IncluMusic through the Eyes of a Student: An Interview with Diana Cardoș
Diana Cardoș is a master’s student in Musicology at the Gheorghe Dima National Academy of Music and participated in the IncludeMusic conference. With this in mind, we sought to capture the perspective of a student in the following interview:
- How did you perceive the atmosphere of the conference marking the conclusion of the IncluMusic project?
Being surrounded by people who dedicate their time to finding ways to improve the music education system from the perspective of accessibility and inclusion made it almost impossible for the atmosphere to be anything other than welcoming, inspiring determination and confidence. Everyone seemed to feel at ease, whether they attended only briefly or stayed for the entire conference.
- What impressed you most in the presentations or discussions you attended?
Each presentation had something unique, even the most technical ones that focused on the project itself. However, the talk delivered by Prof. Dr. Habil. Lois Văduva had the strongest impact; it was the emotional apex of the event. The cases she presented and the way she described her work with children whose lives are nearing the end compelled us to acknowledge how privileged we are to be able to take refuge in what we do, and how powerful music can be for others. We constantly hear about the transformative force of music, but I believe we sometimes risk treating this fact superficially.
- What does inclusion in the musical and academic environment mean to you?
The music industry and the educational system that precedes it are highly competitive environments, which at times entails a lack of flexibility, unfriendly attitudes, and high standards. Building a career in this field is challenging for each of us, and disabilities should not represent an additional obstacle. An inclusive environment does not allow motor difficulties, the absence of senses such as sight, or modes of functioning and thinking that do not align with the already limited societal norms to affect a student’s trajectory. Such particularities do not define a person or their professional competences.
- How do you think this dimension could be further developed at the Academy?
The new building has already made it possible to install elevators and ramps that ensure access for wheelchair users. A possible next step would be to introduce measures dedicated to other types of disabilities, such as Braille signage. Concerning disabilities that are not immediately visible, it would be beneficial to place more emphasis on encouraging tolerance, empathy, and a sense of civic and communal responsibility—essential qualities in a context marked by an increasing tendency toward individualisation. Ideally, in the near future, teacher training would include concrete information about these cases and about how to support students effectively.
- What valuable contribution do you think a project like IncluMusic brings to the artistic community?
Projects such as IncluMusic not only enable the implementation of strategies that make education more inclusive in practical terms, but they also increase the visibility of issues that are real and more common than we might think, though still insufficiently discussed. Without being aware of such cases, one might assume they are extremely rare and do not require macro-level adaptations, but only isolated, case-by-case interventions.
- If you could propose a continuation or a new direction, what topic would you consider important for a future project?
I was sorry that the two workshops were held simultaneously, as I could not attend the one on music therapy. It would be interesting to organise more such workshops, on a larger scale. Additional mindfulness activities would also be helpful, ideally with broader participation.
- How has attending the conference influenced the way you view the role of music in society?
IncluMusic reminded me how important music is for people who are not directly involved in the field, and how essential humanity is as a quality for those who already are. It highlighted the expansion of the field and the many opportunities emerging within it, as well as the profound good one can do as a music educator or music therapist—not only through traditional professional paths. This might attract individuals who choose their careers based on such values. Moreover, the conference reaffirmed that music is not only for those who achieve high performance, but for all who wish to turn their passion into a vocation, each playing an important role.
Cristina Pascu, ANMGD
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the National Agency for Community Programs in the Field of Education and Professional Development. Neither the European Union nor ANPCDEFP can be held responsible for them.