Abstract
This essay presents a framework that brings spatial sociology together with Small’s (1998, 1999) concept of musicking and Born’s (2011, 2012, 2015) Planes of Music Sociality. It was developed as an analytical scheme for an ongoing case study of musicking via the Edward Said National Conservatory of Music (ESNCM), the national music conservatory of Palestine. Small’s notion of musicking reminds music educators that musicking activities communicate meanings beyond the obvious: Individual and collective ideals about relationships with sound, with other people, and with the spaces they inhabit. Born’s conception of musical socialities as four interacting planes goes beyond Small’s ideas by recognizing as a complex whole the simultaneous social interactions via immediate performance relations, imagined communities, wider identity formations and institutional structures. Spatial sociologists understand space as interacting modes of social practice built on relationships between objects, places and people (Löw and Weidenhaus, p. 554). The addition of spatial sociology to the sociology of music education offers new insight for investigating whether and how institutional musicking challenges and/or re-affirms existing spatial assumptions, particularly in spaces of conflict.
Accessibility Requirements
1
Recommended Citation
Frierson-Campbell, Carol
(2026)
"A Sociological Framework for Spatial Analyses of Institutional Musicking in Conflict Spaces,"
Visions of Research in Music Education: Vol. 49, Article 3.
Available at:
https://digitalcommons.lib.uconn.edu/vrme/vol49/iss1/3
Included in
Music Education Commons, Music Performance Commons, Other Languages, Societies, and Cultures Commons, Sociology Commons