- 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 discusses the nature of collaboration as it pertains to community music. The chapter begins with a discussion of some areas of tension in collaborative initiatives within community music. Vignettes that stem from the authors’ observations of community music programs in Canada, Brazil, and the United States are presented to both introduce and discuss different models that might assist in designing and developing effective collaborations within community music programs. The chapter ends with implications of these same models and traits for the assessment of collaborations and collaborative research within the context of community music. The main argument is that any study of collaboration in community music needs to centre on an in-depth understanding of contextual issues, social and cultural capital, and musical aspects that impact organizations, but also on the models and traits that frame the underlying partnerships/collaboration.
Susan Helfter is an artist-educator known for her community engagement work through music. At the University of Southern California’s Thornton School of Music, Susan is an associate professor of Practice, chair of the Music Teaching and Learning Department, and director of the Thornton Community Engagement Programs. In her role with the Community Engagement Programs since 2004, she has been responsible for the direction, design, implementation, and funding of these extensive music participation and learning programmes. Her current scholarly interests and pursuits lie in community and musician self-actualization through musical engagement, with research topics of musician identity, musician as facilitator, and community partnerships. Her own love for community music emerged through participation as the youngest member of the family brass quintet, intergenerational piano-playing, and years of participation in community bands in Manitoba, Canada.
Beatriz Ilari is Assistant Professor of Music Education at the University of Southern California. Prior to her appointment at USC, she taught violin, strings, and general music in schools and community-based programmes in the United States, the Czech Republic, and Brazil. She was the founder and director of Musicalização Infantil, a community-based early childhood music programme in Curitiba that has been considered by many as the ‘seed’ for the development of other community-based programmes for young children across Brazil. She is currently the editor for Perspectives: Journal of the Early Childhood Music & Movement Association, and will feature as guest editor of a special issue of the International Journal of Community Music devoted to young children.
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