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- Volume 1, Issue 1, 2007
International Journal of Community Music - Volume 1, Issue 1, 2007
Volume 1, Issue 1, 2007
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The many ways of community music
By K.K VeblenThis article examines the concept of community music (CM) from a variety of perspectives and in relation to a wide array of living examples of CM around the world. The author does not seek a definition of CM; she is not aiming for closure. The point of her essay is to emphasize the inherent diversity of CM programmes, their situated natures and the fluidity of this global phenomenon.
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Growth, pathways and groundwork: Community music in the United Kingdom
By Lee HigginsThis article suggests that community music in the United Kingdom emerged as a sub-strand of the community arts movement during the political and cultural changes of the late 1960s and the early 1970s. Through five themes: musicians in residence, music animateur, music collectives and punk rock, definitions, and training, Part 1 of this article establishes the significant trajectory of the community arts movement. This groundwork provides the foundations through which community music later develops. Part 2 illuminates particular aspects of the UK scene that contribute to community music's very particular identity.
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The Community Music Activity Commission of ISME, 19822007: A forum for global dialogue and institutional formation
More LessThe development of community music as a structured activity and academic discipline occurred in a variety of social and institutional contexts during the last fifty years. The International Society for Music Education, through its Commission on Community Music Activity (CMA), represents one forum in which community musicians and those interested in such activity maintained a dialogue and exchanged ideas and practices. This article documents the history of the Commission and evaluates its contribution to the emerging field of community music.
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Freeing music education from schooling: toward a lifespan perspective on music learning and teaching
More LessThis article argues that school music programs in the United States are too concerned with preparing and polishing large ensemble performances, such that students do not have the skills needed for life-long musical involvement. The author suggests that school music programs will only survive in the future if teachers place more emphasis on creating partnerships between school music and community music of various kinds. Survey data is provided to support these claims.
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Community music and the GLBT chorus
More LessThis article discusses the rise and evolution of Gay/Lesbian/Bisexual/Transgender (GLBT) choruses in the United States of America with special attention to the author's outreach efforts with the Ambassador Chorus.
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South Africa, the arts and youth in conflict with the law
Authors: Sheila C Woodward, Julia Sloth-Nielsen and Vuyisile MathitiThis article describes the Diversion into Music Education (DIME) youth intervention programme that originated in South Africa in 2001. DIME offers instruction in African marimba and djembe ensemble performance to juvenile offenders. Conceived as community collaboration among organizations in the cities of Cape Town, South Africa and Tampa, United States of America (including the University of the Western Cape and the University of South Florida), DIME offers a unique example of community music and multicultural music education. Its distinctive nature lies in an intervention format that integrates music teaching, mentoring and intercultural exchanges aimed at both the acquisition of musical skills that offer opportunities for healthy diversion from crime and at successful reintegration into society.
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Once the beat gets going it really grooves: Informal music learning as experienced by two Irish traditional musicians
More LessThe purpose of this ethnographic case study was to discover the manner in which two Irish musicians, Loretto Reid and Brian Taheny, taught/and or transmitted traditional music at the Celtic College Summer School in Goderich, Ontario. Two central questions, each followed by several sub-questions, served to focus the study: How did you learn Irish traditional music? and How do you teach Irish traditional music to adults? Several themes emerged from the analysis of the central and sub-questions, including a supportive family environment, listening and observing as key elements to musical learning, teaching holistically and music notation used as a memory aid and not as the primary learning tool. Information gleaned from this study is potentially valuable to public school music programmes.
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Ukrainian youth development: music and creativity, a route to youth betterment
More LessIn north-eastern Ukraine, the collapse of the Soviet Union has caused a heavy economic depression. This has forced workers to migrate abroad, leaving young children and teenagers back home. Without adult supervision and influence, these young people are left without direction. Open to negative influences such as alcohol and drugs, they are at a higher risk for getting HIV/AIDS. In Kivsharivka, Ukraine, a US Peace Corps volunteer named Aaron Brantly has established a programme called the Kivsharivka Youth and Community Activity Organization (KYCAO) The KYCAO uses music and creative development to give students a connection to their community and to each other. As a community music outreach programme its intention is to provide some hope for the future.
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Critical pedagogy in the community music education programmes of Brazil
More LessPaulo Freire (1970) developed critical pedagogy to teach oppressed Brazilian adults to read. Freire documented his ideas in a landmark publication entitled Pedagogy of the Oppressed. This article discusses and reports my findings on Freirean methods evident in music education programmes in Rio de Janeiro, Alvorada, Recife and So Caetano.
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New initiatives in community music and music education: The UK Musical Futures project
By Kari VeblenThis piece explores new ways in which music education and community music can intersect through a four year project in a variety of UK settings. The UK Musical Futures Project, funded through the Paul Hamlyn Foundation, connects young people, musicians, teachers, community workers, parents and researchers in this four year initiative.
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Book Review
More LessCommunity Music: A Handbook Edited by Pete Moser and George McKay Russell House Publishing Ltd., 2005, 4 St Georges Road Uplyme Road Lyme Regis Dorset DT7 3LS 203 pp. 25.00 ISBN: 1903855705 Paperback
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