- 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
In this chapter, we outline an approach to training in community music that is congruent with its pluralistic and diverse character. From the situated perspective of Sage Gateshead, a large music organization in the north of the United Kingdom, we reflect on some of the ways that musicians have developed the skills, knowledge, and attitudes to become effective practitioners of community music. Rooted in a dialogic and democratic pedagogy, the training processes described herein recognize the highly individualized nature of community music practices, and are underpinned by the explicitly humanistic values and attitudes that unite them.
Dave Camlin is a singer/songwriter/educator/researcher who works as a performer, composer, teacher, facilitator, manager, and researcher. His doctoral studies outlined an integrative model of Music in Three Dimensions arising from the evolution of Sage ↵Gateshead’s artistic programme as consisting equally of performance and participation, driven by a desire for social impact. His research interests include the benefits of group singing; musician training; community music; the development of creative human capital; and the transformation of arts practices into ethically guided praxis. He is currently head of Higher Education and Research at Sage Gateshead, where he also lectures on the organization’s BA (Hons) Community Music and BMus (Hons) Jazz Popular and Commercial Music programmes, delivered in partnership with University of Sunderland. He also lectures on Trinity-Laban’s innovative new postgraduate course, The Teaching Musician, and Durham University’s BA (Hons) Music.
Katherine Zeserson’s work focuses on strategy, practice, and professional development in music and culture. She believes in the power of reflective artistic practice to inspire human development and build compassionate communities. From 2001 to 2015 she was founding director of Learning and Participation at Sage Gateshead, and in 2016 she ↵became programme director for inspire-music, a Paul Hamlyn Foundation initiative stimulating professional learning in music education. Other key roles include strategic advisor to Music Generation Ireland, chair of Sing Up Ltd., and a long-term advisory role supporting socially engaged youth music and arts programmes in São Paulo, Brazil. Publications include chapters in Debates in Music Education (Routledge 2012), Making Music in the Primary School (Routledge 2011), A Practical Guide to Teaching Music in the Secondary School (Routledge 2009), and Community Music Handbook (Russell House 2006). She is a singer with particular interests in improvised music and inclusive vocal practice.
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