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Das wird Schule machen • Teil 2 Grundlagen November 2022 in MÜNCHEN
mehr zu DAS WIRD SCHULE MACHEN
Alle TrainerInnen »Das wird Schule machen«
Verantwortung statt Gehorsam
Dialog statt Dogma
Beziehungskompetenz
Grundprinzipien
COMMUNITY MUSIC

Community Music Conference Munich

Startseite

Einleitung von Dr. Alicia de Banffy-Hall und Prof. Dr. Burkhard Hill

Einleitung lesen

Community Music in Germany: reinventing the wheel?

Prof. Dr. Burkhard Hill, Hochschule München
The lecturer exposes the field of community music in Germany.
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The Munich Community Music Action Research Group (MCMARG)

Dr. Alicia de Banffy-Hall, Katholische Universität Eichstätt-Ingolstadt
The journey to this conference.
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Community music: practice at the crossroads

Prof. Dr. Lee Higgins, International Centre for Community Music, York St. John University, UK
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The growing internationalisation of community music: insights from the Asia pacific region

Ass. Prof. Dr. Brydie-Leigh Bartleet, Queensland Conservatorium Research Centre Griffith University, Australia
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But is it any good? Understanding music work with children in challenging circumstances

Phil Mullen, UK
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Pedagogy, andragogy, and heutagogy: a continuum of perspectives for community music practice with adults

Prof. Dr. Don Coffman, University of Miami, USA
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Singing the rights we do not possess: the rights of community music

Dr. Dave Camlin, Sage Gateshead / University
of Sunderland, UK

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Theorizing the creativity of Community Music by a praxeological approach: Key elements and open questions

Dr. Eric Sons, Helmuth-Schmidt-Universität Hamburg
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Celebrating the Paradoxes: Community Music Engagement

Dr. Lee Willingham, Wilfrid Laurier University, Waterloo, Ontario, Canada
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How do we ensure that musicians are ethical, responsive and reflective practitioners of Community Music; is formal training required and if so, in what form?

Jess Abrams, Edinburgh College, Scotland
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Pre- & Perinatal Community Music

Prof. DDDr. Wolfgang Mastnak, Hochschule für Musik und Theater München
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The drumpower project – violence prevention social integration and empowerment through music. A music therapy program for children and adolescents.

Dr. Andreas Wölfl, Freies Musikzentrum München
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Sense of Place – How the concept of Sense of Place is used by community musicians to inspire their practice

Pete Moser, More Music in Morecambe, United Kingdom
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Ivory towers, joined up thinking & a place to play a festival as motivator & facilitator in community music & healthcare

Philip Curtis, CityProms Foundation, Leeuwarden, Netherlands
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Singing the Rights We Do Not Possess The Rights of Community Music
Dr. Dave Camlin, Sage Gateshead / University of Sunderland
The history of Community Music (CM) has been formed from debate around alternative models to the traditional ‘aesthetic’ forms of music education which have predominated until recently. While this ‘praxial turn’ within music education has been influential in broadening access, a complete integration of the values and principles which underpin CM practice into mainstream music education is not achieveable while the need to champion CM as a discreet practice remains. As non-professional performers, CM provides the means for participants to enact the rights (to perform) that they do not otherwise possess, and this contradiction remains unresolved.

On the one hand, CM is still needed as a term because it signifies the right for participatory music to be taken seriously as a form of ‘musicking’ (Small 1998, p.9). On the other, the need to separately identify itself in relation to other kinds of music in order to make its claim to validity and equality as a musical form, is itself a signifier of its lack of validity, because ‘rights are either void or tautological’ (Ranciere 2003, p.69). Saying that we have to take Community Music seriously is to acknowledge that it isn’t always taken seriously. Ironically, if it was always taken seriously, we wouldn’t have to assert that it should be taken seriously. By insisting on labelling it and viewing it discretely from other forms of musicking, we reinforce its position and status as ‘other’.

In this paper, I ask the question whether it is time for the CM profession to re-imagine CM, not as a discreet field of practice, but as a set of values and principles which form an integral part of a holistic approach to ‘musicking’ for people and society. Or if not now, then when? What conditions would necessitate such a paradigmatic shift? I offer one possible ‘frame’ for such a re-imagining, emerging from the practices of Sage Gateshead in the UK: an integrated model of musicking which recognises the creative tension between ‘aesthetic’ and ‘praxial’ dimensions of music as a positive force for raising musical quality, especially when allied with a third ‘social’ dimension of music’s power i.e. its capacity for individual self-actualisation, interpersonal and social transformation.




Biography

Dr. Dave Camlin, Sänger, Liedermacher, Pädagoge und Wissenschaftler aus Cumbria, tritt als Solomusiker und mit seinen Bands Mouthful und The Coast Road auf. Er ist Leiter der Abteilung Higher Education & Research des Sage Gateshead, und seine Forschungsinteressen konzentrieren sich vor allem auf die Themen Gesang und Community Music.