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or groups to play louder (like a solo or soli) while others resolution, effective communication, and relationship-
play quieter, and then pass that around. You can even building are skills that transcend musical contexts,
do call-and-response patterns, passing around the op- shaping individuals’ interactions with peers, family,
portunity to give the “call.” This also encourages cre- and society at large. By integrating these principles into
ativity, free play, listening, and improvisation. choral education, educators empower students to navi-
A good leader allows people of all levels to engage gate conflicts constructively and cultivate empathy in
and participate in the ways they are comfortable. Drum diverse settings. The books and journal articles refer-
circles can be a cathartic experience open to all experi- enced in the endnotes provide a sampling for further
ence levels, and it is so effective in building common exploration. There are also other organizations and re-
ground and removing barriers. It is important to note sources for further learning; below are just a few ideas
that good facilitation takes practice, and it is recom- for those interested.
mended to experience good drum circle leading before Community-based initiatives, such as Musicians
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attempting on one’s own. There are also many wonder- Without Borders, exemplify how music can serve as a
ful resources that can aid in this learning. 12 catalyst for social change and conflict transformation.
By empowering individuals to use music as a tool for
5. Group Songwriting peacebuilding in their own communities, these initia-
Finally, taking improvisation one step further, group tives foster empathy, understanding, and resilience in
songwriting can be a powerful experience. It need not the face of adversity. Beyond partnering with local
have lofty expectations of being performed in front of grassroots organizations in post-war areas, they also
people; it can be as simple as an activity to make a silly provide trainings for people to use music as a tool to
song. Similar to group improvisation, there are various build peace in their own communities. In a sense, this
ways this can be led. For example, start by choosing a builds ad hoc ensembles out of communities that would
topic; students can then provide short phrases or ideas not normally have come together to build empathy and
related to that topic. Write them on a board or pro- transform conflict through music.
jected Word document and start to group them in rela- Another organization doing important work is
tion to each other. Ask students to suggest moving text MOMRI (Min-On Music Research Institute), which
around to start to make verses or a chorus. Once short has a Music in Peacebuilding hub and repository, in-
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sentences and verses are constructed, invite students to cluding a directory of hundreds of organizations and
think about how a phrase might sound to improvise a practitioners, alongside research articles, community
melody. Ensure from the outset that all voices are wel- networking boards, and forums for the sharing of re-
come in this space, and for students to be mindful of sources. The head of this program, Olivier Urbain,
how often they are offering suggestions. Alternatively, also edited the book titled Music and Conflict Transforma-
one could start with a chosen chord progression, have tion: Harmonies and Dissonances in Geopolitics. 15
students improvise a melody over it, and let a simple, The curricular potential of teaching music and con-
shorter text come organically that way. As students flict transformation is also promising. Some universities
hear texts around them, they can replicate and supple- offer interdisciplinary style majors, where students can
ment what they are hearing. Group songwriting pro- explore core courses in musical training, along with ad-
motes self-expression, teamwork, and empathy, allow- ditional coursework in peacebuilding or social change,
ing students to share their ideas and connect with one for example. 16
another through music.

Conclusion
Resources for Further Exploration Incorporating music as a tool for conflict transfor-
Beyond the confines of rehearsal rooms and concert mation enhances the musical abilities of our students
halls, the principles of dialogue and empathy hold pro- and equips them with essential life skills that extend
found implications for students’ everyday lives. Conflict beyond the rehearsal room. By fostering dialogue, em-

CHORAL JOURNAL November/December 2024 Volume 65 Number 4 13