CMA Pre-Conference Seminar Abstracts - ISME Commissions · 2020. 7. 18. · CMA Pre-Conference...

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CMAPre-ConferenceSeminarAbstracts

Roundtable

Name:VyvienneAbla

Location:Australia Organisation:VyvaEntertainment

Title:PowerofHipHopinEngagingYouthinEducation,CareerPathwaysandGlobalCommunities

Abstract:ThisdiscussionexploresideasaroundthepowerofHipHop,examiningprojectsthataretakingplacearoundtheworld,whereHipHopisusedasatoolforeducation,healthandengagementamongstyouthandcommunity.ItwilllookintohowHipHopcultureiscreatingahomeawayfromhomeandforginglifetimerelationshipsandsupportnetworksforyouthacrosstheglobe.Thepresenterswillreflectontheirexperiencesandworkrelatedtoequity,inclusionandhowmusiceducationhasbeenutilisedinunderprivileged,underservicedandneglectedcommunitiesandregions.CoasttoCoast,togetherwefollowHipHopfromtheoriginatingburrowsofNewYorkCity,allthewaydowntoAustralia.Discussionswilldelveintothechallenges,techniquesandtriumphsinengagingdiverseyouthandtacklingsystemicissuesaroundwhiteprivilege,lackofrepresentationandabuseofpowerthroughtheuseofHipHopcultureandmusiceducation.

BiosMAXINEJOHNS:MaxineJohnsakaDJMsHennesseylaunchedherfirstblogpagebackin2012,dedicatedtointerviewscapturedwithahostoflocalandinternationalUrbanMusicpersonalities,realityTVstars,musicproducers,artistsandoveralltastemakersintheindustry.Withover18yearsmusicjournalistexperienceunderherbeltJohnsakaMsHennesseyhaswrittenonandcontinuestodocumentthepast,presentandfuturerolethattheAustralianUrbancommunityplaysontheglobalstage.AddingtoherwritingadventuresisherfirstpublishedbookcalledHowtoLiveforLoveandHipHop,whichwasreleasedin2017andmadeittotheNo1BestsellersList.ShecontinuestoworkwithinherHipHopcommunityconnectingpeopletowhereandwhomtheyneedtoworkwithandenhancingherpotentialtobethebestwriter,radiopresenterandDJshecanbe.2019sawJohnsaddtheroleofteachertohercareerbowassheseesthebenefitsthatmusictherapyandHipHophaveintheeducationdepartment.InteachingandcreatingapodcastforaforwardthinkingprimaryschoolinWesternSydney,thisahamomenthasclearlybeenthegamechangerinJohn’steachingcareer!DR.A.D.CARSON:Dr.A.D.Carsonisanaward-winningperformanceartistandeducatorfromDecatur,Illinois.Hisworkfocusesonrace,literature,history,rhetorics&performance.HereceivedaPh.D.inRhetorics,Communication,andInformationDesignatClemsonUniversity.Hisalbum,Iusedtolovetodream,isforthcomingfromUniversityofMichiganPress.Thisworkextendsfromhisdoctoraldissertation,OwningMyMasters:TheRhetoricsofRhymes&Revolutions,whichhesubmittedinrapalbumformastheprimaryfeatureofadigitalarchiveatphd.aydeethegreat.com.Dr.Carson’sworkhasgarneredinternationalpressandhasbeenfeaturedbyComplex,TheChronicle

ofHigherEducation,Forbes,TheGuardian,JournalforCulturalandReligiousTheory,NPR’sAllThingsConsidered,OkayPlayer,QuiddityInternationalLiteraryJournalandPublic-RadioProgram,Time,USAToday,andXXLamongothers.JAMES‘SOSOON’GANTT:James“SoSoon”GanttisaNewYorkCityHipHopartist,producer,scholar,andeducator.James’2015undergraduatethesis“The(in)FormalEducationofaBlack,Working-ClassMaleinNewYorkCity”challengestheshortcomingsoftheAmericaneducationsystemwhileupliftingthebenefitsofartasnecessaryeducation.ZEADALA:ZeadalaisamixedracedSouth-WestSydneybasedpoet,musicianandactorwhoavidlyaddressesthemesofsocialinequality,politicsandself-reflectioninherworks.ThewordEadalaitselfisanArabiconemeaningjustice-aligningwithherdesiretoupholdfairness,honesty,andequality.Asawomanofcolour,aperformer,andmentor-Zeadalachallengesnormativenarrativeswithinsocietywithherrawanduniquestyle,simpleyetrhythmicguitarcompositions,soothingvocalsandvastlyboldlyrics.DOBBY:DOBBYisarapper,drummerandmusiccomposer.HeproudlyidentifiesasaFilipinoandAboriginalmusician,whosefamilyisfromBrewarrinaonNgembaland,andisamemberoftheMurrawarriRepublicinWeilmoringle,NSW.Locally,hehasperformedatmanyeventsincludingBIGSOUND,SydneyOperaHouseandBoomerang/Bluesfest,andinternationallyinGermany,UK,USAandNetherlands.DR.JAMESHUMBERSTONE:JamesHumberstone’soutputisinfluencedbyhisresearchbackgroundinexperimentalmusic,andhisinterestincomposingforchildrenandcommunityensembles.BorninLondon,HumberstonemigratedtoAustraliain1997aftercompletingadegreeincompositionattheUniversityofExeter.Aftermanyresidenciesandaprolificdecadeofcreativeworks,in2013HumberstonecompletedhisPhDandwasappointedLecturerinMusicEducationattheSydneyConservatoriumofMusic.Todayheworksinthefieldsofcomposition,musiceducationandtechnologyresearch,aswellasexperimentalmusic.

Fullspokenpaper

Name:JessAbrams

Location:UnitedKingdom Organisation:Ms

Title:CommunityMusicasCompulsoryinHigherEducation

Abstract:

AtEdinburghCollege,CommunityMusichasalwaysbeenanoptionalunittherebyensuringthatthestudentsintheclasshadchosentobethere.However,asofthisyear,CommunityMusichasbecomeamandatorysubjectforsecond-yearstudents.Onetheonehand,thisgoesagainstanunderlyingprincipleofCommunityMusic;apracticethatisknownforit’sinclusive,oftenparticipant-led,approachwithsaidparticipantschoosingtobethere.Ontheotherhand,itoffersanopportunitytoensurethatthosestudyingmusicaregivenevenasmallunderstandingoftheresponsibilitythatcomeswithbeingafacilitatorofanotherperson’smusic-makingexperience.ThispresentationwilldiscussthefirstyearofCommunityMusicbeingcompulsoryincludingviewsofstudentswhotookpartovertheyear.Mostlythough,itwillaskquestionsvs.offerdistinctanswers.Questionsalongthelinesof:• DoesmakingCommunityMusiccompulsoryclashwiththeethosofthefield?• Canwe‘reframe’aclasstoensurethateventhosewhowouldnotchoosetobetherefindvalueandmeaninginit?ORisitokiftheydon’t?• Asmanymusicstudentsplantotrainasteachers/educators,doesundertakingatleastsomeCommunityMusictrainingearlyon(e.g.anon-formalapproach)offerawiderapproachwhensteppingintoaformalsetting?

Fullspokenpaper

Name:JohannaAbril

Location:Ecuador Organisation:UniversidadDeLasAméricas

Title:Creativemusicmakingforsocialtransformation:Immigration,socialcapital,andmusic

Abstract:

Creativemusicmakingforsocialtransformation:Immigration,socialcapital,andmusicForthelastfewyears,thepoliticalclimateinVenezuelahasforcedmanycitizenstoimmigratetodifferentcountriesthroughoutSouthAmerica.ThisphenomenonhascreateddifferentdynamicsinsmallnationssuchasEcuador.Citizenshaveinsomewaysfeltuneasy,especiallyafterviolentincidentsbetweenbothcommunities,whichshowsanincreasingneedforbuildingbridgesbetweenthetwogroups.AuthorLydaHanifan(1916)introducedtheconceptofsocialcapitaltoreferboth,tangibleandintangibleassetsthatcoulddevelopatransformedvisionofacommunity.Later,RobertPutnam(2000),definedsocialcapitalastheconnectionsamongindividuals,theirsocialnetworks,normsofreciprocityandtrustthatderivefromthoseconnections.Withinmusiceducation,PatrickJones(2010)hascontendedthatmusicianshaveanimportantroleinbuildingsocialcapitalgiventhatmusickingisauniquewaytofostercivicengagementandinterculturalunderstanding.Thisresearchisanexplorationofnon-musicmajorstudents’perceptionsoftheircreativemusicprocessesinrelationtotheirworkwithanimmigrantVenezuelancommunityinEcuador.Studentswereimmersedincreativemusicalprocessesfocusedonthreemainthemes:(1)theself,(2)thecommunity,and(3)theselfwithinacommunity.Participantswereagroupof30studentsenrolledinaclasscalled“Arts,HumanExpression,andCommunity”taughttoallnon-artsormusicmajorsataprivateuniversityinEcuador.Datacollectionincludedstudents’reflectionsthroughoutthesemester,twofocusgroupswiththeparticipants,andfollow-upinterviewswithsixstudentswhovolunteeredtobeinterviewed.Both,focusgroupsandinterviewsweretranscribedandcodedforthegenerationofthemesandideas.Preliminaryresultsindicatethatbeyondunderstandingthemotivesandneedsofanimmigrantcommunity,musickingandthethreepointsthroughoutthecreativeprocess,helpedstudentssituatethemselveswithinachangingsociety.

Symposium

Name:TurkanAksoy

Location:Australia Organisation:CityofCanterburyBankstown

Title:OurSonglines:FootstepstoStrongCommunityEngagement

Abstract:

AveryspecialpanelwithourlocaleldersAuntyLyn&AuntyNoelene,whowillshedlightonthemanywaysthatmusicandartaredeeplyembeddedintothecultureofFirstNationPeoples.Anessentialconversationthatwillallowforadeeperunderstandingofthelandwegatheronandtheknowledgeaccumulatedover60,000years.Songlinesandthenatureofstory-tellingsupportsexpressionofone’sidentityandimpactsonourmentalhealthwell-beingasthishasadirectcorrelationinbuildingresilienceandstayingstrong.Thisdiscussionwillalsolookintohowsonglinessupportpositiveinteractionsofcross-culturalcollaboration,linkingtocommunityengagementbycentralisingAboriginalGovernancepracticesandcustodianshipofsharingknowledgethroughmusic,connectingrelationshipswithourdiverseartiststousemusicandHipHoptocaptureourhistoryandsharedjourney,learninglessonsfromoureldersaroundconnectivitytoourpast,presentandfuture.SonglinesisanAboriginalConcept:WithinthebeliefsystemofIndigenousAustralians,asongline,alsocalleddreamingtrack,isoneofthepathsacrosstheland(orsometimesthesky)whichmarktheroutefollowedbylocalised"creator-beings"duringtheDreaming.Aknowledgeablepersonisabletonavigateacrossthelandbyrepeatingthewordsofthesong,whichdescribethelocationoflandmarks,waterholes,andothernaturalphenomena.Insomecases,thepathsofthecreator-beingsaresaidtobeevidentfromtheirmarksontheland,suchaslargedepressionsinthelandwhicharesaidtobetheirfootprints.BiosTURKANAKSOY:TurkanAksoyholdsaBachelorinHealthSciencefromUWSandisaCommunityDevelopmentOfficerwhohasworkedwithinthecommunitysectorforover20yearsandhasestablishedherselfasakeystakeholderwithinmulticulturalissuesaroundaccessandequity.Turkan’sexperienceisinthegovernmentandnon-governmentsectorsandincludesbuildingthecapacityofsmallandemergingcommunities,culturaldiversitytraining,employmentskillsdevelopment,womenatrisk,AboriginalandTorresStraitIslanderandyouthmentoring.FounderoftheYouthStepUPProgramincollaborationwithcommunity,providesfreeemploymentsupportforyoungpeoplefromrefugeebackground.RecentlylaunchedYouthStepUPAppshasover1000+registeredlocalusers,andhasbeenviewedinover82countries.Thisprojectwasafinalistatthe2018UnitedNationsPublicSectorAwards.AUNTYLYNMARTIN:AuntyLynMartinisanElderoftheDarugNationwhohasresidedinBankstownforover40yearsisanactivememberoftheCanturburyBankstownAboriginalandTorresStraitIslanderReferenceGroupandhasbeeninstrumentalindevelopingCouncilsReconciliationActionPlaninsupportingheritageandculturewithinourlocalcommunity.Lynisthe

VicePresidentofthelocalAboriginalEducationalConsultativeGroup(AECG)andalsoontheNAIDOCcommittee,theCanterburyBankstownAdvisorycommitteeandnowontheEldersAdvisorycommitteeatMacquarieUniversity.Sheworksinconjunctionwithvariousorganisations,schoolsandcommunityprojects,including4ESydneyHipHopfestival,conferenceandmentoringprogramoverthelast6yearstoencourageandsupporttheinvolvementofemergingFirstNationsyoungpeople.AUNTYNOELENE:NoeleneAnneHoltenisoftheGumbaynggirr-Dunaghutipeople,whichisontheMidNorthCoast.ShenowlivesinMountLewisintheCanterbury-Bankstownarea.AuntyNoelenesaysthat“Sharingourknowledge,cultureandstoriesofmypeopleissomethingIstronglybelievein.BeingaKooriartistinaverydiversecity,sharingourstoriesamongstdifferentnationalitiesisagestureofpeaceandharmonysoteachingourartthroughoutCanterbury-Bankstownisarewardingexperience.”Shehasbeeninvolvedinmanyprojects,paintingmurals,showcasingAboriginalart,andhelpingupcomingyoungartistsexploretheirculture.HermostrewardingexperiencewaswhenshewasinvolvedinrebuildingtheGreenacreCommunityCentrebycreatingtheWelcomeWalls.Recently,shehasbeeninvitedtoworkonanothermuralinGreenacreforachildren’scentre.Shehasalsobeenbusyrunningartworkshopsforseniors,newlyarrivedmigrantsandherowncommunitymembersespeciallyduringNAIDOCWeekandotherspecialdaysthroughouttheyear.

PechaKucha

Name:EmilieAmrein

Location:UnitedStates Organisation:UniversityofSanDiego

Title:CommonGroundVoices:BridgingDifferenceandDivisionthroughStoryandSong

Abstract:

CommonGroundVoicesbeganasacollaborativeinitiativeoftheEricEricsonInternationalChoralCentreandAndrédeQuadrosin2016.TheinitiativenowincludesaparallelprojectattheborderbetweenMexicoandtheUnitedStates,sponsoredbytheUniversityofSanDiegoandco-facilitatedbyAndrédeQuadrosandmyself.Overthepasttwoyears,Ihaveobserved,andmorerecentlyparticipatedin,collaboratedwith,andco-facilitatedtheinternationalcommunitymusicproject,CommonGroundVoices,invarioussitesandgeographiesaroundtheworld.CommonGroundVoicesworkswithandfordividedcommunitiesbyco-creatingintegratedsocialspacesforcreativity,dialogue,andreflectioninordertobuildcommunitycoalitionsandtransformunjustpowerdynamicsinpursuitofsustainablepeace.ThoughCommonGroundVoicesstrivesforsocialintegrationthroughitsmusicalprojects,Iamparticularlyinterestedintheexperiencesofthedisplacedineachofthegeographieswhereprojectsareproduced—thatis,theexperiencesofthestatelessEast-JerusalemitemusicianswhoparticipateinCommonGroundVoices/Jerusalem;thepopulationofrefugees,asylumseekers,deportees,andmigrantsfromCentralAmerica,Haiti,andCameroonsituatedinTijuanawhohaveparticipatedintheCommonGroundVoices/LaFronteraencuentros(encounters)thisfall;andtheincarceratedmenatCalipatriaStatePrisoninImperialCounty,Californiainasoon-to-beestablishedproject,calledCommonGroundVoices/BehindBars.Therehasbeenlittleresearchintotheintersectionofthesocialimpactsofmusicmakingwithcriticalrefugeestudiesanddisplacement;moresignificantly,therehasbeennopracticalengagementbetweenartist-facilitatorsandthedisplacedusingcritical,culturallyrelevant,andtrauma-informedchoralpedagogyinthegeographieswhereCommonGroundVoicesworks.Iwilladdressthisintersection,boththeoreticallyandpractically,duringthispresentation.

Fullspokenpaper

Name:KristyApps

Location:Australia Organisation:GriffithUniversity

Title:Deeper,stronger,calmer:Livemusicinoncologytreatmentincreaseshumanconnectiontotransformhealing

Abstract:

Deeper,stronger,calmer:LivemusicinoncologytreatmentincreaseshumanconnectiontotransformthehealingenvironmentDeathanddyingcanuniteanddividehumanity.Inillness,accesstolivemusicandmorespecificallysharinglivemusicexperienceswithlovedonesisoftenlimited.Theartshavesupportedhumanitytohealandmanagediseaseanddyingformillenniabutinthemodernworldofclinicaltreatmentenvironmentswehavelostthetransformativepowerofperformancemusicinthesespacesforallinvolved.Iinterprettheoncologywardasacommunityofpeoplewithasharednarrativeandexperience.ThisAustralianqualitativeresearchprojectexploredtheexperiencesofhospitalstaff,patients,familiesandmusiciansperformingwithinanoncologytreatmentfacility.Thispresentationwillshareparticipant’sinsightsintohowlivemusicperformanceimpactedhumanconnectionsandtransformedthehospitalenvironment.IwillpresentkeyfindingsofresultsmappedintotheSocialandEnvironmentalDeterminatesofHealthModel(Schulz&Northridge,2004).Musicianshighlightedthesenseofhonourtheyexperiencedcontributingtodeeperandstrongerconnectionsamongstfamiliesbeforethedeathofalovedone.Athemereflectedbymusiciansandhospitalstaffwasthecalmnessthatfilledthehealingspaceduringliveperformanceandthesharingofemotionthatmusicfacilitatedbringingstrengthtoallpresent.Otherthemesexploredhowthepresenceofmusicianspromotedacalmermorepositiveworkplaceenhancingcommunication

Fullspokenpaper

Name:JamieArrowsmith

Location:Canada Organisation:CambrianCollegeSchoolofMusic

Title:ThePrivilegeofthePodium:Equity,SocialJusticeandtheDilemmaofCommunityOrchestraLeadership

Abstract:

Recently,therehavebeenearnesteffortsonthepartoftheorchestralindustrytoaddresslong-standinginequitiesintheareasofrepresentation,accessibilityandsocialaccountability,throughinnovationsinprogramming,educationalpartnershipsandsupportofgrass-rootssocialmovements.Yetreconcilingthelingeringeffectsresultingfromdecadesofelitistpractices,colonialattitudesandtokengestureswiththeneedfororchestrastodemonstratesocialresponsibilityremainsasignificantchallenge.Thisdilemmaisabundantlyevidentatthelevelofcommunityorchestras–particularlythosefoundinmarketsfarremovedafrommajorcosmopolitanlocalitiesinOntario–inthattheseorganisationstendtocatertoanarrowandprivilegedsegmentofthepopulationsfromwhichtheyaredrawn.Increasingly,astheseensemblesareaskedtoprovideawiderrangeofservicestotheircommunities,theroleofthemusicdirectorbecomesmorecomplex;however,conductorsareoftenill-equipped,orevendisinclined,toactinamannerthatrecognizesthepersistenceandimportanceoftheseissues.Thispaperarguesthatinordertobringcommunityorchestrasintoalignmentwiththeprevailingemphasisonsocialjusticethatpermeatestherestoftheartsindustry,musicdirectorsmustactnotmerelyasartisticleaders,butalsoassocialchampionswithintheircommunities.Theauthorsuggeststhatthisessentialshiftinvolvessignificantself-reflectiononthepartoftheconductor,traditionallyanauthorityfigurewithinorchestralorganizations,aswellasinnovativeapproachesandatransformativerevisionofwhatcommunityorchestraleadershipmeansastheystrivetobecomemorediverse,equitableandinclusive.

Presentation

Name:KeumJuBang,NakyungMin

Location:SouthKorea Organisation:SeoulNationalUniversityofEducation

Title:ExploringMusic-CreativeLearningintheContextofCommunityProgram

Abstract:

Throughoutthehistory,musicanditscreativeexperiencehaveconstantlytransformedlearnersandhavebeentransformedbythemintheprocessoflearning.Therehasbeenmanydiverseandactivemusic-culturalprogramssupportedbythenationalCultureandArtsEducation(CAE)intheRepublicofKorea.Inlinewithgrowingnumberofemergingprogramsthatarebeingimplementedasthesocial-culturalactivitiesinthelocalcommunitysettings,moreoptimallearningspaceandcreativeapproachbothfortheindividualandcommunityarebeingrequiredcontinuouslycorrespondingtotheneedsandmotivationsofcontemporarylearners.

Thepurposeofthispaperistoexploreanddevelopthecreativemusiclearningspaceandtheteachingstrategiesthatcanenabletheparticipantsactivelytoshareandtoexpresstheirsensibilitiesandinherentmusicalintuitions.Learner-centeredcreativeencounterswhichcanevokethemindfulimageryandstrongmotivationarestructuredanddiscussed.Episodicmemoryandemotionalreactionfromtheparticipantsarelinkedwithgeneratingcreativemusicmakingandmindfulexperiences.

Reference

Higgins,Lee.(2012)CommunityMusic;InTheoryandinPractice.NewYork,NY;OxfordUniversityPress

BurnardPamelaandMurphyRegina(2013):TeachingMusicCreatively(Secondedition)RoutledgeTaylor&FrancisGroup

VeblenKari.(2007):TheManyWaysofCommunitymusic InternationalJournalofCommunityMusic1(1):5-21

Workshop

Name:CatherineBirch

Location:UnitedKingdom Organisation:YorkSt.JohnUniversity

Title:ThePowerofConnection:AnexplorationofTrauma-InformedCommunityMusicPractice

Abstract:

"Someofthemostneglectedandmisunderstoodindividualsinoursocietyarethewomeninthecriminaljusticesystem"(Covington,2016:p.13).Workingwithtrauma-informedcommunitymusicpractice,thesingingandsong-writingstrandofaUK-basedUniversityPrisonPartnershipProject,aimstogiveopportunityforself-expression,createasenseofcommunityandasafespace,andbuildpositiveconnectionsthroughmutualtrustandnegotiationofthecreativeprocess.Theprojectworksexclusivelywithwomenwhohaveexperiencedtrauma,engagingthemindevelopingskillsinbothvocaltechniqueandsong-writing.Inordertoeffectivelyfacilitateinagender-responsiveway,thereisanobligationtoaligntheworkwiththefivevaluesoftrauma-informedpractice;safety,collaboration,empowerment,trustworthiness,choice.Thisworkshoppresentationwillexaminethemodelofpracticeusedinthesingingandsongwritingprojectandwillunpackfacilitationmethodssensitivetothewomen’smanycomplexemotionalandmentalhealthneeds.Specificworkshopelementswillbedemonstratedthatenablepositiveconnectionstoformbetweenparticipants,aswellasadeeperconnectiontoself.Inaspacewhereprofoundsocialbarriersexist,theapproachestopracticethatenablebothinclusionanddiversitywillbeexaminedwithopportunityforwiderreflectionanddiscussion.Reference:Covington,S.(2016).BecomingTrauma-Informed:ATrainingProgrammeforCriminalJusticeProfessionals.UK:OneSmallThing.

Poster

Name:LeonardoBorne

Location:Brazil Organisation:Ufmt

Title:MusiceducationandCommunitymusicinBrazil:astudyabouttheEnadelarge-scaleassessment

Abstract:

Brazilianhighermusiceducationdoesnotdistinguishbetweenthemusicteacherorthecommunitymusic(CM)agent;whenoneenrolsamusiceducationprogram,oneistrainedtoperforminsettingsbothfrommusicteachinginschoolsandfromCM.Inthiscontext,usuallyoccursajuxtapositionofmusiceducationandCMworkfieldsinBrazil,whicharesocialprojects,churchchoirs,communityorchestras,musicwiththeelderly,etc.Onanotherhand,concludingmusiceducationstudentshavetoparticipateinanationallarge-scaleassessmentcalledEnade(NationalExamofStudentAchievement)everythreeyears,whichisawrittentestwith,moreorless,35questionsregardinggeneral,musicalandpracticalknowledge.Inpreviousworks[Citationomitted]wehaveanalysedtheEnade’squestionsregardingitscontentorganization,socialormusicalbias,musicpedagogies,theusageofsheetmusicwithinthequestions,etc;nevertheless,norwe,neitheranyresearchwecouldfindcarriedoutananalysisofthepresenceofCMknowledgeintheEnadeexams.Forthat,wehavedesignedthisstudythathasasresearchquestion:havingtheunderstandingthatCMinBrazilisapartofthemusiceducatortraining,isthisknowledgeaddressedorassessedinthisnationalandmassiveexam?Ifso,how?Theworkmethodologyfollowedapathofdocumentanalysis,lookingfortrendsintheEnadequestionsinthefiveeditionsthatmusicprogramsparticipatedin,2006,2009,2011,2014and2017.WefocusedonthequestionsofmusiceducationthatalsoarefromtheCMfield,byjuxtaposingbothfields.DatashowsthatonlyahandfulofquestionsmaybeconsideredfromtheCMfield,fromasampleofalmost120questions,usuallyregardingtoteachingmusicininformallearningcontexts.Thisimplicatesthat,althoughwithoutequitybetweenCMandmusiceducation,CMreallyseemstobeconsideredasanindivisiblepartofthemusiceducatortraining,communitymusiccontentisassessedintheonlylarge-scaleassessmentintheformofinformallearning.

Fullspokenpaper

Name:JuneBoyce-Tillman

Location:UnitedKingdom Organisation:UniversityofWinchesterUK,NorthWestUniversity,SouthAfrica

Title:AGoodsing-theparishchurch,schoolassembly,liminalityandcommunitymusickinginEngland

Abstract:

Thetheoreticalbackgroundofthepaperiscrossdisciplinarydrawingonmusicology,musictherapy,communityarts,spirituality,philosophy,theology,sociologyandeducation.Theaim/focusofthework/researchistoexploretherelationshipofthecommunitychoirmovementwiththeAnglicanparishchurchchoirtradition(MorganandBoyce-Tillman2016).Theapproachwillbeareviewoftheliteratureandvariouscasestudiesinwhichtheauthorhasbeeninvolved.Itwillexaminetheplaceoftheliminalexperienceinthecommunitychoirexperienceandhowthiscanberegardedashealing(Clarke2005)andtransformative(CliftandHancox2001).Inthisitwillinterrogateanecologyofwellbeing(Williams2018)thatincludesbody,mind,thenaturalworld,thesocialworldandthecosmos).Itwillinterrogatethisbymeansofaphenomenographyofthemusicalexperienceincludingmaterials(relationshipwiththeenvironmentandthebody),expression(relationshipwiththemindandthesocial),construction(relationshipwiththemind)andvalues(relationshipwiththesocial)andthespiritual/liminal(thecosmic)(Turner1969/1974,Boyce-Tillman2016).ItwillcomparethiswiththereligiousexperienceoftheAnglicanparishchurchchoirexaminingthehistoryofthisphenomenonandtheplaceofthischoirincontemporaryculture.Inthisitwilllookatinclusivityinparishandcommunitychoirsandissuesofgender,ethnicityanddisabilityandhowthisrelatestomusicalrepertoire.Itwillexploretheplaceofmusiceducationincludingchallengeandnurtureinthetwotraditionsandthetwoaestheticsthatmightoperateintheirpurposesandaims(Pascale2005).ItwillexaminehowthetransformativeeffectsofthisexperiencemightberegardedinthedevelopmentofsocialprescribinginandhowthesemaybeusedinthedevelopmentofsocialprescribingintheUK.Keywords:Communitychoir,socialprescribing,liminality,spirituality.

Fullspokenpaper

Name:BritÅgotBrøske

Location:Norway Organisation:NorwegianAcademyofMusic

Title:Towardsmusicforall:Valuesandresponsibilitiesincommunitymusicandmusicteachereducation

Abstract:

Inthispresentation,IwilldiscusstherelationshipbetweentheconceptofcommunitymusicandformaleducationsettingsthroughthreedifferentinternationalcollaborativemusicteacherprojectslocatedinLebanon,GeorgiaandIndia.Theseexamplesorcasesrepresentdifferentmodelsofcombininginformalandformaleducation,butareallbasedoncollaborationbetweenlocalpartnersandtheNorwegianAcademyofMusic(NMH).Buildingonthis,thepresentationraisesomequestionsonhowtodesigninternationalmusicteachereducationforpromotingcentralvalueswithinboththefieldofmusiceducationaswellasthefieldofcommunitymusic.Communitymusichasevolvedasafieldofpracticeandafieldofresearchinternationally,andisexperiencingincreasedinterestalsointheNordiccountries(Veblen&Olsson2002,Karlsenetal.2013,Boeskov&Brøske,2017).Communitymusicpracticesseemtosharesomecommonvalues,suchasanunconditionalwelcoming,culturaldemocracy,inclusionofallandinmanycasesalsosocialchange(Veblen&Olsson2002,Higgins2012,Veblen2007).Atthesametime,thefieldofcommunitymusichaspaidlessattentiontoformalmusiceducationandteachereducation(Koopman2007).BasedonthethreecasesIwillraiseanddiscussthreedilemmas,andthediscussionwilldrawonresearchstudieswithinthethreeprojects.Thesethreedilemmasare:- Contrastingmodelsoflearning,- Contradictionbetweenactivemusic-makingandthehegemonyofmusictheoryandmusichistory- Contradictionbetweenworkingforculturaldemocracyandtheideologiesandsocialstructureswithinalocalculture.Iwillarguethatreachingtheaimsofcommunitymusicpracticescouldbenefitfromawell-functioningcooperationbetweenformalandinformaleducation,andaboth-sideddialogueonvalues,practicesandapproaches.

Fullspokenpaper

Name:DaveCamlin

Location:UnitedKingdom Organisation:RoyalCollegeofMusic

Title:EncounterswithParticipatoryMusic

Abstract:

Itisincreasinglythecasethatstudentstrainingforaprofessionalcareerinmusicwillhavesomeencounterwitheitherformalmusiceducation,moresocially-engagedmusicalpractices-orboth-aspartoftheirstudies(Bennett2012).Historically,suchencountersmayhavebeenperceivedasadistractionfrom,oratworse,anegationofstudents’emergingidentityasperformingmusicians:‘anegativeoutcomethatfollow[s]fromanunrealisedorunattainableperformancegoal’(BennettandFreer2012,275).Whatsense,therefore,docontemporarymusicstudentsmakeofsuchencounters,whereacreativetensionbetweenthe‘aesthetic’and‘participatory’dimensionsofmusic’spowerispresent,andwheretheperformanceofmusicisabouttheperformanceof‘relationships’asmuchasitabouttheperformanceof‘works’(Camlin2018;Camlin,Daffern,andZeserson2020;Turino2008)?Andwhatinsightsintotheiremergingidentityasmusiciansdosuchencountersaffordmusicstudents?

ThispresentationoutlinesinitialfindingsfromastudyoftheexperiencesofasmallgroupofundergraduatestudentsfromtheRoyalCollegeofMusicinLondonintheirencounterswithparticipatorymusicaspartoftheirstudies.Inparticular,itdiscussestheimpactofsuchexperiencesonstudents’perceptionoftheirownmusicality,intermsofbenefitstoauralmemory,improvisationskillsandemotionalcommunicationinperformance.Farfrombeingadistractionfrom,oranegationof,theiremergingidentitiesasperformers,theirdescriptionsoftheirencounterswithparticipatorymusicalpracticessuggestthattheexperienceenhancedtheirunderstandingofmusic’spowerinholisticterms,andhelpedthemtolocatetheirownmusicalidentitywithinasophisticatedunderstandingofthecomplexityofmusic’spower,anditshumanisingandemancipatorypotentialforpeopleandsociety.

Fullspokenpaper

Name:FlaviaCandusso

Location:Brazil Organisation:FederalUniversityofBahia

Title:School,community,MusicEducationUniversityPrograms:criticalaspectsandchallengesinBahia,Brazil

Abstract:

Braziliansocietyischaracterizedbyadeepsocialandracialinequality,thatmakesdifferentsocialclassesliveincompletelydifferentworlds.Talkingaboutpublicschoolsmeansconsideringaspecificsegmentofthepopulation,whohaslowincomes,ismainlyafro-descendent,livesintheoutskirtofthebigcities,andisdeprivedtotheaccesstoqualityeducationandhealthsystems.Evenifschoolcanbethekeyofsocialchangeandtransformation,itoftenfailswithstudentsfornotbeinganattractingandmotivatingplace.Nonetheless,publicschoolsarebasedincommunitieswitharichculturalandmusicallife.Manychildrenandyoungpeopleparticipateofactivitieslikecapoeira,drumminggroups,socialprojects,churchchoirs.So,thesamestudentwhoisnotwellsucceedatschool,manytimesisanengagedandinterestedmemberofamusical/culturalgroup.Thelackofdialogueandarticulationbetweenschoolsandthecommunitiesrepresentsanegativeaspectforchildreneducation,astheydon’tseerecognizedthemusicalknowledgetheyachievedoutside.Torealizeitssocialfunction,schoolneedstobeconnectedwiththecommunityaround.Othersubjects,otherpedagogies,accordingtoMiguelArroyo(2017).ThismeansalsotheresponsibilityofMusicEducationUniversityProgramtorethinkmusicteacherformationinadecolonizedperspectiveinordertoincludelocalmusicaltraditionsignoreduntilnowadaysinthecurriculum.AsSantos(2010)affirms,thereisnoglobalsocialjusticewithoutglobalcognitivejustice.Experienceswithpre-servicestudentsincommunitygroupstowardsaculturallycenteredconceptionofeducation(Lind,McCoy,2016)andactivitiesinschoolmusiceducationbasedongroupsongcomposition(Beinike,2015;Burnard,2017)basedonAfro-Brazilianmusicarepointingoutinterestingperspectivesonin-servicemusicteachers’education,ononeside,andtheimpactonblackchildrenauto-esteemandethnicidentity.

PechaKucha

Name:Han-NingChen

Location:Taiwan Organisation:PocoaPocoMusicEducationFoundation

Title:DesigningaMusicSummerCampwiththeSustainableDevelopmentGoalstoEvokeSocialConsciousness

Abstract:

Gettinginvolved,fosteringunderstanding,andparticipatinginsocietyaremainissuesthateverycitizenisduty-bound.Educationpreparesstudentstoparticipateinthetransformationofsocietytopromotesocialprogress.Thisstudytakesthe4thMusicArtSummerCampasanexample,aimstoexplorehowthemusicsummercamp'scurriculumcanbecombinedwiththeUN'ssustainabledevelopmentgoalstopromotethesocialconsciousnessofstudentsandparentsthroughartisticmeans.Thisstudyisaqualitativestudythatcollectsresearchdatathroughinterviewsanddataanalysis.Theresultsofthisstudywereasfollows:1.Inthepreparationperiod,themusicteachersorganizedtheprofessionallearningcommunitytodevelopthemusicsummercampcurriculum.Afterexaminingthe17goalsoftheSDGs,theychosethethreeaspectsofinternational,environmental,andhumanrightsissuesascurriculumthemes.Throughcollaborativepreparation,teachingobservation,andclassdiscussion,themusicteacherspromotedcollaborativecommunicationanddesignedacross-disciplinaryseriesofcoursesthatechoedSDGsandcombinedmusic,art,anddrama.2.Intheimplementationperiod,thecurriculumstructurewasdividedintotwocategories:corecurriculumandactivitycurriculum.Thelearningcontentofmusicincludedmovement,singing,andmusicappreciation.Theteachingprocessguidesstudentstoexperiencethelivingcontextofthosesocialissuesthroughmusic.Afterthefullexperience,studentswereencouragedtoexpresstheirpersonalfeelings,anddemonstratethroughpainting,oralnarrative,andmovementcombinemusicperform.3.Thefinalperformancewhichwaspresentedintheformofamusicalhadshownstudents'learningresultsandreflectionsoninternational,environmentalandhumanrightsissues.Throughlearningandreflection,studentswereabletobetterunderstandthecriticalissuesofsociety,atthesametime,theperformancealsoarousedthesenseofresponsibilityandactionofparentstodrawattentiontosocialconsciousness.

Fullspokenpaper

Name:DonCoffman

Location:UnitedStates Organisation:UniversityofMiami

Title:PossibleSelvesandSeniorAdultMusicians

Abstract:

PossibleSelvesandSeniorAdultMusiciansThisresearchexploredNewHorizonsInternationalMusicAssociation(NHIMA)participationthroughtheframeworkofpossibleselves(Coffman&Dabback,inpress;Markus&Nurius,1986),andalignswellwiththeCMA2020seminar’sthemesofidentity,well-being,socialaffirmation,health,andpersonaldevelopment.Smith&Freund(2002)statethatadultspursuepersonalgrowthandfulfillmentthroughoutthelifespan.AccordingtoMarkusandNurius(1986),theyaremotivatedbyconceptionsofwhotheywouldliketobecomeinadditiontowhotheyareafraidofbecoming.Ifpossibleselvescanbeunderstoodtorepresenttheunderlyingmotivationtoengageinabilitymaintenance,self-improvement,andtheminimizationoflosses(Frazieretal.,2002)thencouldNewHorizonsmusicparticipationreflectprocessesofreframingpossibleselvesinwhichmembersengagetomaintainwell-beingandsatisfytheirneeds?ThelargemajorityofNewHorizonsparticipantsreturntomusicengagementaftermanyyearsaway.Indoingso,theyostensiblyreclaimlostpossibleselveswhileothersareexperimentingwithnewpossibleselvesorchallengingpreviousmusicalidentities.ParticipantsweredrawnfromolderadultNewHorizonsmusicgroupsinMiami,FloridaandHarrisonburg,Virginia.Researchersemployedpurposefulconveniencesamplingtorecruitthe18participantsinthestudy.Eachpersonengagedinanindividualsemi-structuredinterviewtoexploreperceptionsofthemselvesamusiciansandpeople.Interviewsweretranscribedandcodedforthemesandintersectingideas,whichresearcherscomparedamongparticipants,groups,andinrelationtogenderconstructsandthepossibleselvesframework.Preliminaryresultsindicateconnectiontopossibleselvesconceptionsof“becoming,”includingpurpose,autonomy,andsocialaffirmationaswellasconcernsofhealthandpersonaldevelopment.AsPenelope(February2019)expressed,“Asyouage,yourworldgetssmaller.That’sjustagiven.Butyoucankeepexpandingtowhateverextenttocan,andfindavenues[forgrowth].”

PechaKucha

Name:NicolasCoffman

Location:UnitedStates Organisation:UniversityofMiami

Title:ImpactsofTechnologyonVisionsofHospitalityinCommunityMusic

Abstract:

Mypersonalexperienceusingtechnologytocraftengagingmusicalexperiences(Dillon,2007)hadledmetofocusonfacilitatinginteractionbetweenindividualsandacrossgroups.However,despitesuccessesinproofofconceptdemonstrationsandintegrationintocommunitymusicsettings,Iencountereddifficultyinfacilitatingthedevelopmentofcreativityinafter-schooloutreachsettingsthatIhadhoped.Changesintechnologyuseeventuallyledtouseoftablets,focusingonindividualdirectedmusicalengagement.Thischangeatfirstappearedtodiminishcommunityinteractionbetweenparticipants,butviewedthroughalensofhospitality,enhancedengagementandenrollmentovertime.Thispresentationwillidentifyhowtechnologyimplementationimpactscommunityengagementincommunitymusicsettings.Basedonsocial-technicalsystemstheory(Bostrom&Heinen,1977),myexperienceswillbeviewedasameansforenhancingahospitalityorientedcommunitymusicpractice(Higgins,2008).Thereareparallelsbetween‘communitywithoutunity’(Higgins,2012,p.136)andopengatheringprincipalsofhunter-gatherersocieties(Gray,2009)whichimplicatemechanicsofsocialplayinworkandcommunity.Iwillpresentexamplesoftechnology-basedfacilitationwhichenhancedprincipalsofsocialplay;autonomy,voluntaryparticipation,equality,sharing,andconsensualdecisionmaking.Throughtheseexamples,Iwillillustratehowtechnologyinfluencedthesocialinteractionscontributingtothecommunity.Additionally,Iwillprovidejustificationformovementawayfromfacilitatedgroupinteractionstoorganicandflexiblestudentformedgroupsthroughtheuseofplayinmusicalandsocialgames.Iwillprovideadditionalexampleswhichpromotedecentralizedtechnologiesandimplicationsforparticipationinflexiblemusicalroles,advocatingthecentralityofplayincommunitymusicsettings.

PechaKucha

Name:MaryCohen

Location:UnitedStates Organisation:UniversityofIowa

Title:GatheringwithaPurpose:CommunityMusicActivitiesEmphasizingSocialChange

Abstract:

InthisPechaKuchapresentation,IfirsthighlightinjusticesoftheU.S.prisonsystemsandarguethatcommunitymusichasthepotentialtotransformhowthebroaderpublicthinkswithrespecttocreatingmorehealingpracticesofconflictmanagement.IalsodescribeabookIamwritingaboutmusiceducationinU.Sprisons.Inthesession,IexplainthehistorybehindaseriesofcommunitymusicactivitiesgearedtowardsocialchangeintheUnitedStatesjusticesystems.TheOakdaleCommunityChoirbeganin2009withthegoalsofcreatingaspaceforincarceratedmentosingtogetherwithpeoplefromthecommunitywhowanttolearnaboutprisonissues.Intheseventhyearofthechoir’sexistence,anewgoaldevelopedgearedtowardcreatingcommunitiesofcaring.Thisgoalcamefromawritingreflectionbyanincarceratedsinger.Since2015,thechoirmembersactivitieshaveembodiedthisgoalthroughhostingthreedifferentgroupsofinternationalprofessionalsvisitingtheareatolearnaboutpromotingsocialchangethroughthearts,singingforpoliticalrepresentativesinthestatecapital,leadingaLearningExchangewiththeSowetoGospelChoir,auniversityPeacebuildingClass,andaseriesoforiginalsongs.

Workshop

Name:SianCroose

Location:UnitedKingdom Organisation:TheVoiceProject

Title:ConnectionandSeparation

CommunityMusicinatimeofdivision

Abstract:

Ihavebeenacommunitymusicianfornearly35years.Overthepastthreeandahalfyears,sincethe2016referendum,Iampracticingin,whatIobservetobe,amoreanxiousanddividedcountry.Ihavenoticedamarked,increasedneedforcommunitymusicspacesthatallowpeopletocommunewithoutconflict,andexperiencesolidaritywithothersbeyondsomeofthepoliticalbinariesthatcharacteriseourcurrentconditionintheUK.Ayear’strainingwithCommunityMusicEastin1985/86wasmystartingpointasacommunitymusician,andintheinterveningyears,theethosofSearchandReflecthasinformedmypractice,fromthefocusonpulse,rhythmandimprovisation,totheideaofthecollectivemusicalorganism,thatfacilitatesa‘tuningin’ofworkshopparticipantsincreativemusicalcommunication.InthisworkshopIintendexploresomeoftheseprinciplesmusicallythoughvocalimprovisationandaccessiblerepertoire,toexplorethethemesofconnectionandseparation,andfacilitateadiscussionofthechallengesofbringingpeopletogetherinatimeofpoliticalturmoil.Inthediscussion,Iintendtoexplorethefollowingquestions.• Cancommunitymusicprovideaspaceforhealingandhumanisingduringchallenging,divisivetimes.• Isthererepertoirethatcanincludeandconnectusacrossdivides?• Isiteverpossible/desirabletobeapolitical,orcreateanapoliticalspace,inthefaceofbigpoliticalissues?IsitnecessaryforCommunityMusicto‘choosesides’oristhereaneedforCMtobepoliticallyinclusiveaswellasinclusiveinotherways.SianCrooseisasinger,choralanimateur,voiceworkshopleader,composerandconductor.Sheisco-founderofTheVoiceProject.ShetrainedwithCommunityMusicEastasacommunitymusicianin1985andsincethenhasrunmusicprojectsthroughouttheUK,IrelandandFrance.

PechaKucha

Name:RuthCurrie

Location:UnitedKingdom Organisation:YorkStJohnUniversity,Uk

Title:Continuingtoquestioncommunitymusicasachameleonicpractice

Abstract:

Beingacommunitymusicianiscommonlyreferredtoasa‘chameleonicpractice’suggestingthattheyadjusttheirpositioninrelationtotherequirementsoftherole,whichcanvarydependantoncontext,oftendemandingnavigationofpracticeandpolicy(Brownetal2014;Deane2018;Rimmer,2015).Furthertothis,thoseundertakingcommunitymusicactivityoftenvalueitasamechanismforsocialaction,oftenalongsideperceivedmarginalizedgroups(SilvermanandElliott2018).Thecommunityartsmovementofthe1960saimedtoresisthierarchicalmusicalpracticeandrepositionlocalizedartisticparticipation,stokingthefiresofwhatwouldbecomeacampaigntowardsculturaldemocracyinthe1980s(Higgins2012;JeffersandMoriarty2017).Withfoundationscastforshapinganideologyofinclusionthatwouldarriveinculturalpolicyinthe1990s,communitymusicasafieldhasmouldedapathwaythatwouldenablegrassrootsculturalactivitytothrive.However,fittingthedecentralizedintentionofculturaldemocracywiththecentralizedmodeldominatingartsandculturalfundingintheUKhascausetobeproblematicwhensocialchangeisbelievedtobebestservedthroughgrassrootsactivity.Communitymusiciansworkingwithintheconfinesofcentralisednotionsofinclusionmayfindthemselvesconflictedbetweenthereasonwhytheworkisundertakenandtheoperationalconditionsofthepoliticalcontext,includingfundingrequirements,thatenabletheworktohappen(Belfoire2015;Gray2008;Jancovich2017;Kawashima2006;Leeetal2011;Rimmer2009;2018).ThroughthispresentationIfollowthefootstepsofthosequestioninga‘chameleonicpractice’toconsiderwhatimplicationsthismayhaveforthecontemporarycommunitymusician.Toexploretheimplicationsofa‘chameleonic’approachtobeingacommunitymusiciantoday,IwillconsiderwaysinwhichBourdieu’snotionof‘institutionalcapital’(1986)mayassistaconceptualisationtheimplicationsofa‘chameleonicpractice’.

PechaKucha

Name:LauraCurtis

Location:Canada Organisation:WesternUniversity

Title:Singingourstories:Empoweringinvoluntarilychildlesswomenthroughchoralparticipation

Abstract:

Imagineafterlosingachildorbeingunabletohavechildren,onejoinsachoirasameansofsocialandmusicalexpressionandspiritualcomfort.Nowimaginebeingsurroundedbyvibrantdiscussionspertainingtootherchoirmembers’childrenandgrandchildrenaswellasbeingaskedtosingsongsconcerningchildrenandthejoyfulexperienceofmotherhood.Whilethechoralenvironmentmayprovidearefugeandbenefitstothewellbeingofparticipantsitcannotbeassumedthisisthecaseforeveryone.Forinvoluntarilychildlesswomen,singinginachoirmayposeathreattotheirpersonalandsocialidentities,astheyarepositionedas‘other’tothewomeninthechoirwhohavesuccessfullyobtainedtheidentityofMother.Apoliticsofexclusionexistsinwomen’schoirsthataresetuptoreplicateheteronormativeidealsofmarriageandreproduction.Thisresearchaddressestheurgentneedforachoralspaceinwhichinvoluntarilychildlesswomenfeelincluded.Anexaminationoftheliteratureonsingeridentity,communitymusicpractice,trauma,andsocialpowerdynamicsrevealsthepotentialfortheenhancementofwellbeingandresiliencethroughactivecommunitysingingparticipation.Thisqualitativeresearchexploresthewaysinwhichchoralsingingandthecompositionoftestimonialchoralmusicmayofferinvoluntarilychildlesswomentheopportunitytodispelthestigmasurroundingtheirexperiences.Thefollowingresearchquestionsareaddressed:1)doessinginghavetheabilitytoempowerinvoluntarilychildlesswomenand,ifso,inwhatways?2)Canthepublicsharingofthesewomen’sexperienceswithinvoluntarychildlessnessaidindestigmatizingtheirsocially‘deviant’positionsasnon-mothers?3)Doessocialinteractionthroughactivesingingparticipationwithotherwomenexperiencinginvoluntarychildlessnessbenefittheiroverallwellbeing?InthispresentationIpresentmypreliminarythinkingandframingofmypathforwardasaPhDstudentresearcher.

Fullspokenpaper

Name:WayneDawson

Location:UnitedKingdom Organisation:InternationalCentreforCommunityMusic

Title:ARainbowofVoices:CananLGBTQ+communitychoirfacilitatethekeyprocessesofvalorisation?

Abstract:

ThetheoryofSocialRoleValorisation(SRV)addressesthesocialdevaluationofindividualsandgroupswithinoursociety.Thetheoryrestsonthenotionthatallourperceptionsareevaluativeandasaresult,peopleinoursocietyareoftenassignedwitheitheraloworahighsocialvalue.Itisoftenthecasethatthosewhoarepartofaminoritygroupbecomesubjecttolowsocialvalueandthosewhoarepartofthedominantcultureareaccordedahighsocialvalue.Anumberofconsequencesareassociatedwithbeingaccordedalowsocialvalueandthesecanbebothexplainedandcounteredthroughthetheory.TwokeyprocessesarehighlightedwithinthetheoryofSRVthatsuggesthowacommunityaccordedalowsocialvaluemaybevalorised:(1)enhancingtheirsocialimage,and(2)enhancingtheircompetencies.ThroughthetheoreticalframeworkofSRVandthedeploymentofcase-studyresearchstrategies,thispresentationexploresaUK-basedLGBTQ+communitychoir.WithcontextualanalysisintoboththehistoricandcurrentdevaluationoftheLGBTQ+community,Imovetoexaminewhethercommunitysingingcanfacilitatethetwokeyprocesseshighlightedaboveandasaresult,provideaplatformfortheenablementofvalorisation.Threeareasofaccordedvaluewillbeexplored:(1)valueaccordedtoone’sselfinrelationtotheirLGBTQ+identity,(2)internalisedvalueaccordedtoothermembersoftheLGBTQ+community,and(3)thevalueaccordedtotheLGBTQ+communityfromnon-LGBTQ+people.Thesethreeareasofexplorationaimtoinformthefollowingguidingquestions:• CananLGBTQ+communitychoirenhancethe‘socialimage’ofitsparticipantsandtheLGBTQ+community?• CananLGBTQ+communitychoirenhancethe‘competencies’ofitsparticipantsandtheLGBTQ+community?UsingkeyconceptsgroundedinthetheoryofSRV,conclusionsdrawnfromtheguidingquestionswillallowmetodiscussthewiderimplicationsofthesefindings.

Fullspokenpaper

Name:AndreDeQuadros

Location:UnitedStates Organisation:BostonUniversity

Title:DialoguethroughMusickingbetweenIsraelisandPalestinians:Challenges,Losses,Compromises,andGains

Abstract:

AbstractSince2016,CommonGroundVoices,acommunityensemblebasedinJerusalemhasbeenasitefordialogueinthecontestedgeographyandpoliticizednarrativesbetweenIsraelisandPalestinians.Whileconventionalwisdomwouldseemtodictatethatintragroupdialogueiseffective,betweenIsraelisandPalestiniansdialogueisregardedbyeventhemostliberal,aspotentiallyriskyoruselessatworst.Againstthiscontext,CommonGroundVoiceshasestablishedamusicalandpedagogicalprocesslocatedintheEmpoweringSongapproachderivedfromBoal’sTheatreoftheOppressed(deQuadros,2018;deQuadros,2019)thathasresultedinvaryingoutcomes.Thispaperdiscussesthehistoricchallengesencounteredinassemblingthisensembleandholdingittogetheragainstformidablepoliticalandsocialresistancefromwithinthegroupandfromthecommunityatlarge.Workingthroughthesechallengeshasresultedinsomemembersofthegroupfeelingthattheirprioritiesareinadequatelyserved.WhilethePalestiniansseektohaveadiscussionofIsraelioccupation,someIsraelisandPalestiniansseesuchdiscussionasexposingfractures.Thedelicatebalanceoftheensemble’semotionalequilibriumisalsoexaminedthroughitsengagementwithPalestiniansintheWestBankandwithultra-orthodoxHaredimJewishpeopleinJerusalem.Theseactivitieshavegiventheensembleaspectrumofengagementlikenoother.Thispaperdiscussesthewaysinwhichtheconversationsaremediatedthroughthemusic-making,andthewayinwhichrepertoireisselected,fused,andperformed.Theseprocesseshavenecessitatedaseriousconsiderationoftheasymmetricalpower-dynamicswithinthegroup,andhowthefuturemayevolveinincreasinglyfraughtpoliticalcontexts.

Workshop

Name:IreneFeher

Location:Canada Organisation:ConcordiaUniversity

Title:MusicforPeople-OpeningtheWayforEveryonetoPlay

Abstract:

Anycombinationofpeopleandinstrumentscanmakemusictogether.Musicalself-expressionisajoyfulandhealthymeansofcommunicationavailabletoabsolutelyeveryone.(DavidDarling,BillofMusicalRights)FoundedbycellistDavidDarlingandflautistBonnieInsullin1986,thegrassrootsnot-for-profitAmericanorganizationMusicforPeoplepromotesahumanisticapproachtoteachingfreeimprovisationasameansofself-expression.Overtheyears,thousandsofliveshavebeentouchedbyMfP’salternativepedagogicalapproachthatinspiresmindfulnessthroughmusicandachildlikecuriosityaboutmusic.MfP’sMusicianshipLeadershiptrainingprogramhasgraduatedover100CertifiedFacilitatorsintheUS,Switzerland,andCanadawhoarebringingthisinclusiveapproachtoschools,communitycenters,healthcaresettingsandworkplaces.ThisworkshopaimstodemonstrateMfP’sworkanditspotentialtomeetthechallengesofourchangingsocial,educationalandmusicalenvironment.Inthisexperientialworkshop,participantswillbeintroducedtoMfP’sphilosophyandapproachtofreeimprovisationthroughfacilitatedbreath,voiceandmovementicebreakers,andmelodic/rhythmicactivitiesthatsupportthefivecoreelementsofwellness,identity,belonging,value,purposeandjoy.Theactivitiesaresequencedsoparticipantsmovethroughacreativetransformationalprocessthatbeginswithactivelisteningasthebasisformusicalconnection,communication,collaboration,creationandinspiration.Byreturningtothecoreelementsofmusic,silence,pulseandtone,ameaningfulmusicalexperienceiscreatedthroughextremesimplicity.Thisplatformformusicalbrainstormingallowseducatorsto:movebeyondthepodiumandempowerstudentsasactivemusiccreatorsandleaders;successfullyembraceandcombineavarietyofmusical-culturalexperiences;createafullyinclusiveclassroomforalllearners,regardlessofbackground,learningstyle,orlevelofmusicalexperience;and,createmeaningfullearningexperiences.

PechaKucha

Name:AndreFelipe

Location:Brazil Organisation:Neojiba

Title:TheLiberdadeNucleo:ACommunityMusicPerspectiveina"ElSistema"InspiredProgram

Abstract:

Abstract:ThispapercontainstheprocessofdevelopinganactivitythatseekstounifyamusicsocialprograminspiredinthevenezuelanElSistemaandtheCommunityMusicActivityperspective.TheNEOJIBALiberdadeNucleoisinBahia,Brazilandwascreatedin2016withorchestralmusicinitiationclassesfor6to8yearoldschildrenandchoirforteenagers.Themusicinitiationwaswithpaperviolinsandrecordersandhadtheprospectofpreparingthechildrenforanorchestra.In3yearsofdevelopmentthesechildrenhadaccesstotraditionalinstrumentsanddevelopedorchestralworks.Forthisarticle,memberreports,interviews,officialprogramreports,aswellasfielddiarieswereanalysed,aswellasbibliographyfromCommunityMusicActivitiesCommissionofISMEandtheHumanazingMusicEducationthatdialogueswithauthorssuchPauloFreireandCarlosRodriguesBrandão,amongothers.ItwillalsobepresentedachronologicaldevelopmentwiththesongsplayedindifferentperiodsoftheNucleo.Withthiswork,wecanseethattheuseofasymphonicorchestraformusicteachingcanbeatoolforsocializationandeducationaldevelopmentwhenconsideredinthisperspective.Morethaninstrumentationandmusiceducationmethodology,aneducationalandsocialposturefromtheeducatorswasoneoftheimportantfactorsincreatingafriendlyandcooperativeenvironmentamongmembers,educatorsandfamilies.Throughtheperspectivesofintegrationofthemembersandtheirfamilies,theprogramcouldmakeaintersectionbetweenthepedagogicalobjectivesofinstrumentaldevelopmentoftheinstitutionwithculturalopportunitiesofitsplac

PechaKucha

Name:MuriloFerreiraVelhoDeArruda,Gabriela Dias Sartori and Luiz Gonçalves Junior

Location:Brazil Organisation:UniversidadeFederalDeSãoCarlos

Title:REFLECTIONSONTHECONCEPTOFLEISURE

Abstract:

Inthispaperwewillreflectuponconceptsofleisure,coveringtopicssuchaswork,obligations,socialtime-space,attitude,ludiccomeandgo(“vaivémlúdico”inportuguese)andintentionality.Leisurepresentedhereisintrinsictoitseducationaldimensions.Weunderstandleisureactivitiesas1)contentofeducation,criticizingpurehedonisticleisureornecessarilyrelatedtoprofitableactivities;and2)leisureactivitiesasmeansofeducationalprocessessincefromthememergesfertileexperiencesforteachingandlearningfromoneanother.Consideringleisureasahumanneed,aculturaldimension,anobligation-freestate,inrelationtosocialtime-space(sincewedonothavetime,butweareintimeandspace,andthereforesocialtime-space)andtheresultofdynamicintentionalities(ludiccomeandgo-vaivémlúdico),weconsiderthatthisconcepthasanintenserelationshipwiththemusicmakingandcancontributegreatlytotheconceptofcommunitymusic.Withsuchpresentationweseekaninclusivetheoryandpracticethatcancontemplatetheplayfulnessofthesociallyandeconomicallymarginalized.

Workshop

Name:MuriloFerreiraVelhoDeArrudaandVivianParreiradaSilva

Location:Brazil Organisation:UniversidadeFederalDeSãoCarlos

Title:BRINCANDO(PLAYING)BRAZILIANPOPULARCULTURES

Abstract:

Brincar(play),averblinkedtoludicityanddeepinvolvement,isalsohowmanypeoplerelatetotheBrazilianpopularculturesmanifestations:“playtheboi-bumbá”,“playthecarnival”andsoon.Brazil,aswellasanyothercountry,congregatescountlesscultures.Inthisworkshopwewillbrincar(play)someofthemsuchascacuriá,sambadecoco,congadaandcaroço,learningtheir(musicalandlife)rhythms,dance,meanings,versesandimprovisations.ThecacuriáisdancedinthestreetsofthecapitalofthestateofMaranhão,havingitsoriginsintheFestadoDivinoEspíritoSanto.SambadecocoemergedatthetimeofslaveryincoconutfarmsinnortheasternBrazil.ThecongadaisaveryoldfestivalthatreferstothedramatizationakingofCongocoronation.ThecaroçohasindigenousoriginperformedmainlyinthestateofMaranhão.ThisworkshopispartoftheactivitiesdevelopedinagroupcalledGirafulô.Thegroupwasfoundedin2006inthecityofSãoCarlos-BrazilbyVivianParreiradaSilva,bringingtogetherteachersfromthepublicschools,arteducators,musicians,studentsandotherpeopleinterestedtomeettocelebratethelifethroughthebrincar(playing)ofBrazilianpopularcultures.InGirafulô,livingwithmasters(communityreferencesandleaderships)areapriority,makingvisitstothemainpartiesofgroupsandcommunitiesthatworkanddevelopactivitiesthatvalueAfrican,Afro-Brazilianandindigenouscultures.Thisconvivialitystrengthensrelations,providingtheexchangeofexperiencesandthelearningofthegroupregardingtraditionalknowledge.Fromtheserelationships,thegroupisinspiredandstrengthenedinitsrepertoire,whichincludessongs,games,dancesandchoreography.WiththisworkshopwehopetocontinuevaluingevenmoretheknowledgesharedbythesemastersofBrazilianpopularcultures.

Workshop

Name:ElliotGann

Location:UnitedStates Organisation:Today'sFutureSound

Title:TheArtandScienceofBeatMaking:AnIntroductiontoHipHopandElectronicMusicProduction

Abstract:

ThisworkshopwillintroduceparticipantstothefundamentalsofHipHopbeatmakingandotherformsofpopular,loopbaseddancemusicorEDM(ElectronicDanceMusic),includingdrumprogramming,samplechoppingandlooping,songarrangementandcompositionoforiginalbeats.Beatmakingisapracticethatwasbornfromdisco-mixinginNewYorkCityinthe1970’s,themixing,blendingandscratchingofvinylrecordsthatevolvedintomanuallyextendingthe“breaks”orstripped-downrhythmicbreakdownsinsongs,whichledtoaculturalandmusicalrevolutionthathaschangedthefaceofmodernmusicandthewaythatmusiciscreated.Thisnon-eurocentricwayofmakingmusicwasinitiallydismissedasafad,andoftenderidedasnotbeingmusic.Throughthishands-on,experientialworkshop,learntocreateyourownbeatsonindustry-standardequipmentandbetterunderstandtheaestheticandtechnicalaspectsofbeatmakingandHipHopmusic,nowthemostpopulargenreintheworld(Hooton,2015),andmostinfluentialgenreonpopularmusicculturesince1964(Mauch,MacCallum,Levy,&Leroi,2015).ThehistoryofHipHop,beatmakingandmusicproductionequipmentwillalsobereviewed,andparticipantswillleavewithanunderstandingofhowtocreatedifferentgenresofbeatsfromscratch.

Fullspokenpaper

Name:JoGibson

Location:UnitedKingdom Organisation:YorkStJohnUniversity,InternationalCentreForCommunityMusic

Title:Thedoorisopen:consideringhospitalityinUKcommunitymusicpractice

Abstract:

Hospitalityasanaspirationalvalue(Higgins&Bartleet,2018),andasawayofconsideringthecommunitywithincommunitymusic(Higgins,2012),hasbeensignificantforthefield.Inthispresentation,IconsiderhospitalityalongsideitsenactmentincontemporaryUKcommunitymusicpractice.Centraltohospitalityisthecommunitymusicians’welcomewhichservestoworktowardsvisionsofequityanddiversitybyopeningthedoortoparticipantsandpossibility.Activatedbytheparticipants’call,thewelcomeisunderstoodasaresponsive,andthereforeethical,gesture.However,formuchUKpracticewhilsttheparticipantmayactivatetheprocesswiththeircallbywalkingthroughtheworkshopdoor,whattheyarewalkingintoalreadycontainssomefixitywithregardstopredeterminedoutcomeswhichserveasmotivationsfor,sourcesofgrowth,anddriversof,muchinterventionistpractice.ThroughthispresentationIconsiderthatfixity.Iofferexamplesofmusicco-creationwithdiversegroupsandcommunitiescarriedoutformyPhDresearch,toreflectonthearrangementsthataffordthecallandwelcome.Ialsoseekconversationthroughthissessionandacrossthepre-conferenceseminartoexplorethepossibilities,problematicsandalternativestohospitalityfromdiverseinternationalperspectivesandcontexts.Bartleet,B.,L.&Higgins,L.(2018).Introduction:AnOverviewofCommunityMusicintheTwenty-FirstCentury.InBartleet&Higgins(Eds.),TheOxfordHandbookofCommunityMusic(pp.1-22).USA:OxfordUniversityPress(2018)Higgins,L.(2012).CommunityMusicinTheoryandPractice.NewYork:OxfordUniversityPress.

Fullspokenpaper

Name:Sarah-JaneGibson

Location:UnitedKingdom Organisation:YorkStJohnUniversity

Title:Buildingcross-communitychoirsinNorthernIreland:Howsocialcontextinfluencesthecommunitymusicexperience.

Abstract:

Inthispresentation,IwillconsidertheimpactethnomusicologyresearchcanhaveonapproachesincommunitymusicbyfocusingonhowthesocialcontextoffivecommunitychoirsinNorthernIrelandimpactedtheopportunityforcross-communityengagement.Beginningwithhowchoirmembersandleadersarerecruited,theirselectionandarrangementofmusicalrepertoire,tochoicesforbothrehearsalandperformancespaces,Ishalldemonstratehowsocialcontextimpactstheorganisationofacommunitychoir,and,howbroadercommunityattitudesinfluencethesuccess,orfailure,ofmusicalgroupsattemptingnewcommunityinitiativesandcollaborationsinpost-conflictsettings.Ishalldemonstratethevitalimportanceofunderstandingthesocialcontextwithinwhichmembersofacommunitymusicgrouparebased,inorderforsuccessfulsharedengagementtooccurwithinthepractice,and,ultimatelyhaveanimpactonthewidercommunity.ThefindingsarebasedonPhDresearchconductedbetween2013-2018withfivecommunitychoirsinNorthernIreland.Thechoirscomprisedtwofemalegroups,onebasedinasmallProtestanttownandtheotherinaCatholicareaofBelfast,amalevoicechoir,whichoriginatedintheshipyardsofBelfast;aninclusivecross-communitychoir,and,amulticulturalsinginggroup.Thethesisexploredhowthesecommunitychoirswerere-imaginingidentitythroughsingingthroughfivethemes,whichweredrawnfromtheethnographicfieldwork:organisation,rehearsal,performance,sustainabilityandethos.ThetheoreticalframeworkforthispaperisbasedpredominantlyonBourdieu'stheoriesofsocialcapitalinrelationtoWenger's'communitiesofpractice'.Whilsttheresearchmethodologyisrootedinthefieldofethnomusicology,theinsightsgainedfromthisethnographycaninformcommunitymusiciansastohowgrassrootsmusicalensemblesnegotiatecomplexsocialstructures.Morebroadly,Iwillreflectonhowcommunitymusicdiscoursecouldbeenhancedbyethnomusicologyresearchinareaswheretherehasbeenconflict.

Roundtable

Name:ChristopherGray

Location:UnitedKingdom Organisation:UniversityofAberdeen

Title:RiskingtheBeautyofCommunityMusic.

Abstract:

RiskingtheBeautyofCommunityMusic.Whennewunderstandingsarerevealed,developedandarticulated,thisisthe‘messyturn’.(Cook,2009,pg.7)RationaleTheneedforadefinitionofCommunityMusiccontinuestobeahotlycontestedtopic(BartlettandHiggins,2018).Itisfurthercomplicatedbydiscussionaroundtheemerging(ed)statusofthefield,andwherestatusanddefinitionhavebecomeinseparablyintertwined.OverviewUsingtheconceptof‘mess’(Cook,2009&Law,2004)indialogueandresearchtheintroductiontothissessionwillexploretheideathat‘findingoutisbestdonebyakindofanarchy’(Thomas,1998).Thefacilitatorwillexploretheseconceptsofmessandanarchythrougharangeofresearchandpractice-basedperspectivesinCommunityMusic,challengingtheneed,ornot,foradefinitionofthefieldandhowthismay,ormaynotarticulateandsupportthedebatesarounddefinitionandemergence.Perspectivestobeexploredwillinclude(amongstothers):advocacy,changingparticipantcontexts,dialogue,internationalconsistency/perspective,qualityassurance,training,vocabularyandwhoarewedefiningfor?

Poster

Name:GenaGreherandSavannahMarshall

Location:UnitedStates Organisation:UmassLowell

Title:ProgPed:AClassinParticipatoryMusicPedagogy

Abstract:

ProgressivePerformanceandProductionPedagogywasdevelopedtoprovideourmusiceducationstudentsanopportunitytoengageinmoreinformalparticipatorymusicmakingpractices.Insodoingitishopedthisapproachwillprovebeneficialwithinbothschoolandcommunitysettingstosupportengagementinmusicacrossthelifespanandacrossabilitylevels.Theywillbelearningto:performonavarietyofinstruments,compose,improvise,analyze,arrangeandcovermusicforacousticandelectronicinstruments.Inatypicalpedagogyclassstudentswouldfacilitateindividualandsmallgroupinstructionwiththeirpeers.Beingafacilitatorwithagroupofnoviceshoweverisaverydifferentexperiencefromworkingwithone’speers.Tothatendthisclassincludesseveralhoursofservicelearningactivities.Thefocusofincludingservicelearningprojectsinthisclassistoscaffoldinformalparticipatorymusicmakingpracticesincommunitysettings.Studentswillworkinsmallpeergroupsdesigningandfacilitatinggroupmusicmakingexperiencestoprepareparticipatorymusicmakingactivities(drumcircles,singingopportunities,andmusiccreationthroughmobiledevices)forseniorsattheChelmsfordSeniorCenter,MethuenandLawrenceClubhouse,InternationalFestivalandinformalpop-upsessionsoncampus.Ourpresentationwilldetailandpresentexamplesofseveraloftheprojectsandclassactivitiesourstudentsareengagedwithinorderforthemtofacilitateparticipatorymusicmakingexperiencesinthecommunity,aswellasprovideafoundationfortheirfutureteachingcareersinthepracticesofinformal/non-formalapproachestomusicmaking.

Poster

Name:JennieHenley

Location:UnitedKingdom Organisation:RoyalNorthernCollegeofMusic

Title:MUSOCKeyFindings:Power,Impact,Intervention,andPedagogy

Abstract:

TheMUSOCprojectbroughttogetherresearchersandpractitionersfromfieldsthatintersectcommunitymusic(CM)todebatetheconceptsofexcellenceandinclusionastheypertaintomusicprojectsandprogrammeswithsocialagendas.ThekeyfindingswillbereportedinaspecialissueoftheInternationalJournalofCommunityMusic.Onekeyfindingisthat:Inexploringtheconceptsofexcellence,inclusionandintervention,weidentifiedthreeunderlyingissuesthataffectthewaytheseconceptsmanifestandareusedindifferentcontexts:·Pedagogy–thereisamisunderstandingofinclusivepracticescausedbyfocusingonthecontentofthepractice(whatmusic)ratherthantheformthepracticetakes(howthemusicismade).Analysingpedagogyratherthancontentprovidesabetterwaytounderstandinclusion;·Power–thedifferencesinthewayinterventionsareusedcanbeunderstoodthroughanalysingthepowerrelationsatplaybothwithintheinterventionandbetweentheinterventionanditswidercontext.·ImpactandMeasurement–theneedtomeasureimpacttoevidencetheinclusivityandexcellenceoffundedprojectsisproblematic.Identifyingoutcomesbeforetheparticipantshavebeenidentified,thenmeasuringthesuccessofaprojectagainstthoseoutcomesisagainstinclusivepedagogicalapproaches.Oftenthemostimpactfuloutcomesareeitherunseenorunmeasurable,andthecultureoffuturefundingbeingreliantonreportingpositivefindingscloudsthereportingofnegativeoutcomes.OurposterwillpresentthemaindiscussionpointsfromfourofthearticlesinthisspecialissueofIJCM:• Power,influenceandintervention(Ansdell,G.,Black,P.,Lee,S.andBroske,B.)• Interveningindifferentcontexts(Currie,R.,Gibson,J.,andLam,C-Y.)• Disruptivepedagogicalpractice(Anderson,K.andWillingham,L.)• Impactonpeopleandsociety(Perkins,R.,Caulfield,L.andCamlin,D.)

Fullspokenpaper

Name:Nikki-kateHeyesMbe

Location:UnitedKingdom Organisation:Soundlincs

Title:DevelopingacommunitymusicserviceforolderadultsinLincolnshireUK

Abstract:

CommunityMusicorganisationsoundLINCSisbasedinLincolnshire,UK,whichisalargeruralcountywithhigherthanaverageproportionofolderadultswithinitspopulation.Public,privateandnot-for-profitorganisationssupporttheirhealthandsocialcareneedsalthoughthereisnoevidenceofastrategicservicethatacknowledges,orrespondsto,theirhumanneedforartsandcreativity.Paradoxically,thereisincreasingevidenceforthebenefitsofthearts,andparticularlymusicmaking,uponthehealthandwellbeingofolderadultsincludingSocialPrescriptioninitiatives.In2015,soundLINCSstartedtoplanforaLincolnshiremusicserviceforolderadultswithaprimaryfocusonmusicianshipwhilstalsovaluinginclusivemusicalpracticesandequitableaccess.Thenewservice,namedNewTricks,launchedin2016asa3yearprogrammewithawiderangeoflocalandnationalpartnersthatworkedtogethertofundandsupportdevelopments.Olderadultsattendedopentastersessionsfollowingpublicpromotionandsignpostingfromprojectpartnerswhoalsohelpedtoprovidethesettings.Stablegroupsformedduringthetasterprocess.17CommunityMusiciansfacilitated1154weeklysessionswith480olderadultsin36groupsthatvariedinsizefrom4toover100participants.Awiderangeofmusicalgenres,instrumentationsandtraditionswereinvolved.34uniquelocationshostedNewTricksincludingheritagesites,artscentresandlibraries.Performanceeventswerearrangedforinsideandout,daytimeandnight.NewTrickshasprovidedabroadrangeofquantitativeandqualitativeevidenceincludingparticipantfeedback,monitoringvisitreports,casestudies,evaluations,mediaandstreamingproducts.Groupsbecameselfsustainingandtheevidenceconfirmsthatmaintainingtheartisticprincipletoincreasethequalityofmusicianshipofparticipantswillintroduceavitalsenseofpurpose(whereperhapsitwaspreviouslyabsent)andthatarangeofsecondarybenefitscanbeexpected.ExamplesofsecondarybenefitsachievedthroughNewTricksarepositivechangewithrespecttopersonal,social,healthandwellbeingoutcomes.AclearlearningforsoundLINCSistherefinementofapproachestogroupdevelopmentandtheirsustainabilitywhichwillbenefittheorganisation,anditsparticipants,forthefuture.

Poster

Name:LeeHiggins

Title:Ethno-World:Pedagogy,experiences,andimpactsofinternationalfolkmusiccamps.

Abstract:

ThisposterwillpresentaninterimreportontheemergentthemesemulatingfromEthnoResearch,athree-yearinternationalresearchprojectseekingtoexplorethehypothesisthatEthno-World,consistingofmulti-sitedmusiccampsacrossEurope,Nordiccountries,andotherareas,suchasBrazil,IndiaandAustraliaprovidetransformationalsocio-culturalandmusicalsignificancesforthosethatengageinitsactivities.Ethno-WorldisJMInternational’sprogrammeforfolk,worldandtraditionalmusic,aimedatyoungmusiciansaged13-30.FoundedinSwedenin1990,Ethno-Wold’smissionhasbeentorevive,invigorateanddisseminateglobaltraditionalmusicalheritage.TodayEthnomusiccampsarepresentinover23countries,runningaseriesofannualinternationalmusiccamps,workshopsandconcertsseekingtopromoteidealssuchaspeace,toleranceandunderstanding.Atthepedagogiccoreofitsactivitiesliesanapproachtomusicteachingandlearningthatcouldbedescribedas‘non-formal’whereyoungmusiciansteacheachotherthemusicfromtheircountriesandcultures.AgainstatheoreticalframeworkthroughwhichthephenomenonofEthno-Worldcanbehistoricallyandcontemporaryunderstoodthreedistinctlinesofenquiryguideourresearch:(1)pedagogyandprofessionaldevelopment,(2)experience,and(3)reverberations.SeekingtoinformthosewithresponsibilitiesforEthno-Worldand,morebroadly,culturalpolicydecision-makers,communitydevelopmentleaders,musiceducators,potentialfundingorganizations,andaspiringmusicians,ourprojectisengagedinthreeoverarchingquestions:InwhatwayscanthegrowthanddevelopmentofEthno-Worldbeunderstoodasahistoricalsocio-culturalphenomenon?WhatareEthno-World’sstatedandunstatedtenetsandtowhatextentaretheseenactedinitsactivities?WhatisthenatureandsignificanceoftheEthnoexperienceforparticipantsandnon-participants?Withaninternationalteamofresearchers,theseveninitialpilotprojects,fromwhichthispresentationdrawsitsdata,havebeencraftedthroughethnographicmethodologyresultinginsite-specificcasestudiesfollowedbymeta-thematicanalysis.Thepotentialforcommunitymusicistodeepenourunderstandingoftheprocessesofnon-formalapproachestomusicteaching,facilitation,andlearningwithinasettingcomprisingofmusiciansfromdiversemusicalandculturalbackgrounds.

Fullspokenpaper

Name:LeeHiggins

Title:Hospitableapproachestocommunitymusicscholarship

Abstract:

Thepurposeofthispresentationistoevokeanapproachtoscholarshipthatisresonanttocommunitymusic’sethosandpractice.AsanextractfromafullpapertobepublishedinbothGermanandEnglishlaterthisyear,Iengagewitha‘philosophicalcritique’publishedin2016throughoneofitsendnotesandinsodoingrevealwhythetextisproblematicand‘outofstep’withcontemporarythinkingconcerningunderstandingsofcommunitymusic.Inconclusion,Iadvocateforfuturescholarsandresearcherstohaveasensitivityandunderstandingofthepracticesandtheissuesthatfacethosethatareengagedincommunitymusicinordertogenerateaconduciveenvironmentthroughwhichpowerfulcritiquemightbemade.

Fullspokenpaper

Name:JuniperHill

Location:Germany Organisation:UniversityofWürzburg,

Title:Increasingagencythroughmusicalcreativity:EducationalandCommunityMusicInitiativesinSouthAfrica

Abstract:Inpost-apartheidSouthAfrica,numerousindividualsandinstitutionshavededicatedthemselvestoprovidingopportunitiesforsociallydisadvantagedyouthandworkersthroughcommunitymusicandmusiceducationprograms.Asanethnomusicologist,IconductedethnographicfieldresearchintheCapeTownareafocusingonprogramsemployingstrategiesfordevelopingparticipants’individualagencyascreativemusicmakers.Someoftheseprogramstraintownshipyouthstoimprovisebebopsolosinjazzbands.Otherprogramsencourageimprovisationandcompositioninlocalvernacularidioms(suchas“coloured”Afrikaansfolkmusic,Africanmarimbamusic,andhip-hop),oftendrawingpedagogicalapproachesfrommusictherapy,suchascompositionalscaffolding.Thecreativeagencyofprogramparticipantsmayhavebeeninhibitedbyamultiplicityofintersectingfactors,encompassinglowself-esteem,lowmotivation,lackofrolemodels,unequalaccesstoeducation,lackofresources,continuingpolitical-economicoppression,andotherlegaciesofcolonialismandapartheid.Inthispresentation,Ihighlightthecommoncomponentsofcommunitymusicandspecialschool-basedprogramsthatappeartobeeffectiveinenhancingindividualcreativeagency.Ithensharenarrativesofhowsomeprogramalumnifoundthattheirincreasedcreativeagencyinmusictransferredtoextra-musicaldomains.Finally,Iconcludewithacriticaldiscussionweighingthebenefitsoftheseprogramswithpotentiallyproblematiccolonialesquepaternalismandneoliberalistfinancialstructures.TOPICALOUTLINE:1.Definitionanddiscussionofagencyandcreativeagency.Transferabilityofcreativityinmusicacrossotherdomains.2.Researchquestions:Whatsocialandculturalfactorsinhibitcreativeagency?Whatstrategiesareeffectiveforenhancingcreativeagencies?Towhatextentcanincreasingcreativeagencyinmusicimpactanindividual’sagencyinotherlifepursuitsandaddressissuesofsocialhealingandsocialjustice?3.Methodology:ethnographicparticipantobservationwithin-depthinterviews(52musicians,facilitators,participants,andsponsorsinterviewedinCapeTown).4.Factorsinhibitingthedevelopmentofcreativeagencyatmaterial,social,moral,andpsychologicallevels.5.Overviewofcasestudies:musicprogramsforsocioeconomicallydisadvantagedcommunitiesintheCapeTownarea.6.Examplenarrativesfromeducatorsandfacilitators:validatingmusicalideas,validatingculturalheritage,scaffoldingcomposition,exposureandtransgressionofcomfortzones.7.Pedagogicalapproachesthatenhancepsychologicalenablersofcreativity.8.Examplenarrativesfromprogramparticipantsandalumni.9.Impactsonprogramparticipantsandalumni.10.Issuesandconcerns:colonialattitudes,paternalism,lackofacknowledgmentofindigenous/vernacularknowledge,lackofsupportforfacilitators,emotionalsustainability,economic

sustainability,neoliberalism,cateringtocorporatesponsors,methodologicalconcerns,evaluationchallenges.11.Concludingremarksandfurtherresearchquestions.

KEYREFERENCES:• Baker,Geoffrey.2014.ElSistema:OrchestratingVenezuela'sYouth.NewYork:OxfordUniversityPress.• Ballantine,Christopher.2005.“MusicandEmancipation.”InTheWorldofSouthAfricanMusic:AReader,editedbyChristineLucia,181-191.Newcastle:Cambridgescholarspress.• Deci,EdwardandRichardRyan.2002.HandbookofSelf-determinationResearch.Rochester,NY:UniversityofRochesterPress.• Hatti,John,HerbertW.Marsh,JamesT.Neill,GaryE.Richards.1997.“AdventureEducationandOutwardBound:Out-of-ClassExperiencesThatMakeaLastingDifference.”ReviewofEducationalResearch67(1):43-87.• Hill,Juniper.2019."CulturalImperialismandtheAssessmentofCreativeWork."InTheOxfordHandbookofPhilosophicalandQualitativePerspectivesonAssessmentinMusicEducation,editedbyDavidElliott,GaryMcPherson,andMarissaSilverman,277-298.NewYork:OxfordUniversityPress.• Hill,Juniper.2018.BecomingCreative:InsightsfromMusiciansinaDiverseWorld.NewYork:OxfordUniversityPress.• Hill,Juniper.2012."ImaginingCreativity:AnEthnomusicologicalPerspectiveonHowBeliefSystemsEncourageorInhibitCreativeActivitiesinMusic."MusicalImaginations:MultidisciplinaryPerspectivesonCreativity,PerformanceandPerception,editedbyHargreaves,MiellandMcDonald,87-104.OxfordUniversityPress.• Karlsen,Sidsel.2011.“UsingMusicalAgencyAsaLens:ResearchingMusicEducationfromtheAngleofExperience.”ResearchStudiesinMusicEducation33:107-121.• Lubbock,Holly.2009.Fezeka’sVoice.DVD.CielProductions(UK).• Pavlicevic,Mercedes,AndelineDosSantos,HelenOosthuizen,eds.2010.TakingMusicSeriously:StoriesfromSouthAfricanMusicTherapy.CapeTown:MusicTherapyCommunityClinic.• Whittaker,Laryssa.2014.“RefiningtheNation’s‘NewGold’:Music,YouthDevelopmentandNeoliberalisminSouthAfrica.”Culture,TheoryandCritique55(2):233-56.WEBLINKS:• DelftBigBandArtscapeDocumentary.IanSmithMusicYoutubeChannel.2011.https://youtu.be/evRViogcCNo.• MusicvandeCaab,Solms-Delta.https://www.solms-delta.co.za/music-van-de-caab/• MusicWorks.https://musicworks.org.za/

Fullspokenpaper

Name:HalaJaber

Location:Ireland Organisation:IrishWorldAcademy/UniversityofLimerick

Title:Thechangingfacesofthecommunitymusicworkshop

Abstract:

TheUNCHRestimatesthatapproximately70millionpeopleareeitherdisplaced,seekingasylum,orrefugeesaroundtheworld.Refugeeshavenocontrolonwheretheyareresettledorwhen.InthecaseofLimerick,Ireland,whichisthefocusofthiswork,someresettledrefugeesfindithardtonavigatethenewcommunityandrebuildlostsocialconnections.Thispaperstemsfromartspracticedoctoralresearchexploringthefacilitationofintegrationbetweenlocalandnewmigrantcommunitiesbasedoncommunitymusicethos.Usingmypracticeasthemainmethodofinvestigation,Iconductedanumberofcommunitymusicworkshopsandtworelatedperformances.Thefindingsofthisworkhighlightedtwoimportantaspectsoftheworkshopexperienceandproposemodificationstoguaranteethewell-beingoftheparticipants.Thefirstoftheseconcernsisthepost-workshopspace;afindingofthisresearchistheneedforanequalsafeguardingfortheparticipantspost-workshopasisduringworkshops.Post-workshopcareisimmenselyimportantespeciallywhenworkingwithrefugeesasmusiccanretriggertraumaticmemoriesandoverwhelmtheindividual.Thispaperoffersexamplesofpost-workshopcarethroughinvestigatingtheexpandingroleofthecommunitymusicianandthestepsneededtoensurethewell-beingoftheparticipantspost-workshop.Secondly,itexploresthetransitionofthecommunitymusicspacefromworkshoptoasocialmusicalevent.Refugeesandasylumseekers’schedulesareunstable;theirstatuscanchange,ortheycanberelocated.Thus,thecommitmenttoweeklymusicworkshopsischallenging.Byexamingthedatageneratedthroughmypractice,Ifoundthattopromoteconnectionsandintegrationadifferentapproachisneeded;creatingsocialmusicaleventswhereattendeescansharemusicfromtheircultureprovedtobeasuccessinbringingpeopletogetherandhelpingthemovercomebarrierstointegrationincludinglanguage,insecurity,andinstabilityamongothers.

Poster

Name:JaimeeJensen

Location:UnitedStates Organisation:UniversityofCentralArkansas

Title:EmployingCommunityMusicPrinciplesintheMusicAppreciationClassroom:astudy

Abstract:

WhenIacceptedapositiontoteachMusicAppreciationatamid-sizeduniversityinthesouthernUnitedStates,IknewIwantedtoapproachtheassignmentinthesamewayIapproachacommunitymusicproject:embracingequityandengagement.StudentstakingMusicAppreciationaregenerallynon-musicmajors.Someofthesestudentscomefrommusicalbackgrounds,withexperienceinmarchingbands,choirs,andorchestras.Somestudentshaveneverheldaninstrumentuntilbeinghandedadrumwithinthedrumcircleweholdonthefirstday.Itcanbedifficulttoengagethemwithatraditionalmusicappreciationclassformatoflectureoverwesternclassicalmusictraditions.Ifwewanttocreateatrueappreciationoftheartform,weshouldletthestudentscreatetheart.Forthoseofuswhoperform,wealreadyknowhowmagicalthecreationofmusiccanbe,andhowpowerfultheartformis.Whynotallowstudentstocreateandexperienceitfirsthand,byturningthistraditionallylecture-basedclassthatcentersonWesternEuropeantraditionsintoacommunitymusicproject?ManystudentscitethattheydonotrelatetoaMusicAppreciationcoursesimplybecausetheyarenotmusicians.Whiletheyarecertainlyconsumersofmusic-andadiscussiononthefirstdayofclasspointsoutallthewaysthatmusicimpactstheirlives-makingthemmusicians,evenforaday,engagestheminawaynothingelsecan.Thisisn’tarevolutionaryidea:afterall,theirchemistrygeneraleducationclasshasalabcomponentthatishands-on.Whyshouldwenotadoptthisfortheartsandhumanitiesaswell?Ifweconceptualizetheclassroomascommunitymusicproject,thosestudentsbecomemusicians,andtheycanexperiencethemagicofcreatingmusic-thuscreatingatrueappreciation.

PechaKucha

Name:YingJiang

Location:Canada Organisation:WilfridLaurierUniversity

Title:TechnologyAssistedAdultLearninginaCommunityGuitarOrchestra

Abstract:

AbstractTheaimofthisresearchwastoexplorehowequitableaccesstolater-lifecreativemusicalexpressionandengagementinlearningcanbesupportedbydigitaltoolssuchasaudioandvideorecordingsandtheuseofopen-sourcesoftware.Participantsinanintergenerationalcommunityguitarorchestralearnedtechnical,musical,andcollaborativeperformanceskills,supportedbydigitaltechnologies.Thisposterfocusesontheindividualandcollaborativelearningstrategiesobservedanddiscussedamongparticipants.Theresearchpresentedhereispositionedwithintheemergentfieldofgerontechnology(exploringtheintersectionsbetweenagingandtechnology,andtheimplicationsforlifelonglearningandparticipationinthecommunity).Thereissomeevidencethatcontinuinglifelonglearningandparticipationinmusicmaybesupportedbyinnovativeusesoftechnologywithinintergenerationalcontextswherethegenerationaldigitaldividemaybemediated(Creech,2019).Themainpurposeofintergenerationalpracticeistobringdifferentgenerationstogetherwiththeaimofcollaborating,enablinggrowth,andsupportingoneanotherinmeaningfulactivities(Hermann,Sipsas-Herrmann,Stafford&Herrmann,2006).Thus,thisresearchexploredthelearningstrategiesthatemergedwithinanintergenerationalcontextwheretechnologieswereutilizedtosupportpersonallymeaningfulmusicalengagement.Casestudymethodologywasapplied,incorporatingfocusinterviews,surveys,audio-videorecordingsandobservations,andfieldnotes.Writteninformedconsentwasgainedfromallresearchparticipants.Preliminaryanalysisofthedatarevealedthattheguitarorchestrawasarichcontextforpeerlearning,wherebyparticipantssharedcompensatorystrategies(i.e.howto‘getaround’achallengingtechnicalissue).Participantswereopentousingtechnology.Learningwasenhancedviavideotutorials,recording,digitalmusicengravingandfilesharing.Fullresultsofthemainfieldwork(2019-2020)willbereported.Thisresearchhasimplicationsforhowwesupportolderadultsinlifelongmusicallearningandparticipation.Theresearchinformsthepracticeofcommunitymusicfacilitators,demonstratingthewaysinwhichintergenerationaldynamicscanbemobilizedtosupportinnovativepracticesusingmusictechnologies.Thisresearchisapartof"CreativeLater-LifeinaDigital-Age"program,fundedbySSHRC(SocialSciencesandHumanitiesResearchCouncilofCanada).

PechaKucha

Name:NikiKazemzadehandNathanStretch

Title:‘AlternativeMethodsforAlternativePeople’:FacilitatedCommunityMusicactivitieswithinanalternativehealthcaremodel

Abstract:

Overview:Thisprojectemergedasaresultofrespondingininnovativeandpracticalwaystoworkwiththeextensivelymarginalizedinourcommunity(WaterlooRegion,Canada):peoplewhowouldbeconsideredtri-morbid--acutelyill,traumatizedandusingdrugs.Theinstitutionalizedmedicalsystemhasnotbeenabletorespondadequatelytotheemergingneedsofourcommunity,andagrass-rootsresponseisunderway.Itispracticallyhousedat115WaterSt.,Kitchener,Ontario,nearthefoodsecurityandemergentmedicalhubofSt.John’sKitchen.CommunityMusicactivitieswillbeembeddedinthefoundationofanalternativemedicalresponse.TheWorkingCentreanditspartnersintheInner-CityHealthAllianceprioritizebarrier-freeaccesstocare.Communitymusicactivitieswillfurthercollapsetheperceivedhierarchyupheldbytheestablishedmedicalsystembycreatingopportunitiesforcommunitymusicmakingthatincludeshealthcareprofessionals,supportworkers,andpatients.Theneedforapractical,meaningfulinterventionthatemphasizesspiritandcommunityisanecessaryone,bothfortheincreasinglymarginalizedofourcommunityandtheoverwhelmedcommunityhealthcareworkersthatarerespondingtothiscrisis.

Fullspokenpaper

Name:MaryKelly

Location:Canada Organisation:MusicInterchange

Title:Storiesfromthefrontlinesofanearlycareercommunitymusician

Abstract:

“Neverafailure,alwaysalesson”:butidentifyingandrecognizingthelessonischallengingforearlycareercommunitymusicpractitioners.ThroughthispresentationIreflectonsomeofthechallengesencounteredduringthefirst4yearsofworkingindependentlyasacommunitymusicianinasmallremotecityinCanada.Fromgraduateschooltocurrentdaybusinessandprojects,atrajectoryofpracticewillgroundthediscussion.ThroughpersonalanecdotesIhighlightsomeofthesuccessesandfailuresencounteredworkingwithdiverseparticipantgroupsinavarietyofsettings.Wheredoearlycareercommunitymusiciansturnforsupportandunderstandingwhentheirprojectsstruggle?Atanycareerstage,howdoweacknowledgeandaddresscircumstanceswherecommunitymusicactivitiesfractureconnectionsorsolidifysocialdifferencesratherthanstrengthenthecommunity?

PachasKuchas

Name:CynthiaKinnunen

Location:Canada

Title:The‘UkuleleasCommunityBuilderandLearningTool

Abstract:

The‘ukuleleisanoftenmisunderstoodinstrumentthathasfoughtasunderdogtofinditsplaceinthecurrentmusicalclimateinavarietyofdifferentways.Ithashadarichculturalhistory,awildandwoollypopculturehistory,andhasnowfounditswayintopracticebydiversesectorsofthepopulation,young,middleaged,andtheelderly.Itspopularity,accessibility,andunassumingnaturemakeitawelcominginstrumenttopickupandlearn.Particularly,playingthe‘ukuleleingroupsettingsembodieskeyfoundationalprinciplesandpracticesofcommunitymusicandissettlingintothemusicalspaceasaparticularlyuniqueteachingtoolandsocialconnector.

Inthispresentation,I’lltakeabriefwalk-throughofmyownpersonaljourneyofintroducingthisinstrumenttomycommunityofGuelph,Ontariothrougharangeofexperiencesforcommunitymembers.Howitcanfinditselfinelementaryclassrooms,Irishpubs,andeverythinginbetween.

SpecificallyrelatedtoCommunityMusic,I’veseenfirsthandhowthisinstrumentfacilitatesintergenerationalmusicmakingandsupportslearningthroughoutthelifespan,usingformalandnon-formalpedagogyapproaches.IneveryagegroupthatIteach,I’vewitnessedimprovedhealthandwellnessoutcomes,includingpositivementalhealthresults.Ithascreatedcommunities,strengthenedbondswithinfamilies,friendsandstrangers,andgivenpeopleasenseofbelonging.

Fullspokenpaper

Name:MagaliKleberandFlaviaMariaCruvinel

Location:Brazil Organisation:UniversidadeEstadualDeLondrina

Title:MusicNetwork:bridgesbetweenuniversitiesandcommunities

Abstract:

ThispaperaimstopresenttwocasestudiesthatconcernsaboutmusiceducationprojectsengagedtoBrazilianpublicpoliciesanduniversitiescommittedtosocialinclusion.OneBrazilianchallengeisthenecessityoflinkingtheacademicworldtothecommunities.Implementingprojects,thatmakequalityartisticmusiceducationaccessibletoallthepopulation,especiallytosocialgroupsthathistoricallysuffersymbolicandmaterialviolence,isabigissueinBrazil.Itisaquestionofsocialjusticeandrespectforhumanrights.Itmeansthattheuniversityneedstobeinclosecontactwiththecivilsocietyanditsculturaldiversityandsocialproblemstoaimasocialtransformationhighlightingonissuessuchaspolitical,ethical,aestheticalandinstitutional.Thefirstcasestudydescribesaspectsof39ºLondrinaMusicFestival,onemostimportantBrazilianmusiceventscommittedtomusiceducationandsocialinclusion.ThesecondcasedescribesatheimplementationoftheMúsicanoCâmpusProject,which,basedonaconceptionofculturalpolicy,establishespermanentdialoguebetweentheuniversityandculturalagents,seekinggreatrdialoguewithsocietyandstrengtheningpartnershipswithgovernmentinstitutions,aswellaswithartists,producersandmanagersoftheBrazilianculturalscene.Thetheoreticalframeworkisbasedon1)theconceptionof“TheMusicalPracticesandtheMusic-PedagogicalProcessasaTotalSocialFact”(Kleber,2006,2013a,2013b;);2)MusicalEducationasameansofsocialtransformation(Cruvinel,2003,2005)andandthatPublicHigherEducationInstitutionsconstituteaCulturalPlatform(CRUVINEL,2013);3)theconceptofSocialcapital(Bourdieu,1983,1986)relatedtosocialnetworksthatisacoreconceptinmultiplecontextsasbusiness,politicalscience,publicpoliciesforhealth,educationandsociology.Itispossibletonoticethattheeffectivenessoftheactionstakentheparticipationofdiversityofprocessestransitingthroughtheseprojects.

Fullspokenpaper

Name:DavidKnapp

Location:UnitedStates Organisation:SyracuseUniversity

Title:THENEW-AMERICANALL-STARS:PROCESSINGTRAUMATHROUGHCOMMUNALMUSICMAKINGAMONGREFUGEEYOUTH

Abstract:

LocatedintheNorthsideneighborhoodofSyracuse,NY—hometoapproximately10,000refugees—theCatholicYouthOrganization(CYO)coordinatesthearrival,healthcare,education,andothersocialservicesfornewlyarrivedAmericans(Semuels,2015).WithinCYO,theRefugeeYouthOutreachProgramsupportsrefugeeyouthenteringthecommunitybyprovidingafternoonacademictutoringthroughouttheschoolyear,andhostingaweeklyteennightwithsportsandotheractivities.Beginninginthespringof2018,musicactivitieswereofferedforthefirsttimeduringteennightwiththeNewAmericanAll-Stars(NAAS),avernacularmusicmakingensemble.Pedagogically,theensembleextendspreviousworkonvernacularmusicintoamorediversecontext,usingthedisparateglobalandethnicpopularmusicalinterestsofrefugeeyouthatCYO(Green,2008).Additionally,learningexperiencesintheprogramareconstructedaroundconceptsofcriticalliteracythatprovidememberstheopportunitytoreëncodetraumaandpriorexperiencesintheirnewhome(Green,2006;Hill,2009;MacDonald,2016).Inadditiontotheliteracy-basedmusicaloutputsoftheensemble,thepresentstudyexaminestheroleofvernacularmusicmakinginsupportingpsychosocialoutcomescorrelatedtosuccessinrefugeeyouthacclimatingtotheirnewhome(Marsh,2012).Theresearchwasconductedusinggroundedtheoryandbasedontwoyearsofparticipatoryobservation,interviewswithbandmembersandsitestaff,aswellasanalysisofmusicandmusicvideooutputs(Strauss&Corbin,1994).Usingthetheoreticalframeworkofcommunitymusicasavehicleforsupportingpositiveinternalcognitions(Author,2019),thisstudydemonstratesthattheNewAmericanAll-Starshelpedsupportanddevelopmembers’self-efficacyandperceptionsofgroupaffiliation,whichledtoimprovedoutcomesinmembers’acclimatingtotheirnewhome.

Fullspokenpaper

Name:GigiChiYingLam

Location:UnitedKingdom Organisation:TheRoyalCollegeofMusic,London

Title:CommunityMusicking:Uncoveringtensions,rethinkingthetranslation

Abstract:

ThispaperwillpresentaninterrogativedialogueonthetopicofcommunitymusicpracticeandrelatingitspecificallytoexperiencesinHongKong.ReflectingonthesituationinHongKong,thetermcommunitymusicisnotrootedinourculturalhistory,butprojectswhichfocusoninclusivemusicalparticipationcanbefoundindifferentsettings.Communitymusicasapracticehasadoptedvocabulary,concepts,andframeworksfromwesternconservatoriesandacademia.Practitionersappliedthesetermstoevaluatesuccess,excellence,andoutcomesinitsconsiderationoflocalcommunitymusicprojects.Usingcasestudiesoffivepractitionersinthefield,thepaperwilldemonstratethetensionandstruggleofarticulatingthepracticelocally.Reflectingonmypositionasapractitioner-researcher,mydilemmaistocontinuallybeawarenottobeaffectedbythewesternnotionandfallintothetrapofdominatingthescene.Thispaperoffersanopportunitytorethinkthenotionofcommunitymusicpracticebyrecognizinglocalpractitioners'input.Whengatheringtheminaresearchenvironment,itallowsashiftofparticipants’identityincommunityformation.Itbecomesanintegralpartofprocessesthatcanhelpgenerate,shape,andsustainnewcollectives.

Fullspokenpaper

Name:KellyLaurela

Title:IndigenousWomenandGirlsandthePolice:SongasBothIntentandImpact

ofanEthicalSpaceofEngagement

Abstract:

WhileatruthandreconciliationprocessisunderwayinCanada,violencecontinuestobeperpetratedagainstIndigenouswomenandgirlsatoverwhelmingratesbySettlerpeoples,includingthepolice.ThispaperaddressesanaspectofadissertationresearchstudythatcenteredaqualitativeIndigenousresearchparadigmtoascertainwhataccountedforasustainedpartnershipbetweenIndigenouswomenandgirlsofadrumcircleandwhite,Settlermenofapolicechorusforfiveyears,eveninthefaceofthisviolence.Participants’storiesrevealedtheimportanceofintentionsinthispartnership.Intentionswerefoundin:willingnesstoenterintothispartnership,responsibilitytolearnaboutthehistoryandinjusticesIndigenouspeopleshaveexperienced,holdingoneselfaccountableforone’sactionsandinactionsinthispartnership,andmutualreciprocityintermsofeffortscontributedtothispartnership.Thesequalitieswereconsideredtobecomponentsofthecreationofanethicalspaceofengagementbetweentheseadversarialgroups.Theimpactfromthisethicalspaceofengagementwasexperiencedthroughintentionaldecisionmakingregardinghowsongwasabridgetomorethanjustasingingpartnership;songisabridgetocommunicationofexperienceshappeningbetweenoneanother;songisabridgetoconveyhistorical,colonial,andpoliticalknowledgeregardingthispartnership;andsongchoicesreflectedtheinsightsandgrowthofthispartnership.Thissingingpartnershipwasconsideredtobelivingthespirit(intentions)ofreconciliationandanethicalwayofinteractingwithoneanotherthatencouragesbetterrelationsandunderstandingofoneanother.

Fullspokenpaper

Name:TavisLinsin

Location:UnitedStates Organisation:BostonUniversity

Title:WhenPatientsHealYou:CreatingCapabilitiesInandThroughMusic

Abstract:

WewillpresentourevaluationoftheWhenPatientsHealYou(WPHY)programatBostonUniversity(BU).ThroughWPHY,epilepsypatients—knowninWPHYasartists—treatedatBostonMedicalCenterinteractwithBUstudentstoprepareamusicalconcertfeaturingpatient-artist-chosenmusic.Weutilizeaqualitativecasestudydesign—drawingoneightpatient-artistinterviews,twostudentfocusgroups,multiplefieldobservations,andadocumentreview—toexploretherelationshipspatient-artistsandstudentsforminandthroughWPHY,studentandpatient-artistperceptionsoftheimpactsofWPHY,andparticipantsuggestionstoimproveWPHY.Ourresearchdrawsonecological,humandevelopment-,andcapability-focusedtheoreticalframeworks.Theecologicalframeworkhighlightstheimportanceofhumanrelationshipsinandacrosssettingstolearningandmusicmaking.Thenormative‘capabilities’frameworkemphasizeshumanchoiceandagencywithrespecttobodilyhealth;useofthesenses,imaginationandthought;emotions;affiliation;andplay.Wefindthatthroughspecificorganizational,curricular,andpedagogicalstrategies,WPHYisabletocreateapositiveclimateconducivetomusicking,learning,healing,andtheformationofrelationships.WPHYapproachesinclude—challenginghierarchy,valuingthearts,utilizingimprovisation,creatingacultureofcare,promotingdiversity,andutilizingaparticipant-centeredapproach.Patient-artistsareempoweredtakementorshiproles,scaffoldingstudentsintherehearsalandperformanceofpatient-artist-chosenmusic.ParticipationinWPHYservesasaperformanceofhealthforpatient-artists.Theyarerecognizedasartists,activelysupportoneanother,andserveaspotentialrolemodelsforotherpatientswithepilepsy.InandthroughparticipationinWPHY,BUstudentsexpandtheirthinkingaboutpotentialcareerpaths,growasartists,andbroadentheirideasaboutmusic.WeexploreimplicationsofourworkforWPHY,futureresearch,andconnectourfindingstomultipleliteraturesinmusiceducation:musicandhealth,peerlearning,andmulticulturalmusiceducation.

Roundtablepaper

Name:AaleLuusua

Location:Finland Organisation:CentriaUniversityofAppliedSciences

Title:Envisioningthefutureoffolkmusicanddancepedagogyassocialandembodied

Abstract:

EnvisioningthefutureoffolkmusicanddancepedagogyassocialandembodiedThepurposeofthisroundtablesessionistodiscusswhat,ifanything,isorshouldbedifferentorspecialaboutfolkmusicpedagogycomparedtoothermusicpedagogies,consideringthevariousfolkmusicgenresasuniquesocio-culturalphenomena.Traditionalartformsdevelopedaspartsofcommunitylife,servingpeopleatsocialgatheringsandrituals.Inthesegatherings,danceandmusicoftenformedasinglephenomenonwithaheavyemphasisonembodiedexpressionandlearning.Itshouldthereforebenotedthatvarioustypesofmusicshavedifferingaimsandvalues,asarguedconvincinglybyThomasTurinoinMusicasSocialLife:Thepoliticsofparticipation.Onthisfoundation,webelieveitnecessarytoask:whatkindofpedagogiesshouldariseoutofthis?Howcanwetakeintoaccountthesocial,cultural,historicalandmaterialcontextsoftheseartformsintheirteaching?Whatbenefitsandconflictscanariseoutoftheintroductionoftheseartformsintoformallearningenvironments?Whohastherighttoexpresswhatthecorevaluesofacommunityare?Whocanchangethesevalues,andwhenshouldtheybere-evaluated?WhatistheroleofcommunitiesinFinnishandotherfolkmusictraditions?Whatistheroleofinstitutionsofeducationinpassingontradition?Howcanacommunalviewpointbeutilisedinformaleducation?Whatnon-formalmethodscouldbeincorporatedintofolkmusicpedagogy?Whatistherelationshipbetweenmusicanddanceandtheirroleinfolktraditioncommunities?Weinviteourcontributorstodiscusstheseissuesfromtheirownperspectivesaspractitionersandresearchersoffolkmusicanddance.

PechaKucha

Name:KathrynMacdonald

Location:UnitedKingdom Organisation:MoreMusic

Title:TheSeagullAndTheChameleon-developingasocialprescribingmodelthroughsingingforhealth

Abstract:

TheSeagullandtheChameleonAprovocationinspiredbyanewhealthandwellbeingprojectinMorecambe,thatexplorestheimpactofsinginginacommunity.Morecambehasanaveragelowerlifeexpectancythanotherareasandahigherunder-75mortalityrate.ItistownwheremanypeoplearelonelyandtheirlonelinessmakesthemillandwherethelocalhealthservicesareoverwhelmedandCAMHS(ChildrenandAdolescentMentalHealthService)cannotmanagetheprevalenceofyoungpeoplefacingmentalhealthchallenges.OverthepastyearMoreMusichasbeendevelopinganewpartnershipwithBayMedicalGroup,thepracticewhichservesthewholeofMorecambe,andCAMHStoestablishtwodistinctsingingprogrammestoaddressthespecificmentalhealthissuesfacedbydifferentagegroups;SeagullCaféforolderpeopleandChameleonsforteenagers.Thispilotproject,fundedbySpiritof2012,isthesubjectofnewresearchsupervisedbyDrStephenClift,VisitingProfessoratICCMattheUniversityofYorkStJohnSeagullCaféTheSeagullCafeoffersaspaceforpeopleover60tocometogether,enjoysingingandafternoontea.ChameleonTheChameleongroupbringsyoungpeopletogethertosing,socialiseandtoeliminatestigmasurroundingmentalhealth

Poster

Name:AsaMalmsten

Location:UnitedKingdom Organisation:SoundSense

Title:TrainingtheCommunityMusician:JointheConversation

AbstractTraining the Community Musician (TTCM) is a four year research symposium series designed toexploretheways inwhichwetrainpeople intothefieldofCommunityMusic.Theinitialsymposiastartedbyasking,amongstothers,thefollowingquestions;

• whatcontentiscoveredandinwhichcontexts?• whatpedagogiesandmethodologiesareusedtoexploreit?• inwhatsettingdowedelivertraining?

“NeverbeenmorechallengedasacommunitymusiciantoreallyreflectwhatitisthatIwanttogivemyparticipants”EachTTCMsymposiaisbasedaroundanethosofprovocationandinclusivitywherenosinglevoiceisprominent.ThisisachievedbycreatingaparticipantleadapproachtoagendaformationthroughtheuseofOpenSpaceTechnology*.

‘…I liked the sense of equal importance it gave to all the participants and the sense ofresponsibilitythatcamewithit.’(ParticipantfeedbackTTCM’19)

‘Ienjoyedandappreciatedtheopenspaceapproachandthecommitmenttoegalitarianisminthatapproach’(ParticipantfeedbackTTCM’19)

TheCommunityMusicActivity(CMA)Commissionwillhelpthesymposiatoreachawideraudienceallowingforagreaterdepthofopinionandexperiencestobereflectedinourfindingsattheendoffouryears.Withthisinmind,theposterhasbeendesignedto:

• informthoseinterestedintheoutcomesofthefirsttwoyearsofthesymposium,includingproceeding'sandcurrentrecommendations(2019&2020).

• outlinethestructureanddirectionofthenexttwosymposia(2021&2022)• provide theopportunity fordelegates toengage in shaping future symposia andpotential

findings.

*OpenSpaceTechnologyOpenSpacemeetingsareconsideredtobe‘self-organising’.Althoughparticipantsareinvitedbyanorganisertodiscussanexplicittheme,theagendainfull,iscreatedbytheparticipants.OpenSpacemeetingsareintroducedbytheorganiserbutfacilitatedindependently.Thefacilitatorissaidtobe‘fully present and totally invisible’, where they are ‘holding a space’ for the participants to selforganise.

Roundtablepaper

Name:RogerMantie

Location:Canada Organisation:UniversityofTorontoScarborough

Title:OnlytheLonely?PromotingHealthandWell-BeingThroughCommunityMusic

Abstract:

Purpose:Healthandwell-beingareamongthemanyinterestsandconcernsservedbycommunitymusic.Thepurposeofthisroundtableistoadvanceknowledgethroughaconsiderationoffourexamplesofcommunitymusicactivitythatfocusonhealthandwell-beingwithparticularemphasisonissuesoflonelinessandsocialisolation.Justification:InJanuary2018,BritishPrimeMinisterTheresaMayappointedtheworld’sfirst-everministerforloneliness.Thesymbolismofthismovewassignificantinthatitpointedtogrowingawarenessthat,forexample,today’svirtual“socialnetworks”areaninadequatesubstituteforrealsocialinteraction.TheAmericanPsychologicalAssociationhasreportedthatupto40%ofAmericansovertheageof45sufferfromchronicloneliness.Thepopularpresshashighlightedtheproblemoflonelinessincontemporarysocietyinrecentyears.BoththeBBCandtheHarvardBusinessReview,forexample,havereferredtothe“lonelinessepidemic”andtheCBC(CanadianBroadcastingCorporation)hascalledloneliness“amajorpublichealthrisk.”Althoughoftenassumedtobeaproblemassociatedwitholderadults,theU.K.’sOfficeforNationalStatisticsfoundthat16to24year-oldsreportedfeelingmorelonelythanpensionersbetweentheagesof65to74,anda2016studyofCanadianuniversitystudentsreportedbytheCBCfoundmorethan66%reportedfeeling“verylonely.”Motivation:Music’scapacityforpromotingfeelingsofinclusionandbelongingarewell-documented(Creechetal.,2013;Hallam,2015).Whilecommunitymusictherapyoffersapowerfulavenueforpursuingtherapeuticaims,communitymusicforthepromotionofhealthandwell-beingneednotbeframedastherapeutic.Thisroundaboutstrivestoofferwaysforpre-conferenceseminarmemberstoconsiderintersections,commonalities,andsynergies.

Fullspokenpaper

Name:KevinMcNally

Location:Ireland Organisation:UniversityofLimerick

Title:Thecommunitygamelanensembleasamethodofrenderingconnectionbetweenhumansandenvironment

Abstract:

ThispaperrespondstoethnomusicologistJeffToddTiton’scallfora“community,economy,andecologyerectedonsoundprinciples”(2015p.23)bylayingoutthebeginningsofamovetowardasonicunderstandingofplace,articulatedthroughthepracticeofcomposingandperformingmusicforacommunitygamelanensembleinruralIreland.Drawingfromliteratureonsoundstudiesandthephilosophyofnewmaterialism,Iwillaskhowanontologyofsoundmightinformourattitudestosomethingassociallydisruptiveasclimatechange.Insupplyinguswithnewmetaphorswithwhichtounderstandtheworld,theartsarewell-placedtocatalysethe‘enchantment’necessarytomotivatepeoplefrommereendorsementtothepracticeofethicalbehaviours.(Bennett2010p.xi)Iwillshowthatsoundisparticularlyusefulforinspiringamoreecologicalunderstandingoftheworldduetoitsrelationalandemergentnature.Theabilityofsoundtopenetrateandimplicatesubjectsforcestheresearchertoadoptasofterstanceonsubjectivityandacceptamorediffuseconceptofselfhood.Finally,Iwillsketchouttheartisticoutputofthislineofinquiry,anewcompositionforgamelanorchestrainspiredbyIrishphilosopherJohnMoriarty’scalltoinvokeanalternativeexperienceofIrelandbybecoming‘sym-phonic’withtheEarth.(2005p.22)Workscited:Bennett,J.(2010)VibrantMatter:APoliticalEcologyofThings.DukeUniversityPressBooks,Moriarty,J.(2005)InvokingIreland:AiliuIathn-hErend.LilliputPress,Dublin.Titon,J.T.(2015)’ExhibitingMusicinaSoundCommunity’,Ethnologies,37,23-41

Fullspokenpaper

Name:JoyMeyer

Location:SouthAfrica Organisation:North-westUniversity

Title:Culturallyresponsiveteaching:AdaptingtheSuzukiandDalcrozeapproachesatfourcommunitymusicengagementsites

Abstract:

MyjourneyasacommunitymusicianhastakenmetovariouscommunitymusicengagementsitesinboththeNorthWestandGautengprovincesofSouthAfrica.Withinthesecommunitymusicengagementsites,IhaveusedtheSuzukimethodandaDalcroze-inspiredapproachtofacilitatemusicing.Usingmusiceducationpedagogieswithincommunitymusiccontextscomeswithcertainchallenges.Thebiggestchallengelies,inmakingthesepedagogiesrelevantforthestudentsincludedinmusicing.Thepurposeofthisa/r/tographyistoreflectonculturallyresponsiveteachingwhenadaptingtheSuzukimethodandDalcrozeapproachatfourcommunityengagementsites.Ireflectedontheaffordancesandlimitationsoftheapproacheswithinthecontextofthesites.Ialsoexploredtherelevanceofthesepedagogiesandhowitcanbeadaptedtobesuitableforcommunitymusicengagementsites.Videoswillbeplayedatthebeginningofthepresentationtogivethecontextofthecommunitymusicengagementsitesincludedinthisstudy.Inthispresentation,Iwillreportthenecessaryadaptationsthatweremadeduringtheprocessofmusicing.ThediverserolesthatIhadtofulfillasacommunitymusicfacilitatorisimportanttoexamineasitisessentialinmakingthesepedagogiesrelevant.Thefindingsofthispaperhighlighthowmusiceducationpedagogiescanbeadaptedwithincommunitymusiccontexts.Throughadaptingpedagogiesforcommunitymusicengagementsites,musiceducatorscanensureequitableaccesstomusiceducation.

Workshop

Name:PeteMoser

Location:UnitedKingdom Organisation:Mr

Title:SongsofProtest

Abstract:

SONGSOFPROTEST–PETEMOSERFortheISMECMA2020Workshop/presentationMusichasthepowertomobiliseenergy,createdisturbance,calmnerves,soothtempers,inflamepassion,communicatenewsanddevelopsolidarity.WhenyoungpeopleledaClimateChangeFridaymarchtherhythmofthechantskeptusfocussedandsharedamessage.“ThereisnoPlanetB”WhencalmneededtoberestoredasthepolicecutpeopleoutofalockinatanExtinctionRebellionstreetoccupation,aquietcommunalsongkeptenergyandsupportflowing.“Peoplegonnariselikethewater,Climatechangeishere”AtarecentcriticaltimeinHongKonganewanthemralliedmillionsbehindtheprotestmovementandprovidedaunifyingspiritandenergy.“OhwhyisthisgrounddrenchedintearsOhwhydothesecrowdsseethewithrageRiseup,takeastand,letthiscryringoutLetsbringfreedomtoHongKong”Butwhathappenswhennon-violentprotestmovestoviolence,injuryanddivision–evencivilwar.Ibelieveyoungpeoplearenowleadingthewayandthisgivesmegreathope.Arethereopportunitiesthatwecanofferandskillswecanshare?InthisworkshopIwilldrawonpersonalexperiencesfromtheExtinctionRebellioninLondonandtheHongKongprotestmovementsin2014and2019toconsidertheseissuesandlookathowcommunitymusicvaluesandpracticecanhaveaplaceininanincreasinglypoliticisedandpolarisedsociety.Wewillsing,writesongsanddiscuss.Wewillconsidertheplaceofcommunitymusicintimesofcrisis.

Fullspokenpaper

Name:PhilMullen

Location:UnitedKingdom Organisation:Freelance

Title:Issuesinthestrategicdevelopmentofmusicalinclusion

Abstract:

Title-IssuesinthestrategicdevelopmentofmusicalinclusionAbstract:In2011,theEnglishnationalplanformusiceducation(DfES,2011)was,inessence,acallformusicalinclusion,demanding:equalityofopportunityforallpupils,regardlessofrace;gender;wheretheylive;theirlevelsofmusicaltalent;parentalincome;whethertheyhavespecialeducationalneedsordisabilities;andwhethertheyarelookedafterchildren.(DfES,2011:9)Althoughtheinclusivegoalsoftheplanarequiteclear,theorganizationsgiventhemainresponsibilityfortheplan’simplementation,newlyformed‘musichubs’,weremostlyledbylocal‘MusicServices’,whohadnotpreviouslyhadinclusionasacentralfocus.MattGriffithsidentifiedsomeofthebarrierstohubsworkingmoreinclusively:Thesebarrierscanincludehubleadpartnersfocusingtoonarrowlyoninstrumentaltuitionoflimitedduration,thelargebiastowardsorchestralinstrumentsandrepertoire,andnotbeingbetween7and11-years-old(Griffiths,2014).YouthMusic’snationalMusicalInclusionprogramme(2011-2015)hadagoaltosupporthubs’journeytowardsdeepeninginclusion(Deaneetal,2015).SubsequentinitiativessuchastheAllianceforamusicallyinclusiveEnglandandYouthMusic’snewHubInclusionFundhaveledtoalargerproportionofhubleadsandteamsembracinganinclusivemindset.Inaddition,theauthorhasworkedtoenable,todate,aquarteroftheEnglishmusichubstodevelopandembedastrategicapproachtomusicalinclusion.Thispaperexamineswhataretheissuesinworkingtowardregion-widemusicalinclusion,whatarethechallenges,strategicpriorities,outcomesandsharedunderstandings?Whataretheimplicationsforcommunitymusicianswhentheso-calledformalsectoradapttheirapproachtopromotingsustainablemusicprogressionforeveryyoungperson?ThepaperalsolooksatYouthMusic’sacronymHEARDasonepossiblelenswithwhichtodevelopinclusion.

Fullspokenpaper

Name:JoanPietersen

Location:Australia Organisation:TheUniversityofWesternAustralia

Title:Adultlearning:Thesocialcapitalofactivemusicmakingandthedevelopmentoftheperson.

Abstract:

AbstractAliteraturesurveyonthenatureofcommunitymusicmakinganditsroleinmusiceducationandadultlife,revealedthatcommunitymusiciansandmusiceducatorsarecrucialinshapingtheachievementsofindividualsandgroupsinCMsettings.Framingacharterforandragogyandpedagogyasandragogiclearningandpedagogicteaching,hasshownthatforadults,musiceducationisanexperiencenotjustaformoflearning.TheactivityofadultmusicensemblegroupsbothincorporateandcomplimentaspectsofadultlearninginthefoundationsofteachingphilosophiesandCMpractice.Incontrast,pedagogyasmusiceducationisdeliveredduringschoolingwithmusiceducatorsusingdifferentpedagogiesaslearningstrategiesinformalsettings.ThebroaddefinitionanddevelopmentofCMprovidesthemeanstoanalysetheactivityofadultmusicensemblegroupsasaformofculturalandsocialdisplay,whilethehistoricalbackgroundandoriginsofCMfacilitatesaninvestigationofadultmusicengagementacrossmusictraditions.Anonlinesurveydesignedtofindifmusiceducationbuildslifeskillsindifferentteachingandlearningsettings;andcanserveasaplatformforthecontinuationofmusicmakingintoadulthood;wasmotivatedbytheneedtobetterunderstandthecultureofadultmusicensembles.Researchdatashedlightonandragogyandhighlightedtheimpactofadultmusicensemblesincommunityliferaisingquestionssuchas:whyadultsmakemusictogether;iftheirmusicmakingexperiencesislearningandlastly,ifwearemakingthemostofthemusicopportunitiesfortherapidlyageingpopulationasasociety.KeywordsMusicrelationshipsMusiceducationActivemusicmakingCommunityMusic

Fullspokenpaper

Name:ColleenRenihan

Location:Canada Organisation:Queen'sUniversity

Title:ExploringLivedExperienceinInclusiveCommunityMusicTheatreOnline

Abstract:

Thisresearchprojectcontributestothediscussionaroundtheneedforaccessibleandinclusivemusictheatrebyexaminingamusictheatreprogramforseniorscenteredaroundlocalhistoryandlocalmemory.Thisthree-phaseprojectexploredpotentialwaystoincorporatelocalhistoryandlocalmemoryintothecreationofmusictheatrewithseniorcitizensages60+.Inthefirstphase,werecruitedfiveseniorcitizenswhogrewupinthecommunitytoengageina60-minutesemi-structuredinterviewaboutmemoriesofmusicandmusictheatrefromtheirchildhood.Thesecondphasecenteredaroundtheanalysisofdocumentsinthelocaluniversityarchivesthatcontaineddocumentsfromallofthelocalcommunityorganizationsthatstagedmusictheatreproductions(excludingchurchesandschools)overthepastcentury.WeexaminedthesetocreateatimelineofthedifferentcompaniesandtheproductionsthatwerestagedinKingstonfromthelatenineteenthcenturytothepresent.Wealsoexamineddocumentsaboutthecompaniesthemselvestogetasenseoftheirmandateandmembership.Togethertheinterviewandarchivalanalysiscreatedabroadimageofthemusictheatreopportunitiesinthecommunityovertimeaswellasindividualperceptionsoftheseexperiences.Finally,weexploredwaysthatwecouldusethestoriesandarchivalinformationtodevelopmusictheatrewithseniorcitizensinthecommunity.Weinvited30localseniorcitizenstoparticipateinweeklyrehearsals/workshopsinvolvingsinging,movement,andactingexercises,whichincludedtheco-creationofmusictheatreshortsbasedonlocalmemory,somere-engaginglocalvenues.Wefocusedonboththeartisticgainsandwell-beingbenefitsforparticipantswhoengageinthesekindsoflocallyandpersonallyinformedwork.Findingsfromthisresearchmakeanimportantcaseforthere-activationand/orenliveningofhistoryandmemorythroughperformance.

Fullspokenpaper

Name:FranciscoLuisReyesPeguero

Location:PuertoRico Organisation:McGillUniversity

Title:Sustainabilityandtransformation:ThedialecticalendeavorsofindigenousmusicpromotingprojectsinPuertoRico

Abstract:

PuertoRicohasthreeactivemusicaltraditions—BombaPuertorriqueña,MúsicaCampesina,andPlena.BombaillustratesthemusicalheritageofAfricanSlaves,MúsicaCampesinastemsfromthelifeofthe17thcenturySpanishpeasantry,andPlenaemergedinthelate19thcenturyasanexpressionoflow-incomePuertoRicans.Thesemusicalexpressionshaveexistedandreinventedthemselvesforcenturiesprimarilywithincommunitiesthathavesustainedtheartformsaspartoftheirquotidianlife.Fromthesegroupsofcitizens,communitymusicinitiatives(CMI)haveemergedwiththegoaloffosteringPuertoRicanmusicwithintheirsettingsbutalsohostnewcomerswhoarenotfamiliarwiththesubculturethatareembeddedintheartforms.ThesenewcomersdemonstrateachallengefortheCMIandtheirfacilitators;outsiders—unawareofthehistoryandthetrajectoryofPuertoRicanmusic—attimesquestionoroverlooktheidiosyncrasiesandtraditionsoftheartforms.Hence,facilitatorsandCMIinPuertoRicofacethedilemmaoffurtheringthemusicalgenretheypromotewhileevaluatinghowmuchofthemusicaltraditionissalvageable.Thismultiple-casestudyexploresthisdichotomythroughthreePuertoRicanCMIinPuertoRico—LaJunta(Plena),Decimanía(MúsicaCampesina),andTallerTambuyé(Bomba).Datawasgatheredthroughparticipantobservationsinworkshops,interviewswithfacilitatorsandparticipants,andfieldnotesofseveralactivities.ResultsshowthattheseCMIhavetransformedindigenousmusicforthesurvivalandexpansionoftheartforms.TheresearchalsoshowshowCMIandfacilitatorstackletheissuespresentedbynewdissimilarparticipants,suchasthequestioningofidiosyncrasies,dissatisfactionwiththeportrayaloftheartforms,andthedisillusionwiththelearningprocess.ThispapershedslighttothedialecticendeavorsofCMIinPuertoRicowiththeaimtoexpandtheconversationsurroundingcommunitymusic,sustainability,anddiversity.

Name:AlexanderRiedmüller

Location:Germany Organisation:UniversityForMusicAndDramaHamburg

Title:ENCOUNTERSWITHOUTWORDS-waysofconnectingpeoplethroughmusicandmovement

Abstract:

Inmanycommunitymusicsettings,findingdifferentandadequatewaysofcommunicationisthemainkeywhenworkingwithheterogeneousgroups.Oftentheseconsistofparticipantswithdiverseabilitiesordifferentages,butalsowithdifferentmothertongues,culturalbackgroundsorhabits.Asagroupleaderitisasimportanttomakeyourselfunderstoodasitistolistentotheparticipantsinyourcourse.Infact,listening–inawidersense–canbethedevicetohelpthemcommunicatewitheachother.Theworkwithmusic,movementanddifferentsensesofthebodymakessharingpossible,evenwhennotevenonesinglewordcanbeexchanged.InthispaperIwillexploredifferentwaysofgettingincontactwitheachotherusingelementsofthemethodofEurhythmics,whicharebasedonavarietyoftactile,visual,auditoryandkinestheticin-andoutputs.Theexercisespresentedherehavebeenusedbytheworkshopleaderinmanydifferentcontextsoverthepastyears:Intheworkwithchildrenofdifferentages,inworkshopsforpeoplewithdiverseabilities,intheworkwithrefugees,inlanguageclassesandininternationalgroupencounters.Thepaperaimstosharenewexercisesaswellasreflectonalreadyknownones,undertheaspectofbeingabletousethemasatoolforexchangeandwordlesscommunication,inwhichgivingandreceivingaretheleadingprinciples.

Poster

Name:AaronRivkin

Location:UnitedStates Organisation:UniversityofMichigan

Title:ExploringMotivationandSustainabilityinAdultCommunityEnsembles

Abstract:

Musiceducationhasseenanincreaseofstudiesinthefieldofadultmusiceducation,suchasNewHorizons,duringthepasttwodecades(Coffman,2002;Dabback,2006;Dabback,Coffman&Rohwer,2018;Jutras,2011;Tsugawa,2009).Thisresearchdemonstratesthepositiveimpactofmusicmakingforadults.Toencourageadultstomakemusic,thereisaneedforadditionalresearchonadultcommunityensembles,specificallytheparticipants’motivationsintheyearsbetween[post]collegeandretirement.Thepurposeofthisstudyistoidentifythemotivationalfactorsofparticipantsinadultcommunitymusicensemblesintheperiodbetween[post]collegeandretirementandtousethosefactorstodeterminestrategiesforrecruitingmembersandsustainingensembles.Thefollowingresearchquestionswillguidethisresearch:Whatarethemotivationalfactorsofindividualswhoparticipateinadultcommunitymusicensemblesintheperiodbetween[post]collegeandretirement?Howcanthosemotivationalfactorsinformstrategiesforrecruitingmembersandsustainingensembles?Theposterwillincludeasynthesisofrelatedliteratureorganizedbythefollowingsubtopics:historicalgrowthofcommunityensembles,motivationalfactors,andage-relatedvaluesanddevelopmentallearningissues.Themethodologyisaqualitativedesignanddatawillbecollectedthroughnarrativeinterviewswithensemblemembersanddirectors,rehearsalobservationsandensembleartifacts.ThecasestudywillbeconductedinacommunityensembleinthemidwesternregionintheUnitedStatesduringSpring2020.Myaimforthisresearchistobenefitadultcommunityensemblesbydevelopingamodeltoinformtherecruitmentandretentionofparticipantsintheperiodbetween[post]collegeandretirement.Bytargetingadultmotivations,historyofmembers’participationandthemethodsusedtoteachadults,thisresearchcancontributetounderstandingbestpracticesforsustainingadultcommunityensembles.

PechaKucha

Name:MatthewRobinson

Location:Germany Organisation:KonzerthausDortmund

Title:Whyus?WhyshouldwedoCommunityMusic?

Abstract:

ThepurposeofthisshortpresentationistoreflectonthedevelopmentofCommunityMusicprogrammesandimplementationofpracticefromscratch,withinanestablished,high-artinstitutionofaclassicalconcerthallandtoprovokeconversationanddiscussionontherole,ontheimportance,ontherelevanceofCommunityMusicwithininstitutions.SinceSeptember2019,IhavebeenemployedasaCommunityMusicianwithinoneofEurope’smostprestigiousconcerthalls.Myrole,asaCommunityMusicianfromtheUKmoreathomeonthestreetswithacommunitybrassbandthaninthebowelsofapolishedandhighly-valuedclassicalmusicinstitution,isnottodeliveranoutreachormusicaleducationprogrammeasmightbeexpectedofinstitutionsofthistype,butinsteadtodevelopawiderangingandindepthCommunityMusicprogrammewiththevastlydiverseresidentsofDortmund.OnethatisradicalanddisruptsthenotionofwhattheroleoftheconcerthallisinGermansociety,whichconnectstheinstitutiontoitsownarea,whichistransformationalforcommunitiesandindividualslocallytotheconcerthall.ItisaroleinwhichIfindmyself,inabuilding,inatown,inacountrywhereCommunityMusicasatermandasaconceptisanalmostunknown,whereitismetwithconfusion,andwheretheconceptofahigh-artorganisationservingorworkingwithitslocalcommunityisviewedwithscepticism,confusion,andisoftenresisted.Theonequestionthatcomesuptimeandtimeagaininconversations,inplanningmeetings,inworkshops,frompeoplebothinternaltotheconcerthallandstakeholdersoutsideofit,is“whyus?Thisisn’tourrole,whyshouldwedoCommunityMusic?”

Fullspokenpaper

Name:LaurieSadowski

Location:Canada Organisation:WilfridLaurierUniversity/niagaraHealth

Title:TheSeedsofOurSongs:TheExperienceofSongwritingforPeopleAffectedByMS

Abstract:

Abstract:Thereisgrowingresearchinusingcommunitymusicinwellnesscontextstoenhancequalityoflife.ThispresentationdescribestheexperiencesofpeopleaffectedbyMultipleSclerosis(MS)whoparticipatedinasongwritingcoursetothatexploredmusicasatooltobuildasenseofcommunitythroughanaccessible,active,participatoryopportunitygearedtowardimprovingoverallwellnessandqualityoflife(QOL).TenadultsaffectedbyMSparticipatedinaten-weeksongwritingcourseledbyaprofessionalsinger-songwriterusingacommunitymusicapproach.Pre/post-questionnairesexploredtheirexperiencesthroughclosed-andopen-endedquestions.Interviewdatawasanalyzedusingreflexivethematicanalysis,generatingfivemainthemes:(1)GoodFeelings;(2)SocialInclusion;(3)MusicalSelf;(4)Self-Discovery;(5)FacingChallenges.FindingsdemonstratethatthequalityoflifeforpeopleaffectedbyMScanbeenhancedthroughaformofcommunitymusic-basedengagement.Thisstudyaddstothelimitedresearcharoundnon-therapeuticarts-basedsocialengagementopportunitiestoenhanceoverallwellnessandcreatingasenseofcommunity.

Fullspokenpaper

Name:GrahamSattler

Location:Australia Organisation:MitchellConservatorium

Title:Onlinemusiceducationcommunities:aconnectiverealityoraspiration?

Abstract:

Keywords:Community,connection,interaction,cohort,fellowshipInternet-basedmusiceducationandtraininghasdevelopedasalearningoptionoverthepast20years,evolvingfromrecordedhard-copydistanceeducationassets(vinylandtape-based,complementedbyprintedmaterials)tohigh-speedtelephonytechnology,thenliveinternet-protocolvideoconferencingplatforms-offeringoptionsforvideocallone-to-onelessons,masterclassesandmediatedlearningsessions.Withtheadventofinternet-basedopenaccessvideosharingandusergeneratedcontent(‘YouTube’andthelike)inthemid-2000s(Ingram2001;Waldron2013)instrumental,vocal,theoryandmusictechnologyinstructionvideosbegantoproliferate.Thecurrenton-linemusiceducationandtrainingenvironment,providingdistancelearningforindividualsunabletoaccesslivelearningenvironmentsduetoisolatedcircumstances,andconvenienceforindividualspreferringtimeandlocationflexibility,comprisesthreemainprogramorproducttypes:1.One-to-onelessonsdeliveredviavideocalls(openaccessand/orproprietaryvideoconferencingplatformssuchasSkype,Zoom,FacetimePolycom,Tandbergetc.);2.Pre-recordedinstructionalvideoassetsavailableeitheratnocostorpassword-protectedsubscription;and3.Acuratedmixtureofboth,withonlineandtelephonicaccesstoteacher(s)forfeedbackandpersonalisedattention.Thispaperreportsontheauthor’sinvestigationofthevalidity,veracityandviabilityofonlinelearnergroupspresentingascommunities(Omrod2004;Ingham2005;Waldron2013;Wengeret.al2005)withthecomponentqualitiesofcollaboration,interactionandfellowship;asdistinctfromalessspecificclassificationofcohort,beingmoresimplydefinedasagroupofindividualswithasharedcharacteristic.Reviewingthedevelopmentofonlinemusiceducationproductsandprogramsthusfar,considerationisgiventothebalanceofprogramelementssuchasteacher/studentinteraction,studentcohortinteraction,studentachievement,confidenceandprogressionflexibility.Utilisingavariedsampleoffiveprominentinternationalonlinemusiceducationproviders,onebasedinAustralia,theauthorusesamixedmethodologyofliteraturereview,analysisofpublicdocumentation,andteacherandstudentinterviewstoconsiderthequalitiesanddynamicsofbothexistingandprospectiveonlinemusiclearningcohortsinthecontextofeffectivelearningcommunities.ReferencesIngram,A.(2005).Engagementinonlinelearningcommunities.InJ.Bourne&J.C.Moore(eds.),Elementsofqualityonlineeducation:engagingcommunities(pp.55–69).Needham,Ma:sloan-c.Ormrod,J.E.(2004).Humanlearning(4thEd.).UpperSaddleRiver,NJ:Pearson.Wenger,E.,White,N.,Smith,J.D.,Rowe,K.(2005).Technologyforcommunities.Retrievedfromhttp://technologyforcommunities.com/CEFRIO_Book_Chapter_v_5.2.pdfWaldron,J.(2013).User-generatedcontent,YouTubeandparticipatorycultureontheWeb:

musiclearningandteachingintwocontrastingonlinecommunities,MusicEducationResearch,15:3,257-274,DOI:10.1080/14613808.2013.772131

Fullspokenpaper

Name:IkukoShitamichi

Location:Japan Organisation:TokyoCollegeofMusic

Title:FightsongsascheeringuppeopleinJapan

Abstract:

InJapan,manycollegesandhighschoolshavetheirownfightsongs,someofwhichareoveracenturyold.Althoughtheoriginiscontroversial,itmightbeconsideredthattheearlyfightsongswereinfluencedbythesongsofpublicschoolsinEnglandin19thcentury.Inthesedays,fightsongsarenotonlyforawaytocheeruptheteaminsports,butalsoawaytocheerupstudentsthroughouttheirlives.Furthermore,somefightsongsbecomepopularandsingingpeopleisnotlimitedtothestudents.Withthetime,singingfightsongsarechangedinthecommunityandinsocietyinJapan.ThepurposeofthisstudyistoinvestigatetheroleandthemeaningofsingingfightsongsinJapanintermsofthepastandthepresent.ThisstudyfocusesonsomefightsongsofUniversityofTokyo,whichareoriginallycomposedforrootingforaboatingandabaseballteams.Themethodofthisstudyistoresearchthehistoricalbackgroundofthesesongsfromliterature,andthenanalyzeatuneandwordsofeachsong.Alsohistoricalschoolsportseventsandgameswherethesesongsweresungareexaminedtounderstandtheroleandmeaningofsingingfightsongsinschooleducationandspotseventsatthattime.Inaddition,theresearcherofthisstudyparticipatedsongfestivals,wherefightsongsaresungbyalumniandlovers,tocollectdatasuchaspictures,recordingsandinterviewsregarding1)motivesforsinging,2)stylesofsinging,and3)methodsofmaintenance.Finally,thisstudycomparesthepastandthepresentandrevealthemeaningofsingingfightsongsatschools,insportsevent,inthecommunityandinsociety.

Soundscape

Name:NathanStretch

Location:Canada Organisation:TheWorkingCentre

Title:TheMusicofTheWorkingCentre:FreshGround

Abstract:

¨TheMusicofTheWorkingCentre:FreshGround¨(¨...FreshGround¨)isasoundedinstallationdevelopedinanattempttotransmittheesotericqualities(spirit,mood,feel)ofacomplexcommunitybuildingorganization(TheWorkingCentre)toaninvestedaudience.Theinstallationwaspresentedtoadiverseaudienceof50peopleatFreshGround—anemergentprojectandplaceofTheWorkingCentre(TWC)—butlivesonpastitsdebutasanapproachable,publiclyavailableresourcetothosewhowishtounderstandfurtherthepracticalactionandresonantphilosophyofTheWorkingCentre,whereinTWCisconsideredaradicalorganizationcriticalofthemodernbureaucratizedinstitutionandrespondingcreativelytothemostmarginalizedintheircommunity.¨TheMusicofTheWorkingCentre:FreshGround¨isoneofasuiteoftoolsincludingpublications,videos,presentations,websites,virtualandphysicaltours,classesandsymposiumsthatseekstoexpandonanindividualorgroups’ownexperienceinTWCśpublic,hostedspacestowardsarelational,authenticunderstanding(Taylor,1991).¨...FreshGround¨waspracticallyinspiredbytheworkofBartonandWindeyer(2012)andtheirunderstandingoftheintertwiningnatureofsoundtrackandsoundscapeinsite-specifictheatricalinstallation.MusicianswithanimmersiveunderstandingofTheWorkingCentrewereinvitedtorespondinaspiritofreciprocity(Mancini,2015;Westhues,1995)toeachother—aswellastothesoundsandarchitecturalresonancesofFreshGround—tomakesomethingsharedandmeaningfulwithoutbeingoverlyprescriptive.¨…FreshGround¨isanarts-basedresearchprojectthatgrewtoovertakeaninitialautoethnographicinvestigation.Theresearcheremployedadevelopingsymbologytoguidetheprojecttoasatisfyingcompletionwithoutexertingunduecontroloveranemergentandsharedproject.Conceptsandphilosophywerecollapsedintopalatablesymbolsthatmusiciansreferencedintheirmusicmakingandshaping.Symbolsincluded(butwerenotlimitedto)chiasticpatterns(Pelkey,2013)andtheirsubsequentalphanumericrendering,andamapofinfamousKitchener,Ontarioroadwaysthatarenominallyparallelbutintersectregularly:adisruptiveyettangiblemetaphor.¨...FreshGround¨canbestreamedbyindividualsorgroupsviaheadphonesandWiFiconnectedsmartphonedevices,ortransmittedviaacentralizedstereospeakersystem.

Fullspokenpaper

Name:NaomiSunderlandandPhilGraham

Location:Australia Organisation:GriffithUniversity

Title:Songsofself-determination:Exploringself-advocacythroughmusicwithFirstNations'musiciansinAustraliaandVanuatu

Abstract:

ThispaperpresentsinterimoutcomesoftheinternationalSongsofSelf-Determinationproject.Wesharestories,insights,songs,andfindingsfromagrowingcollectionofin-depthinterviewswithdiverseFirstNations'musiciansinAustraliaandVanuatu.ThepresentationwillhighlightFirstNations'Peoples'self-advocacyandself-assertionthroughmusicanddiscussarangeofindividual,community,andsocialoutcomesthatFirstNations'musicianshaveobservedfromtheirrichanddiverseactivityincommunityandprofessionalmusicmaking.

Fullspokenpaper

Name:AlisonTalmage

Location:NewZealand Organisation:UniversityOfAuckland

Title:VoicesinHarmony:ResearchingCommunitySingingforAdultswithAcquiredNeurologicalConditionsandCommunicationDifficulties

Abstract:

ThispresentationwillofferamultimediaoverviewofmypracticeandresearchasamusictherapistanddoctoralcandidateinAuckland,NewZealand.FocusingontheCeleBRationChoir,aninitiativeoftheUniversityofAuckland’sCentreforBrainResearch(CBR),Iwillillustratethechoir’sapproachandresearchfindingsthroughaudio/videorecordings,participantvignettes,reflectionsthroughpoetryandsong,andexperientialaudienceparticipation.TheCeleBRationChoirisopentoadultswhohavecommunicationdifficultiesresultingfromanacquiredneurologicalcondition(suchasstroke,Parkinson’sdiseaseordementia),theirpartners/carers,andvolunteersfromtheuniversityandwidercommunity.Establishedin2009,theCeleBRationChoirbridgestheapproachesofregularcommunitychoirsanddiagnosis-specificgroups,withamusic-centredapproachtoreducingsocialisolation,enrichingparticipants’qualityoflife,andextendingtheircommunicationabilities(relatingtovoice,speech,language,and/ormemory).ThustheChoiroffersboth“asylum”andgoal-orientedgrouptherapy–boththeintrinsicenjoymentofcommunitysingingandtheinstrumentaluseofsingingforcommunicationrehabilitationormaintenance.Aswellasmeetingweekly,theChoirperformsregularlyatconferencesandinthecommunity.Ourresearch,publicityandcommunityengagementhaveinspiredtheestablishmentofsimilarchoirsinterprofessionalCBRNeurologicalSinging,ChoirandVoiceNetwork.TheChoiristhefocusofmycurrentactionresearchdoctoralstudy,whichdrawsonmyperspectiveasamusictherapistandaimstoimprovepracticeandparticipantoutcomes.Thisresearchwillexaminestylesoffacilitationandparticipationthroughvideoanalysis;participantandotherstakeholderfeedbackandsuggestionsaboutpracticeandevaluation;andbarriersandfacilitatorstoparticipation.Althoughacontext-boundstudy,itisanticipatedthattheemergingpracticeguidelineswillbeofinteresttootherpractitionersandcommunities.

Poster

Name:BethanyUhler

Location:UnitedStates Organisation:UniversityofNorthCarolinaGreensboro

Title:BeyondtheCorner:IncorporatingMusicintoaJuvenileDetentionCenter

Abstract:

AbstractApproximately600,000youtharedetainedinjuvenilefacilitiesannually(Ramirez,2008)and50%–80%reoffendfollowingtheirrelease(Reed,Miller&Novosel,2017).Themajorityoftheseyouth(70%)haveexperiencedserioustraumaandneedrehabilitationtorecoverandlearnpro-socialskills.Amongeffectivebehavioralinterventions,musicmayserveasacatalystforpersonalandinterpersonaldevelopment(Cohen2009,Hickey2018,Marcum2014).Toexploretherolemusicmayplayinrehabilitation,Idevelopedastringprogramatayouthdevelopmentcenter.Theresultingqualitativestudyposedthequestion,whatbenefits,ifany,areexperiencedbymembersofastringensemble?MethodEightofChathamStrings’members,aged13to17,volunteeredtoparticipateinthisstudy.ThedemographicsofthestudentswereWhitefemale(1),Blackfemale(3),Hispanicfemale(1),Blackmale(2),andWhitemale(1).Noneofthestudentspreviouslyplayedastringinstrument.Thedataforthisstudyincludedinterviewswithyouthintheprogram,facilitystaffmembersandfieldnotes.ResultsFourthemes,ExposureandNewExperiences,PrideandRecognition,PersonalandInterpersonalDevelopment,andCollaboratingtoHelpYouth,emergedfromthedataanalysis.Thefirstthemedocumentedtheteens’journeyastheymovedfromresistancetoparticipationandsuccessinthestringprogram.Inthesecondthemetheyouthdescribed:experiencingsatisfactionintheirsuccess,realizingtheirpotentialtodosomethingpositive,receivingpositivereinforcementfromothersandmakingpeopletheylovedproud.Inthethirdtheme,youthreflectedthatparticipationinthestringprogramimprovedemotionalrelease,behaviorregulation,frustrationtolerance,timemanagement,communicationskills,andwillingnesstohelpothers.Thefourththeme,specifictostaffparticipants,expressedthatthestringprogramcontributedtothecommunityeffortofrestorativejustice.Implicationsforprisonmusicprogramsarediscussed.

Workshop

Name:SannaVuolteenaho

Location:Finland Organisation:MetropoliaUniversityofAppliedSciences

Title:FreevocalimprovisationwithmovementusingFinnishKalevala´sstoryofcreationofaworld.

Abstract:

ThejourneyoffreevocalimprovisationwithmovementusingFinnishKalevala´sstoryofcreationofaworld.Aimsorobjectives:Strengthensthefreevocalimprovisationskillsofcommunitymusiciansandencouragethemtousevoiceimprovisationwithdifferentgroupsofpeopleincommunitymusicprocesses.Movementhelpsmanypeopletousetheirvoicetechnicallyandencouragesthemtoimprovise.Movementscansupportalsotheimprovisers’body&mindsettings.Musicandvocalimprovisationcanbeanactiveingredientofaction,identity,capacityandconsciousness.Theoreticalbackgroundandcontent:Improvisationhaspositiveeffectsonwell-beingandmusicallearning.Accordingtostudies,improvisationcandevelopcreativeskillsanddeepenknowledgeandskillsalreadylearned.Itcanalsopromotemusiclearning.Musicalimprovisationcanenableyoutoviewandexperiencethingsdifferently,tostrengthenyourself-knowledgeandtopracticesocialskills.TheliteratureofCommunityMusicemphasizestheimportanceofactiveparticipationandsensitivitytocontext.Activitiessuchaslistening,improvising,inventingandperforminghaveimportantroleincommunitymusicprocessesaswellasequalityofopportunityandwelcomingenvironmentforall.Inmusicteachingperspective,thetheoreticalbackgroundisSocial-Constructivist´discourse.Thefocusisonthelearningjourney,whichisbuiltandshared.Contentiscollaborativelearninginmusicwhereallprocessesoflearningcanbepartofcreationofnewknowledgewhereleaderfacilitatestheprocess.

Fullspokenpaper

Name:EmilyWilliamson

Location:UnitedStates Organisation:LehmanCollege,CityUniversityofNewYork

Title:CommunityMusicinanInaccessibleNewYork:SonJarochoMusicalandCulturalPedagogy

Abstract:

SonjarochoisaregionalMexicanmusic,dance,andpoetictraditionand,afterarevivalofitscommunity-orientedpractices,hasemergedinthelate20thcenturyasacommunitymusicthatisnowpracticedoutsideofitshistorichomelandthroughoutMexicoandtheUnitedStates.InNewYorkCity,acollectiveofprofessionalandamateurmusicianshavedevelopedandsustainedasonjarochocommunityforthepastdecade.AlthoughnotuniqueamongthedifferentsonjarochocommunitiesorcollectivesacrossMexicoandtheU.S.,thesonjarochocommunityofNewYorkCitydemonstratescommonqualitiesassociatedwith“communitymusic.”Withoutanyprerequisitessuchasmusicnotationliteracyorauditions,thesonjarochocommunityofNewYorkCityteachesitscommunitymembersallaspectsofthetradition:instrumentalperformanceonsmalllutescalledjaranas,thesingingofpoeticversescalledcoplas,andtherhythmicdancingcalledzapateado.Withoutmusicalnotationortoolsofinstitutionalmusicalinstruction,theteacher-musiciansofthecommunityleadlow-costworkshopsthatteachthroughmnemonicdeviceforrhythmandharmonicphrasesandversewritingaswaystoentertheperformativeandculturalspaceofsonjarocho,whichisrealizedinthecommunitycelebrationcalledthefandango.Throughethnographicevidence,thispresentationwillpresentthepedagogicalmethodsoftheNewYorkCitysonjarochocommunitythatemphasizeinclusivemusicmakingandculturallearning.IwillintroducetheNewYorkCitysonjarochocommunitythroughvignetteexamplesandsituateitsuseofmusicalpedagogywithintheframeof“communitymusic.”Thesonjarochocommunityintegratesoral-auraltransmissionwithSpanish-languageandculturalliteracytoeducateitsparticipant-members,continuinganethosofdemocraticengagementinmusicmakingdespitethesignificantmaterialbarriersthathinderparticipationincommunitymusicinthelate-capitalistlandscapeofNewYorkCity.

Roundtablepaper

Name:DeannaYerichuk

Title:ReciprocityinCommunityMusic:PracticingCulturalHumility

Abstract:

Scholarshavecenteredthefieldofcommunitymusiconsocialjustice,inclusion,andrespectfordiverseperspectives(Higgins&Willingham,2017).Thesefoundationalprincipalsareparticularlysalientwithin(post)colonialcontexts,yetarechallengingtoenactinwaysthatdonotreinscribepowerrelationsdeeplyentrenchedthroughcolonizationandwhitesupremacyaroundtheglobe.AsknowledgeisincreasinglysharedbetweenIndigenousandsettlermusicians,asinitiativesareunderwaytodecolonizeinstitutionalcurricula,andasracialjusticeisbeingidentifiedwithincommunitymusicparticipation,whatcanbedonetoencourageallyship,collaboration,trust,humility,andrespectforculturaldiversitywithinourmusicpractices?Thisroundtabletakesupthequestionofhowourmusicpracticescanengagemeaningfullyacrossdifferencesinaspiritofreciprocityandrelationship.ThepanelfeaturessixIndigenous,immigrant,andsettlerspeakersfromNewZealand,Canada,andAustralia.Eachpanelistdescribestheirmusic-focusedwork,suchasallyship,relationshipbuilding,ethicalspace,institutionaldisruption,interculturalcollaboration,andpersonalunlearning.Weeachusedifferentlanguagetodescribethedifficultyetimportantworkofbuildingreciprocalrelationshipswithinandthroughmusic,andsowegroundtheroundtableintheconceptofculturalhumility(Fisher-Borne,Cain,&Martin,2015),whichrejectstheideathatany‘other’culturecanbemastered,andinsteademphasizesrelationship,accountability,andthehumilityrequiredtocontinuelearningfromoneanother.Followingtheindividualpresentations,wewillopenupdiscussionamongthepanelistsandwiththeaudiencetolookforchallenges,possibilities,transformations,anddisruptionsintheworkofsocialjusticeinandthroughcommunitymusic.

Workshop

Name:GerardYun

Title:FromMindfulnesstoMusic:Aninteractiveworkshopincontemplativeimprovisation

Abstract:

In2012,afterdeliveringaclassonmusicandspirituality,Iwasapproachedbyastudentwithabackgroundinmindfulnessmeditationwhowasinterestedinexploringitsinterfacewithmusic.WebeganaseriesofweeklymeetingsthatgreworganicallyintotheWLUMusicMeditationGroup,aflourishingandselfsustaininggroupofstudents,alumnaeandcommunitymembers.Overthepastsevenyears,wehavedevelopedamusicmeditationpracticethatmakesintentionaluseofwell-researchedmethodologiesinheritedfromSociallyEngagedBuddhism,includingmetta(lovingkindness),tonglen(takingandsending),lojong(tonglen+),shamatha(breathobjectmeditation),andvipassana(watching,scanning,awareness).Thegroupmodifiesmeditationexercisesintomusicalimprovisatorycompositionsthatareintendedtofosterawareness,compassion,andrestorativeself-compassion.ThisworkshoppresentstheworkoftheWLUMusicMeditationGroupasaflexiblemodeltoshedlightonmusicalcontemplativepracticesandtheirrestorativeandconnectiverolesincommunitymusic,andtoidentifyavenuesforfutureresearchandpractice.Followinganintroductiontomindfulnessanditsadaptationtomusicalimprovisation,participantswillengageinafacilitatedbreathingmeditationandimprovisation.Theywillthenreceiveinstructioninacompassion-basedmeditationtechniquefollowedbyasecondmusicalimprovisationincorporatingthetechnique.Thesessionconcludeswithanopportunityforparticipantstoreflectupontheirexperiencestogetherandtoconsiderthequestion“whatisneededtoday?”Workshopparticipantswillbeseatedinacirclefacingoneanother.Duringmusicalimprovisations,vocalsonoritieswillbesupportedbydronesand/orhighlyresonantinstruments.Multiplecombinationsofinstrumentsaretypicallyused,includinghandpans,framedrums,clayududrums,shakuhachi,singingbowls,andshrutiortanpurna.Westerninstrumentssuchasguitar,piano,violin,viola,andcelloarealsowelcomed.

CMA Pre-Conference Seminar Abstracts - ISME Commissions · 2020. 7. 18. · CMA Pre-Conference...

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