Community Music

Musicians are appointed to positions in professional symphony orchestras -both rank and file and section principals -following a blind audition process. They perform set repertoire works and orchestral excerpts behind a screen. In many higher education programs, musicians focus on learning the orchestral excerpts and instrumental repertoire that they can expect in a blind audition. They practice performing. They seek as much experience as possible for this scenario by performing in competitions and applying for orchestral vacancies -using each audition as a learning opportunity. Once appointed, musicians are expected to maintain the level of musicianship to retain the overall level of orchestral playing. However, musicians in professional orchestras in Australia are generally not involved in regular structured performance reviews. This study explores the introduction of leadership training for section principals in Australian orchestras and the qualitative evaluation of musicians' skills. These two aspects are linked with performance reviews for section principals and rank and file orchestral members in the same way that workers in other industries are required to present for an annual performance review (including the managerial positions in Australian orchestras). An orchestra is an example of an institution with its own culture and levels of leadership, pursuing its operations in the industry marketplace. Musicians employed in orchestras are continually learning and developing their craft. Involvement in performance reviews within the orchestral setting challenges a musician to consider their identity within the orchestra and as an individual musician, together with career aspirations and apprehensions. Each musician needs to articulate their creative knowledge and skills (in both words and music) and refocus their experiential learning and knowledge transfer, appropriate to their current role or a potential career change in or outside music.

This survey-based research is part of our broader research activity concerning machine learning (ML) software, which we are developing for use in music education. With the ultimate goal of informing the design of our software, last academic year, we conducted a quantitative study using a questionnaire addressed to music teachers working in public music schools and conservatories in Greece. Through this research, we examined teachers' habits and perceptions regarding the use of digital music technology (DMT) and artificial intelligence (AI) in music teaching, as well as their views on the role of kinesthetic activity in the music classroom. The analysis of the results yielded important findings that help us piece together the puzzle of the needs of a highly kinesthetic and musically rich classroom, which ML software could support and transform. Among the key findings, a substantial proportion of teachers reported access to computers and viewed DMT as beneficial for teaching, although few currently integrate ML or AI applications into their lessons. Despite this limited use, teachers expressed openness to adopting such tools, provided that adequate support is available, and highlighted the practical constraints of their daily school routines. Statistical analyses showed a strong positive association between perceived kinesthetic benefits and participation and inclusion, while correlations between demographic factors and attitudes were generally small.

The purpose of this case study was to explore the music-making and learning practices of a male elementary student from Cyprus in different settings, inside and outside school. It considers that individuals take many different pathways to become musicians. Their journeys might include contexts in a broad educational spectrum from highly structured and sequential, to informal, and enculturating. The study investigated the characteristics and practices of the diverse teaching-learning contexts involving the participant, the intersection of those settings, and the student's perceptions, feelings, and thoughts about the value of music experiences in those settings for his musical growth. The study considered school music classes, private piano lessons, community choir rehearsals, traditional folk dance ensembles, drum exploration, and writing musical arrangements at home. Thematic analysis revealed the influences from others that motivated student's attendance and continuation in music classes. Specifically, the research considered the elements inherent to the settings themselves, and the factors that affected his persistence in music learning and supported his musical growth. The participant's enjoyment and valuing of the music settings were connected to his need for active and meaningful participation through which he could express his musical ideas.

Memoria del proyecto de Innovación Docente ID2016/176 Página 2 Índice de contenidos 1. Introducción 2. Participantes 3. Materias y asignaturas vinculadas al proyecto 4. Objetivos del proyecto 5. Metodología y herramientas utilizadas 6. Desarrollo del proyecto A. Actividades B. Resultados pedagógicos y materiales 7. Valoración global Memoria del proyecto de Innovación Docente ID2016/176 Página 3 El trabajo de campo y el análisis a partir de fuentes orales son elementos constituyentes de la investigación en disciplinas como la Antropología, la Etnomusicología y la Historia Contemporánea. El proyecto "Implementación de nuevas metodologías en el aprendizaje del análisis sociocultural: las fuentes orales y las entrevistas como recurso didáctico" parte de las carencias en estas áreas de los estudiantes detectadas por el equipo de profesores en su experiencia docente. En consecuencia, se formuló la implementación de una propuesta para facilitar la exposición de los fundamentos del trabajo con fuentes orales y las prácticas de los estudiantes como mejor herramienta para la asimilación de las competencias y los contenidos trabajados. Por tanto, este proyecto de Innovación Docente se engloba en la ACCIÓN 1. Proyectos dirigidos a la innovación en: las clases magistrales, estudios de casos prácticos, resolución de ejercicios y problemas, aprendizaje basado en problemas, aprendizaje por proyectos, aprendizaje cooperativo y clases prácticas Asimismo, este proyecto de innovación docente tiene como objetivo potenciar la multidisciplinariedad en el ámbito de las distintas titulaciones que trabajan

We are professors of music education at Ithaca College, where we collectively teach instrumental and general music methods and supervise student teachers. Before joining the faculty of Ithaca College, Matthew was the director of jazz studies at an arts high school in Boston and an instructor for the Berklee College of Music preparatory program. Beatrice was a K-4 general music specialist and elementary choir director in Hanoverton, Ohio. She also held a private voice studio and served as the vocal director for a variety of musical theater productions.

This paper explores how multilingualism was encountered and integrated during the second pilot phase of the Munich Community Music Project in children’s day care centres. Drawing on literature review, field notes, and reflection session, it highlights how multilingualism may serve as a connective thread within community music in the second phase of the Munich Community Music Project, bridging differences and supporting values such as cultural democracy, hospitality, inclusion and diversity.
KEYWORDS
Multilingualism, Community Music, Early Childhood Education, Cultural Diversity, Pedagogical Innovation, Pilot Project Findings

In this paper the question of whether the Phrygian mode is always associated with perceived emotional responses of negative valence is looked into. To this end, we carried out a series of experiments. Music from two musical traditions where the Phrygian mode is very common, flamenco and Galician music, were chosen for listening tests. Our subjects were 124 children of age 4-7. Some subjects were complete unfamiliar with both traditions and some were familiar with the Galician tradition; none was familiar with flamenco music. Results showed that the perceived emotion was in all cases of positive valence, flamenco music having less valence than Galician music.

The study delves into the impact of music education on talent development in Benin City, Edo state, Nigeria. The work provides data on how various music institutions such as the Benin Chorale and Philharmonic, Klassique Klob Philharmonic, and X-Factor, among others contribute to the cultivation of musical talents in the city. Through qualitative analysis and case studies, the study explores the methodologies of these music institutions to nurture, foster, and imparts essential skills and knowledge to aspiring musicians. Furthermore, it investigates the capacities of these institutions in providing practical experiences, mentorship, and networking within the musical spectrum of the city. Data is obtained from primary sources such as interviews with industry experts, personal knowledge of the researcher, surveys, observations and Secondary sources such as books, journals, and the internet. The study's findings provide insight into the importance and significance of music education in talent development. It also offers recommendations for enhancing music appreciation and literacy in the city and beyond.

In many West African dance-drumming genres, the emphasis is on involving the gathered community in the performance, inviting them to take turns dancing. In such performance contexts, there is no audience in the strict sense: no group of participants who are not themselves directly involved as performers. Based on ethnographic case studies of music-dance events in rural southern Mali, this article argues for the concept of embedded audiency, showing how musicians provide dancers with the crucial contributions of audiency to performance: focused attention, social recognition, and meaning.

Music education stands out as a significant area for supporting social projects. The integration of music into children's educational processes is achieved through various social responsibility projects. This practice offers a multifaceted approach aimed at supporting children's cognitive, emotional, and sociocultural development and developing their talents. The ethnographic field observations used in this study are considered initiatives aimed at meeting the need for social responsibility projects through music education. Focusing on the accessibility of music education, the study highlights a significant area for disseminating and increasing the effectiveness of social responsibility-based music education approaches in Türkiye. In this context, the integration of music education with social responsibility projects stands out as an approach that can contribute to the multifaceted development of children by making music accessible to a wider audience. The long-term impact of music education projects on children's lives represents a critical area to consider when shaping future education policies and practices.

This study aims to examine the effects of non-formal music education processes on child development in Turkey and their interaction with formal music education. The study analyzes the contributions of non-formal music education to children's cognitive, emotional, kinesthetic and social development. Within the scope of the research, the concepts of formal and non-formal education are explored in detail, and the current state and effects of non-formal music education practices in Turkey are evaluated.

Health promotion researchers and practitioners the world over are grappling with how to tackle growing health inequity. The Ottawa Charter for Health Promotion (Ottawa Charter) provides a framework for addressing inequity from an intersectoral, strengths-based, and social justice approach; yet this framework continues to be underutilized. Similarly, evidence suggests creative arts can support positive health and well-being but the potential for the arts to contribute to efforts addressing health inequity is underexplored. In this community-embedded, qualitative case study, we investigate the contribution community-centred music making can have across the five health promotion action areas outlined in the Ottawa Charter. Findings from this study highlight the potential for community music to contribute to personal skill development in relation to maintaining a healthy and well life and engaging in equity-focussed change. Community music can create supportive environments through fostering social connections and activating community spaces. Community music can be a powerful means of strengthening community action by bringing communities together around local issues and activism. When integrated into social services, community music can support the reorienting of health services by connecting people with services and by encouraging people to share health-related knowledge and resources. Finally, our findings demonstrate that community music can shape public opinion and be a conduit to reach people in positions of power in ways that have the potential to influence healthy public policy. This study demonstrates that health promotion researchers and practitioners can and should look to communities' cultural and creative assets in our efforts towards health equity.

El presente artículo reflexiona sobre el desarrollo de un programa musical educativo en la región amazónica de Perú, con intervención en la comunidad Ticuna de Cushillococha, desde octubre del 2017 hasta diciembre del 2019. Este programa musical educativo fue impulsado y organizado por una alianza institucional entre DEVIDA y Sinfonía por el Perú. Como directorcoordinador contratado, encargado de realizar el programa educativo en las comunidades de intervención, impulsé lineamientos orientados a reforzar la música comunitaria y regional, insertando a los beneficiarios en la lectura de partituras y en la práctica de ritmos y estilos musicales comunes en la región. En el desarrollo del programa los niños y jóvenes de la comunidad Ticuna cantaron con notable talento en el coro, y algunos desarrollaron notables avances en el teclado. En 2019 las autoridades de Cushillococha realizaron acciones de protesta con reclamos dirigidos a las instituciones organizadoras por cambios del personal docente contratado. En este artículo se exponen una serie de hechos públicos que permitirán conocer el desarrollo del programa educativo, incluido un breve estudio de dos casos de estudiantes de música de la comunidad Ticuna de Cushillococha, que muestra cuán vulnerables son estos jóvenes a la educación artística. Del desarrollo de los hechos se observa la falta de diálogo y de herramientas para ajustarse a la realidad social étnica. Se discute en las conclusiones cómo los enfoques pedagógicos pueden tener un impacto positivo o negativo en la comunidad.

This qualitative study explores the transformative impact of Linard H. McCloud, a high school band director who served for 45 years at Burke High School in Charleston, South Carolina. Grounded in resilience theory and using narrative inquiry, the study examines how McCloud's mentorship promoted personal growth, self-esteem, and social-emotional development in his students. Interviews with four former students, each from a different decade, provide a longitudinal perspective. Findings highlight the role of McCloud's high expectations, structured discipline, and affirming guidance in helping students overcome academic and personal challenges. His mantra, "one more time for clarity, " fostered perseverance and attention to detail. Band performances at Historically Black Colleges and Universities (HBCUs) also inspired many students to pursue higher education. While limited in sample size, this study emphasizes the power of long-term mentorship in music education and calls for broader recognition of educators who shape student success beyond the classroom.

Η αναγνώριση του ρόλου των τεχνών στην προσπάθεια ενίσχυσης της
κοινωνικής ευημερίας έχει οδηγήσει στην ανάπτυξη πρακτικών, οι οποίες
απευθύνονται κυρίως σε ευπαθείς κοινωνικά ομάδες. Σήμερα, οι κοινοτικές
τέχνες αποτελούν ένα διακριτό πεδίο καλλιτεχνικής πράξης και
επιστημονικής έρευνας, το οποίο έχει ως στόχο τη διαχείριση κοινωνικών
προβλημάτων και την ενίσχυση της κοινωνικής συνοχής. Το προσφυγικό
ζήτημα είναι διαχρονικό και ιδιαίτερα επίκαιρο τα τελευταία χρόνια.
Τα παιδιά πρόσφυγες στην πορεία του επιπολιτισμού τους αντιμετωπίζουν
πολλές δυσκολίες, όπως πρόσβαση σε δημόσια αγαθά και υπηρεσίες,
αποσταθεροποίηση, συναισθηματικές προκλήσεις, ζητήματα ταυτότητας,
κοινωνικές διακρίσεις και περιθωριοποίηση. Σκοπός της παρούσας έρευνας
είναι η μελέτη πρακτικών μουσικής και χορού, οι οποίες αξιοποιούνται σε
προγράμματα για ανήλικους πρόσφυγες, ως προς το περιεχόμενο και την
αποτελεσματικότητά τους. Για την επίτευξη του σκοπού διεξήχθη
περιγραφική ανασκόπηση ερευνών με αντικείμενο κοινοτικά προγράμματα
μουσικής ή/και χορού που απευθύνονται σε αυτό τον πληθυσμό. Σύμφωνα με
τα αποτελέσματα, η ποικιλία του περιεχομένου είναι μεγάλη με εστίαση στη
μουσική, ενώ ο χορός φαίνεται να χρησιμοποιείται κυρίως ως
συμπληρωματική δραστηριότητα στα κοινοτικά μουσικά προγράμματα. Είναι
σημαντικό ότι, ανεξάρτητα από το περιεχόμενο των προγραμμάτων,
η μουσική και ο χορός αναδεικνύονται ως πολύτιμα εργαλεία για την
προσωπική ανάπτυξη και την επικοινωνία και ταυτόχρονα μπορούν να
συμβάλουν στην κοινωνική συνοχή και την ενίσχυση του διαπολιτισμικού

The Oxford Handbook of Feminism and Music Education brings together a wide range of international scholars, practicing music teachers and educators, policymakers, and community musicians to conceptualize, analyze, and critique the personal, social, cultural, political, ethical, and therapeutic practices and problems in music education through feminist perspectives. The book offers global critical perspectives on a wide range of conceptual and practical issues in music education as they apply to various forms of feminist perspectives in music teaching and learning within schools and communities.

The central aims of this volume are to engage with readers' understandings of and critical thinking about feminist perspectives on the problems, opportunities, and "spaces and places" that music educators and community music facilitators encounter, and to elucidate the concepts and practical strategies they employ to improve various aspects of music teaching and learning around the world through feminist lenses. This book helps current and future music educators, community music facilitators, arts and music activists, and solidarity workers to understand the many varieties and potentials of music teaching and learning, as described by the world-renowned scholars and practitioners in this book. It further invites readers to consider how traditional forms of musical pedagogies can be transformed in ways that will make them more mindful of and empathetic toward the personal and musical aims and desires of music students, musicians, and musical communities and collectives. This book will be of interest to teachers, scholars, administrators, advocates, and solidarity workers who wish to redefine, refine, and redesign music teaching and learning practices.

The influence on learning outcomes of interpersonal interaction amongst teachers, pupils and parents is the subject of an inquiry that took this researcher on a voyage from the qualitative to the quantitative side of the "methodological divide", and back again. This paper presents findings from first phase of the research, which included a quantitative survey to examine how learning and teaching experience for violin pupils was influenced by the interpersonal dynamics of responsiveness and control, within pupilparent and pupil-teacher relationships. As part of the survey pupils were asked to draw pictures of their violin lessons. It was thought that the pictures might reveal pupils' perceptions of their experience of learning an instrument and that the pictures would add depth to the quantitative scales that measured interpersonal mechanisms and pupil outcomes. The pictures were subjected to content analysis and coded accordingly. These codes were matched with pupil artists' scores for control and responsiveness, as well as with their scores for outcomes that included enjoyment of music, personal satisfaction, self esteem, self efficacy, friendship, motivation and musical attainment. Analysis of variance was computed in order to test the null hypotheses that a) pupil-teacher-parent interpersonal behaviour (control and responsiveness) was not represented in their pictures and b) pupil outcomes were not reflected in their depictions of violin lessons. This paper presents the results of this analysis, thus addressing the question of whether the pictures could be accepted as telling a credible and coherent story about pupils' perceptions of learning the violin.

Music can be understood in many ways. This has important implications for music education. The research reported here explored how groups of people conceptualise musical understanding and what they believe supports its acquisition. In this study 463 participants completed two statements: “Musical understanding is” and “You learn to understand music through”. Understanding music was viewed as complex and multidimensional with two overarching themes: personal musical understanding in context and understanding as process, with 10 main sub-themes of understanding: communication, kinaesthetic, emotional, personal, knowledge about music, critical evaluation, musical elements, analysis and comparison of music, internal representations, and creating music. Understanding was believed to be acquired through love and enjoyment of music, physical responses, emotional engagement, analytic processes, active engagement with music, education or guidance in formal or informal contexts, exposure to m...

In this study we will establish the necessity of understanding the health of a musical ecosystem from an ecological framing, determine the value of understanding the state of vitality or healthiness via participation and then develop a music participation theory specific to the region of the Northeast of England.

This research was conducted from multiple case studies and uses constructed grounded theory as a methodology. A music participation theory has been established which gives a framework for understanding the nature of music participation in the region as well as an understanding of likely future participation. Furthermore, the developed theory gives insight into the nature of this particular musical eco-system and what elements of the eco-system may or may not be effective, accurate, or faulty in some way leading to a specific state of vitality for the musical eco-system. Finally, this study discusses conclusions which can be drawn from the resulting theory and potential future research which might further illuminate the phenomenon of music participation.

Creative Arts Therapists are community practitioners and artists who bring a unique perspective and approach to educational systems and processes. Their emerging role in schools, both primary and secondary, is signified by their work with those children who experience difficulties in the learning environment and are, therefore, caught up in cycles of failure, low self-esteem, and aggressive or self-destructive behaviours. The school-based Arts Therapist brings a knowledge and approach that utilizes the arts as a vehicle for children to express their concerns and fears, and to learn new, more imaginative ways to negotiate their world. This paper discusses the work of Creative Arts Therapists, both professionals and students, in mainstream and Indigenous community-based Australian Schools, and seeks to illuminate the emerging and significant role of the creative arts therapist in the area of children's education. Within this discussion, the authors also endeavour to highlight the...

ArtForce Iowa is a non-profit organization based in Des Moines, Iowa. Founded in 2012, ArtForce Iowa has a mission to transform youth in need through art. It is pioneering a non-pathologizing approach to working with children in need of services and it offers a critical humanizing perspective using art and music. In this article, seven youth stories provide windows into the troubling, but hopeful, effects of the young people's relationship with their own healing. The article aims to shed light on the promise of authentic kindness, the freedom of art, and the empowerment of youth leadership to support the social and emotional lives of children from marginalized communities. ArtForce Iowa was conceived by a man who was convicted of attempted murder and terrorism for a drive-by shooting that happened in the summer of 1999 in Des Moines, Iowa. While in prison, this man hand-wrote three manuscripts-a memoir and two novels-inspired and informed by the narrative styles of Philip Roth and Saul Bellows. After his release, he sought the help of an editor for his third manuscript, a novel. In the writing lab at Des Moines Area Community College (DMACC), he met Yvette Hermann, an adjunct instructor of writing who would later become the ArtForce Iowa Creative Pathways Program Director. At their first meeting, he said, "I wish I could make sure I'm the last Black Kid to discover he's an artist in prison." Together, he and Yvette set a goal to review 25 manuscript pages per session. They met in person. They debated adjectives and scarcely made small talk-there was too much to do. After they had examined 225 pages, he asked, "Remember when you told me what a teaching artist is? Can you help me with something?" This middle-aged man looked back and saw his younger self: a Black boy who was in and out of juvenile detention, profiled as dangerous, forced into the school-to-prison pipeline, and then served hard time. He realized that if he had had art, if he had had a caring mentor who could advocate for him, his life would have been different.

ArtForce Iowa is a non-profit organization based in Des Moines, Iowa. Founded in 2012, ArtForce Iowa has a mission to transform youth in need through art. It is pioneering a non-pathologizing approach to working with children in need of services and it offers a critical humanizing perspective using art and music. In this article, seven youth stories provide windows into the troubling, but hopeful, effects of the young people's relationship with their own healing. The article aims to shed light on the promise of authentic kindness, the freedom of art, and the empowerment of youth leadership to support the social and emotional lives of children from marginalized communities. ArtForce Iowa was conceived by a man who was convicted of attempted murder and terrorism for a drive-by shooting that happened in the summer of 1999 in Des Moines, Iowa. While in prison, this man hand-wrote three manuscripts-a memoir and two novels-inspired and informed by the narrative styles of Philip Roth and Saul Bellows. After his release, he sought the help of an editor for his third manuscript, a novel. In the writing lab at Des Moines Area Community College (DMACC), he met Yvette Hermann, an adjunct instructor of writing who would later become the ArtForce Iowa Creative Pathways Program Director. At their first meeting, he said, "I wish I could make sure I'm the last Black Kid to discover he's an artist in prison." Together, he and Yvette set a goal to review 25 manuscript pages per session. They met in person. They debated adjectives and scarcely made small talk-there was too much to do. After they had examined 225 pages, he asked, "Remember when you told me what a teaching artist is? Can you help me with something?" This middle-aged man looked back and saw his younger self: a Black boy who was in and out of juvenile detention, profiled as dangerous, forced into the school-to-prison pipeline, and then served hard time. He realized that if he had had art, if he had had a caring mentor who could advocate for him, his life would have been different.

This review of the role of music in public education in the United States begins with an account of the early developments of music education, and traces this role and its transformation throughout U.S. history. At first none of the arts constituted a substantial part of the materials of public pupil education. Music did not become part of the public school curriculum until the early 19th century. The initial role of music in public education was to improve singing in church by means of a scientifically reasoned curriculum, and subsequently to encourage this more musically literate public to join the singing and choral societies popular in the 19th century. This role was supported popularly by the belief that the study of music increased brain function and developed man's intellect. Educators maintained that learning the science of music notation demanded an orderly thought process that made music a mental discipline as intellectually sound as mathematics. Although the public school music curriculum nearly always was implemented by a specialist, near the end of tho 19th century, this responsibility was being shifted increasingly to the regular grade teacher. This reassignment of teaching responsibility coincided with a movement psychologizing education and a focus provided by John Dewey. By 1950 music education was defined though concern with feelings and experiences and how artistic sensibilities could be developed and refined through musical training. Today a search for relevance defines the role of music in public education. Appendices include the resolutions, notes, and a 15-item annotated bibliography. (DK)

Streaming audio of panel discussion "Improvising Digital Culture." Vijay Iyer: First of all, I'm honoured to be here and to be back here, and happy to be speaking to you all. 1 I was sitting in on the previous panel, and I'd like to pick up from what Natasha Pravaz was speaking about. 2 She referred to Richard Schechner, and he emphasizes the idea of performance and the performative moment capturing the subjunctive mood. Schechner is referring to the aspect of ritual or play that comes to be in performance. The subjunctive mood means that somehow there's a degree of fantasy involved [in the performance]. Schechner is specifically referring to Laurence Olivier's performance in the play Hamlet: Olivier both is and is not Hamlet at that moment. I want to contrast that idea [about performance] with something that Muhal Richard Abrams said recently on a panel that was convened by George Lewis in New York City, which was specifically about theorizing improvisation. [Abrams] encapsulated improvisation as "a human response to necessity." It seems to me that there is such a gulf between Schechner's subjunctive, fantasy mode of performance and what Abrams is referring to in that specific context. He kept circling back to that definition, as if those four or five words somehow encapsulated everything we needed to know. And I want to try to unpack it a little bit. I think one of the key aspects of [Abrams' definition] is that improvisation is embedded in reality. It's embedded in real time, in an actual historical circumstance, and contextualized in a way that is, in some degree, inseparable from reality. This resonates with an idea about improvisation that I've been working with recently, which is that improvisation should actually be regarded as identical with what we call experience. This means that there is, in fact, no difference between human experience and the act of improvisation, which means that we're actually always improvising. It means that improvisation is central to consciousness and to everything that we know. In a way, this insight about improvisation makes it so primal, as a concept, that it becomes almost impossible to place value on it. It is something that structures who we are and how we move about in the world. This means that there is improvisation that you could call "bad" or "evil." That is, for every Roscoe Mitchell or Charlie Parker or John Coltrane or Alice Coltrane or Mary Lou Williams, you also have a Dick Cheney or a contractor with Haliburton, with an itchy trigger finger. They're improvising, too. So, when we talk about improvisation, we can't always view it, I'd say, as a model for social change, unless you look at a definition like Abrams' as a kind of interventionist definition. That is, Abrams is trying to put a certain tilt on what we're calling improvisation, in a way that is, in a certain sense, empowering or activist: a human response to necessity. The history of the AACM [Association for the Advancement of Creative Musicians] encapsulates this idea, which is elaborated in George Lewis' book [A Power Stronger Than Itself: The AACM and American Experimental Music] in astounding detail. So, when we start kicking around this term, "improvisation," I want to see how neutral we can be with it. Or else, when we choose to use these kinds of activist or empowering definitions that we're very aware that that's what we're doing. Because that means that we're theorizing positively of what improvisation can do. In other words, you might say that there are degrees, layers or levels to what we call "improvisation." There's a primal level at which we learn how to just be in the world, and then there's another level at which we're responding to conditions that are thrust upon us. Of course, for aggrieved communities, these levels become indistinguishable; survival under such conditions becomes inseparable from the basic fact of one's existence. Does this then collapse the distinction I'm making between apparently neutral and activist definitions? The question is how and where we situate power in acts of improvisation. We need to be able to analyze and critique the improvisations of absolute power -portrayed, for example, in the casual torture and murder enacted by decadent fascist elites in Pasolini's Salo -just as much as we examine the revolutionary improvisations that we associate with collective actions of the dispossessed.

The transcript of this actual discussion (from the 2008 Guelph Jazz Festival Colloquium) between musician-authors Vijay Iyer and Paul D. Miller continues a virtual discussion carried out in the pages of a collection of essays which Miller edited, entitled Sound Unbound: Sampling Digital Music and Culture (2008). Both Iyer and Miller contributed essays to that volume, and here they turn up the volume on their respective notions of improvisation, sometimes converging and sometimes diverging in interesting ways. In that earlier text, Miller presents a kaleidoscopic verbal collage of anecdotes and theoretical snippets to invoke the nature of his anthology-cum-mixtape: “Sound Unbound is about volume—of content as sound bite, of attention with no definite deficit, of memory as a vast playhouse where any sound can be you. Press 'play' and this anthology says ‘here goes’” (Miller 9). Miller employs a similarly play-ful mode of presentation in his dialogue with Iyer, and like their o...

Elucidating the Sound of It is an artistic tuba performance action research project investigating wind-bass sound and musical performance practice in an adult community wind orchestra. An autoethnographic, musical process philosophy of symphonic wind-brass-bass performance, employing a cognition analysis tool 4E (embodied, embedded, enabled, extended) in a cross disciplinary, humanistic investigation framed within cultural history, classical philosophy, and transpersonal psychology.
The thesis discusses bass sound as an elemental, acoustically immersive phenomenon foundational to psychologically affective somatic experiences of musical depth, size, and power. An acoustical sensation, first encountered in landscapes and later replicated to effect somatic awe in ceremonies and rituals for thousands of years. Bass sounds, manifested in more recent times, by massive brass bells, mighty wind driven pipe organs and the eventual development of brass wind-bass orchestral instruments. The tuba, an industrial era, military band, chromatic, contrabass brass instrument was significantly employed by Richard Wagner in composing the Ring Cycle. Wagner expressed an innovative and expansive conception of bass brass symphonic sounds, consequently, establishing an important musical role for tuba in orchestral performance.
The playing of tuba in a symphonic wind ensemble is the focus of this performative research, which is framed by the orchestral tuba performance and wind instrument pedagogy of Arnold Jacobs (1915-1998) principal tuba of the Chicago Symphony Orchestra (1944-1988). Jacobs (teacher to generations of accomplished brass players and the author) is renowned for his musical knowledge, orchestral experience, and pioneering study of the anatomical and neurological aspects of effective wind instrument respiration. A pedagogy expressed in a personal style of individualized mentoring often conveyed in cryptic oral maxims. Jacobs’ teaching philosophy is verified in a growing body of published accounts by former students and his recorded masterclasses available online. Evidence of Jacobs’ allegorical, enigmatic, common-sense emphasis of developing an attentive, focused, and imaginative conception of tuba sound and performance excellence. An oral teaching, demonstrated in the thesis to possess meaningful etymological precedents in classical Greek philosophy; an empirical observation that Jacobs’ oral teaching style displays cogent pre-Socratic roots. A classical foundation to a process based, metaphorically expressive, performative philosophy articulating an embodied relationship of music, player, and instrument manifesting imaginative musical products; a poetic process Jacobs characterized as Song & Wind.
The dissertation evidences its qualitative enquiry of tuba wind-bass sound by both examining and documenting the instruments performative role within a symphonic wind ensemble. The bass parts, encountered and performed in concert, of five wind orchestra masterworks are discussed: Gustav Holst, First Suite in E-flat for Military Band - Percy Grainger, Lincolnshire Posy - Leonard Bernstein, Symphonic Suite from On the Waterfront - Julie Giroux, Symphony IV: Bookmarks from Japan - John Mackey, The Frozen Cathedral. Embedded within the dissertation are recent concert performances of these works demonstrating the authors tuba performance and process philosophy as practiced within a musically accomplished adult community wind orchestra.

Students with autistic spectrum disorders show deficits in social understanding and interactive skills with others, with consequent difficulty in achieving group objectives. Thus, success in group activities is especially significant for such students. We report our experience with four students with autistic spectrum disorders constituting a musical ensemble working together towards a successful stage performance.

Diálogos musicais é um programa de rádio que promove a democratização do repertório pertencente ao gênero musical conhecido como música de concerto em todas suas vertentes, que atravessam uma tradição secular, mas que hoje encontra pouca disponibilização ao grande público. O programa é veiculado pela Rádio Educativa UFMS em Campo Grande/MS e prevê, junto a tal programação, a inserção de comentários didáticos que orientem a escuta, por parte de professores do curso de música da universidade especializados na temática de cada edição, proporcionando assim um diálogo efetivo com a música, não apenas devido aos enunciados informativos, mas pela relação feita com a realidade social, política e filosófica que envolve cada uma das peças e temáticas propostas.

Yati is formation of rhythmic patterns of different kinds viz., ascending (Srotovaha), descending (Gopuccha), descending-ascending type (Hour glass), ascending-descending type (Mridanga Yati), Straight line or Even patterns (Sama Yati) and Random patterns (vishama yati). Yatis are extensively used in Carnatic percussion in various cadential forms like korvai, mora, muktayi etc. This article is an attempt to quantify those numbers with which rhythmic patterns are formed with the extensive use of Yati that which can be used as Purvanga in a Korvai. (Yatis can also be used as Utaranga but I have focused only on Purvanga or the first portion of a korvai in this article).

This article discusses the concept of children's agency in early childhood music education, integrating perspectives from the sociology of childhood and analysing music teaching and learning contexts in Brazil. Although children are increasingly recognised as catalysts for change in education and policy, there is still a persistent gap between theoretical discussions about agency and the practical opportunities available for children to actively engage in musical learning. Children's agency as their ability to make decisions, express preferences and influence their environment. However, in early childhood music education, the traditional understanding of agency is usually limited to the transmission of content dictated by educators, promoting a vertical and teachercentred dynamic. To address this concern, we propose that significant, meaningful and creative musical experiences depend on acknowledging children's role as protagonists of their musical experiences. Recognising them as social agents shifts the focus from passive learning to active participation in shaping their experiences, and by discussing the concept of musical protagonism, we seek to emphasise the inherent value of children's musical expressions. This study presents a nuanced analysis of children's agency and protagonism through an interdisciplinary lens, leading to a conceptual framework to better understand children's musical practices.

STEVEN CORNELIUS WITH MARY NATVIG alf a century ago, Frank Harrison invited us to consider social aims as part of our scholarship. 1 In ethnomusicology, implicitly at least, social aims reach well beyond Harrison's notion of "developing understanding between man and man" and between the past, present, and future, to include bringing to fruition social conscience, justice, and action. Musicology as well has begun to explore the social conscience of music making with the advent of ecomusicology and the exploration of issues such as music and torture. 2 These ideas, however, usually do not form the substance of our teaching, especially in our introductory courses. The authors believe, however, that these very ideas are those most essential to our general education music courses. In this paper, we argue that an introduction to music course is a different animal not only from history courses for music majors, but also from more focused topical courses for non-majors. We believe that after taking a music appreciation course students should be equipped with tools to distill fundamental understandings from all of their musical experiences, beginning from the here and now and extending to the there and then, that is, from Beyoncé to Bach. To achieve this, our remarkably engaged students need to situate themselves within the world of music with deepened foundational understandings, need to increase their skills in thinking about and engaging with musical experience, and need to be comfortable with a diverse set of musical tastes and affiliations. Equipped with these assets, students will be prepared for a rich future of life-long musical learning. These measures will benefit not only 1.

Alle Rechte vorbehalten. Nachdruck, auch auszugsweise, verboten. Kein Teil dieses Werkes darf ohne schriftliche Genehmigung des Verlages in irgendeiner Form reproduziert oder unter Verwendung elektronischer Systeme verarbeitet, vervielfältigt oder verbreitet werden.

This article sets out a dialogue on the impact of music on people and society. The perspectives of three researchers, from different experiential and methodological backgrounds, are presented. The article explores: how we define concepts of impact; how we seek to measure the impact of engaging with music, providing examples from our own recent work; and tensions in attempting to capture or measure the ‘magic’ of music, including how to meet the needs of different audiences and how to develop new ways to capture impact. The authors reflect on the political climate in which music interventions operate, including the need to ask different questions at different times for different audiences, concluding that it is vital to measure both whether there is any impact, how this impact was achieved, and people’s experiences of engaging with music. We found consensus about the need to move evidence forwards through both the use of arts-based creative methods that focus on the music-making proc...

Academic freedom has become an important topic in recent years, due to various kinds of threats to the freedom of research and teaching in higher education around the world. What makes investigating academic freedom difficult is its complexity and ambivalence, but also national legal frameworks and the history of higher education in respective countries. In music education and philosophy of music education, academic freedom has rarely been an explicit topic of research. Thus, it might be time to further scrutinize it. The purpose of this paper is to investigate academic freedom from the perspective of philosophy of music education. It is focused on academic freedom's philosophical dimensions and its meaning for philosophy of music education-and philosophy of music education's possible relevance for academic freedom.

This creative-critical article advocates for the promise of letters in imagining possible futures. The piece includes ten of my Letters to the Future, epistolary poems written as fictocritical conversations between the texts that I read and imagined future readers. In the letters, I write of listening and care, patterns and methods of making passed between our hands, embodied forms of knowledge and slow practices, as I imagine and speak to our future caring communities. The letters are interspersed with short scholarly reflections on feminist epistolary history, traditions of matrilineal knowledge and slow reading as maternal performance. As part of my multimodal research-creation project on listening as artistic practice, this epistolary work takes visual form in drawings, paper-cut installations and letterpress prints, exhibited most recently at the University of Alberta in 2022. I am a letter-writer, an embroiderer, a mother, a listener, a caregiver, an artist, a researcher, a thinker, who embraces these roles and intersections while seeking their common denominators. My current art historical and artistic research emerges from the following question: how might a (re)turn to slow practices, modelled by contemporary artists, shift our relationships and offer alternative, more sustainable, ways of being for future.
From a special journal issue on Performing Maternities

Building on Mantle Hood's and Charles Seeger's original concept of participatory experience, this presentation discusses and validates world music performances in ethnomusicology by fostering favorable and nurturing academic environments. In the formation and development of Jacaré Brazil (a Brazilian ensemble) and the Brazilian Music Institute at the University of Florida, world music has gained new significance for performances and provided a meaningful participatory experience. The collegiality among faculty, students, and local musicians, enriched by successful experiences from academic activities like concerts, live-web performances, lecture series, and workshops, has created a new training ground and cultural experience for students and faculty. This process ensures that students have the potential to become bi-musical or experts in more than one musical idiom. The underlying belief is that students benefit from experiencing and practicing music outside traditional European models. Engaging in new and dual performance practices while developing varied sensorial perceptions and musical possibilities enables individuals to listen for quarter-steps, cultivate a metronomic sense, and gain independence from musical scores and Western notation. Thus, it allows for the exchange of information across multiple fronts, offering opportunities not only for students and faculty to perform but also for promoting artistic values and validating performance with standards analogous to traditional Western art music.

Dewey Number: 780.7 ©International Society for Music Education 2018 www.isme.org Development was brilliant and we thank them for their support along the pathway we made to create the gathering. We hope that these proceedings reflect the days spent talking, sharing and singing in Tbilisi. • Dr. Mary Cohen, US (Chair) • Pete Moser, UK (Chair) We believe that everyone has the right and ability to make, create, and enjoy their own music. We believe that active music-making should be encouraged and supported at all ages and at all levels of society. Community Music activities do more than involve participants in music-making; they provide opportunities to construct personal and communal expressions of artistic, social, political, and cultural concerns. Community Music activities do more than pursue musical excellence and innovation; they can contribute to the development of economic regeneration and can enhance the quality of life for communities and contribute to economic regeneration.

Introduction: Participatory music making for older people has tended to focus on singing and performance. In a community music project undertaken by Manchester Camerata (a chamber orchestra), Blacon Community Trust and a small group of older adults, participants were given the opportunity to compose individual pieces of music interactively with professional musicians. This paper reports the findings of the research project. Method: An arts-based research method was adopted and incorporated action research and interpretive interactionism to articulate the experiences and perceptions of participants. Participants and Manchester Camerata musicians also worked together to represent the thematic findings of the research in a group composition. Findings: The findings demonstrate that individual and group music composition contributed to a sense of wellbeing through control over musical materials, opportunities for creativity and identity making, validation of life experience and social en...

This paper reports the findings of a transdisciplinary project undertaken between Coventry University, Manchester Camerata and a small group of older adults. Participants were given the opportunity to compose music interactively with professional musicians. The impact of this on the participants was investigated using an action research process (Roth and Esdaile 2001) and an interpretive interactionism approach (Denzin 2001). In keeping with the empowerment principles of the project, the resultant thematic findings were represented in a group composition written by the participants and performed by Manchester Camerata. The findings demonstrate that group music composition had contributed to a sense of well-being through control over musical materials, opportunities for creativity and identity-making, validation of life experience and social engagement with other participants and professional musicians. It is the focus on music composition as an arts-in-health activity for older peop...

Este artículo muestra los debates y retos encontrados en la creación de una propuesta de formación continua en Construcción de Paz a través de la Música en el Departamento de Trabajo Social de la Universidad Nacional de Colombia, diplomado creado por iniciativa de una de las autoras de este artículo, quien es música y trabajadora social, mientras que el equipo docente encargado de desarrollar la propuesta cuenta con alguna de las dos profesiones o ambas. El artículo destaca cómo esta doble cualidad de la propuesta educativa ha dado una base teórica sólida en aspectos relacionados con los Estudios de Paz, los enfoques psicosociales, la acción comunitaria, así como en el análisis crítico de la praxis musical. De tal manera, el diplomado ha podido recoger, explorar y nutrir el carácter comunitario que ha tomado la música para la construcción de paz en Colombia, apoyándose en el corpus teórico-práctico del Trabajo Social.

Within the migration narrative, the voices and stories from individuals who have experienced forced displacement are often absent. This article explores employing community music as a means for hearing and including these voices, as well as the importance of creating safe spaces where asylum seekers can share their stories and participate in the creative process. Participation is discussed as a fundamental human right put forward by the Universal Declaration of Human Rights (UDHR) (United Nations 1948) and the Universal Declaration on Cultural Diversity (UCDC) (UNESCO 2001). Participation becomes especially vital for people existing in liminal spaces in society; for example, asylum seekers. I introduce a participatory community music project I co-created called "Migration Songs," which took place between January 2017 and March 2020 in Brussels, Belgium. During this time, I offered weekly poetry and songwriting sessions for asylum seekers at the Fedasil Arrival Centre with poet and writer, Sarah Reader Harris. Together, we employed poetry and a participatory method of songwriting called Story-to-Song to work with residents of the centre to step into the role of artist and musician, writing music from their migration stories. Participant reactions to the project, as well as methods I have employed for sharing the songs with a larger audience are shared. Further questions for consideration include how to bring the songs and the stories into the migration narrative and how to share them with audiences that are resistant to hearing migrant voices.

Critical positive youth development (CPYD) is a promising framework for supporting young people in strengths-based ways to both thrive individually and address structural foundations of social inequity. This literature review explores community music for operationalizing CPYD. Database searches were supplemented with expert consultation and handsearching of identified articles and key journals. The authors used a purposive sampling strategy within a critical interpretive synthesis methodology to select 50 articles exploring outcomes of community music programmes with young people. They synthesized findings from these 50 cross-disciplinary studies to illuminate outcomes across the CPYD framework: competence, confidence, compassion, connection, character, contribution and critical consciousness. This study affirms the use of community music in contexts of youth development and implications for health and arts practitioners KEYWORDS music arts equity inequality social justice arts young people