- 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
Community music presents a contested field. Cultural policy has had a hard time dealing with community music because aesthetic intentions, social objectives, and economic motivations may all play a role for actors and these elements sometimes clash. This chapter provides a scheme of the basic tensions inherent to community music in the cultural policy fields which can form the basis for ‘negotiations’ between actors. The scheme is based upon the pragmatic sociology of Boltanski and Thévenot who provide a grid of sometimes conflicting and sometimes aligning values that can be present in any social situation. Their grid will be applied to the practice of community music in an effort to provide insight into the intricacies of cultural policies regarding this particular form of music, as well as into the practicalities of the practice of community musicians working in a field in which cultural policy-making plays an often vital role.
Quirijn Lennert van den Hoogen studied Business Administration and Arts & Arts Policies at the University of Groningen, and obtained his PhD from that universities in 2010 with a dissertation on the evaluation of municipal arts policies. After his studies he was for some years active as an independent advisor and congress organizer in the arts and culture domain. He was a policy advisor for culture for the city of Groningen as well as the province of Groningen, and at the Association of Dutch Municipalities. Since September 2008 he teaches and researches in the sociology of art and arts policies at the Arts, Culture & Media department at the University of Groningen.
Evert Bisschop Boele studied Music Education in Maastricht and ethnomusicology at the University of Amsterdam. He obtained his PhD from Georg-August Universität Göttingen on the basis of a dissertation on the uses and functions of music in modern Western society. He is currently professor of Culture Participation at Erasmus University Rotterdam as well as professor (‘lector’) ‘New Audiences’ at the Research Centre Art & Society of Hanze University of Applied Sciences Groningen. He teaches, researches, supervises research theses, and coordinates research projects. He is currently involved in research about music and the elderly, wind band orchestras in the Netherlands, and (idiocultural) music education, and he is working on an ethnography of a Dutch shanty choir.
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