Community Music Today highlights community music workers who constantly improvise and reinvent to lead through music and other expressive media. It answers the perennial question What is community music? through a broad, international palette of contextual shades, hues, tones, and colors. With over fifty musician/educators participating, the book explores community music in global contexts, interconnections, and marginalized communities, as well as artistry and social justice in performing ensembles.
This book is both a response to and a testimony of what music is and can do, musics place in peoples lives, and the many ways it unites and marks communities. As documented in case studies, community music workers may be musicians, teachers, researchers, and activists, responding to the particular situations in which they find themselves. Their voices are the threads of the multifaceted tapestry of musical practices at play in formal, informal, nonformal, incidental, and accidental happenings of community music.
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This compendium of essays offers rich perspectives on Community Music, and communities making music, in a broad spectrum of contexts in the world. It is a grounded response to the question, What is Community Music?, such that by reading of music in mainstream and marginalized communities, inside and outside institutions, in venues ranging from after-school programs to settlement houses, elder-homes, and prisons, there emerges an understanding of music-making together, in socially-conscious collectives, as a precious human need--a vital piece of who we humanly are. Musicians, teachers, and scholars across the fields of music, education, therapy, and the ologies will find relevant reading for their thought and practice. -- Patricia Shehan Campbell, Donald E. Petersen Professor of Music, University of Washington By far the most comprehensive analysis of community music around the world in its breadth, depth, and gloriously dynamic diversity. Community Music Today not only provides an authoritative understanding of community music practice, it will inspire readers to get out and and do community music themselves. -- David Price This is a book to rejoice! Amply researched and balancing theory with practice, Community Music Today is a wonderfully rich contribution that illuminates the many varied ways in which community music enriches peoples lives internationally. All twenty chapters - from leaders in the field - expand conceptions of community music in ways that will both prompt you to think and inspire you to act. -- Dr. Gary McPherson, Ormond Chair of Music and Director,Associate Dean, Research, Melbourne Conservatorium of Music, The University of Melbourne
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List of Figures and Tables |
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| Foreword |
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| Acknowledgments |
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1 The Tapestry: Introducing Community Music |
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1 | (12) |
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PART I COMMUNITY MUSIC IN GLOBAL CONTEXT |
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2 Community Music in North America: Historical Foundations |
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13 | (12) |
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3 Community Music in the United Kingdom |
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25 | (16) |
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4 Community Music in the Nordic Countries: Politics, Research, Programs, and Educational Significance |
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41 | (20) |
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5 Community Music in Africa: Perspectives from South Africa, Kenya, and Eritrea |
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61 | (18) |
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6 Community Music in Australia and New Zealand Aotearoa |
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79 | (20) |
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7 Community Music in East Asia |
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99 | (22) |
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8 Intergenerational Music Learning in Community and Schools |
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121 | (12) |
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9 Music Learning as a Lifespan Endeavor |
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133 | (18) |
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10 Community Music through Authentic Engagement: Bridging Community, School, University, and Arts Groups |
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151 | (18) |
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11 Digital Communities: Sharing, Teaching, Exploring |
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169 | (16) |
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PART III MARGINALIZED MUSICS AND COMMUNITIES |
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12 Marginalized Communities: Reaching Those Falling Outside Socially Accepted Norms |
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185 | (14) |
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13 Personal Growth through Music: Oakdale Prison's Community Choir and Community Music for Homeless Populations in New York City |
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199 | (18) |
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14 Reaching out to Participants Who Are Challenged |
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217 | (14) |
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15 Diverse Communities, Inclusive Practice |
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231 | (18) |
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PART IV PERFORMING ENSEMBLES: ARTISTRY, ADVOCACY, AND SOCIAL JUSTICE |
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16 Community Choirs: Expressions of Identity through Vocal Performance |
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249 | (12) |
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17 Instrumental Ensembles: Community Case Studies from Brazil and the United States |
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261 | (12) |
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18 Expressing Faith through Vocal Performance |
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273 | (14) |
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19 Community Music and Sustainability Worldwide: Ecosystems of Engaged Music Making |
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287 | (12) |
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20 Resources in Community Music |
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299 | (6) |
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| About the Contributors |
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Kari K. Veblen (Canada, USA) is Assistant Dean of Research and Associate Professor of Music Education at the Don Wright Faculty of Music at University of Western Ontario, Canada. A musician and educator, Dr. Veblen studies international trends in Community Music and writes on the intersections of music, education, the arts, and society and pursues a twenty-five year fascination with transmission of traditional Irish/Celtic/diasporic musics. An international representative to the NAfME Adult and Community Special Research Interest Group, she has served on many professional boards, including the ISME board. She is associate editor of the International Journal of Community Music.
Stephen James Messenger (USA) is a public school teacher who works with a diverse student body at the secondary level (his training includes special education, the teaching of Reading, and English as a Second Language) and is a visiting instructor in English Composition at St. Marys College of Maryland, the public honors college of the University of Maryland system, where he teaches English composition focused on the students musical lives. An active musician, Dr. Messenger plays guitar, mandolin, octave mandolin, and bass guitar and participates in a variety of on-line musical communities. His research interests include popular culture, poetry and imagistic interdisciplinary work, Blues and American roots music, Mexican folk art, and British motorcycles.
Marissa Silverman (USA) is Assistant Professor and Coordinator of Undergraduate Music Education at the John J. Cali School of Music of Montclair State University in Montclair, New Jersey and active professional flutist in New York City. Previously she taught secondary school band, general music, and English literature in New York City. A Fulbright Scholar, her research interests include urban music education, music and social justice, interdisciplinary education, community music, secondary general music, curriculum development, and topics in the philosophy of music and music education. In addition to articles in peer-reviewed journals, Dr. Silverman has published invited book chapters in The Oxford Handbook of Music Education Philosophy, Music, Health and Wellbeing, and The Oxford Handbook of Music Education.
David J. Elliott (Canada, USA) is Professor of Music Education at New York University. Author of Music Matters: A New Philosophy of Music Education (Oxford 1995) and Praxial Music Education: Reflections, and Dialogues (Oxford: 2005), Dr. Elliott lectures and presents worldwide. He is currently Chief Editor of Action, Criticism and Theory for Music Education and serves on several other editorial boards. As an award-winning composer and arranger, Dr. Elliott has published many choral and instrumental works (Boosey and Hawkes, New York). His primary interests are music education philosophy, curriculum, creativity, composition, and community music.
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