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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

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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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Theorizing the creativity of Community Music by a praxeological approach: Key elements and open questions
Eric Sons, Helmuth-Schmidt-Universität Hamburg
Community music is described as a plural, booming, heterogeneous and globalised field of communal musical practices and activities. Attempts to analyze and theorize Community Music are only just beginning: The Australian research project Sound links maps out key criteria of successful practices by modelling nine domains of community music (Schippers/Bartleet 2013). Following Koopman (2008) collaborative music-making, community development and personal growth could be considered as three central and general characteristics of community music. Despite this and other findings it is difficult to develop a binding and systematic definition or to identify a semantic core of community music; not least because there are many local, cultural and organizational ways to perform community music (Veblen 2008). For this reason I propose that a praxeological perspective on CM represents an opportunity to create a theoretical framework that allows a more general conceptualization of at least the creative aspects and improvisatory dimension of community music practices.

Praxeology is a general term that integrates a wide spectrum of different and mostly post-structural sociological approaches (Bourdieu 1996; Butler 1991; Reckwitz 2003; Latour 2007; Clarke 2012). These approaches have in common that they focus the practical sense of ongoing practical activities and tries to reconstruct how the processes of activities are performed, fabricated and (de) stabilized by situated actors. Relevant key notions of praxeological analysis are for example: Habitual learning by and through the body, mimetic social interactions, making new experiences through the interactions with and by things (like music instruments or electronic devices), enabling Individuals new experimental forms of subjectivity by the “iterability” (Butler) of actions and subject forms, the temporalization of practical actions etc. By the example of collective musical improvising experiences that I gain as a coach in socio-cultural out of school projects I will demonstrate paradigmatically the analytical potential that praxeological concepts such as temporary instability, aesthetic fuzziness and iterability could have for a sensitive and appropriate theorization of the creative aspects of Community Music (like authentic and distributed learning) and will besides discuss the participative, democratic, productive and power critical potentials of improvised Community Music. As a theoretical outlook I will discuss if community music could be modeled as an establishing of new transformative interactions between different things (interobjectivity) and subjects (intersubjectivity) and thus as a multidimensional and symbolic-material reconfiguration of a communal “actor-network” (Latour)?




Biography

Eric Sons, geboren in Delmenhorst, Diplom-Soziologe, ist wissenschaftlicher Mitarbeiter an der Helmut-Schmidt-Universität Hamburg. Er ist Jazzmusiker und Programmdirektor der neuen Hamburger Jazzreihe „Jazz und Revolution“. Er war zehn Jahre als Instrumentalpädagoge für Saxophon und Klarinette und Jazz- und Kulturpädagoge bei Waggong e. V. (Frankfurt/Main) tätig, war Mitglied der instrumentalpädagogischen Vereinigung „Musik im Hof“, Begründer sowie künstlerischer Leiter der Frankfurter Jugendjazztage und hat Stücke für Jazzcombo und Chor sowie Klarinettenmusiken komponiert (http://www.ericsons.info). Seine Forschungsschwerpunkte sind: Methodologie und Theorie kultureller Bildungsforschung, Objekttheorien, „New Materialism“, Kritische Theorie und kritische Jazzforschung, Wissenschafts-und Technikforschung, Community Music etc. Der Titel seiner im Juli an der Helmut-Schmidt-Universität eingereichten Dissertationsschrift lautet „Dinge, Interaktivität und kulturelle Bildung. Grundlagentheoretische Reflexionen und Ergebnisse einer Grounded Theory der Bildhauerei“