Foreword: To Music's Health
Gary AnsdellRecently I was on a panel suggesting career options for music students at a London university. The other panel members talked about working in music education, broadcasting, events management, and digital media. (Performing was strangely absent -presumably because most musicians can't make a career out of this now!) I talked about music therapy for ten minutes, and the students seemed interested. But when the discussion part of the evening arrived I wasn't asked a single question. At first I felt embarrassed, but then I remembered some previous occasions... and sure enough, after the formal event finished there was a line of students waiting to talk to me. Most of them didn't have a question as such; rather, they wanted to tell me their 'musical life stories'. An Indian student had been traumatically summoned to her mother's deathbed in India, but by the time she got home the mother was in a coma. The student was an expert in traditional singing, inspired by her mother's love of this style. When the daughter sang the mother came out of coma enough for mother and daughter to have vital hours of farewell. Another man simply looked me in the eye and said, "My life just fell apart -and music saved me. When I looked around with new eyes and ears I realised that it saves many other people too, so I now feel this is my vocation. What do I do?".These musical life stories were too intimate for the public forum that evening. But although the people who wanted to talk to me had particularly intense musical stories, I felt that these 'musical miracles' were just the tip of the iceberg of a spectrum of more everyday experiences, uses, and understandings about how music helps people in and through their lives. They also perhaps illustrated a distinct and strengthening area of interest and understanding for a generation of people for whom 'music and health' or 'music therapy' are not strange associations of words and experiences (as they were perhaps up to twenty years ago in the modern West). There seems to be a new and serious interest to understand, and to make available, the musical basis of wellbeing.Signs of this are appearing both in academic and popular culture. Conferences are springing up around the world on themes linking music, health and wellbeing, whilst 4 Gary Ansdell cultural organisations such as orchestras are promoting musical events for their wellbeing as well as their aesthetic value. Reality TV shows present choirs tackling social issues, whilst films, plays, and novels increasingly use this trope as a plot device. To cite just one recent example, no less that Vanessa Redgrave stars in Song for Marion, a film where a woman with cancer experiences the therapeutic value of a local community choir, whilst her husband (played by Terence Stamp) continues to experience the personal and socially redemptive powers of musicking after her death. It seems that music and musicking have become both a metaphor and an enactment of the complexities and dramas of social life -its ha...