International Journal of Community Music - Volume 3, Issue 3, 2010

This short impression presents a personal reflection of the cultural interaction that took place during the Commission of Community Music Activity seminar in New Zealand, 1988. Through narrative prose we are introduced to a welcoming ritual that binds the seminar participants as whanau, our own family.

Taking Great Britain's Music Travellers as a starting point, this paper provides an insight into some of the issues facing the early developments of community music as an organized activity in the 1980s. Through a presentation of a community music project in Manchester, England, this paper concludes with the implications for community music development work.

This short introduction to the proceedings of the 1990 Commission of Community Music Activity spells out a prevailing spirit of those involved. Describing community music as the cutting edge in music education, this prelude suggests that community music activity should play a vital role in the future of music education training.

This paper considers the following questions: Do existing models of training, based in higher education/conservatoire institutions, equip today's musicians with appropriate skills to work in community settings and can vocational training be incorporated within conventional music courses as options, or do we need to see specialist full-time courses? Using the Abraham Moss Centre as an example of practice, outlines of the key skills needed to be a community musician are described. In conclusion, this paper suggests that instead of adopting a top-down approach to training, providers might ask those directly involved in the work what kind of training they think is important.

This paper presents a historical perspective to the development of community music in Australia. Finding political support in Australia's progressive arts policies of the late 1970s, community music is discussed as embracing the principles of access and equity and supporting the development of musical skills in the context of social change and cultural democracy. In conclusion the paper suggests that the base of community music is broadening alongside changing education policies.

The purpose of this paper is to explore the contribution community music has made and can make to cultural education in the United States, both in its own right and in the context of education as a whole. The paper gives a bird's-eye view of the historical highlights of community music-making activity in various parts of the country, particularly outlining the types of activity prevalent within the southeast of the country. Finally, some thoughts are presented regarding the collaboration (or lack thereof) between formal music education in the schools and community music-making, concluding that community music and music education could benefit from closer cooperation.

The creative music workshop involving professional players was intended to give direct support to school teachers and to enhance music in the classroom. However, today's large-scale, high-profile projects mounted by orchestras and opera companies appear to be developing into a full-scale industry on their own, their role in partnership with schools and colleges requiring clarification. Through research into orchestral education policies, this paper reveals some of the confusion and suggests that music companies could profit from the experience of museums and art galleries.

Through descriptions drawn from interviews of Native American musicians and observations of tribal musical events, this paper presents a challenge to the conservative educational practices in public schools of the United States. In conclusion, the paper suggests that by more closely examining different cultural learning, values and traditions, music educators might use the best elements of all cultures to forge a stronger cultural community.

This paper discusses how some of the music projects supported and developed by Community Music Wales have attracted the interest of disaffected young people. In addition, the paper describes how project participants are able to have their learning formally recognized under a national accreditation system, thus gaining access to employment or further training opportunities. The paper concludes with a brief look at some of the key issues that have emerged through the organizations' community music work.

This paper presents an overview of UKUSA, a non-governmental community arts/music programme in Durban, South Africa. At the heart of this project is a desire to enable people who have been historically disadvantaged to develop a more positive sense of self. To this end, UKUSA offers the best possible tuition in music, dance and drama, developing skills for self-actualization, further education and career development. Aimed at those who are 16 and older, this paper describes UKUSA as a bridging course for tertiary institutions.

Through the work of the Guildhall CONNECT project, this paper presents innovative ways to foster collaboration between people, context, and culture. In conclusion it argues that the role of a conservatoire should be realigned to meet the needs, expectations and potential of today's society suggesting that a multifaceted performer who is effective in collaborative environments are important qualities for musicians who want to remain employable.

Community bands play an important role in Brazilian music education. Often the only point of musical access, they provide free instrumental teaching for thousands of people who cannot afford to pay. One challenge that needs to be continually addressed is the issue of attrition, especially during the first stages of instruction. Considering this issue, this paper presents a pedagogical approach which concentrates on music-making through collective instruction. In conclusion, it is suggested that this approach is an effective way to teach instruments, motivate beginners, and lower the cost of instrumental teaching, making quality instruction available to more people.