# data[].attributes.location_name
Royal College of Music, Prince Consort Road, London, UK

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Kevin John Samuel                         

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Kevin John Samuel                         

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Hey! I'm Kevin. I studied music at Berklee College of

Music, followed by postgraduate degrees in psychology

and public health. I'm interested in the intersections of

music, culture, health, and pro-social behaviour. My

most recent research involves investigating the historical

and contemporary use of popular music in health

campaigns, under the direction of Dr. Neta Spiro, having

been accepted into the doctoral programme at the Royal

College of Music. Should you have any interest in the

topic and would like to know more, please feel free to

reach out. For now, glad to be a part of this global band.

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I am Debashree Das Gupta, a freelance Music Practitioner and Consultant working interdisciplinarily at the intersection of music, education, health, and society. A former lawyer, I transitioned in 2017 to follow my passion for music’s impact on well-being. While my work is flexible, I primarily focus on children, women, and senior citizens. I have contributed through singing, research, and therapy on platforms like Indian Idol and Shankar Mahadevan Academy. A fellow of the Arts for Good and Arts in Medicine programs, I also lead international arts-based initiatives.

https://www.linkedin.com/in/debashree-das-gupta-82432256/

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Disability Inclusion Rwanda, Disability Inclusion, Kigali, Rwanda

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Ntibanyendera Elissam SalimI am guitarist, work in organisations of people with intellectual disabilities( HVP Gatagatara and Disability Inclusion Rwanda). I use music to heal children and youth with intellectual disabilities and to psychologically to heal parents from psychological wounds due to their children disabilities in Rwanda. I am intellectual disabilities ‘specialist. Music, photography and reading are my hobbies. Be blessed. https://www.disabilityinclusionrwanda.org

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Ntibanyendera Elissam SalimI am guitarist, work in organisations of people with intellectual disabilities( HVP Gatagatara and Disability Inclusion Rwanda). I use music to heal children and youth with intellectual disabilities and to psychologically to heal parents from psychological wounds due to their children disabilities in Rwanda. I am intellectual disabilities ‘specialist. Music, photography and reading are my hobbies. Be blessed. https://www.disabilityinclusionrwanda.org

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Nordoff Robbins Music Therapy Centre, 2 Lissenden Gardens, London NW5 1PQ

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I trained as a music therapist with Nordoff and Robbins, qualifying in July 2022. Since then, I have worked for Nordoff and Robbins Music Therapy across North London and Central England across schools, care homes and hospitals. I am interested in the social justice power of music therapy and the potential for music therapists to challenge oppression through their work, and I have an article about this in publication with Voices. I am also beginning some work on love and care in music therapy.

https://www.nordoff-robbins.org.uk/

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I am the International Programme Manager at Music as Therapy International, a UK based charity that has been inspiring, guiding and championing caregivers’ use of music to strengthen care around the world for over 25 years.

My current role is integral to the charity’s global operations, working closely alongside international Partners in the coordination, development, delivery and evaluation of all overseas activities.

I hold a MSc in International Development, allowing me to apply a contemporary development mindset to inform the strategic thinking and the direction of the charity’s international activities.

www.musicastherapy.org

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Bergheimer Str. 99, 69115 Heidelberg-Bergheim-Ost, Germany

# data[].attributes.body
Samuel Gracida is a music therapy clinician, author and business owner with experience in multiple countries around the world. He has served in the International Association for Music and Medicine and his interests include working with displaced populations and older adults; supporting the growth of music and music therapy internationally to promote global health; and creating content to advance and create awareness about music therapy.

samuelgracida.com

bidadigital.net

bridgesmusik.com

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Goldsmiths, University of London, Lewisham Way, London

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recently completed my PhD at InfantLab, Goldsmiths, University of London, where I explored how emotional valence and familiarity in music—from infant-directed singing and instrumental tunes to parentese—shape early musical experiences. Now, as an associate lecturer and researcher at Goldsmiths, I'm delving deeper into how parents' confidence in singing influences their interactions with their babies. I am also seeking postdoctoral opportunities to further explore how shared singing, particularly the powerful bonding it fosters, can strengthen the parent-child connection.

# data[].attributes.location_name
Nordoff Robbins Music Therapy Centre, 2 Lissenden Gardens, London NW5 1PQ

# data[].attributes.body
I am a researcher at Nordoff & Robbins (N&R), where I carry out research projects exploring what happens in and around music therapy, alongside music therapists and other members of the research team. My previous experience is in accessible music technology, which drew on ideas and theories from Human-Computer Interaction (HCI) as well as Disability Studies and Science and Technology Studies. I also volunteer and do occasional freelance work for Heart n Soul, a south-east London based disability arts charity.

https://jacobtfh.github.io/

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Yeşiltepe, Anadolu Üniversitesi Yunus Emre Kampüsü Eczacılık Girişi, İsmet İnönü-2 Bulvarı, Tepebaşı/Eskişehir, Türkiye

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Prof. Dr. Şükrü Torun is an experienced neurologist, academician and musician. Since 2016, he has been authorized nationwide for music therapy practices by the Ministry of Health of the Republic of Turkey and has established the country's first ministry-approved music therapy unit. He is also the founder of Anadolu University's first (and only) Music Therapy Department and its affiliated Master's Program approved by the Council of Higher Education. After retiring in October 2023, he continues to work as a contracted faculty member in the music therapy, neuroscience and speech language therapy master's programs of Anadolu and Üsküdar Universities, the two largest universities in Turkey. Torun also works as an active member of the Turkish Neurology Association's Neurorehabilitation, Quality of Life, Dementia & Behavioral Neurology and Artificial Intelligence & Neurotechnology working groups.

https://www.anadolu.edu.tr/en/academics/graduate-schools-and-institutes/2098/music-therapi-masters-program-non-thesis-msc/courses

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725 Welch Road, Palo Alto, CA 94304, USA

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As Art Curator at Stanford Children’s Health, Antonia Dapena-Tretter believes in the power of art to heal and uses this passion to assemble art installations for the benefit of the hospital’s many patients, families, and staff. She has a master’s degree in art history from the University of Toronto and over a decade of museum and arts nonprofit experience. In her free time, she is a volunteer board member at the National Organization for Arts in Health, an Emeritus Board Member at the NIAD Art Center, and plays the drums.

https://thenoah.net/

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Queensland Conservatorium, Griffith University, South Bank Campus, 140 Grey Street, South Brisbane Queensland 4101, Australia

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Over the past twenty years Brydie has led an innovative program of research that advances our understanding of the role that music and the arts can play in addressing complex social challenges in communities. In particualr, her work examines how participation in communal music making can open up pathways for greater social justice, equity, inclusion and wellbeing, especially in communities where entrenched social disadvantage, displacement and division exists. Her current research projects are investigating the role community music can play in: addressing entrenched social inequity in Australian communities; operating as a cultural determinant of health and promote cultural healing for First Nations’ communities; offering creative approaches to juvenile justice, including primary prevention and desistance; and promoting social inclusion for community members experiencing poverty, homelessness, and isolation.

https://creativechange.org.au/

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970 Scugog Line 8, Port Perry, ON, Canada

# data[].attributes.body
Bev Foster is the Founder and Executive Director of the Room 217 Foundation, a Canadian health arts social enterprise that uses music to improve the care experience by providing designed tools, education, training, and certification for paid and unpaid caregivers. The goal of Room 217’s innovative care approach is to make music more integrated and sustainable in caring communities. A Community Research Fellow of the Laurier Centre for Music in the Community, Bev speaks and writes on the power of music, especially in life limiting situations. Her passion for music enhancing quality of life and care is contagious. A person smiling at the camera Description automatically generated

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Ludlow Assembly Rooms, Castle Street, Ludlow SY8 1AS

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Gersom Engels is a registered music therapist (MA) and qualified music teacher (BMusE). He works as a music therapist in several PMLD and LD settings. Gersom also runs Music Tots, a delightful music activity in Ludlow designed for babies, toddlers, and their parents. Through interactive sessions, Music Tots fosters a healthy bond while promoting social, emotional, physical, and cognitive development. It’s all about having fun with music! Gersom also leads Dawn Chorus, a Ludlow based community singing group where participants gather for uplifting songs in the early mornings. The shared experience of music creates a positive and harmonious start to the day.

Facebook search terms:

Music Tots Ludlow and Dawn Chorus Ludlow

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Liverpool John Moores University, Copperas Hill, Liverpool

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Dr Kerry Wilson is a Reader in Cultural Policy at Liverpool John Moores University (LJMU). She specialises in research on the practice and value of arts and cultural work in health, social care and criminal justice settings and Co-leads the Social Innovation research group at LJMU’s Institute for Health Research. She has led a range of research projects with funding from the Arts and Humanities Research Council, Economic and Social Research Council, Arts Council England and National Museums Liverpool.

https://frontlineculture.net/

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I am the Executive Director of Jessie’s Fund, a UK based charity that helps children to communicate through music. We enable music therapy in children’s hospices and hospital wards. We run creative music projects in specialist schools and early years settings. We have a strong focus on training and development for staff in settings in using music to support communication and wellbeing for children with complex needs and/or life-limiting illness. Prior to this role, I worked as a teacher and senior leader in specialist education.

https://jessiesfund.org.uk/

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Schnöggersburger Weg 1, 39576 Stendal, Germany

# data[].attributes.body
Salus Forensisc State Hospital Saxony-Anhalt

Music therapist, music pedagogue and music geragogue

Interests of research/expertise: Music in forensic setting, classical Arab and Ottoman Music therapy, harps in music therapy, music and  senior citizens

www.sandrasinsch.de

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Irodou Attikou 6, Marousi 151 24, Greece

# data[].attributes.body
I am a music therapist, supervisor, and international trainer in the receptive methods of Guided Imagery and Music (GIM) /Music Imagery. Since 2023 I am also representing the method Music Breathing internationally. I have a PhD in Music Therapy from Aalborg University (Denmark) and my clinical and research interests cover the fields of psycho-oncology, psychological trauma and stress disorders, medical music therapy and pain management, community projects for vulnerable populations, corporate wellness, and general wellbeing. I am the scientific director of SONORA, a non-profit organisation leading therapeutic programmes, special skills trainings, and research in music therapy and related fields.

SONORA-Organisation for Music Therapy and Research

www.sonora.gr

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Whatcom Hospice Foundation, Squalicum Parkway, Bellingham, WA, USA

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I am Celtic harper who provides healing music for patients, staff and families at Whatcom Hospice and two hospitals as time permits. I have played in over 15 wards and units as well as having a background of 12 years of working in psychiatric units as a behaviorial health counselor. I have membership in the Music-Thanatology Association International and was part of the team of “Harps of Comfort” which provided more than 200 remote harp vigils to Covid patients when in person access was not feasible.

Currently I am working with the Accorda Music Thanatology Institute (Accorda – Music-Thanatology Institute (accordaschool.org) as they are now training the next class of Music-Thanatologists for service with harp and voice.

I look forward to learning more from members about how best we can provide music that will bring comfort, care and healing to all cultures and populations.

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Ascencia Business School La Défense, Grande Arche, Parvis de la Défense, Puteaux, France

# data[].attributes.body
Phillip (Phil) Cartwright is an American citizen raised in the Chicago area living in France for thirty years. A Ph.D. in economics from the University of Illinois, Urbana-Champaign, he has forty years of academic and business experience. Today, he is Academic Dean and Full Professor,  International DBA , Ascencia Business School, Paris; Director, Ascencia Business School, Center for Applied Business and Management Research (CABMR), Paris; and Visiting Researcher, Royal College of Music, London. Phil's  teaching and research interests relate to performance science, philosophy of music and dance and quantitative methods. He studies music theory and composition at the Berklee College of Music and he is a member of the American Economic Association,  American Psychological Association, American Musicological Society, the Dance Studies Association, and the Society for Dance Research.

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Ascencia Center for Applied Business and Management Research | CABMR

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CABMR is the research center of Ascencia Business School - Applied research in the areas of management and business administration.

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Queensland Children's Hospital, Stanley Street, South Brisbane QLD, Australia

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Jeanette Kennelly is an experienced clinician, academic and supervisor who is well published in the fields of pediatric music therapy and professional supervision. Jeanette is currently the Clinical Lead Music Therapist at the Queensland Children’s Hospital, Brisbane, Australia and the Founder and Research/Evaluation Manager of a music therapy program at a Family General Practice in Brisbane. Jeanette has a strong belief in the transformative medium of music as a way of creating meaningful connections between parent and child.

www.inspiravision.com.au

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Reid School of Music, The University of Edinburgh, 爱丁堡

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Yi Wang is a PhD researcher from the University of Edinburgh. She is currently doing music performance anxiety related study.

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Mount Royal University Conservatory, Richard Road Southwest, Calgary, AB, Canada

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Research Associate - Mount Royal University Conservatory - Arts Health Initiative, music care, arts care, environmental scan, collaboratory, programming, research

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Karyn Stuart-Rohm

Music Therapist and Researcher

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University of Auckland, Grafton Campus, Grafton, Auckland

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Kia ora from Aotearoa New Zealand. I am a music therapist and teacher, completing my PhD about choirs and singing groups for adults with acquired neurological conditions (stroke, Parkinson's, dementia, TBI...). Originally from the UK.

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The CeleBRation Choir is a therapeutic community singing group that aims to help people with communication difficulties related to a neurological condition and to research the benefits of singing.

The Choir is led by co-founder, music therapist and doctoral student Alison Talmage, who was awarded a Kiwibank Local Hero medal for her work with the CeleBRation Choir. It is an initiative of the University of Auckland's Centre for Brain Research and started in 2009.

"We include warm-ups, breathing and vocal exercises, and songs for enjoyment and to work on our individual voice, speech, language and memory goals. Singing may also help to 'rewire' the brain after brain injury, and so could help with language problems like aphasia.

We sing a wide variety of familiar and new songs and we welcome participants' preferences and suggestions. These include traditional folk songs and rounds, waiata, show tunes, Christmas music and pop songs from the 1950s on."

"Sing, They All Said, Just Sing"

"Sing, They All Said, Just Sing" is a short documentary about the CeleBRation Choir. Directed by Sakshi Chadha, it tells the story of three choir participants. The film was selected for the 2020 New Zealand Doc Edge Film Festival.

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The CeleBRation Choir is a therapeutic community singing group that aims to help people with communication difficulties related to a neurological condition and to research the benefits of singing.

# data[].attributes.body
Kabi Kabi, Gubbi Gubbi Country

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Ionian University - Music Department, Corfu

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Assistant Professor of Music Therapy and Inclusive Music Practices

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We are an interdisciplinary research group based at the Department of Music from the University of Liverpool. Our aim is to harness the benefits of music for improving people's lives.

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We are an interdisciplinary research group based at the Department of Music from the University of Liverpool. Our aim is to harness the benefits of music for improving people's lives.

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Royal Northern College of Music, Oxford Road, Manchester, UK

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Naomi Kayayan Royal Northern College of Music, Oxford Road, Manchester, UK

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Naomi Kayayan Royal Northern College of Music, Oxford Road, Manchester, UK

# data[].attributes.body
Naomi Kayayan

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Naomi Kayayan - Royal Northern College of Music

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The RNCM is a leading international conservatoire and live music venue in the heart of Manchester

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Facultad de Psicología UNAM, Ciudad Universitaria, Ciudad de México, CDMX, México

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Hi, I'm a Professor at the Faculty of Psychology and the Faculty of Music at UNAM. My main research areas are Psychology and Music, and Psychology and Art. I'm in charge of the Social Service Project: Psychology and Art, which looks at art as a support in the comprehensive development of individuals. Also, I founded and coordinate the Laboratory of Psychology and Musical Arts.

cmoran@fam.unam.mx

Facultad de Psicología y Facultad de Música, UNAM

National Autonomous University of Mexico

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Laboratorio Psicología y Artes Musicales

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James Cook University, James Cook Drive, Douglas QLD

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As a music psychology scholar based at JCU, Dr Amanda Krause studies how we experience music in our everyday lives. Her research asks how our music experiences influence our health and well-being. www.resaerchaboutlistening.com

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Sumbul Zehra is a prominent figure in the field of scientific use music therapy (Bio-musicology) and known as Father of Bio-musicology (scientific music therapy) with his mentor jointly. Her work focuses on utilizing music as a therapeutic tool to address various mental, emotional, and physical health challenges. Through her expertise, she's contributed significantly to the understanding of how music can positively impact individuals' well-being. As the CEO of the Indian Association of Music Therapy, Ms. Zehra leads the organization in its mission to elevate the practice and understanding of music therapy throughout India. Under her direction, the association serves as a catalyst for research, education, and advocacy in the field, striving to integrate music therapy into mainstream healthcare and wellness initiatives across the country. Zehra's visionary leadership and dedication have been instrumental in advancing the impact and reach of music therapy and Bio-musicology in India, enriching the lives of individuals and communities through the power of music. She is a renowned researcher and scholar who has made significant contributions to understanding the biological basis of music perception and cognition in the Indian context. Zehra's work spans across various disciplines, including neuroscience, psychology, and musicology, as she explores the intricate connections between biology and music in Indian culture. Through her research, she sheds light on how factors such as genetics, brain function, and cultural upbringing influence the way individuals perceive and experience music in India. She also served as RUSA consultant in U.P. and Research Associate in Govt. Project on Music Therapy. One patent and copyright in my name on mechanism of music therapy. She published 10 research papers and book chapters and participated in 27 seminars, workshops, and conferences at National and International platform. She was honoured by Peace, Harmony and Development Foundation, University of Nebraska, USA, Young Researcher Award-2023 by EAP in Istanbul Turkey, Young Women Scientist Award-2023 by MAESASS, Agra

# data[].attributes.body
Sumbul Zehra is a prominent figure in the field of scientific use music therapy (Bio-musicology) and known as Father of Bio-musicology (scientific music therapy) with his mentor jointly. Her work focuses on utilizing music as a therapeutic tool to address various mental, emotional, and physical health challenges. Through her expertise, she's contributed significantly to the understanding of how music can positively impact individuals' well-being. As the CEO of the Indian Association of Music Therapy, Ms. Zehra leads the organization in its mission to elevate the practice and understanding of music therapy throughout India. Under her direction, the association serves as a catalyst for research, education, and advocacy in the field, striving to integrate music therapy into mainstream healthcare and wellness initiatives across the country. Zehra's visionary leadership and dedication have been instrumental in advancing the impact and reach of music therapy and Bio-musicology in India, enriching the lives of individuals and communities through the power of music. She is a renowned researcher and scholar who has made significant contributions to understanding the biological basis of music perception and cognition in the Indian context. Zehra's work spans across various disciplines, including neuroscience, psychology, and musicology, as she explores the intricate connections between biology and music in Indian culture. Through her research, she sheds light on how factors such as genetics, brain function, and cultural upbringing influence the way individuals perceive and experience music in India. She also served as RUSA consultant in U.P. and Research Associate in Govt. Project on Music Therapy. One patent and copyright in my name on mechanism of music therapy. She published 10 research papers and book chapters and participated in 27 seminars, workshops, and conferences at National and International platform. She was honoured by Peace, Harmony and Development Foundation, University of Nebraska, USA, Young Researcher Award-2023 by EAP in Istanbul Turkey, Young Women Scientist Award-2023 by MAESASS, Agra

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Purple Blue Illustrated Relax Music Playlist YouTube Thumbnail

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Amarpali Princely Estate, Noida, Uttar Pradesh, India

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The Indian Association of Music Therapy is the association that represents researchers, bio-musicologists, scientists, music therapists, corporate members, and related associations worldwide to promote the use of music not only in the cure of various diseases but also for a healthy life.

IAMT was founded in 2010 with the mission of establishing music as a drug and progressive development of the therapeutic use of music to cure disorders and in rehabilitation, special education, and community settings. IAMT sets the education and clinical training standards for music therapists.

https://iamt.net.in/

Prof. Dinesh C. Sharma,
Chairperson,
Indian Association of Music Therapy

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Aaron Colverson, UCSF Memory and Aging Center. Aaron is a Postdoctoral Fellow with the Socioemotional Neuropsychology Lab studying relationships between rhythmic music making and cognitive functioning in aging. He is a co-lead for the Sound Health Network's Student Affinity Group, member of the Reserve, Resilience, and Protective Factors Professional Interest Area of the Alzheimer's Association, and Research Associate with the University of Florida Center for Arts in Medicine.

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Come Singing at the Norwich Millennium Library - joyful, slightly anarchic sessions for older people, those living with memory loss and their friends and familes! 2nd and 4th Tuesdays of the month, 10.45 - 11.45. free, with tea etc afterwards.

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Vanderbilt University, West End Avenue, Nashville, TN

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Vanderbilt University, West End Avenue, Nashville, TN

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Vanderbilt University, West End Avenue, Nashville, TN

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I am Ph.D. student in Human Genetics at Vanderbilt University investigating biological cross-talk between speech-language and music traits in the clinical context.

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Joanna Latała

Professioanl Orchestra Cellist.

Independent Researcher in Performance Science.

Mental Training for professional musician.

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I grew up in Krakow, Poland, where I attended music school starting at the age of seven. During the entrance exam for primary music school, the jury chose the cello as the best instrument for me, and I have been playing ever since. Playing in orchestras has brought me the greatest joy, and I have always felt that the concert hall is my place in life.

For my Master's program, I chose Gothenburg because the University of Gothenburg, Academy of Music and Drama offered a unique program in Symphony Orchestra Performance, which was one of a kind in Europe. From the very first day, I knew that it was the best decision of my life. Studying at this school with amazing friends and teachers was a pleasure and opened many opportunities, such as a scholarship in New York, where I had the honor of playing a concert at Carnegie Hall.

Another amazing experience I had was during the process of writing my Master's thesis, which was about preparation for orchestra projects. I received a scholarship at the University of Maryland, Washington D.C., at the National Orchestra Institute, where I got to know students and teachers trained in American methods of practicing, mental training, and performance practice. Further scholarships from Marianne och Ary's Paley Foundation gave me the opportunity to study mental training courses with the best coaches in the world.

During listening to a podcast with a cellist from one of the world's major orchestras, the question was asked about her first time playing in an orchestra. Her response, stating she was 16 years old, impressed the audience and received positive comments on social media. It made me reflect on my own experience, and I realized that I had my first orchestra rehearsal when I was only 7 years old. This realization inspired me to write about my deep love for the orchestra.

"I grew up in Poland where we have "special" music schools. That means that when you're seven years old and you're supposed to go to a regular school, you can choose the music school instead. You attend two schools in the same building: you have normal school subjects like literature, history, math, etc., and music school subjects like cello lessons, piano lessons, music history, music literature, rhythmic, ear training, and orchestra. So I started my adventure fully - 100% in :) ... and I completely felt in love.

At the end of primary school (when I was 10?), the school orchestra was not enough, so I started to join a youth orchestra in the city. If I remember correctly, we rehearsed twice a week and on Saturdays. We had concerts almost every month. My parents drove me there and back, which probably made them crazy... I should say thank you for that because it was worth it.

When I was 12, I went to high music school, which was the same in the morning for normal lessons and in the afternoon for all the music lessons, chamber music, and orchestra. So I was 12 when I left for my first orchestra international tour to France (for two weeks). I was the youngest in the orchestra, and stress was extremely high, but I was with my best friend - she played viola - so we enjoyed ourselves a lot. A year later, I went on a two-week tour to France again and later on to Germany. I came back to regular school classes 2.5 months after the year started because I got sick after and during traveling with orchestras, and the teachers from biology told me I would not pass the year because I had too much backlog. So, for the next six months, I studied, practiced, and slept for 3-4 hours per day... and I passed the year. I was also attending this youth city orchestra. I had amazing chamber music - a string quartet with which we had lots of concerts. But it was not enough for me. Every summer, I went to the Orchestra Summer Course in Pulawy in Poland, where the main focus was an orchestra, chamber music, and English. The first time I was younger, and in the orchestra, we played Tchaikovsky's Serenade for Strings. For chamber music, I had Mendelssohn's Octet. I was freaking out, practicing for nine hours per day, which, as a 12-year-old kid, was a lot and very hard to play. But all the advice from a cellist coacher stayed with me until today when I need to play excerpts on an audition.

During high school, we went on international orchestra tours every year or twice a year when I was graduating high school at 18 years old. I had 12 years of experience in the orchestra at school with nine international tours, tons of chamber music, city youth orchestra, thousands of concerts, exams from chamber music, and solo cello.

My favorite place in the orchestra? Leader of the group. I always loved this - a little bit more exciting pressure on me during the rehearsal and performance. I started my study at the Academy of Music in Cracow, where the orchestra was a study subject as well. We had concerts every month. That was a time when I went to the International Youth Orchestra for the first time, and I met young people from Europe who loved to play in the section as much as I did. Berlin Philharmonic, Beyrouth, and many more places were where I played, learned from international coaches, and followed more and more.

Throughout my life, I have been taught by principal cellists from major orchestras around the world. After my cello lessons, I would attend concerts to see them perform, leading their sections and playing everything they had taught me. For most orchestra projects, I served as the leader of the group. However, studying in Sweden taught me how important and difficult it is to sit in the last chair of the section. This new experience made me realize that while it's a pleasure to sit in the first chair, it's even more important to sit in the last. During five years of study, I spent most of my time sitting in the back chairs or in the middle of the section, which gave me a better understanding of the entire section structure. In the last year of my Master's degree in Orchestra Symphony Performance in Gothenburg, I was the leader for almost every project. The very hard work of preparation helped me understand that the first chair cellist's responsibility is to help the entire section play better.

My love for playing in orchestras has never waned. In 2015, I received a scholarship to the Youth Philharmonic Orchestra in the USA. One month in New York, preparing for the final concert at Carnegie Hall with musicians from over 100 countries, made me realize how many different playing and practicing styles there are, which inspired my Master's Thesis. As part of that experience, I attended the National Orchestra Institute at the University of Maryland in Washington, D.C. in 2018, where I learned more about American methods of practicing and mental training. I knew right away that this would change my life.

And that is what happened...

I started to study, read, and do research about the American method of practice and the mental method of practice. Suddenly, I discovered that during 20 years of my music education, I always practiced and learned how to play the cello, but no one ever taught me how to perform.

I discovered that in some major music schools around the world, they actually have classes where the student has an opportunity to learn how to perform on stage, and how to perform under pressure. It is not about anxiety or fright, which of course most musicians feel or have experienced those feelings, but they teach how to show their best, full potential, and full engagement during the performance. They were so smart that they took all their knowledge from sports, coaches, athletes, and trainers who focus on how to get prepared for the Olympic Games. How smart was that! They practice for 4 years or more, and then during one day, one hour, or one moment, they have an opportunity to win the gold medal. So Performance Science has been created naturally by the sports department, but the music world is taking that knowledge, transforming it, and using it to teach musicians how to show their best during a short time on the stage, under pressure, when it counts the most.

It has been fascinating to see the results in my own playing and seeing my new colleagues doing that, getting to know all the community and international networks created by people who are into it as much as I am. It has been a quite new thing, and there are not so many trainers around, not so many institutes, teachers, and researchers. Most of them, the same as I am, are doing their own practice, searching for new methods, trying to apply them to musicians, and finding what brings the best results. But after 7 years of researching this topic, I know that this is the future for musicians and orchestras. I would say European orchestras have to hurry up because Americans have done that in the last 10 years, which means they will run away, and we need to catch them before they run too far. Otherwise, we will soon notice the same gap that exists between American athletes in the Olympics and the rest of the world.

That is why I created Performing Mind.

I would like to share my knowledge and experience with mental training and how to perform under pressure to help individual musicians and the entire orchestra group. These methods not only support each other in the group but also raise the level of the orchestra, allowing musicians to develop and perform even better. I found coaches in Australia who are conducting research and training, and after seeing their methods, I am impressed and see the future of orchestra playing changing and opening new possibilities

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Joanna Latala profesioanl orchestra cellist.Get to know me and my journey as a mental trainer for musicians. Discover how I can help you improve your performance through mental training techniques.

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University of Michigan Hospital, East Medical Center Drive, Ann Arbor, MI, USA

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Sam Vandiver is the coordinator for the Bedside Music Program at University of Michigan hospital, where musicians certified by the Music for Healing and Transition Program provide healing music at the patient bedside. Currently, we have 7 musicians (3 guitars, 3 harps, and 1 bass violin).

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Live music has an almost immediate stress-reducing and calming effect. Certified Music Practitioners® provide free live therapeutic music to adult inpatients at Michigan Medicine.

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Joanna Latała

Professioanl Orchestra Cellist.

Independent Researcher in Performance Science.

Mental Training for professional musician.

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I grew up in Krakow, Poland, where I attended music school starting at the age of seven. During the entrance exam for primary music school, the jury chose the cello as the best instrument for me, and I have been playing ever since. Playing in orchestras has brought me the greatest joy, and I have always felt that the concert hall is my place in life.

For my Master's program, I chose Gothenburg because the University of Gothenburg, Academy of Music and Drama offered a unique program in Symphony Orchestra Performance, which was one of a kind in Europe. From the very first day, I knew that it was the best decision of my life. Studying at this school with amazing friends and teachers was a pleasure and opened many opportunities, such as a scholarship in New York, where I had the honor of playing a concert at Carnegie Hall.

Another amazing experience I had was during the process of writing my Master's thesis, which was about preparation for orchestra projects. I received a scholarship at the University of Maryland, Washington D.C., at the National Orchestra Institute, where I got to know students and teachers trained in American methods of practicing, mental training, and performance practice. Further scholarships from Marianne och Ary's Paley Foundation gave me the opportunity to study mental training courses with the best coaches in the world.

During listening to a podcast with a cellist from one of the world's major orchestras, the question was asked about her first time playing in an orchestra. Her response, stating she was 16 years old, impressed the audience and received positive comments on social media. It made me reflect on my own experience, and I realized that I had my first orchestra rehearsal when I was only 7 years old. This realization inspired me to write about my deep love for the orchestra.

"I grew up in Poland where we have "special" music schools. That means that when you're seven years old and you're supposed to go to a regular school, you can choose the music school instead. You attend two schools in the same building: you have normal school subjects like literature, history, math, etc., and music school subjects like cello lessons, piano lessons, music history, music literature, rhythmic, ear training, and orchestra. So I started my adventure fully - 100% in :) ... and I completely felt in love.

At the end of primary school (when I was 10?), the school orchestra was not enough, so I started to join a youth orchestra in the city. If I remember correctly, we rehearsed twice a week and on Saturdays. We had concerts almost every month. My parents drove me there and back, which probably made them crazy... I should say thank you for that because it was worth it.

When I was 12, I went to high music school, which was the same in the morning for normal lessons and in the afternoon for all the music lessons, chamber music, and orchestra. So I was 12 when I left for my first orchestra international tour to France (for two weeks). I was the youngest in the orchestra, and stress was extremely high, but I was with my best friend - she played viola - so we enjoyed ourselves a lot. A year later, I went on a two-week tour to France again and later on to Germany. I came back to regular school classes 2.5 months after the year started because I got sick after and during traveling with orchestras, and the teachers from biology told me I would not pass the year because I had too much backlog. So, for the next six months, I studied, practiced, and slept for 3-4 hours per day... and I passed the year. I was also attending this youth city orchestra. I had amazing chamber music - a string quartet with which we had lots of concerts. But it was not enough for me. Every summer, I went to the Orchestra Summer Course in Pulawy in Poland, where the main focus was an orchestra, chamber music, and English. The first time I was younger, and in the orchestra, we played Tchaikovsky's Serenade for Strings. For chamber music, I had Mendelssohn's Octet. I was freaking out, practicing for nine hours per day, which, as a 12-year-old kid, was a lot and very hard to play. But all the advice from a cellist coacher stayed with me until today when I need to play excerpts on an audition.

During high school, we went on international orchestra tours every year or twice a year when I was graduating high school at 18 years old. I had 12 years of experience in the orchestra at school with nine international tours, tons of chamber music, city youth orchestra, thousands of concerts, exams from chamber music, and solo cello.

My favorite place in the orchestra? Leader of the group. I always loved this - a little bit more exciting pressure on me during the rehearsal and performance. I started my study at the Academy of Music in Cracow, where the orchestra was a study subject as well. We had concerts every month. That was a time when I went to the International Youth Orchestra for the first time, and I met young people from Europe who loved to play in the section as much as I did. Berlin Philharmonic, Beyrouth, and many more places were where I played, learned from international coaches, and followed more and more.

Throughout my life, I have been taught by principal cellists from major orchestras around the world. After my cello lessons, I would attend concerts to see them perform, leading their sections and playing everything they had taught me. For most orchestra projects, I served as the leader of the group. However, studying in Sweden taught me how important and difficult it is to sit in the last chair of the section. This new experience made me realize that while it's a pleasure to sit in the first chair, it's even more important to sit in the last. During five years of study, I spent most of my time sitting in the back chairs or in the middle of the section, which gave me a better understanding of the entire section structure. In the last year of my Master's degree in Orchestra Symphony Performance in Gothenburg, I was the leader for almost every project. The very hard work of preparation helped me understand that the first chair cellist's responsibility is to help the entire section play better.

My love for playing in orchestras has never waned. In 2015, I received a scholarship to the Youth Philharmonic Orchestra in the USA. One month in New York, preparing for the final concert at Carnegie Hall with musicians from over 100 countries, made me realize how many different playing and practicing styles there are, which inspired my Master's Thesis. As part of that experience, I attended the National Orchestra Institute at the University of Maryland in Washington, D.C. in 2018, where I learned more about American methods of practicing and mental training. I knew right away that this would change my life.

And that is what happened...

I started to study, read, and do research about the American method of practice and the mental method of practice. Suddenly, I discovered that during 20 years of my music education, I always practiced and learned how to play the cello, but no one ever taught me how to perform.

I discovered that in some major music schools around the world, they actually have classes where the student has an opportunity to learn how to perform on stage, and how to perform under pressure. It is not about anxiety or fright, which of course most musicians feel or have experienced those feelings, but they teach how to show their best, full potential, and full engagement during the performance. They were so smart that they took all their knowledge from sports, coaches, athletes, and trainers who focus on how to get prepared for the Olympic Games. How smart was that! They practice for 4 years or more, and then during one day, one hour, or one moment, they have an opportunity to win the gold medal. So Performance Science has been created naturally by the sports department, but the music world is taking that knowledge, transforming it, and using it to teach musicians how to show their best during a short time on the stage, under pressure, when it counts the most.

It has been fascinating to see the results in my own playing and seeing my new colleagues doing that, getting to know all the community and international networks created by people who are into it as much as I am. It has been a quite new thing, and there are not so many trainers around, not so many institutes, teachers, and researchers. Most of them, the same as I am, are doing their own practice, searching for new methods, trying to apply them to musicians, and finding what brings the best results. But after 7 years of researching this topic, I know that this is the future for musicians and orchestras. I would say European orchestras have to hurry up because Americans have done that in the last 10 years, which means they will run away, and we need to catch them before they run too far. Otherwise, we will soon notice the same gap that exists between American athletes in the Olympics and the rest of the world.

That is why I created Performing Mind.

I would like to share my knowledge and experience with mental training and how to perform under pressure to help individual musicians and the entire orchestra group. These methods not only support each other in the group but also raise the level of the orchestra, allowing musicians to develop and perform even better. I found coaches in Australia who are conducting research and training, and after seeing their methods, I am impressed and see the future of orchestra playing changing and opening new possibilities

# data[].attributes.attachment_link.description
Joanna Latala profesioanl orchestra cellist.Get to know me and my journey as a mental trainer for musicians. Discover how I can help you improve your performance through mental training techniques.

# data[].attributes.body
Heather Wootton

Lead Teaching Artist, PhilKids

Assistant principal Horn, Calgary Philharmonic Orchestra

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Platform - "Performance Mindset "

and

BLOG - Mental training for professional musician.

Hello!

My name is Joanna Latala, and I am a professional orchestra musician - cellist who is passionate about the performance science - Mental Training.

I would like to share my knowledge and experience with mental training and how to perform under pressure to help individual musicians and the entire orchestra group. These methods not only support each other in the group but also raise the level of the orchestra, allowing musicians to develop and perform even better.

The main aim of Performance Mindset  for musican is to provide the best quality resources, tools, and tips for classical musicians to become even better performers. I want to help them reach the highest level of excellence and success. Performance Mindset is a comprehensive service with online courses, personal coaching, and workshops. My courses will cover topics such as stage presence, mental training, performance anxiety, and more. I will also offer personal coaching and workshops to help musicians develop their skills. Performance Mindset is dedicated to helping musicians reach their full potential. My goal is to create a community of musicians who are committed to their growth and development and who support each other in their journey.

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I am an ethnomusicologist, specifically a music anthropologist, who is interested in music's relationships to inequalities of health and well-being, climate change impacts, and poverty in the Arctic and North America. I conduct and theorize social anthropology studies concerned with solving concrete social and environmental problems through music and the arts.

Currently, I am leading the consortium research project Musical Climate Art for a Sound Future, in Greenland. The project investigates how to use scientific, traditional, and local knowledges to support traditional and new music-related livelihoods in meeting climate and related social changes in the Arctic. You can read more about the project here.

My passion to study music and health sprang from my long-standing research on music and theatre practices in one of North America's poorest urban neighbourhoods, Vancouver's Downtown Eastside. People living in the Downtown Eastside suffered short life-length as well as HIV/AIDS, hepatitis, tuberculosis, and addictions. I did my research through participant observation as a violinist, percussionist, and music organizer in culturally diverse contexts of popular music, pop opera and Indigenous drumming. A result of this research, my award-winning book Music Downtown Eastside: Human Rights and Capability Development through Music in Urban Poverty (Oxford, 2020), examines interrelationships of poverty, music and human rights in the context of urban redevelopment, particularly gentrification.

Over my career, I have published on other specific issues of music and inequality that have emerged directly from my ethnographic research sites. Since the early 2010s, I have conducted research together with Inuit of Greenland and Sámi of Finland, Sweden, and Norway, for example in my project Music for Health and Well-being in Arctic Indigenous Cultures and a Helsinki Collegium for Advanced Studies fellowship on music in Sámi theatre. The collaborations, extending to international academics, led to new insights on music's relationships to social determinants of health, the social potential of music for addiction recovery, and music making as a response to trauma (one project also included asylum seekers and refugees in the EU).

I base these and my other works, in part, on my theorization of applied or activist ethnomusicology as a field especially in relation to values. I was lead editor of Applied Ethnomusicology: Historical and Contemporary Approaches (2010), and edited two other monographs on the field, in English and Mandarin (2016, 2018).

My professional responsibilities support my current research interests. I serve as co-chair of the Medical Ethnomusicology Special Interest Group of the Society for Ethnomusicology (USA), and I am the liaison for Denmark to Musical Care International.

I am delighted to share my professional and research knowledge with students. I welcome master's and PhD students who are interested in activist approaches to music in and as culture, especially in relation to concrete social and environmental issues.

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Lektor ved Institut for Kommunikation og Kultur - Musikvidenskab på Aarhus Universitet. Se fagområder, forskning og kontaktoplysninger.

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Medellin Philharmonic Orchestra, El Poblado, Medellin, Antioquia, Colombia

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Small grant holder: Orquesta Filarmonica de Medellin

# data[].attributes.subject
Small grant holder: Orquesta Filarmonica de Medellin

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Musical experiences of people with hearing disabilities

https://filarmed.org/

Juanita Eslava

https://www.dropbox.com/scl/fi/rtwzxqzgbb6wosvrnecbe/SOY-M-SICO-%201.mp4?rlkey=9pjnuqppf14sawv73spcurib4&dl=0

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Clínica El Carmen EPS Sanitas, Calle 71, Norte Centro Historico, Barranquilla, Atlantico, Colombia

# data[].attributes.headline
Small grant holder: Centro de Musicoterapia

# data[].attributes.subject
Small grant holder: Centro de Musicoterapia

# data[].attributes.body
Musical Care in the face of illness: Musical care groups for patients, caregivers, staff and the community of the Hospital Clínica El Carmen in Barranquilla, Colombia.

Mark Ettenberger

www.sono.la

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Vicente López, Buenos Aires Province, Argentina

# data[].attributes.body
Completing the content validity process of the assessment tool called Musical Functional Assessment Profile in Autism (MFAP)

Nuria Marsimian
Italian Hospital of Buenos Aires

Instagram: @musicoterapiatea
Facebook: Musicoterapiatea

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Mount Royal University Conservatory, Richard Road Southwest, Calgary, AB, Canada

# data[].attributes.headline
Small grant holder: Mount Royal Conservatory

# data[].attributes.subject
Small grant holder: Mount Royal Conservatory

# data[].attributes.body
More than performance: A workshop exploring how the performing arts can be used to support health and wellbeing across the lifespan

Terry Clark

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Royal College of Music, Prince Consort Road, London

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The second Musical Care International Network meetings
May 2023
Online event

We shared experiences and insights from local network events, announced the network’s small grant recipients, and discussed future directions for the network.

For more information about the event, please see the meeting booklet.

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Event: Symposium 'Breaking through disciplinary boundaries: Emerging approaches in musical care'

# data[].attributes.subject
Event: Symposium 'Breaking through disciplinary boundaries: Emerging approaches in musical care'

# data[].attributes.body
Breaking through disciplinary boundaries: Emerging approaches in musical care
January 2023
Hybrid event (hosted by IESA Arts and Culture and Ascencia Business School, Paris, France)

This two-day symposium focused on the role of care and the potential for musical care in musical performance and other performance practices.

Organising network liaison: Phillip Cartwright

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Event: Discussion 'How to incorporate music into mental health work'

# data[].attributes.subject
Event: Discussion 'How to incorporate music into mental health work'

# data[].attributes.body
How to incorporate music into mental health work
December 2022
In-person (hosted in upstate New York, USA)

This event was a discussion among mental health therapists about how to incorporate music into their work.

Organising network liaison: Naomi Raymond

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Event: Discussion 'Music (Arts) as Care: Interdisciplinary Arts practice and research. Broadening the scope of music (arts) care practices'

# data[].attributes.subject
Event: Discussion 'Music (Arts) as Care: Interdisciplinary Arts practice and research. Broadening the scope of music (arts) care practices'

# data[].attributes.body
South African National Arts Therapies Association (SANATA)
November 2022

Presentation and discussion about ‘Music (Arts) as Care: Interdisciplinary Arts practice and research. Broadening the scope of music (arts) care practices.’

Organising network liaison: Sunelle Fouché

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St Columba's Hospice, Leith Walk, Edinburgh, UK

# data[].attributes.headline
Event: Symposium 'St Columba's Hospice Care for the Arts in Palliative Care'

# data[].attributes.subject
Event: Symposium 'St Columba's Hospice Care for the Arts in Palliative Care'

# data[].attributes.body
The 3rd annual symposium of St Columba’s Hospice Care for the Arts in Palliative Care
November 2022
Online event (hosted by St Columba’s Hospice, Edinburgh, UK)

This year’s theme was “reimagining creativity and care” and the symposium aimed to offer a space for revisiting how creativity and care are embodied within and around the wider context of the arts in palliative care.

Organising network liaison: Giorgos Tsiris

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Event: Panel 'European Music Therapy Day: Music interventions for dementia and depression in elderly care'

# data[].attributes.subject
Event: Panel 'European Music Therapy Day: Music interventions for dementia and depression in elderly care'

# data[].attributes.body
Panel on European Music Therapy Day MIDDEL: Music interventions for dementia and depression in elderly care
November 2022
Online event (hosted by Ankara Hacı Bayram Veli University Turkish Music State Conservatoire, Ankara, Turkey)

This event discussed experiences and preliminary results from the MIDDEL project in Turkish and English with Burçin Uçaner Çifdalöz, Yeşim Saltık, Monika Geretsegger, Jo Dugstad Wake, and Özgür Salur.

Organising network liaison: Burçin Uçaner Çifdalöz

# data[].attributes.headline
Event: 'Music therapy self-care groups for surgery staff'

# data[].attributes.subject
Event: 'Music therapy self-care groups for surgery staff'

# data[].attributes.body
Music therapy self-care groups for surgery staff
October 2022
In person (hosted by SONO – Centro de Musicoterapia, Bogotá, Columbia)

This event was for staff of the hospital surgery unit, including nurses, doctors and residents.

Organising network liaison: ​​​​Mark Ettenberger

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Event: Seminar 'Embedding music therapy in perinatal grief'

# data[].attributes.subject
Event: Seminar 'Embedding music therapy in perinatal grief'

# data[].attributes.body
Embedding music therapy in perinatal grief
October 2022
Hybrid event (hosted by SONO – Centro de Musicoterapia, Bogotá, Columbia)

This event, which focused on music therapy in perinatal grief, was attended by 30 people, 26 online. It included parents who had lost a child in hospital, social workers, psychologists and staff.

Organising network liaison: ​​​​Mark Ettenberger

# data[].attributes.location_name
Emniyet, Ankara Hacı Bayram Veli Üniversitesi İktisadi ve İdari Bilimler Fakültesi B Yaşam, Yenimahalle/Ankara, Türkiye

# data[].attributes.headline
Event: Public Seminar 'Music Therapy and Other Music Interventions in Dementia Care'

# data[].attributes.subject
Event: Public Seminar 'Music Therapy and Other Music Interventions in Dementia Care'

# data[].attributes.body
Music therapy and other music interventions in dementia care
September 2022
Public Seminar (hosted by Ankara Hacı Bayram Veli University Turkish Music State Conservatoire, Ankara, Turkey)

This was a seminar attended by about 50-60 participants at Ankara Hacı Bayram Veli University Turkish Music State Conservatoire.

Organising network liaison: Burçin Uçaner Çifdalöz

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Royal College of Music, Prince Consort Road, London

# data[].attributes.headline
Event: Book launch of Collaborative Insights:Interdisciplinary Perspectives on Musical Care Throughout the Life Course

# data[].attributes.subject
Event: Book launch of Collaborative Insights:Interdisciplinary Perspectives on Musical Care Throughout the Life Course

# data[].attributes.body
Introducing Collaborative Insights:
Interdisciplinary Perspectives on Musical Care Throughout the Life Course
July 2022
Hybrid event (hosted at the Royal College of Music, London, UK)

On the 11th of July 2022 we launched Collaborative Insights: Interdisciplinary Perspectives on Musical Care Throughout the Life Course edited by Neta Spiro and Katie Rose M. Sanfilippo

This event included:

An introduction to the book by the editors.

The debut of the animated video series inspired by the book.

Invited responses to the book by speakers across a range of disciplines:

A panel discussion with some book chapter authors including

Introduction of the international and interdisciplinary network on musical care

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Royal College of Music, Prince Consort Road, London

# data[].attributes.body
Musical Care International Network: Inaugural meetings
Online event (hosted by the Royal College of Music, London and City, University of London, UK)

On the 18th and the 21st of January 2022, we held the inaugural online meetings of the new Musical Care International Network.

The meetings brought together practitioners and researchers from around the world from practices and disciplines related to musical care, including anthropology, arts and health, community music, economics, ethnomusicology, geography, health sciences, music education, music therapy, music and science, and sociology.

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Angela Shum has been a registered nurse for more than 10 years, working in health care settings across different countries and cities, including Hong Kong, Canada and USA.

She is board certified music therapist (MT-BC) in USA and MTA in Canada.  She was trained in expressive therapy and earned her MA from Lesley University, USA.

Previously, she worked as a music therapist at a Provincial hospital in Canada and rehabilitation therapist at a California Forensic hospital in USA. Presently, she has her own private practice in Hong Kong, is involving research study with local institutions, including providing services using Focused Music Imagery to young adults, as well as Music Breathing to caregivers of pediatric oncology patients.  Her passion is to promote self-care practices to health care professionals, Angela is a fellow of the Association for Music and Imagery (USA). She is assistant trainer for the Music Breathing training program.

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Hi, I'm JP. I'm a researcher in the field of nonverbal communication, particularly interested in the relationship between vocal prosody and music. One of my strands of research concerns Infant-Directed Speech and its relationship to music. I am currently studying the use of I-D Speech as patronising speech directed towards people with disabilities.

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Maître de Conférences / Associate Professor

Chercheur associé / Young Researcher, Millennium Institute for Care Research (MICARE)

Current situation

Sept 2022 Université de Lorraine, SHS Nancy, Laboratoire Interpsy
Maître de Conférences / Associate professor

Millennium Institute for Care Research (MICARE)
Investigador Joven / Associate Researcher
Education and Academic Trajectory

2021-2022 Millennium Institute for Care Research (MICARE)

Postdoctoral Researcher

2019-2021 Université de Lorraine, SHS Nancy, Laboratoire Interpsy

Attaché Temporaire d'Enseignement et de Recherche / Temporary Lecturer

2021 Ministère de lʼEnseignement supérieur, de la Recherche et de lʼInnovation

State certification for assistant professorships - CNU section 16 (Psychology). N o de qualification 16. 21 216 337 907

PhD in Music Cognition. Supervisor: Prof Ian Cross
Title : Vocal-Affective Weaning and its role in musical enculturation: children's interest in music beyond the Infant-Directed Register
Viva examiners:

Dr Alexandra Lamont (Keele University)

Prof Dr Martine van Puyvelde (Vrije Universiteit Brussel)

2014-2015 The University of Cambridge, Centre for Music and Science

MPhil in Music Cognition. Supervisors: Profs. Ian Cross and Sarah Hawkins

Title : Harmonic analysis of 'periodic' and 'aperiodic' Question‑Answer pairs in spontaneous adult conversation.

2010-2011 Pontificia Universidad Católica de Chile, Escuela de Psicología

Professional certificate delivered only by universities after a minimum of 10 academic semesters including supervised praxis. It legally authorizes to practice Clinical Psychology

2007 - 2010 Pontificia Universidad Católica de Chile, Escuela de Psicología

Bachelor of Arts in Psychology

1999 - 2008 Pontificia Universidad Católica de Chile, Instituto de Música

Piano studies under the professorship of Prof. Constanza Rosas M.Sc. (Studies degree equivalent to Level 8 DipABRSM)
Research experience

2021- present Millennium Institute for Care Research (MICARE) - Université de Lorraine, SHS Nancy, Laboratoire Interpsy

Project 'Characterising patronizing speech directed at persons with intellectual disabilities beyond the Global West (PaSPID)'. (€10.000)

Principal Investigator

2022- present Universidad de los Andes, Psychology Department

Project 'Paving the way for autonomy: An interdisciplinary approach to the relationship between early interactions and adaptive behaviour in infants with Down Syndrome ' FONDECYT 1221400 (USD 233.000)

Academic Advisor

2021- present Millennium Institute for Caregiving Research - Universidad de los Andes

Sensitivity, responsiveness and direction: analysis and intervention on early parent-child interaction patterns in parenting infants with Neurodevelopmental Disorders. (€5.000)

Postdoctoral Researcher

2017 - 2018 University Of Cambridge- Pontificia Universidad Católica De Chile
Two-Stage Call On Internationalization Of Research In Astrophysics, Global Change And Cognitive Sciences
Project 'Exploring real-time multimodal interpersonal alignment in music and conversation' (€140.000)

Research Assistant

2017 Bluecoat Centre for the Contemporary Arts

Euphonia, an art project by artist Emma Smith developed in collaboration with Profs. Robin Dunbar, Ian Cross and Lauren Stewart.

Technical Advisor

2016 - 2017 The University of Cambridge, Centre for Music and Science

Music & Science Seminars

Seminar organiser and host

2016 - 2017 University Of Cambridge- Pontificia Universidad Católica De Chile
Two-Stage Call On Internationalization Of Research In Astrophysics, Global Change And Cognitive Sciences
Project 'The emergence of patterns of coordination in the course of the development of musical skill' (€13.000)

Research Assistant

Project 'Corporal coordination patterns in trust and distrust interactional situations' FONDECYT 1141136 (€130.000)

Research coordinator

2012 Ministerio de Salud de Chile, Programa Chile Crece Contigo

Observational analysis of group dynamics on the 'Nadie es Perfecto' program, performed by the Interaction and Phenomenology Laboratory (LIF) at Pontificia Universidad Católica de Chile, commissioned by the Ministery of Health Chile and the World Bank. (€20.000)

Research assistant

2010- 2013 Pontificia Universidad Católica de Chile, Laboratorio de Lenguage, Interacción y Fenomenología (LIF)

Project 'Corporal coordination processes and their role in human communication' FONDECYT 1188063 (€170.000)

Research coordinator (2013)

Research assistant (2010-2012)
Professional experience

2014 Fundaciones de la Presidencia de Chile - Fundación de Orquestas Juveniles e Infantiles de Chile - Departamento psicosocial

Psycotherapist

2012-2014 Fundación Uniendo Mundos - Centro de Salud Vida Nueva, La Legua

Psycotherapist
Scholarships

2015-2017 The Cambridge Commonwealth European and International Trust

CONICYT-Chile Cambridge Scholarship. (90.000 €)

2015-2018Commission nationale de la recherche scientifique et technologique du Chili (CONICYT)

Bourse Becas Chile. (48.000 €)

2014 The Cambridge Commonwealth European and International Trust

Santander Cambridge Scholarship. (30.000 €)
Honorary Memberships

2015 - 2018 Wolfson College Music Society, Cambridge

President
Language Competence

2014 University Of Cambridge/British Council

International English Language Test System (IELTS)

Overall Band Score: 8 (Academic)

2004 Ministère De L'éducation, France

Diplôme approfondi de langue française, DALF

2003 Diplôme élémentaire de langue française, DELF 2

2002 Diplôme élémentaire de langue française, DELF 1

Publications
Robledo, J.-P., Cross, I., Boada, L., Demogeot, N. (accepted). Back to basics; a re-evaluation of the relevance of imprinting in the genesis of Bowlby's attachment theory. Frontiers in Psychoogy. [Q1]

Dunbar, R. I. M., Robledo, J.-P., Tamarit, I., Cross, I., & Smith, E. (2021). Nonverbal Auditory Cues Allow Relationship Quality to be Inferred During Conversations. Journal of Nonverbal Behavior, 46, 1-18. https://doi.org/10.1007/s10919-021-00386-y [Q1]

Robledo, J.P., Hawkins, S., Cornejo, C., Cross, I., Party, D., Hurtado, E. (2021). Musical improvisation enhances interpersonal coordination in subsequent conversation: Motor and speech evidence. PLoS ONE 16(4): e0250166. https://doi.org/10.1371/journal.pone.0250166 [Q1]

Robledo, J.P. (2021). Book Review. Hargreaves, D. & Lamont, A. (2017). The Psychology of Musical Development. Cambridge University Press. Music & Science, 4, pp. 1-3. https://doi.org/10.1177/20592043211006638 [Q1]

Rabeyron, T., Robledo, J.-P., Carasco, E., Bisson, V., Bodeau, N., Vrait, F.-X., Berna, F., and Bonnot, O. (2020). "A Randomized Controlled Trial of 25 Sessions Comparing Music Therapy and Music Listening for Children with Autism Spectrum Disorder." Psychiatry Research 293(113377), doi: 10.1016/j.psychres.2020.113377 [Q1]

Cornejo, C., Hurtado, E., Cuadros, Z., Torres-Araneda, A., Paredes, J, Olivares, H., Carré, D. and Robledo, J.P. (2018). Dynamics of Simultaneous and Imitative Bodily Coordination in Trust and Distrust. Frontiers in Psychoogy. 9:1546. https://doi.org/10.3389/fpsyg.2018.01546 [Q1]

Robledo, J. P., Prado, F., Hurtado, E., Román, D., & Cornejo, C. (2016). Music intervals in speech: Psychological disposition modulates ratio precision among interlocutors' nonlocal f0 production in real-time dyadic conversation. Psychology of Music, 44(6), PP. 1404-1418. https://doi 10.1177/0305735616634452 [Q1]

Robledo, J. P., Hawkins, S., Cross, I., & Ogden, R. (2016). Pitch-interval analysis of 'periodic' and 'aperiodic' Question+Answer pairs. Speech Prosody, 31 May - 03 Jun 2016, USA, pp. 1071-1075. doi 10.21437/SpeechProsody.2016

Quezada, C., Robledo, J., Román, D. & Cornejo, C. (2012). Empathy and pitch convergence. Revista de Lingüística Teórica y Aplicada., 50(2), pp. 145-165, doi 10.4067/S0718-48832012000200007 [Q3]
Conferences
Robledo, J.-P., Arango, P., Tenorio, M. Aparicio, A. (2022). A systematic comparison of the impact
of father- and mother-child interactions on the development of adaptive behaviour in toddlers with Down syndrome and typical development. 2022 International Conference Series of the International Association for the Scientific Study of Intellectual and Developmental Disabilities (IASSIDD). October 19, 2022

Robledo, J.P. (2022). Paternal sensitivity, responsiveness and directivity can better predict the (adaptive) development of toddlers with Down syndrome than their maternal counterpart. UCL Centre for Intellectual & Developmental Disabilities Research Seminar Series. London, UK. July 19, 2022.

Robledo, J.P. (2021). A machine learning assessment of 18 to 24-month-olds' sustained attention to music (Oral communication), at the 16th International Conference on Music Perception and Cognition ICMPC, Sheffield, UK. July 18-21, 2021.

Robledo, J.P. (2021). Refining a One-way Remote Video Recording Protocol (ORViRP), (Poster), at the 16th International Conference on Music Perception and Cognition ICMPC, Sheffield, UK. July 18-21, 2021.

Robledo, J.P., Cornejo, C., Cross, I. Hawkins, S. Party, D. and Hurtado, E. (2020). Musical improvisation enhances interpersonal coordination in subsequent conversation: Motor and speech evidence. Wolfson Research Event 2020 Webinar. Cambridge, U.K., 23 June, 2020

Robledo, J.P., Cornejo, C., Cross, I. Hawkins, S. Party, D. and Torres, A. Torres (2019). Musical Improvisation Enhances Bodily and Vocal Coordination in Subsequent Conversation. CIM19: Conference on Interdisciplinary Musicology. "Embodiment in Music"). Graz, Austria, 26-28 September, 2019

Robledo, J.P (2019). Aspects Œdipiens de la transition entre la mamanais et la prosodie adulte. Séminaire PsyCliP " Transformations et métamorphoses ", Nancy, May 16, 2019

Robledo, J.P. (2018). Does musical improvisation have an effect on periodicity in question and answer pairs? (Oral presentation), at the 'Music cognition: Interdisciplinary Approaches' conference, Universidad Católica de Chile, Santiago, Chile, December 14, 2018

Robledo, J. P. (2018). The role of Infant-Directed Speech in early musical interest. (Oral communication), at the 'Música,

Psicología y Coordinación: El papel de la música en el desarrollo humano integral' conference, Universidad Católica de Chile, Villarica, Chile, December 11, 2018

Robledo, J.P. (2018). The ascent of Western toddlers' interest in non-ID music and the decline of ID-Register: is there a measurable (inverse) correlation? (Oral communication), at the Musilanguage in the Cradle of Different Cultures' workshop, Middlesex U., London, UK, October 18, 2018

Robledo, J.P. (2017). Communicative use of pitch in human interaction (Oral communication), at the 'Harmony and Rhythm in human social interaction' conference, Santiago, Chile. March 30, 2017

Robledo, J. P., Hawkins, S., Cross, I., & Ogden, R. (2016). Methods for analyzing pitch in 'periodic' and 'aperiodic' Question+Answer pairs (Poster), at the Cambridge Language Sciences Annual Symposium 2016, Cambridge, UK. November 17, 2016.

Robledo, J. P., Hurtado, E., Cornejo, C. & Román, D. Music intervals in speech: An interpersonal approach (Oral communication), at the Biennial meeting of the Society for Music Perception and Cognition - SMPC, Toronto, Canada. August 8-11, 2013.

Robledo, J. P., Prado, F., Hurtado, E., Román, D., & Cornejo, C. Generación de intervalos musicales en el habla en situaciones interaccionales (Oral communication), at the Symposium on Cognition and Musical Arts - SIMCAM9, Belem. May 27-30, 2013

Quezada, C., Robledo, J. P., & Cornejo, C. Convergencia fonética y empatía (Oral communication), at the XIX International Linguistics Congress, SOCHIL, Valparaíso. November 9 & 10, 2011

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Juan-Pablo Robledo del Canto - Laboratoire InterPsy (EA 4432)

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Maître de Conférences / Associate Professor Chercheur associé / Young Researcher, Millennium Institute for Care Research (MICARE) Current situation Sept 2022 Université de Lorraine, SHS Nancy, Laboratoire Interpsy Maître de Conférences / Associate professor Millennium Institute for Care Research (MICARE) Investigador Joven / Associate Researcher Education and Academic Trajectory 2021-2022 Millennium Institute for Care Research (MICARE) Postdoctoral Researcher 2019-2021 Université de Lorraine, SHS Nancy, Laboratoire Interpsy Attaché Temporaire d'Enseignement et de Recherche / Temporary Lecturer 2021 Ministère de lʼEnseignement supérieur, de la Recherche et de lʼInnovation State certification for assistant professorships - CNU section 16 (Psychology).

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OsloMet – storbyuniversitetet Studiested Kjeller, Kunnskapsveien, Kjeller, Norway

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Oslo Metropolitan University

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University of Haifa, Abba Khoushy Avenue, Haifa, Israel

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Tal-Chen Rabinowitch, Music & Social Development Lab

The Music & Social Development lab is focused on the influence of music on children's social and emotional capacities, such as empathy, cooperation, helping and generosity. In addition, we're exploring the specific role of behavioral synchrony in children's social and emotional development and its potential in reducing or preventing conflicts and prejudices as well as generating better communication, social attitudes and pro-social behavior between individuals and groups. Research takes place both in the field (school, communal and therapeutic centers) and the lab.

We are based at the School of Creative Arts Therapies, The University of Haifa, Haifa, Israel

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UFBA-Universidade Federal da Bahia - Avenida Milton Santos - Ondina, Salvador - State of Bahia, Brazil

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I am a PROPAP Professor and Senior Researcher at the Federal University of Bahia - UFBA, Brazil, and at the Brazilian National Council of Scientific and Technological Development - CNPq. My research stems from my performance practice as a pianist, music educator, and art therapist. Most of my work explores the relationships between musical practice and the psychology of music, and I have studied the cognitive processes of musical performance, musical development, musical memory, group performance, and the impact of music on well-being. I hold a Bachelor’s degree in Piano Performance (UFBA), a Double-Major Master’s degree in Piano Performance and Literature and in Music Education (Eastman School of Music), and a Doctorate in Music (UFBA).  I live in Brazil, where I have helped to stablish and acted at the board of Directors of several Music Research Associations. I am also a Certified Art Therapist.

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Universitätsstraße 1, 6020 Innsbruck, Österreich

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Anthropologist and musicologist, Universität Innsbruck, Austria

Bernd Brabec [formerly Brabec de Mori] received his M.A. (Mag. phil., 2003) and Ph.D. (Dr. phil., 2012) in musicology from the University of Vienna. He has been working for five years in the field among Indigenous People in the Peruvian lowland rainforests. After returning to Europe in 2006, he has been teaching and researching, among other institutions, at the Phonogrammarchiv of the Austrian Academy of Sciences, at the department for social and cultural anthropology at Philipps-University Marburg, at the centre for systematic musicology of Karl-Franzens-University Graz, at the institute of musicology at the University of Vienna, at the institute of ethnomusicology at the University of Music and Performing Arts Graz, and as an associate researcher at Yunnan University. Currently he holds a tenure track position at the University of Innsbruck, Austria. He published a couple of books, among them Die Lieder der Richtigen Menschen [Songs of the Real People] (2015), Sudamérica y sus mundos audibles [South America and its auditory worlds] (2015), and Auditive Wissenskulturen [Auditory knowledge cultures] (2018), as well as research articles in the areas of Indigenous vocal music, medical ethnomusicology, sound perception, and auditory knowledge.

Contact: bbdm@posteo.de

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University of Luxembourg, Avenue de l'Universite, Belval Esch-sur-Alzette, Luxembourg

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University of Luxembourg

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Cherub Xingyu Yao is an artist entrepreneur, a board-certified music therapist (MT-BC), a composer, an educator, a multi-instrumentalist, a psychodramatist, a Berklee alumna, and a consistently growing human being. To her, music is creative expression, communication, spiritual practice, transformation, medicine, and a catalyst for social change. She is the founder of bilingual podcast 「弹心社Generous Talk」 and receipt of Founder Institute Silicon Valley Fellowship. She owns degrees from China, U.S., and Paris, in mental health counseling and psychology, jazz performance, music therapy, and science of entrepreneurship and innovation.

She had the honor to be the Creative Aging consultant for Lifetime Arts, the conference committee member for American Society of Group Psychotherapy and Psychodrama (ASGPP), the founding member of Berklee Student Health Leader Initiative, the Vice-President of Berklee Music Therapy Club, and the Fellow of Abu Dhabi Global Culture Summit (2017) and the Founder Institute Core Program.

In fall 2021, she became the first trilingual American Board-Certified Music Therapist (MT-BC) to open a private practice in Shanghai. Committed to establishing a bridge for music therapy exchange between China and the United States, she is invited to provide training and project consultation for universities, international schools, public schools, hospitals, and mental health institutions. She is also working on building an internship and supervision system in China that meets the training standards for American Board-Certified Music Therapist (MT-BC). She has effectively developed a one-year FOREJAZZX music therapy foundational training program, tailored specifically for Chinese market and grounded in the pedagogy of Berklee College of Music.

Her music therapy expertise includes reducing pain and anxiety, enhancing sleep quality, helping people with special needs through clinical improvisation. By integrating family therapy, psychodrama, group psychotherapy and other creative arts modalities, she helps clients in trauma recovery, personal growth, relationship issues and family of origin. She has a special interest in intergenerational and collective trauma. It is fulfilling for her to help clients live a healthier, more congruent, authentic, and creative life.

She enjoys co-creating the musical, creative, and conscious community of people who play music for better selves, wellbeing, and world. She has acted as a therapist/consultant to develop innovative music therapy program, such as performance-based music therapy, community music therapy, and environmental music therapy programs.

Throughout her career, she has worked with people across the lifespan in various settings (from newborns in the hospital, children, adults, seniors with various physical, psychological, and spiritual needs, to the end of life care) to find creative solutions to improve their life on physical, psychological, and spiritual levels.

She integrates her extensive professional training and personal experiences in psychology, creative arts, neuroscience, psychotherapy, medicine, and philosophy in order to support and help her students, clients, and audiences to

o identify and connect with their authentic self

o actualize their life vision

o handle challenges with resiliency and spontaneity

o express their unique voices with freedom and creativity

o live with a higher quality of life physically, mentally, and spiritually

o transcend paradigms

She is one of the few creative pioneers who is active as both a musician and a music therapist. In the field of music creation and performance, she has received profound influence and guidance from her Berklee mentors, including:

• Laszlo Gardony, a famous American jazz pianist, composer, and Grammy Award voting member;

• Donna McElroy, a jazz vocalist, received Grammy nomination for her pop-gospel album Bigger World;

• Ned Rothenberg, a composer and woodwind player famous for his contribution in contemporary classical and free improvisation;

• Jerry Leake, a percussionist who is proficient in world music such as India and Africa;

• Victor Wooten, a 5-time Grammy winner and a bass legend;

• Wanda Strukus, founder of the contemporary theater department at Boston Conservatory at Berklee.

She is passionate about interdisciplinary collaboration and continues to explore extending the power of music therapy beyond clinical music therapy settings to create greater social impact and innovative design.

She is also passionate in interdisciplinary collaboration to expand the power of music therapy beyond clinical music therapy settings to create greater social impact and innovative design.

Past and current performance/presentation venues including Community Music Therapy Symposium and Jam Session Series at Panama Jazz Festival, Boston Symphony Hall, Berklee Performance Center, Shanghai He LuTing Concert Hall, Shanghai Concert Hall Afternoon Tea Series, Boston University Agganis Arena, Boston National Poetry Festival, American Society of Group Psychotherapy and Psychodrama Annual Conference, Chinese National Mental Health Conference and Peer Counseling Symposium, New England Regional Music Therapy Conference, International Expressive Arts Therapies Annual Conference, Society for Cross-Cultural Research Annual Conference, Suzhou International Expressive Arts Therapies Conference, TongJi University Arts as Healing International Symposium.

Past and current Partnerships and work settings include but not limited to Berklee College of Music, Immigrant Family Services Institute (IFSI-USA), Powers Music School, Community Music Center of Boston, South Cove Community Health Center, The Guild Works, Lifetime Arts, LLC, Shanghai HongKou Psychiatric Hospital, Keru Knowledge, ELG, Circle Harmony Health Center, Boston Children’s Hospital, Tufts Medical Center, Little Sprouts Early Intervention Center.

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Hello, I am Nuria Marsimian, music therapist from Argentina. I've completed a hospital career in Buenos Aires, in which I worked in different medical services as a music therapist. I also completed a Postgraduate Course in Developmental Disorders at Italian Hospital of Buenos Aires.

I am currently putting together an assessment tool in Music Therapy for Autism called Musical Functional Assessment Profile (MFAP).

I am interested in connecting with people interested in neurodevelopment, autism, maternal mental health, music therapy assessment, and professional training in music therapy. I am Editor of Music Therapy Today Journal (WFMT).

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Cynthia Friesen here - hello from the Pacific Northwest.  I conduct the junior choral program for a non profit here in Vancouver and facilitate a singing collective for the University of British Columbia’s BC Brain Wellness Program. I also act as their team lead for a range of creative expression programming. Now that our four children are young adults, I am finding fresh pursuits in an MA in Music Education at UBC, exploring community music through a lens of care and belonging. Good to be here!

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Mark is an Ethno-Music therapist trained in Austria and obtained his PhD in Music Therapy from Anglia Ruskin University, UK. He trained in RBL (Rhythm, Breath, Lullaby) at the Louis Armstrong Center for Music & Medicine in New York and holds a M.A. in Peace Studies and Conflict Resolution from the UNESCO Chair of Philosophy for Peace, University Jaume I, Spain.

He currently lives and works in Bogotá, Colombia, where he is the director of SONO – Centro de Musicoterapia (www.sono.la) and a university lecturer at various music therapy programs internationally. He coordinates the music therapy services at various hospitals in Colombia and has a specific interest in researching music-based interventions in medical settings.

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Queen Margaret University, Queen Margaret University Way, Musselburgh

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Queen Margaret University

St Columba's Hospice Care

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University of Southern Queensland,Toowoomba Campus, West Street, Darling Heights QLD

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Hi everyone, good to be here and looking forward to our collaboration!

My research draws on my experience as a professional jazz singer and community musician to explore what singing means for us as human beings. My work sits at the intersection of music psychology, music for health and wellbeing, music higher education, and singing voice pedagogy. I use music and singing as vehicles to explore the ultimate question, "Who are we?"

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Hi all,
I am Jane Ellis and I work as a peripatetic music teacher for a music hub and music charity in the East midlands in the UK. I have also recently gained my MA in Education researching generalist primary teachers and their ability to teach music as a non-musician.

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Mayo Clinic, 2nd Street Southwest, Rochester, MN

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I am an ethnomusicologist with special interest in medical and applied ethnomusicology, arts and social change, and musics of Africa. I received my MA in 2002 and my PhD in 2006 from the Department of Ethnomusicology at the University of California, Los Angeles. I hold a BA in English and a self-designed BM in ethnomusicology from Lawrence University and Conservatory of Music in Appleton, Wisconsin. I have worked in a variety of academic and public sector contexts. Currently I serve as Director of Humanities in Medicine at Mayo Clinic, working with a team of arts practitioners, scholars, and administrators and physician partners at three Centers for Humanities in Medicine at Mayo Clinic campuses in Minnesota, Florida, and Arizona.

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Amy Clements-Cortes, University of Toronto

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Amy Clements-Cortes, University of Toronto

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I am an Associate Professor in the Faculty of Music at the University of Toronto, a credentialed Music Therapist, Registered Psychotherapist and a Fellow in the Bonny Method of Guided Imagery and Music, and Neurologic Music Therapy. I have extensive clinical experience working with clients across the life span, with a specialty in mental health, dementia, and palliative care. My teaching, clinical work and research aims to recognize power imbalances, redress them, and practice cultural responsiveness from a music psychotherapy approach that does not centre Eurocentric standards but reflects cultural, community and social justice. My research contributions have had a significant impact in the understanding of understudied phenomenon including: relationship completion for individuals at end-of-life, vibroacoustic therapy and singing protocols for persons diagnosed with dementia, as well as experiences in music therapy internships. I am the Managing Editor of the Music and Medicine Journal and Research and Ethics Chair of the World Federation of Music Therapy (WFMT).

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Amy Clements-Cortes -black blouse half shot

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Royal College of Music, Prince Consort Road, London

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Polly Jarman is Admin and Research Fellow at the Royal College of Music, for the International Musical Care Network.

She has recently completed her PhD at University of Birmingham, focusing on children's geographies and inclusive approahces to outdoor learning.

She is also an Associate Lecturer at University of Northampton and has recently worked as Research Assistant on the Well Communities Research Consortium, addressing health inequalities through arts, culture and greenspace assets in Northampton.

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City, University of London, Northampton Square, London

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Dr Katie Rose Mahon Sanfilippo is one of the co-founders of the Musical Care International Network. She is a Presidential Research Fellow at the School of Health and Psychological Sciences and a member of the Centre for Healthcare Innovation Research at City, University of London. Her overall research interests concern the function and application of music and the arts within healthcare contexts to address health inequalities. Her current research is investigating how community and arts-based approaches and interventions can be scaled-up, spread and sustained more equitably in the UK and globally, with a focus on resource-constrained settings. She also works with various policymakers, charities and health organisations to promote maternal mental health in the educational and health policy agendas in The Gambia and across Africa. She is an affiliated lecturer in Cambridge within the music faculty and also has extensive experience working in the charity sector in the UK.

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Royal College of Music, Prince Consort Road, London, UK

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Neta Spiro is a co-founder of the Musical Care International Network and is Reader in Performance Science at the Royal College of Music and an honorary Research Fellow at Imperial College London. Two questions underlie her research: What are the potential roles of musical care in peoples’ lives, and what is communicated when we make music together? Her research on these questions has been from three perspectives: investigations of people’s reported experiences of music making, effects on people’s judgements, and analysis of interaction in music. She particularly enjoys interdisciplinary and international collaboration. She teaches modules on musical care and arts in health and wellbeing at undergraduate and graduate levels.

https://performancescience.ac.uk/team/spiro/

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Neta Spiro is Reader in Performance Science at the Royal College of Music and an honorary Research Fellow at Imperial College London. Neta's background is in music (BMus, Oxford University), cognitive science (MSc, Edinburgh University), and music psychology (PhD, Amsterdam University). She was previously Research Fellow at Royal Holloway, University of London, and at the New School for Social Research, New York, and Head of Research at Nordoff Robbins, London. Neta taught at the Faculty of Music, University of Cambridge, where she continues as an honorary member.

Two questions underlie her research: What is the potential role of music in peoples' health and wellbeing, and what is communicated when we make music together? Her research on these questions has been from three perspectives: investigations of people's reported experiences of music making, effects on people's judgements, and analysis of interaction in music.

Neta's current research includes the Health, Economic, and Social impact of the ARTs (HEartS) project, which explores the impact of arts and culture on health and wellbeing from individual, social, and economic perspectives. She is investigating the range of relationships that people can have with music and is exploring the possible levels of shared understanding across a variety of forms of music making.

Her teaching includes music, health, and wellbeing topics as well as areas of music psychology.

Email: neta.spiro@rcm.ac.uk
Current projects PUBLICATIONS
Spiro N & Sanfilippo KRM (eds.) (2022), Collaborative Insights: Interdisciplinary Perspectives on Musical Care Throughout the Life Course, Oxford University Press [ISBN].
Articles and chapters
Shaughnessy C, Perkins R, Spiro N, Waddell G, & Williamon A (forthcoming), Cultivating progressive development in the cultural industries: challenges and support needs identified by the creative workforce in the United Kingdom, Cultural Trends [DOI].

Spiro N, Sanfilippo KRM, McConnell BB, Pike-Rowney G, Bonini Baraldi F, Brabec B, Van Buren K, Camlin DA, Cardoso TM, Çifdalöz BU, Cross I, Dumbauld B, Ettenberger M, Falkenberg K, Fouché S, Frid E, Gosine J, graham-jackson al, Grahn, JL, Harrison K, Ilari B, Mollison S, Morrison SJ, Pérez-Acosta G, Perkins R, Pitt J, Rabinowitch TC, Robledo JP, Roginsky E, Shaughnessy C, Sunderland N, Talmage A, Tsiris G, & de Wit K (2023), Perspectives on musical care throughout the life course: Introducing the Musical Care International Network, Music & Science, 6, 1-18 [DOI].

Spiro N, Shaughnessy C, Waddell G, Perkins R, Campbell A, & Williamon A (2023), Modelling arts professionals' wellbeing and career intentions within the context of COVID-19, PLOS One, 18 (e0292722), 1-22 [DOI].

Thomson LJM, Spiro N, Williamon A, & Chatterjee HJ (2023), The impact of culture-, health- and nature-based engagement on mitigating the adverse effects of public health restrictions on wellbeing, social connectedness and loneliness during COVID-19: quantitative evidence from a smaller- and larger-scale UK survey, International Journal of Environmental Research and Public Health, 20 (6943), 1-26 [DOI].

Knight S, & Spiro N (2022), Tracing change during music therapy for depression: toward a markers-based understanding of communicative behaviors, Musicae Scientiae, online first [DOI].

Corcoran C & Spiro N (2021) Score-dependency: over-reliance on performing music from notation reduces aural pitch replication skills, Journal of Interdisciplinary Music Studies, 10, 73-98 [DOI].

Spiro N, Perkins R, Kaye S, Tymoszuk U, Mason-Bertrand A, Cossette I, Glasser S, & Williamon A (2021), The effects of COVID-19 Lockdown 1.0 on working patterns, income, and wellbeing among performing arts professionals in the United Kingdom (April-June 2020), Frontiers in Psychology, 11 (594086), 1-17 [DOI] [DATASET].

Spiro N & Schober MF (2021), Discrepancies and disagreements in classical chamber musicians' characterisations of a performance, Music & Science, 4, 1-29 [DOI].

Tymoszuk U, Spiro N, Perkins R, Mason-Bertrand A, Gee K, & Williamon A (2021), Arts engagement trends in the United Kingdom and their mental and social wellbeing implications: HEartS Survey, PLOS One, 16 (e0246078), 1-35 [DOI] [DATASET].

Williamon A, Spiro N, Kaye S, Tymoszuk U, Mason-Bertrand A, & Perkins R (2021), HEartS Professional Survey: charting the effects of COVID-19 Lockdown 1.0 on working patterns, income, and wellbeing among performing arts professionals in the United Kingdom (April-June 2020), Dryad, dataset [DOI].

Williamon A, Tymoszuk U, Spiro N, Gee K, Mason-Bertrand A, & Perkins R (2021), HEartS Survey 2019: charting the health, economic, and social impact of the arts, Dryad, dataset [DOI].

Sanfilippo KRM, Spiro N, Molina-Solana M, & Lamont A (2020), Do the shuffle: exploring reasons for music listening through shuffled play, PLOS One, 15 (e0228457), 1-21 [DOI] [WEBSITE].

Tsiris G, Spiro N, Coggins O, & Zubala A (2020), The Impact Areas Questionnaire (IAQ): a music therapy service evaluation tool, Voices: A World Forum for Music Therapy, 20, 1-27 [DOI].

Tymoszuk U, Perkins R, Spiro N, Williamon A, & Fancourt D (2020), Longitudinal associations between short-term, repeated, and sustained arts engagement and well-being outcomes in older adults, Journals of Gerontology: Social Sciences, 75, 1609-1619 [DOI].

Spiro N, Tsiris G, & Cripps C (2018), A systematic review of outcome measures in music therapy, Music Therapy Perspectives, 36, 67-78 [DOI].

Spiro N, Tsiris G, & Cripps C (2018), 'Sounds good, but... what is it?' an introduction to outcome measurement from a music therapy perspective, Approaches: An Interdisciplinary Journal of Music Therapy, 1-18.

Tsiris G, Spiro N, & Pavlicevic M (2018), Re-positioning music therapy service evaluation: a case of five Nordoff-Robbins music therapy service evaluations in neuro-rehabilitation, Nordic Journal of Music Therapy, 27, 3-27 [DOI].

Knight S, Spiro N, & Cross I (2017), Look, listen and learn: exploring effects of passive entrainment on social judgements of observed others, Psychology of Music, 45, 99-115[DOI].

Pras A, Schober MF, & Spiro N (2017), What about their performance do free jazz improvisers agree upon? A case study, Frontiers in Psychology, 8 (966), 1-19[DOI].

Spiro N, Farrant C, & Pavlicevic M (2017), Between practice, policy and politics: music therapy and the Dementia Strategy, 2009, Dementia, 16, 259-281[DOI].

Schober MF & Spiro N (2016), Listeners' and performers' shared understanding of jazz improvisations, Frontiers in Psychology, 7 (1629), 1-20 [DOI].

Spiro N, Rink J, & Gold N (2016), Musical motives in performance: a study of absolute timing patterns, in JBL Smith, E Chew, & G Assayag (eds.), Mathematical Conversations: Mathematics and Computation in Music Performance and Composition (pp. 109-128), World Scientific.

Spiro N & Himberg T (2016), Analysing change in music therapy interactions of children with communication difficulties, Philosophical Transactions of the Royal Society B: Biological Sciences, 371, 1-11[DOI].

Spiro N & Schober MF (2014), Perspectives on music and communication: an introduction, Psychology of Music, 42, 771-775 [DOI].

Schober MF & Spiro N (2014), Jazz improvisers' shared understanding: a case study, Frontiers in Psychology, 5 (808), 1-21 [DOI].

Tsiris G, Spiro N, & Pavlicevic M (2014), What does the past tell us? A content analysis of the first quarter century of the British Journal of Music Therapy, British Journal of Music Therapy, 28, 4-24 [DOI].

Spiro N, Tsiris G, & Pavlicevic M (2014), Music therapy models, in B Thompson & G Golson (eds.), Music in the Social and Behavioural Sciences: An Encyclopaedia (pp. 771-773), Sage.

Rink J, Spiro N, & Gold N (2011), Motive, gesture, and the analysis of performance, in A Gritten & E King (eds.), New Perspectives on Music and Gesture (pp. 267-292), Ashgate.

Cross I, Gill S, Knight S, Nash C, Rabinowitch T, Slobodian L, Spiro N, Woodruff G, & Woolhouse M (2008), Commentary on 'The perception and cognition of time in Balinese music' by Andrew Clay McGraw, Empirical Musicology Review, 3, 54-57.

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Neta Spiro is Reader in Performance Science at the Royal College of Music and an honorary Research Fellow at Imperial College London. Neta's background is in music (BMus, Oxford University), cognitive science (MSc, Edinburgh University), and music psychology (PhD, Amsterdam University). She was previously Research Fellow at Royal Holloway, University of London, and at the [...]

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ANU School of Music, The Australian National University, William Herbert Place, Canberra ACT

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I am a Senior Lecturer in Ethnomusicology in the School of Music at the Australian National University. My

research examines music in relation to issues of health, identity, and social change in West Africa and Australia. I hold an MA and PhD in ethnomusicology with a graduate certificate in public health from the University of Washington (2015). My long-term research in The Gambia (2006-present) uses collaborative ethnographic methods to examine the way music is used to support community health, wellbeing, and conflict resolution. I am the author of the monograph Music, Health, and Power: Singing the Unsayable in The Gambia (2019, Routledge).

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Royal College of Music, Prince Consort Road, London, UK

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My musical practice spans performance, composition, teaching, Community Music (CM) and research.

I lecture in music education at the Royal College of Music and Trinity-Laban Conservatoire and was Head of HE / Research at Sage Gateshead from 2010-19.

Research interests include: CM, especially group singing; music, health and wellbeing; musician education. I pioneered the use of Sensemaker® ‘distributed ethnography’ as a research method for understanding artistic and cultural experiences.

Recent book Music Making and Civic Imagination: a Holistic Philosophy explores the potential of musicing as both a complex adaptive system (CAS) and a global resource for sustainability.

https://www.rcm.ac.uk/research/people/details/?id=94812

www.davecamlin.com