Lee Higgins

Acts of Hospitality: The Community in Community Music.

This article will investigate the notion of ‘community’ within the aspirations of Community Music. Guiding this study are the questions: How is community made manifest through Community Music? What joins the notion of community to that of music? Two distinct sections will frame this research: (1) an etymological consideration of the word ‘community’, followed by a rethinking of its status as a hospitable act of welcoming; and (2) a case study that examples a vision of Community Music as an act of hospitality. The article will conclude by suggesting that this act of hospitality serves to remind us of the broader theme of music education, equality and social justice.

Improvisation as Ability, Culture, and Experience.

We argue in this article for greater role for improvisation in the music classroom. Based on an extensive examination of scholarship about improvisational practices, we propose three conceptualizations—ability, culture, experience—that can serve to guide the teaching of improvisation. When considered as an ability, improvisation is a creative aspect of overall musicianship; considered as culture, improvisation is a distinctive way to understand specific musical practices; finally, considered as experience, improvisation is a distinctive way of being in and through music that reflects the fact that the act of living is largely improvisatory. Although we see merit in all three conceptualizations and provide pedagogical examples to support each in turn, we conclude that the last of these holds the greatest potential to positively affect school music classrooms.

One-to-One Encounters: Facilitators, Participants, and Friendship.

In this article, I explore the claim that one-to-one encounters between community music facilitators and music participants can be described as friendships. By exploring the relational structure through the call and the welcome, I make some general comments on friendship before finally tackling the question lying at the heart of this article: How might we understand the notion of being a friend within an educative relationship?

Introduction: An overview of community music in the 21st century

A documented history of almost fifty years and a growing internationalization and interculturalisation of community music invites a revisiting of some of the field’s approaches, ideologies, and contexts. This chapter critically reflects on historical developments and current realities of how the field is conceptualized around the globe. It also touches on the role of community music facilitators in bringing about social change and outlines some of the key skills, working methods, values and ethics that are commonly associated with work in this field. It provides a snapshot of what has become a truly global phenomenon, and critically discusses the recurring question of whether community music needs a new defitinion or (re)definition in the twenty-first century.

Música comunitaria: Facilitadores, Participantes y Amistad

In this article, I explore the claim that one-to-one encounters between community music facilitators and music participants can be described as friendships. By exploring the relational structure through the call and the welcome, I make some general comments on friendship before finally tackling the question lying at the heart of this article: How might we understand the notion of being a friend within an educative relationship?