ABSTRACT
In this response, I have nothing particularly critical to provide nor do I have the space to respond to all of the valid and essential questions he asks about business and peace. Those questions set the agenda for conversations that will unfold over a considerable period of time. Instead, my aim is to draw some connections between the work I and others have done in the field of business and peace and connect it to Urbain’s articulation of the issues pertaining to music and peace.
Thus, in the first section, I rely on his themes in exploring music for peacebuilding and connect those themes to the research on business and peace. In the second section, I suggest a structural model that may be helpful in dealing with the inherent ambivalence of both music and business as relates to peace and squarely address how such a structure might approach normative issues. That is, given the fact that both business and music can be used for negative (violent) as well as positive (peaceful) purposes, what are the ethical norms that direct to, well, accentuate the positive and eliminate the negative. Finally, the third section extends some of these themes and structures in an experiment I am currently conducting with my business ethics classes where they are required to identify a piece of music that corresponds to a level of moral development as proposed by, and which I modified, moral psychologists.
