International Journal of Community Music - Current Issue

In this article, we elaborate on the pedagogical–artistic strategies of a community music project and how they may inspire formal music educational practices. To do so, we draw on findings from a study on the pedagogical–artistic strategies of the musicians–coaches of The Ostend Street Orchestra (TOSO), a community music project that started as an artistic response towards the commotion around a group of homeless people in the coastal town of Ostend, Belgium. The pedagogical–artistic strategies adopted by the TOSO coaches foster the emergence of an educational approach that may have the potential to enrich music educational practices by creating a learning environment that is more democratic and inclusive. Data collection included in-depth semi-structured interviews with the TOSO coaches in 2017 and 2021, as well as video-stimulated recall. The interview data were analysed using thematic analysis. Seven themes emerged from our analysis: embodied interaction, co-coaching, re-thinking musical parameters, personal musical skills, collaboration, collective experiential learning and inclusion. We present the framework and rationale of the study, describe the pedagogical–artistic strategies of the coaches, and discuss the results. In conclusion, we briefly consider possibilities for further research and music teacher education.

Contemporary research into community music programmes highlights diverse contexts for collaborative music making. This article contributes a case of the collaboration in music making to a growing literature on creative practice in community music initiatives led by major orchestras. The authors reflect on field research involving an after-school programme that provides free, classical instrumental music instruction to primary school-age students who would not normally have an opportunity due to their socio-economic circumstances. The Pizzicato Effect, run by the Melbourne Symphony Orchestra (MSO) in the City of Hume, Australia has operated in the northern suburbs of Melbourne since 2009. Through focus group interviews with students, family members and teaching artists, the researchers examined community experiences of accruing cultural capital in conditions of social inequality and multicultural practice. Using qualitative methods, the case study aimed to position respondents as experts in their own lives, who own their knowledge of their worlds. Collaboration was central to a model of improvisation developed locally by teaching artists and applied on site. Furthermore, improvisation took the programme in different directions to the El Sistema model of youth orchestra training in Venezuela, which had been the original source of inspiration for the programme.

Online delivery of community music groups has become more widely accepted following the COVID-19 pandemic, and may reduce barriers to attendance for certain demographics, including mothers with caring responsibilities. However, different interaction patterns may affect group processes, altering a programme’s underlying mechanisms of change when adapted for online delivery. This research compares in-person and videoconference delivery of the Lullaby Project, a therapeutic community music group for mothers with infants aged under 3. It explores engagement, participation and group processes, and elucidates the mechanisms of change for both modes of implementation. Semi-structured interviews were conducted with nine mothers and seven musicians who had experienced one of three delivery methods: (1) face-to-face; (2) face-to-face and online combination and (3) online. Interviews were analysed inductively using thematic analysis and eleven sub-themes were identified within three overarching themes: (1) engagement; (2) group processes and (3) change mechanisms. Mothers perceived benefits and formed meaningful relationships in-person and online, although the distinct group processes and change mechanisms suggest the delivery methods constitute distinct interventions. Specifically, relationships were formed on an individual level during in-person delivery, whereas group-based connections were more likely with online delivery. Further research is needed to explore a diversity of experiences, and to evaluate the efficacy of online delivery of community music groups.

This article explores collaborative songwriting as a form of artistic activism – the creation, performance and/or distribution of art to advance social justice – and demonstrates its potential both in terms of the process of songwriting and the songs that result from it. In doing so, it compares two songwriting workshops facilitated as part of Sex Worker’s Opera (SWO), a grassroots musical theatre project by and for sex workers, drawing on participant observation, archival research and music elicitation interviews. In unpacking the contingent nature of this potential, it evaluates the practical significance of different intentions and material constraints, approaches to fostering ownership and solidarity, and the balance between structure and freedom in facilitating the workshops. Critically, the findings suggest that public engagement, alongside a commitment to community leadership, can help to harness the activist potential of the practice. Looking at how collaborative songwriting can function as and for artistic activism – through creative processes and cultural products – the article emphasizes the opportunity this practice offers for marginalized groups to reclaim cultural space and to challenge norms of silencing in both the cultural and political spheres.

The purpose of this study was to investigate the nature of prison residents’ songwriting experiences while engaged in Documentary Songwriters (DocSong) collaborative songwriting pedagogy. The research implemented a qualitative, case study portraiture design inside a prison in which the experiences of an individual ‘story source’ and group were explored. Key themes originated from the observational, spoken, audio-recorded and sung data procured from a week-long DocSong workshop. The songwriting participants and facilitator created a community that transformed the prison space into an environment in which the residents experienced individual actualization and collective liberation and liberated and restorative music creativity. The songwriting community members shared personal narratives that were replete with emotion, while also demonstrating and supporting each other’s emotional vulnerability and resilience. The group collaboratively created songs from spoken word using the DocSong approach, forming a strong emotional bond throughout the songwriting process. The individuals’ interactions within the group suggested that confidence, patience and the willingness to share were also practised within the songwriting context.