- The Oxford Handbook of Community Music
- Introduction: An Overview of Community Music in the Twenty-First Century
- Part I Contexts
- Community Music Contexts, Dynamics, and Sustainability
- Community Music Interventions in Post-Conflict Contexts
- Community Music in the South Pacific
- Community-Supported Music-Making As A Context For Positive And Creative Ageing
- Online Music Communities and Social Media
- How Ubiquitous Technologies Support Ubiquitous Music
- Music-Making Behind Bars: The Many Dimensions of Community Music in Prisons
- Part II Transformations
- Strategic Working with Children and Young People in Challenging Circumstances
- Community Music and Youth: Delivering Empowerment?
- Growing Community Music Through a Sense of Place
- Translating Intercultural Creativities in Community Music
- Community Musical Theatre and Interethnic Peace-Building in Malaysia
- Community Music Portraits of Struggle, Identity, and Togetherness
- Measuring Outcomes and Demonstrating Impact: Rhetoric and Reality in Evaluating Participatory Music Interventions
- Part III Politics
- Theorizing Arts Participation as a Social Change Mechanism
- Community Music in the United Kingdom: Politics or Policies?
- Community Music in Cultural Policy
- Rethinking Community Music as Artistic Citizenship
- The Ethics of Community Music
- Engaging in Policy-Making Through Community-Oriented Work
- Why Public Culture Fails at Diversity
- Part IV Intersections
- Community Music and Music Therapy: Jointly and Severally
- Disability Arts and Visually Impaired Musicians in the Community
- Group Singing and Quality of Life
- Community Music and Ethnomusicology
- Community Music and Rational Recreation
- Music Projects with Veteran and Military Communities
- Arts-Based Educational Research in Community Music
- Part V Education
- Community Music in Higher Education
- Models of Collaboration and Community Music
- A University Commitment to Collaborations with Local Musical Communities
- Community Service Learning with First Peoples
- Community Engagement and Lifelong Learning
- Community Music Practice with Adults
- Becoming a Community Musician: A Situated Approach to Curriculum, Content, and Assessment
Abstract and Keywords
Approaches to incarceration and community music vary widely. This chapter examines music-making in US and UK prison contexts, suggesting new insights into the values, applications, and meanings of community music. Contrasting approaches towards imprisonment exist not only across the globe, but also within particular countries. In the United States, a wide range of practices within the contexts of imprisonment occur, such as differences in incarceration rates between whites and people of color, sentence lengths, use of capital punishment, voting rights, and quality of legal representation. Inmates’ opportunities for self-expression are restricted. Research and practice in music-making in prisons suggest that community music approaches within prisons provide a means towards desistance, improved self-esteem, social support and a sense of accomplishment. Music-making within the complex power dynamics of prison contexts emphasizes the importance of the welcome and hospitality within our understanding of community music.
Mary L. Cohen , PhD, is an associate professor and area head of Music Education at the University of Iowa. She researches music-making and wellness with respect to prison contexts, writing and songwriting, and collaborative communities. Since 2009, she has led the Oakdale Prison Community Choir, comprised of male inmates and women and men from the community. She facilitates songwriting with choir members with over ninety original songs soon to be available via a choir website. Her research is published in the International Journal of Research in Choral Singing, Journal of Research in Music Education, the Australian Journal of Music Education, Journal of Historical Research in Music Education, Journal of Correctional Education, the International Journal of Community Music, and the International Journal of Music Education. A certified InterPlay leader, Dr. Cohen incorporates musical improvization into her InterPlay sessions, prison choir rehearsals, and university courses.
Jennie Henley’s professional career has involved teaching music in many different contexts, including in school, out of school, and in adult community settings. She has directed youth and adult choirs and ensembles, directed a music centre, and taught flute across all age ranges. As well as being a keen flautist, she plays Javanese gamelan. Her research interests surround the development of musicianship in adulthood, including music in criminal justice and the musical development of Primary generalist teachers. She has an interest in the intersections between Music Education and Community Music, and in developing methodologies for practitioner research and practice as research within both areas. She has also provided consultancy developing curricula and teaching and training guides both within the United Kingdom and internationally. She joined the UCL Institute of Education in 2011, where she was MA Music Education Programme Leader and Primary Music Subject Leader, joining the Royal College of Music in 2015 to lead Music Education teaching and research.
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