- 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
Working from the premise that the study of music in a hermetic academic environment is no longer a viable model, and that university music programmes must connect to the vibrant musical communities in the very neighbourhoods that surround them, we examine how the presence of a community music ‘weave’ within university programmes of music benefits students, faculty, and community members in myriad ways. We offer examples of university–community partnerships initiated by the ethnomusicology and music education programmes at the University of Washington that prepare music students for the diverse and complex society into which they will graduate. The Visiting Artists in Ethnomusicology programme will be highlighted for the extent to which world-renowned and locally residing artist-musicians have been invited to the faculty for extended periods to perform, teach, and interact with students on instruments, vocally, and in dance forms associated with traditional musical practices. The intent of the chapter is to underscore the critical need for university–community exchanges, to suggest some ways that such exchanges can be accommodated within university programmes of music, and to affirm the benefits that flow from connecting the dots of musicians and aspiring musicians in the workaday world beyond the fortress of the university.
Patricia Shehan Campbell is Donald E. Peterson Professor of Music at the University of Washington, where she teaches courses at the interface of education and ethnomusicology. She is the author of Lessons from the World (1991), Music in Cultural Context (1996), Songs in Their Heads (2010, 2nd ed.), Teaching Music Globally (2004), Musician and Teacher (2008), co-author of Music in Childhood (2013, 4th ed.), and co-editor of the Global Music Series and the Oxford Handbook on Children’s Musical Cultures (2013). Campbell was designated the MENC Senior Research in Music Education in 2002. Her work in the preservation through education of traditional music has earned her the Taiji Award (2012) and the Koizumi Prize (2017). She is chair of the Advisory Board of Smithsonian Folkways and consultant in repatriation efforts for the recordings of Alan Lomax to communities in the American South.
Shannon Dudley is an associate professor of Ethnomusicology at the University of Washington, Seattle, where he teaches both graduate and undergraduate courses and directs the UW steelband. He is the author of Carnival Music in Trinidad (Oxford University Press, 2004), Music from behind the Bridge (Oxford, 2008), and numerous articles about Caribbean music. He is the curator of the museum exhibit and website American Sabor: Latinos in US Popular Music. Another ongoing research and book project he is developing is a ‘musical geography’ of Santurce, Puerto Rico, exploring the ways local communities have interacted with and shaped international music trends. In Seattle, he participates in the Seattle Fandango Project, and he is active in promoting dialogues between community artivists in the US, Puerto Rico, Mexico, and elsewhere.
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