- 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
This chapter, written creatively as a scripted conversation between a professor and a doctoral student, asks how researchers might study music-making in a plethora of community music settings using arts-based methods. On the surface, arts-based educational research (ABER), art-based research (ABR), creative analytical practices (CAP), and arts inquiry (AI), may seem one and the same, but there are distinctive historical and theoretical nuances between them. We crafted this composition in a reflexive manner with theory and research embedded in the scripted conversation to explore these nuances. We point towards the conclusion that music communities, where participants are actively engaged, are well suited to inquiry through methods that include creative ways of representing and understanding both music and learning. In a conversational way, we explore distinctions, contexts, possibilities, problems, and the power of engaging arts-based research in the study of community music-making.
Peter Gouzouasis is a professor in Curriculum & Pedagogy (Music Education) at The University of British Columbia and leads courses in teaching and learning in music education, qualitative and quantitative research methodologies, creative pedagogies, and curriculum theory. Since 2000 he has published numerous refereed papers, book chapters, and books in solo, duo, and ensemble settings using a broad variety of arts-based research methods—including poetic inquiry, autoethnography, autobiography, ethnodrama, creative non-fiction, and performative inquiry. His most recently published works are concerned with the development of a sociosophy of music education, trailblazing the uses and applications of ABER, a/r/tography, and CAP as vibrant, accessible, and useful research methods in our profession.
Daniel Bakan has taught creative arts pedagogy at Ryerson University’s School of Early Childhood Education, The University of British Columbia’s Faculty of Education, and Kwantlen Polytechnic University. An established musician, theatre artist, and educator, his artistic portfolio includes two CDs, performances across North America, theatrical productions, dance scores, children’s musicals, and appearances on CBC, syndicated US radio, and NPR. In 2015, Daniel completed his doctoral studies at the UBC in Curriculum Studies with an award-winning dissertation on songwriting and artography.
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