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date: 22 February 2020

(p. xv) Contributors

(p. xv) Contributors

Gary Ansdell is an experienced music therapist, trainer, and researcher. He is currently an associate of Nordoff Robbins, UK, where he is convenor of the PhD programme, and also an honorary professor at Exeter University. He is author/co-author of seven books on music therapy/music and health, and he is joint editor (with Tia DeNora) of the book series Music and Change for Ashgate Publishers.



Daniel Bakan has taught creative arts pedagogy at Ryerson University’s School of Early Childhood Education, The University of British Columbia’s Faculty of Education, and Kwantlen Polytechnic University. An established musician, theatre artist, and educator, his artistic portfolio includes two CDs, performances across North America, theatrical productions, dance scores, children’s musicals, and appearances on CBC, syndicated US radio, and NPR. In 2015, Daniel completed his doctoral studies at the UBC in Curriculum Studies with an award-winning dissertation on songwriting and artography.



David Baker is Lecturer in Music Education at the UCL Institute of Education, UK (University College London), where he is programme leader for the MA in Music Education. David has been Honorary Senior Research Associate at UCL. He has also been module leader for ‘The teaching musician’ at Trinity Laban Conservatoire of Music and Dance, London; and course tutor and MA supervisor for the ‘MA in instrumental teaching’ programme at the Institute of Education, Reading University, UK. He completed his PhD at Reading in 2005, which won a Bernarr Rainbow Award. He has been a professional trumpet player and also taught music in primary and secondary schools for a Local Education Authority in England for over ten years. David is an associate of the Royal College of Music, London, and a member of the Royal Society of Musicians of Great Britain. He first worked with Lucy Green on her ‘Ear playing project’ (2011–2012), which was funded by the Esmée Fairbairn Foundation. After completing that venture, David was principal investigator for the ‘Visually-impaired musicians’ lives’ project at UCL (2013–2015). This was funded by the UK’s Arts and Humanities Research Council and its partners were the Royal National Institute of Blind People and the Royal Academy of Music, London. He has published various chapters, as well as research articles and book reviews on music education in peer-reviewed journals. David’s research and writing have also taken him as a presenter to Australia, India, Norway, and the United States.



Michael Balfour is Inaugural Chair of Applied and Social Theatre at Griffith University, Brisbane, Australia. His area of research is focused on the social applications of theatre (p. xvi) and performance and explores how the arts can respond to contemporary contexts, from working in prisons to understanding the role of theatre in war. Professor Balfour has published three monographs and four edited books, as well as more than twenty-six peer-reviewed papers in high impact journals and collections. He has won many awards for his research in arts and health, applied theatre, as well as several prestigious National Teaching Awards.



Brydie-Leigh Bartleet is a professor and director of the Queensland Conservatorium Research Centre and deputy director (Research) at the Queensland Conservatorium Griffith University, Australia. She has worked on a range of national and international projects in community music, arts-based service learning with Australian First Peoples, intercultural community arts, and arts programmes in prison. Many of these projects have been realized in partnership with a wide range of NGOs, arts and community organizations, and colleagues across Australia and the Asia Pacific. She has worked on four successive ARC Linkage projects, led a major OLT Innovation and Development project, secured over a millions dollars in research funding, and produced well over a 100 research outputs. In 2014 she was awarded the Australian University Teacher of the Year. She served as co-chair of the International Society for Music Education’s Community Music Activities Commission, co-founder of the Asia Pacific Community Music Network, and serves on the Board of Australia’s peak music advocacy body, Music Australia. She also serves on range of international and national boards including the International Journal of Music Education—Practice, and the International Journal of Community Music to mention a few. As a community music facilitator she has conducted bands, orchestras, choirs, and jazz ensembles from Australia, Thailand, Singapore, and Taiwan.



Tan Sooi Beng is a professor of Ethnomusicology at the School of Arts, Universiti Sains Malaysia (USM). She is the author of Bangsawan: A Social and Stylistic History of Popular Malay Opera (Oxford University Press, 1993), and co-author of Music of Malaysia: Classical, Folk, and Syncretic Traditions (Ashgate, 2004), and Longing for the Past, the 78 RPM Era in Southeast Asia (Dust-to-Digital, 2013), which won the joint SEM Bruno Nettl Prize, 2014. She serves as an executive board member of the International Council of Traditional Music, sits on the editorial advisory boards of Asian Music (US) and Ethnomusicology Forum (UK), and she is the editor-in-chief of Wacana Seni, Journal of Arts Discourse (USM). She is actively engaged in the cross-cultural community educational projects for young people in Penang and the curation of the George Town Cultural Heritage Celebrations that promote the multi-ethnic cultures of the city.



Dawn Bennett is John Curtin Distinguished Professor of Higher Education, director of the Creative Workforce Initiative, and chair of the Curtin Academy at Curtin University in Perth, Australia. Her research focus is the development of employability within higher education, including identity development and the nature of graduate work. Dawn retains a special interest in careers in the creative industries and continues to engage in practice-based research in music. She is also a passionate advocate for the inclusion (p. xvii) of Indigenous cultural competencies within higher education. An Australian Learning and Teaching Fellow and Principal Fellow of the Higher Education Academy in the United Kingdom, Dawn serves numerous editorial boards and convenes the Australian Learning and Teaching Fellows’ national network. She serves on the board of directors for ISME and Music Australia, and as a commissioner with the ISME Commission for Education of the Professional Musician. Publications are listed at Academia.edu.



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.



Andrew R. Brown is a professor of Digital Arts at Griffith University in Brisbane, Australia. He is an active computer musician and computational artist. His research interests include digital creativity, computational aesthetics, music education, and the philosophy of technology. He is the author of Music Technology and Education: Amplifying Musicality (Routledge, 2015), co-author of Making Music with Computers: Creative Programming in Python (CRC Press, 2014), and editor of Sound Musicianship: Understanding the Crafts of Music (CSP, 2012). For more information visit http://andrewrbrown.net.au



Pamela Burnard is a professor of Arts, Creativities, and Education at the University of Cambridge, Faculty of Education. She holds degrees in Music Performance, Music Education, Education, and Philosophy. Her primary research interests include the study of diverse and variegated creativities, the nexus of education, cultural and creative industries, and digital learning cultures and innovative practices, for which she is internationally recognized. She is convenor of the Creativities in Intercultural Arts Network (CIAN), the British Education Research Association Creativities in Education SIG, and Building Interdisciplinary Bridges Across Cultures (BIBAC) International Biennial Conference (http://www.bibac.org). Her recent books include Musical Creativities in Practice (OUP), Teaching Music Creatively (Routledge), Creative Teaching for Creative Learning in Higher Music Education (Ashgate), Activating Diverse Creativities in Higher Music Education (Bloomsbury), and Bourdieu and the Sociology of Music Education (Ashgate).



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 (p. xviii) 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.



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.



Glen Carruthers has been Dean of Music at Wilfrid Laurier University (Waterloo, Canada) since 2010. He has also been dean of Music at Brandon University (Brandon, Canada), and chair of Music at Lakehead University (Thunder Bay, Canada). His dual interests in music education and musicology are reflected in publications in both disciplines, in such journals as The Musical Times, Canadian Music Educator, International Journal of Music Education, Clavier, Journal of Musicology, and The Music Review. He is a contributor to several books, including Life in the Real World: How to Make Music Graduates Employable (Dawn Bennett, Ed.). He has presented conference papers and guest lectures across Canada and the United States, and in France, Great Britain, Ireland, Sweden, the Netherlands, Australia, Malaysia, Vietnam, China, Serbia, Greece, Italy, Brazil, and Spain. Carruthers is a past-president of the Canadian University Music Society and is past-chair of the ISME Commission on the Education of the Professional Musician.



Stephen Clift is a professor of Health Education in the Faculty of Health and Wellbeing, Canterbury Christ Church University, United Kingdom. He is also director of the Sidney De Haan Research Centre for Arts and Health and has lead a research programme on singing, wellbeing and health over the last ten years. He has worked closely with the Royal Society for Public Health in the UK to promote the field of arts and health nationally, and is currently chair of the RSPH Special Interest Group for Arts, Health and Wellbeing.



Don D. Coffman, Professor of Music Education, chairs the Department of Music Education and Music Therapy at the University of Miami’s Frost School of Music and (p. xix) is professor emeritus at the University of Iowa, where he taught for twenty-four years. He has chaired the Community Music Activity commission of the International Society for Music Education (ISME) and the Adult and Community Music Education Special Research Interest Group (ACME SRIG) of the National Association for Music Education (NAfME). He has served on NAfME’s Society for Research in Music Education Executive Committee and on the editorial board of NAfME’s Journal of Research in Music Education. His passion is making music with ‘chronologically gifted’ adults in wind bands. He founded the Iowa City, Iowa, New Horizons Band in 1995 and led it for sixteen years; he currently leads the New Horizons Band programme at the Frost School of Music.



Mary L. Cohen, PhD, is an associate professor and area head of Music Education at the University of Iowa. She researches music-making and wellness with respect to prison contexts, writing and songwriting, and collaborative communities. Since 2009, she has led the Oakdale Prison Community Choir, comprised of male inmates and women and men from the community. She facilitates songwriting with choir members with over ninety original songs soon to be available via a choir website. Her research is published in the International Journal of Research in Choral Singing, Journal of Research in Music Education, the Australian Journal of Music Education, Journal of Historical Research in Music Education, Journal of Correctional Education, the International Journal of Community Music, and the International Journal of Music Education. A certified InterPlay leader, Dr. Cohen incorporates musical improvization into her InterPlay sessions, prison choir rehearsals, and university courses.



Stephen Cottrell is Professor of Music at City University London. His research interests encompass three interrelated areas: ethnographic approaches to musicians and music-making, particularly within the Western art music tradition; the study of musical instruments, especially the saxophone; and the study of musical performance. His publications include Professional Music-making in London (2004) and The Saxophone (2012), as well as a range of refereed papers and contributory chapters.



Andrea Creech is Professeure en Didactique Instrumentale At Université Laval, Québec, and Canada Research Chair in Music in Community. Following an international career in music performance and teaching, she was awarded a PhD in Psychology in Music Education and subsequently became Reader in Education at University College London, Institute of Education. She has led extensive funded research and published widely on topics concerned with musical learning and participation across the lifespan. She is a senior fellow of the UK Higher Education Academy and graduate member of the British Psychological Association. She is co-author of Active Ageing with Music and co-editor of Music Education in the 21st Century in the UK.



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 (p. xx) 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



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.



Kim Dunphy is the research program manager of the Cultural Development Network (CDN), based at RMIT University, Melbourne, Australia. CDN advocates for the essential function of arts and cultural expression in the development of creative, healthy, engaged, and sustainable communities. The organization supports local government in its role of assisting and resourcing local communities to make and express their own culture. Kim’s research interests focus on the change that can be effected through arts participation and how that change can be understood and measured. Her chapter in the recent book, Making Culture Count: The Politics of Cultural Measurement (Palgrave, 2015) explores the measurement of outcomes of arts engagement. Kim has a background in community cultural development and arts education, and she is a director at Many Hands International, an NGO that works in Timor-Leste to promote cultural asset-based community development (http://www.manyhands.org.au).



David J. Elliott is Professor of Music and Music Education at New York University. Elliott joined NYU in 2002 after twenty-eight years as a professor and chair of Music Education at the University of Toronto. He has also served as a visiting professor of Music Education at Northwestern University, the University of North Texas, Indiana University, the University of Cape Town, the Puerto Rico Conservatory of Music, Guangzhou University, the Central Conservatory of Music (Beijing), and the Irish World Academy of Music and Dance, University of Limerick. Elliott is the author of Music Matters: A New Philosophy of Music Education (Oxford University Press, 1995), co-author of Music Matters: A Philosophy of Music Education (Oxford University Press, (p. xxi) 2015), editor of Praxial Music Education: Reflections and Dialogues (Oxford University Press, 2005/2009), and co-editor of Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis (Oxford University Press, 2016). He has published numerous book chapters and journal articles, and he is the co-founder and editor emeritus of the International Journal of Community Music. Elliott has presented more than 300 invited conference keynote papers and university lectures at music schools worldwide. He is also an award-winning jazz composer/arranger and jazz trombonist.



Peter Gouzouasis is a professor in Curriculum & Pedagogy (Music Education) at The University of British Columbia and leads courses in teaching and learning in music education, qualitative and quantitative research methodologies, creative pedagogies, and curriculum theory. Since 2000 he has published numerous refereed papers, book chapters, and books in solo, duo, and ensemble settings using a broad variety of arts-based research methods—including poetic inquiry, autoethnography, autobiography, ethnodrama, creative non-fiction, and performative inquiry. His most recently published works are concerned with the development of a sociosophy of music education, trailblazing the uses and applications of ABER, a/r/tography, and CAP as vibrant, accessible, and useful research methods in our profession.



James Bau Graves is Executive Director of Old Town School of Folk Music in Chicago, and author of Cultural Democracy (University of Illinois Press, 2005). He is white. James Bau Graves is executive director of Chicago’s Old Town School of Folk Music, the largest community school of the arts in the United States and among the most active concert presenters in the Midwest. He is the past director of the Jefferson Center Foundation, in Roanoke, Virginia, and co-founder of the Center for Cultural Exchange in Portland, Maine. He holds an MA in Ethnomusicology from Tufts University. Bau Graves’ book about the arts and community, Cultural Democracy, was published in 2005 by the University of Illinois Press.



Lucy Green is a professor of Music Education at the Institute of Education. Her research interests are in the sociology of music education, specializing in meaning, ideology, gender, popular music, inclusion, equality, informal learning, new pedagogies, and most recently, the lives and learning of visually impaired musicians. Lucy led the research and development project ‘Informal learning in the music classroom’ within the British movement Musical Futures (http://www.musicalfutures.org), and this work is now being implemented in schools across the UK and in Australia, Canada, Singapore, and parts of the USA, Brazil, Cyprus and other countries. Her more recent research took that work forward into instrumental tuition, <http://earplaying.ioe.ac.uk>. She has written five books and edited two books on music education. Her next book, co-authored with her colleague David Baker is under contract with Routledge (Taylor and Francis), entitled Insights in Sound: The Lives and Learning of Visually-Impaired Musicians.



Laura Hassler was born and raised in New York. From an early age, she was active in US civil rights and peace movements. She studied cultural anthropology and music, then worked for social change organizations in the United States and Europe. After moving (p. xxii) to the Netherlands in 1977, she built a career in music. In 1999, Laura mobilized her large network of socially conscious musicians to found Musicians without Borders. Today, still drawing on this ever-broadening network, Musicians without Borders is one of the world’s pioneers in using music to bridge divides, build community, and heal the wounds of war.



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.



Jennie Henley’s professional career has involved teaching music in many different contexts, including in school, out of school, and in adult community settings. She has directed youth and adult choirs and ensembles, directed a music centre, and taught flute across all age ranges. As well as being a keen flautist, she plays Javanese gamelan. Her research interests surround the development of musicianship in adulthood, including music in criminal justice and the musical development of Primary generalist teachers. She has an interest in the intersections between Music Education and Community Music, and in developing methodologies for practitioner research and practice as research within both areas. She has also provided consultancy developing curricula and teaching and training guides both within the United Kingdom and internationally. She joined the UCL Institute of Education in 2011, where she was MA Music Education Programme Leader and Primary Music Subject Leader, joining the Royal College of Music in 2015 to lead Music Education teaching and research.



Lee Higgins is Professor and Director of the International Centre of Community Music based at York St John University, UK. He previously has held positions at Boston University, USA; Liverpool Institute for Performing Arts, UK; and the University of Limerick, Ireland. Lee has been a visiting professor at Ludwig Maximilian University, Munich, Germany, and Westminster Choir College, Princeton, USA. He received his PhD from the Irish Academy of Music and Dance, Ireland, and was the President of the International Society of Music Education (2016–2018). As a community musician he has worked across the education sector as well as within health settings, prison and probation service, youth and community, adult education, and arts organizations such as orchestras and dance. As a presenter and guest speaker, Lee has worked on four continents in university, school, and NGO settings. He is the senior editor for the International Journal of Community Music and was author of Community Music: In (p. xxiii) Theory and in Practice (Oxford University Press, 2012) and co-author of Engagement in Community Music (Routledge, 2017).



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.



Gillian Howell is a PhD researcher at Queensland Conservatorium Griffith University and lecturer in Community Music Leadership at Melbourne Polytechnic. Her research investigates participatory music initiatives in post-conflict countries, and diverse aspects of intercultural community music leadership and participation. She has worked as a music leader, trainer, and consultant researcher in post-conflict settings in Europe, South Asia, and South-East Asia, most recently as a 2016 Endeavour Research Fellow in Sri Lanka. Gillian is also an award-winning teaching artist and community music practitioner, working with many of Australia’s leading orchestras, festivals, and arts organizations. She was the founding creative of the Melbourne Symphony Orchestra’s Community Engagement Program, drawing the orchestra into new collaborations in hospitals, prisons, and theatre companies, and creating some of its most enduring learning and engagement programmes. In addition to her research publications, Gillian is the author of the long-running blog Music Work, sharing ideas for creative community music projects with teaching artists and educators around the world. http://www.gillianhowell.com.au



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.



Angela Impey lectures in ethnomusicology at SOAS, University of London. Her research examines music as oral history and focuses specifically on gender, land, and cultural citizenship in southern Africa and South Sudan. She has directed several community arts education outreach programmes in southern Africa and has published widely on advocacy ethnomusicology. In 2011 she launched a unique MA in Music in Development at SOAS, which examines how music’s agentive and imaginative capacities act in different contexts globally to advance local interests, needs, and identities.



(p. xxiv) Damián Keller coordinates the Amazon Center for Music Research (NAP) and teaches music and computing at the Federal University of Acre, Brazil. He is a founding member of the Ubiquitous Music Group (g-ubimus). His research focuses on everyday creativity, software design, and ecocomposition within the context of ubiquitous music-making. He has acted as guest editor of the Journal of New Music Research and authored the books Music Creation and Technologies: Interdisciplinary Theory and Practice (Keller & Budasz, 2010) and Ubiquitous Music (Keller, Lazzarini, & Pimenta, 2014).



Patricia Lee is a senior lecturer in the School of Medicine, Griffith University, and a member of Menzies Health Institute Queensland, Australia. She has over ten years of teaching and working experience in public health and biostatistics and has been involved in many international and Australian local research projects. Her research interests include health promotion (specialized in workplace and mental health promotion), epidemiology, health risk modelling, risk analysis, and chronic disease prevention.



Maria Helena de Lima is a professor at the Federal University of Rio Grande do Sul, Brazil, in the Department of Expression and Movement/Musical Area for Application School. She is member of the Ubiquitous Music Research Group. Her research interests are general education, music learning in school and community settings, musical semantics, ICT and music, knowledge and musical development, the philosophy of technology, and technology and society.



David Lines is an associate professor of Music Education at the University of Auckland, New Zealand. David has diverse research interests including jazz, improvization, creative pedagogies, educational philosophy, and community music. He is currently researching a case study of a community orchestra in South Auckland. He has also facilitated a research project that brought community musicians, dancers, and actors into early childhood centres. David plays jazz piano and has performed and recorded on multiple albums with his improvisation group. He is editor of Music Education for the New Millennium (2005, Wiley) and Intersecting Cultures in Music and Dance Education: An Oceanic Perspective (2016, Springer).



Douglas Lonie is a social researcher and senior consultant with BOP Consulting, one of the UK’s leading cultural research agencies, where he works with cultural organizations and funders to explore the impact of their work. Before joining BOP, Douglas was Research and Evaluation Manager at the National Foundation for Youth Music, where he supported hundreds of organizations to develop evaluation frameworks and approaches. Douglas has a PhD from the University of Glasgow where he explored the impact of musical identities on health as teenagers become adults using multiple research methods. He publishes on these topics regularly and has presented his work on the social impact of music at over thirty international conferences.



Roger Mantie is an associate professor at Arizona State University. His teaching and scholarship, informed by his fourteen years as a school music educator, emphasizes connections between schooling and society, with a focus on lifelong engagement in and with (p. xxv) music and the arts. He is on the editorial boards of Bulletin of the Council for Research in Music Education; Action, Criticism, and Theory for Music Education; the International Journal of Community Music; the Journal of Popular Music Education; and the Canadian Music Educator, and he is co-editor of the Oxford Handbook of Music Making and Leisure (2016) and the Oxford Handbook of Technology and Music Education (2017).



Peter Moser is a composer, performer, producer, consultant, and facilitator, and he is the founder and artistic director of More Music, one of the foremost community music organizations in the UK (http://www.moremusic.org.uk). He has written scores for theatre, opera, and dance projects, as well as songs for occasions and large-scale choral and orchestral pieces. Peter is a multi-instrumentalist and teaches percussion, voice, brass, and songwriting, as well as the art of running workshops. He co-edited Community Music: A Handbook, a book that covers a range of music and music workshop topics and is aimed at inspiring and empowering music leaders. A recent work, The Long Walk, was a response to the Morecambe Bay tragedy of 2004 and was made with communities and professional ensembles in Morecambe and then re-created in Gateshead, Liverpool, and Hong Kong. This initiated a ten-year development of community music practice in Hong Kong and mainland China with a programme of work connecting many partners with training and projects in diverse and disadvantaged communities. He is also the Fastest-One-Man-Band-In-The-World (http://www.fastestonemanband.com).



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.



Lis Murphy is an international performer, trainer, and music facilitator, and the founder and creative director of Music Action International (MAI), specializing in collaborative and creative music programmes to reduce the traumatic effects of war, torture, and armed conflict. Lis has delivered training programmes with traumatized children and adults in Bosnia-Herzegovina, Georgia, Palestine, and in Northern Ireland. Through MAI, she directs several initiatives supporting refugees and asylum seekers in the United Kingdom, including work with torture survivors, young refugees separated from their families, and young children in schools. For more information visit Music Action International (http://www.musicaction.org).



Anne Power is an associate professor and academic course advisor for the Master of Teaching Secondary Programme at Western Sydney University, Australia. Her research (p. xxvi) interests include music education, music and its relationship to other art forms, professional learning and service learning. Her work with service learning and disadvantaged students converges with themes of creativity. She is editor of two journals and is on several editorial boards. Anne is a co-author of several reports for state and federal education authorities. She is a 2010 winner of the ALTC Award for University Teaching for the submission. Beyond Institutional Walls: Community engagement in secondary teacher education for programmes that enhance learning and she is a 2015 recipient of the Exceptional Service Award from the Professional Teachers’ Council of NSW. Publications are updated on Academia.edu.



André de Quadros is a professor of music and chair of the Music Education Department at Boston University. As a music educator, conductor, ethnomusicologist, community musician, and human rights activist, he has conducted research or taught in forty countries. He is the music director and conductor of the Manado State University Choir (Indonesia), and for two project choirs: VOICES 21C and Common Ground Voices (Israeli-Palestinian-Swedish choir). He has long-standing experience in conflict, with refugees, and in prison settings. At Boston University he is also affiliated with centres and institutes in African-American studies, African studies, Asian studies, and prison education.



Te Oti Rakena trained as a classical singer at New England Conservatory, Boston, and received his doctorate from the University of Texas at Austin before pursuing postdoctoral studies in Europe. An established performer in the operatic and musical theatre genres, he is also a published researcher in the areas of community music, non-Western vocal performance, and studio pedagogy. He is Associate Dean Māori and Pacific for the Faculty of Creative Arts and Industries and Associate Head of Performance (Classical), Coordinator of Vocal Studies in the School of Music at the University of Auckland. He has participated in research initiatives aimed at improving the quality of education for indigenous and minority music students in the tertiary sector. He has won two Excellence in Equity awards for this work and in 2010 received an Excellence in Teaching award for the implementation of innovative teaching practices in the area of vocal studies.



Mark Rimmer is a lecturer in Media Studies at the University of East Anglia. His research is concerned with community music practice, pedagogy, and policy, as well as engaging with broader questions of musical taste, practice and education, cultural policy, and creative work. Since 2010, he has undertaken numerous research projects focused on community music and community arts organizations, including two projects funded by the UK’s Arts and Humanities Research Council, a research network exploring community music activity in the UK, and a comparative exploration of questions of cultural value in relation to three Sistema-inspired ‘In Harmony’ initiatives.



Valerie Ross is an accomplished composer and researcher with compositional awards from the Rockefeller Foundation, Commonwealth Foundation, and Japan Foundation. Her creative portfolio ranges from small intercultural ensemble pieces to full-evening (p. xxvii) music-dance theatre productions. Valerie has received interdisciplinary research grants from the Ministry of Higher Education and Ministry of Science Technology and Innovation, Malaysia, and heads the Music Therapy, Rehabilitation, and Wellness Research Group at Universiti Teknology MARA. Recent book chapters and articles include ‘Framework for Intercultural Music Composition Research’ (Routledge, 2016), ‘Music intervention in eye—motion tracking of children with autism (Academic Journal of Science, 2015) and ‘Violinists playing with and without music notation during performance: Investigating hemispheric brainwave activity’ (Springer, 2014). Professor Ross is the director of the Centre for Intercultural Musicology at Churchill College, University of Cambridge (http://www.cimacc.org).



Huib Schippers has a long and diverse history of engagement with music across various settings and cultures. Trained as a professional sitar player, he proceeded with (partially overlapping) careers in performance, education, research, journalism, the record trade, arts policy, and project management. He founded the World Music School in Amsterdam (1990–1996), worked in and with conservatoires in Amsterdam and Rotterdam (1998–2003), was the driving force behind the World Music & Dance Centre in Rotterdam (2001–2006), and became the founding director of the innovative Queensland Conservatorium Research Centre at Griffith University in Brisbane (2003–2015) before moving to Washington DC to take up the position of director and curator of the iconic Smithsonian Folkways Recordings. Schippers has led a wide range of research projects, including ‘Sound links’, on community music practices across Australia, and the international research collaboration ‘Sustainable futures for music cultures: Towards an ecology of musical diversity’. His monograph on learning and teaching music across cultures, ‘Facing the music: Shaping music education from a global perspective’, was published by Oxford University Press in 2010 to critical acclaim, as was the recent volume on music sustainability co-edited with Catherine Grant: ‘Sustainable futures for music cultures: An ecological perspective’ (2016).



Patrick Schmidt is the chair of Music Education at University of Western Ontario. His innovative work in critical pedagogy, urban music education, and policy studies is recognized nationally and internationally. His most recent publications can be found in the International Journal of Music Education; Arts Education Policy Review; British Journal of Music Education, Journal of Curriculum Theorizing; Philosophy of Music Education Review; Action, Criticism, and Theory for Music Education; ABEM Journal in Brazil; and the Finnish Journal of Music Education. He coedited the 2012 NSSE book with Teachers College Press and a special issue of the education journal Theory into Practice. Patrick also co-edited the Oxford Handbook of Music Education and Social Justice. Schmidt’s new book with Richard Colwell, Policy and the Political Life of Music Education, was published by Oxford University Press in 2017.



Marissa Silverman is Associate Professor at the John J. Cali School of Music, Montclair State University, New Jersey. A Fulbright Scholar, Dr. Silverman has published invited chapters in several recent Oxford University Research Handbooks, as well as journal articles in the International Journal of Music Education, the British Journal of (p. xxviii) Music Education, Research Studies in Music Education, Music Education Research, the International Journal of Community Music, Visions of Research in Music Education, and the New York Times. Her research agenda focuses on dimensions of music education philosophy, general music, artistic interpretation, music teacher education, community music, and interdisciplinary curriculum development. Silverman is also co-author (with David Elliott) of the second edition of Music Matters: A Philosophy of Music Education (Oxford University Press, 2015), and she is co-editor of Community Music Today (Rowman & Littlefield) and Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis (Oxford University Press, 2016). As a secondary school teacher, Silverman taught band, general music, and English literature at Long Island City High School (Queens, New York).



Rineke Smilde , PhD, is a flutist, musicologist, and music educationalist. She is a professor of Lifelong Learning in Music at Hanze University, Prince Claus Conservatoire, in Groningen, the Netherlands, and at the University of Music & Performing Arts in Vienna. Rineke Smilde co-leads the international research group ‘Lifelong Learning in Music’ that examines questions about the relationship between musicians and society, and what engaging with new audiences means for the different roles, learning, and leadership of musicians. Her particular research interests are the learning styles of musicians and the role of biographical learning in the context of lifelong and lifewide learning. She has published various articles and book chapters on different aspects of lifelong learning in (higher) music education (see http://www.lifelonglearninginmusic.org). Rineke lectures and gives presentations worldwide and has led various international research groups for the European Association of Conservatoires (AEC).



Donald Stewart is a professor of Health Promotion in the School of Medicine, Griffith University, former Head of the School of Public Health, and a member of Menzies Health Institute, Queensland, Australia. He is the Convenor of the ‘Music Health and Well-being’ focus area of the Queensland Conservatorium Research Centre and has research interests in singing and chronic and persistent pain, mental and emotional health, and people with Parkinsons. He was the chief investigator for the Australian component of the multinational project on which this chapter is based.



Naomi Sunderland is Senior Lecturer in the School of Human Services and Social Work and member of the Music, Health, and Wellbeing Research Stream at the Queensland Conservatorium Research Centre at Griffith University. Naomi has an extensive background in participatory, creative, and community-based research in the areas of health, well-being, and arts-based community development. She has collaborated on many arts and health research projects including the 1000 Voices Disability Life Stories Project; a social determinants of health evaluation of the Scattered People asylum seekers and refugee music group; and a participatory intercultural evaluation of multi-arts work with Barkly Regional Arts in the Northern Territory. Naomi teaches in the First Australians and Social Justice team at Griffith University and specializes in topics around transformative intercultural and immersive education, equity, and diversity. Naomi has a (p. xxix) PhD in applied ethics and human rights from the Queensland University of Technology. She has worked in government and non-government organizations and universities in Canada and Australia. She has published widely on the topics of health promotion partnerships, music and well-being, disability, and happiness, and transformative ethics. Naomi is also an active singer, songwriter, and performer, and she has released several albums of work internationally.



Janice Waldron is an associate professor of Music Education at the University of Windsor. Her research interests—informal music learning practices, online music communities, social media and music learning, vernacular music, and participatory cultures—are reflected in her forthcoming Oxford Handbook of Social Media and Music Learning (with Stephanie Horsley and Kari Veblen). Published in Music Education Research; the International Journal of Music Education; Action, Criticism, and Theory in Music Education; the Journal of Music, Education, and Technology; and the Philosophy of Music Education Review, Dr. Waldron has also authored several Oxford Handbook chapters in its Music Education series. She serves on the editorial boards of Action, Theory, and Criticism in Music Education; the International Journal of Music Education; the Journal of Music, Education, and Technology; T.O.P.I.C.S; and she is the website editor for the Mayday Group. She was named ‘Outstanding Researcher: Emerging Scholar’ at the University of Windsor in 2012.



Lee Willingham is a professor at Wilfrid Laurier University, where he coordinates the MA in Community Music programme and is the director of the Laurier Centre for Music in the Community. His research interests include the impact of music experiences, and creative and cultural capital building in community contexts, in addition to music education and choral studies. He has presented papers or workshops across Canada, and in Great Britain, Hungary, and Brazil. In 2016, the ‘Excellence in Teaching: Innovation’ award was granted to Dr. Willingham by the University in recognition of creative instructional practices in both undergraduate and graduate courses. With doctoral work in holistic curriculum and music education, he has had years of experience in public education, educational administration, and in academic positions. Dr. Willingham is also recognized as a community choral facilitator and continues to offer workshops and leadership in choral settings. Currently co-authoring a textbook on community music, he continues to contribute to the scholarship and practice.



Stuart Wood is an experienced music therapist, trainer, and researcher, currently working as research lead in East London NHS Foundation Trust and the Guildhall School of Music and Drama, and he is head music therapist for a large healthcare company. He is also a composer of choral music and musical theatre. His research interests explore aspects of musicality and performativity in the field of care.



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 (p. xxx) 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.