerable youth in Cochabamba. Through a qualitative case study approach, we analyse the perceived utility and challenges of their music programme, based on interviews with project developers and beneficiaries. Findings indicate that the programme provides therapeutic benefits, serving as an emotional outlet for participants who have experienced trauma, while also offering opportunities for skill development and social integration. However, challenges such as financial constraints, lack of structured pedagogical planning and inconsistent attendance hinder the programme’s continuity and impact. The study highlights the need for more systematic programme structuring and the inclusion of social work professionals to support participants dealing with complex personal histories. These findings align with broader discussions on the role of community music in conflict-affected contexts. We propose policy recommendations to integrate community music programmes within Bolivia’s national development framework, emphasizing their potential for youth empowerment. Future research should explore the experiences of disengaged beneficiaries to better understand the sustainability of such initiatives.

Conflict and methods for dealing with it are an inherent part of social life. There are many tools for managing conflict, and there has been increasing scholarly attention recently on the potential of music in this area. However, further research is required to fully understand the mechanisms involved. This article examines possible musical mechanisms for peacebuilding and conflict transformation between First Nations and settler peoples in Australia. It does this by evaluating a musical workshop titled ‘Togetherness through music: Uniting Indigenous and Non-Indigenous Australia’. Data were collected through a design journal, participant observation and interviews. Thematic and musical analysis revealed three potential processes for supporting conflict transformation and two that might hinder it. The three supportive mechanisms are normalizing First Nations peoples, a need for future action and new perspectives in other life moments. The two detractive processes are an increased fear of saying the wrong thing and failure to afford intercultural learning. This article also offers several suggestions for future peacebuilding practice based on these findings.

This project report explores the implementation of intergenerational music-making in Thailand through community choirs, focusing on the Intergenerational Choir Project (ICP) developed by Chiang Mai University. In a country where generational divides are often a source of conflict, this project used music as a medium for fostering mutual respect and social cohesion. The ICP brings together choir members from different age groups, particularly youth and the elderly, in a collaborative choral setting, promoting both musical and social benefits. Drawing from global examples of intergenerational choir initiatives, the paper highlights the unique cultural context of Thailand and the role that community choirs can play in bridging generational gaps. It addresses the challenges of organizing such activities, including differences in physical ability, learning capacities and musical preferences between generations. Recommendations are provided for the effective development of intergenerational choir programmes, emphasizing the importance of balancing musical goals with the social objectives of fostering intergenerational understanding and collaboration.