Oscar Odena is Professor of Education at the School of Education and the School of Interdisciplinary Studies, University of Glasgow, UK. His areas of expertise comprise qualitative research approaches, inclusion, creativity, and music education. He has authored over 80 papers, and his monograph Musical Creativity Revisited was published by Routledge in 2018. He has been Principal Investigator in four projects on the role of the arts for inclusion and social cohesion. He serves on the boards of leading journals and the review colleges of the UK Arts and Humanities Research Council and Irish Research Council.

‘A scholarly collection by talented academic researchers intended to stimulate discussion within the field…for socially minded music educators, the volume is not only informative but inspirational. [With an] incredible diversity of programs studied, serving a wide range of ages, ethnicities, socio-economic classes and political contexts, Music and Social Inclusion stands as a good manual for anyone interested in conscientiously building or developing a social music program of their own.’ American Music Teacher‘Authored by experts in the fields of music, sociology, psychology and education, delving into the multifaceted dimensions of how music can bridge gaps, break barriers and create spaces for cohesion within diverse and intricate societal frameworks…Odena sets the agenda by interrogating the power of music in enhancing social inclusion…Coyne and MacDonald explore homelessness and choral signing as a place of sanctuary. Mateos-Moreno provides a very interesting and scholarly interrogation of landmarks of a community music project…There is much to ponder in this edited volume [which] illustrates the symbiosis between practice and research…Educators, policy-makers, researchers and of course students will be encouraged to think critically about their own study and practice.’ International Journal of Community Music

• IntroductionPart I – FoundationsChapter 1 – Exploring the order and disjuncture of music projects in places affected by war, Gillian HowellChapter 2 – A model for developing music and music education activities for social cohesion in complex settings, Oscar OdenaPart II – Cross-community environmentsChapter 3 – ‘I just feel I belong here’: homeless choirs and singing groups in the UK and Brazil, Shelly Coyne and Raymond MacDonaldChapter 4 – ‘Participatory songwriting’ as process/narrative: insights from a community music project with diverse communities in the north east of England, Sam SlatcherChapter 5 – Playlists, connection and covid: making sense of lockdown and loss with songs in Mexico City and Glasgow, Valeria GascónChapter 6 – What are the landmarks in a community music project? The case of the Kithara project, Daniel Mateos-MorenoChapter 7 – The impact of music education in social projects: two cases in south Brazil, Sergio Figueiredo and Oscar OdenaChapter 8 – Crescendo: using a music education programme to improve social outcomes in disadvantaged communities, Conneth Poland, Liam O’Hare and Leeanne O’HaraChapter 9 – Does the 21st century music curriculum enable Northern Ireland’s children sing each other’s songs?, Jenny Scharf and Oscar OdenaChapter 10 – There is no global justice without global cognitive justice: envisioning music education through the ecology of knowledges in the context of Mexico, Hector Vázquez-CórdobaPart III – Conflict and post-conflict environmentsChapter 11 – The art of positive fatalism, Lukas PaironChapter 12 – Arts for peace education in Chihuahua, Mexico: efforts, outcomes and challenges of two community music programs, Patricia A. González-Moreno and Rubén CarrilloChapter 13 – Conflict transformation, scalability and the non-governmental ear in a hip-hop social project in Iztapalapa, Mexico City, Andrew GreenChapter 14 – Expedición sensorial programme: transformations in the role of cultural policies in peacebuilding in Colombia, Andrea Rodríguez-Sánchez and Gloria Zapata-RestrepoChapter 15 – Using sound ethnography to study a social music programme in Colombia, Andrea Rodríguez-Sánchez, Oscar Odena and Alberto Cabedo-MasChapter 16 – Every voice counts: the Listening Guide Method as a methodology to analyse musical and political identities of FARC ex-combatant musicians, Santiago Niño Morales and Raymond MacdonaldAfterword. Beyond inclusion, Geoff Baker

Oscar Odena is Professor of Education at the School of Education and the School of Interdisciplinary Studies, University of Glasgow, UK. His areas of expertise comprise qualitative research approaches, inclusion, creativity, and music education. He has authored over 80 papers, and his monograph Musical Creativity Revisited was published by Routledge in 2018. He has been Principal Investigator in four projects on the role of the arts for inclusion and social cohesion. He serves on the boards of leading journals and the review colleges of the UK Arts and Humanities Research Council and Irish Research Council.

‘A scholarly collection by talented academic researchers intended to stimulate discussion within the field…for socially minded music educators, the volume is not only informative but inspirational. [With an] incredible diversity of programs studied, serving a wide range of ages, ethnicities, socio-economic classes and political contexts, Music and Social Inclusion stands as a good manual for anyone interested in conscientiously building or developing a social music program of their own.’ American Music Teacher‘Authored by experts in the fields of music, sociology, psychology and education, delving into the multifaceted dimensions of how music can bridge gaps, break barriers and create spaces for cohesion within diverse and intricate societal frameworks…Odena sets the agenda by interrogating the power of music in enhancing social inclusion…Coyne and MacDonald explore homelessness and choral signing as a place of sanctuary. Mateos-Moreno provides a very interesting and scholarly interrogation of landmarks of a community music project…There is much to ponder in this edited volume [which] illustrates the symbiosis between practice and research…Educators, policy-makers, researchers and of course students will be encouraged to think critically about their own study and practice.’ International Journal of Community Music

• IntroductionPart I – FoundationsChapter 1 – Exploring the order and disjuncture of music projects in places affected by war, Gillian HowellChapter 2 – A model for developing music and music education activities for social cohesion in complex settings, Oscar OdenaPart II – Cross-community environmentsChapter 3 – ‘I just feel I belong here’: homeless choirs and singing groups in the UK and Brazil, Shelly Coyne and Raymond MacDonaldChapter 4 – ‘Participatory songwriting’ as process/narrative: insights from a community music project with diverse communities in the north east of England, Sam SlatcherChapter 5 – Playlists, connection and covid: making sense of lockdown and loss with songs in Mexico City and Glasgow, Valeria GascónChapter 6 – What are the landmarks in a community music project? The case of the Kithara project, Daniel Mateos-MorenoChapter 7 – The impact of music education in social projects: two cases in south Brazil, Sergio Figueiredo and Oscar OdenaChapter 8 – Crescendo: using a music education programme to improve social outcomes in disadvantaged communities, Conneth Poland, Liam O’Hare and Leeanne O’HaraChapter 9 – Does the 21st century music curriculum enable Northern Ireland’s children sing each other’s songs?, Jenny Scharf and Oscar OdenaChapter 10 – There is no global justice without global cognitive justice: envisioning music education through the ecology of knowledges in the context of Mexico, Hector Vázquez-CórdobaPart III – Conflict and post-conflict environmentsChapter 11 – The art of positive fatalism, Lukas PaironChapter 12 – Arts for peace education in Chihuahua, Mexico: efforts, outcomes and challenges of two community music programs, Patricia A. González-Moreno and Rubén CarrilloChapter 13 – Conflict transformation, scalability and the non-governmental ear in a hip-hop social project in Iztapalapa, Mexico City, Andrew GreenChapter 14 – Expedición sensorial programme: transformations in the role of cultural policies in peacebuilding in Colombia, Andrea Rodríguez-Sánchez and Gloria Zapata-RestrepoChapter 15 – Using sound ethnography to study a social music programme in Colombia, Andrea Rodríguez-Sánchez, Oscar Odena and Alberto Cabedo-MasChapter 16 – Every voice counts: the Listening Guide Method as a methodology to analyse musical and political identities of FARC ex-combatant musicians, Santiago Niño Morales and Raymond MacdonaldAfterword. Beyond inclusion, Geoff Baker

Oscar Odena is Professor of Education at the School of Education and the School of Interdisciplinary Studies, University of Glasgow, UK. His areas of expertise comprise qualitative research approaches, inclusion, creativity, and music education. He has authored over 80 papers, and his monograph Musical Creativity Revisited was published by Routledge in 2018. He has been Principal Investigator in four projects on the role of the arts for inclusion and social cohesion. He serves on the boards of leading journals and the review colleges of the UK Arts and Humanities Research Council and Irish Research Council.

‘A scholarly collection by talented academic researchers intended to stimulate discussion within the field…for socially minded music educators, the volume is not only informative but inspirational. [With an] incredible diversity of programs studied, serving a wide range of ages, ethnicities, socio-economic classes and political contexts, Music and Social Inclusion stands as a good manual for anyone interested in conscientiously building or developing a social music program of their own.’ American Music Teacher‘Authored by experts in the fields of music, sociology, psychology and education, delving into the multifaceted dimensions of how music can bridge gaps, break barriers and create spaces for cohesion within diverse and intricate societal frameworks…Odena sets the agenda by interrogating the power of music in enhancing social inclusion…Coyne and MacDonald explore homelessness and choral signing as a place of sanctuary. Mateos-Moreno provides a very interesting and scholarly interrogation of landmarks of a community music project…There is much to ponder in this edited volume [which] illustrates the symbiosis between practice and research…Educators, policy-makers, researchers and of course students will be encouraged to think critically about their own study and practice.’ International Journal of Community Music

• IntroductionPart I – FoundationsChapter 1 – Exploring the order and disjuncture of music projects in places affected by war, Gillian HowellChapter 2 – A model for developing music and music education activities for social cohesion in complex settings, Oscar OdenaPart II – Cross-community environmentsChapter 3 – ‘I just feel I belong here’: homeless choirs and singing groups in the UK and Brazil, Shelly Coyne and Raymond MacDonaldChapter 4 – ‘Participatory songwriting’ as process/narrative: insights from a community music project with diverse communities in the north east of England, Sam SlatcherChapter 5 – Playlists, connection and covid: making sense of lockdown and loss with songs in Mexico City and Glasgow, Valeria GascónChapter 6 – What are the landmarks in a community music project? The case of the Kithara project, Daniel Mateos-MorenoChapter 7 – The impact of music education in social projects: two cases in south Brazil, Sergio Figueiredo and Oscar OdenaChapter 8 – Crescendo: using a music education programme to improve social outcomes in disadvantaged communities, Conneth Poland, Liam O’Hare and Leeanne O’HaraChapter 9 – Does the 21st century music curriculum enable Northern Ireland’s children sing each other’s songs?, Jenny Scharf and Oscar OdenaChapter 10 – There is no global justice without global cognitive justice: envisioning music education through the ecology of knowledges in the context of Mexico, Hector Vázquez-CórdobaPart III – Conflict and post-conflict environmentsChapter 11 – The art of positive fatalism, Lukas PaironChapter 12 – Arts for peace education in Chihuahua, Mexico: efforts, outcomes and challenges of two community music programs, Patricia A. González-Moreno and Rubén CarrilloChapter 13 – Conflict transformation, scalability and the non-governmental ear in a hip-hop social project in Iztapalapa, Mexico City, Andrew GreenChapter 14 – Expedición sensorial programme: transformations in the role of cultural policies in peacebuilding in Colombia, Andrea Rodríguez-Sánchez and Gloria Zapata-RestrepoChapter 15 – Using sound ethnography to study a social music programme in Colombia, Andrea Rodríguez-Sánchez, Oscar Odena and Alberto Cabedo-MasChapter 16 – Every voice counts: the Listening Guide Method as a methodology to analyse musical and political identities of FARC ex-combatant musicians, Santiago Niño Morales and Raymond MacdonaldAfterword. Beyond inclusion, Geoff Baker