- 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
Young people in challenging circumstances have been a key participant group in, and for, interventionist community music practice for several decades. In the United Kingdom, hundreds of projects receive funding every year to work with these children and young people, often with a clear agenda to focus on personal and social transformation, as well as musical development. While the benefits of this work have been well documented, it is only within the last decade that anything approaching a systematic, rigorous, and strategic approach has been attempted. Drawing on their professional backgrounds and data from their collective work on three, large-scale, national projects, the authors describe the essential components for a strategic approach to community music with children and young people in challenging circumstances—considering strategy first at the national policy level (what community music development should seek to achieve), and then at the level of community music pedagogy (what approaches would enable the desired musical, social, and personal goals to be achieved).
Phil Mullen has worked for over thirty years developing music with people who are socially excluded, including homeless people, offenders, and seniors. Phil specializes in working with excluded children and young people at risk. He spent eight years working in Northern Ireland using music as a tool for peace and reconciliation. Phil is a former board member of the International Society for Music Education (ISME) and former chair of the ISME commission on Community Music Activity. He has run workshops and seminars on community music and creativity in twenty-five countries across Europe, North America, and Asia, and in Brazil, South Africa, Australia, and New Zealand. Publications include co-editing Reaching Out—Music Education with ‘Hard to Reach’ Children and Young People (Music Mark, 2013). He has an MA in Community Music from York University and a PhD at Winchester University.
Kathryn Deane ran community music projects across England in the 1980s before becoming director of Sound Sense, the UK association for community musicians, from 1995 until her retirement in 2016. At Sound Sense she carried out advocacy work across the government, including contributions to the Music Manifesto report, Making Every ↵Child’s Music Matter; and she was co-architect of the concept of music education hubs. She was a consultant to Sing Up’s Beyond the Mainstream programme. Research and evaluation work included The Power of Equality (Youth Music); Move On Up (music mentoring); The Heroes Inside (community choirs); and A Choir in Every Care Home (Baring Foundation). She was editor of Sounding Board, the UK journal of community music; and editorial board member of the International journal of community music. Textbooks included contributions to Reaching Out: Music Education with Hard to Reach Children and Young People (Music Mark); and Community Music Today (Rowman and Littlefield). In 2016 she was awarded an honorary visiting professorship at York St John University, UK, where the International Centre for Community Music is housed
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