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Part Front Matter For Part IV Intersections

This document provides an overview of the front matter for Part IV (Intersections) of The Oxford Handbook of Community Music. It introduces several chapters that explore intersections between community music and other fields such as music therapy, disability arts, health research, ethnomusicology, leisure studies, and arts-based research. The chapters examine relationships, overlaps, and tensions between community music and these other areas. They also discuss how intersections are pushing community music in new directions through practice and research.

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吴善统
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9 views

Part Front Matter For Part IV Intersections

This document provides an overview of the front matter for Part IV (Intersections) of The Oxford Handbook of Community Music. It introduces several chapters that explore intersections between community music and other fields such as music therapy, disability arts, health research, ethnomusicology, leisure studies, and arts-based research. The chapters examine relationships, overlaps, and tensions between community music and these other areas. They also discuss how intersections are pushing community music in new directions through practice and research.

Uploaded by

吴善统
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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The Oxford Handbook of Community Music

Brydie-Leigh Bartleet (ed.), Lee Higgins (ed.)

https://doi.org/10.1093/oxfordhb/9780190219505.001.0001
Published: 2018 Online ISBN: 9780190219529 Print ISBN: 9780190219505

Search in this book

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PART FRONT MATTER

Part front matter for Part IV Intersections 


Published: February 2018

Subject: Music
Series: Oxford Handbooks
Collection: Oxford Handbooks Online

MPHIL Community Orchester, Germany (photograph courtesy of Andrea Huber)

MPHIL Community Orchester, Germany (photograph courtesy of Andrea Huber)

AS the eld of community music continues to develop and grow, there has been an expansion of
intersections between community music and other forms of music-making, as well as other elds of
endeavour within and beyond the creative arts. In this section, chapters explore some of the synergies and
tensions that arise in these intersections, and the ways in which these meetings of elds are pushing
community music in new directions, both in terms of practice and research. In the opening chapter to this
section Stuart Wood and Gary Ansdell explore the historical and current relationship between community
p. 450 music and music therapy—in particular the seeming overlap between community music and the newer
sub-discipline of music therapy called ‘Community Music Therapy’ (CoMT). The chapter argues for a
reimagining of certain key areas of joint concern and potential linked to the broader shared agenda of
working musically with people. These topics indicate a way for community music and music therapy to align
and collaborate in a relationship that can be both ‘joint’ and ‘several’—ensuring that the work remains
creative, e ective, responsible, and professional for people and their communities. David Baker and Lucy
Green’s chapter then explores the multifaceted ‘disability arts scene’ in music worldwide that comprises
visually impaired (i.e., blind and partially sighted) instrumentalists, singers, composers, producers, and
others across a range of musical styles and genres. The chapter explores how members of this unique socio-
musical group consider the aforesaid ‘scene’ and its integral community music, and how their
interpretations correspond or clash; it introduces key matters of accessibility, independent mobility,
identity, musical approach and media, notions of discrimination, and social inclusion. Patricia Lee, Donald
Stewart, and Stephen Clift’s chapter then outlines recent research into the reported positive e ects of
community singing on health. In particular, their chapter aims to establish a quantitative model to explain
how multiple attributes of choral singing interact to impact on di erent dimensions of health and well-
being, thus exploring the intersection between music making and health.
Stephen Cottrell and Angela Impey’s chapter re ects on the similarities and di erences between
community music and applied ethnomusicology. The chapter introduces a number of case studies from
South Africa, and focuses in particular on a community archiving project in the iSimangaliso Wetlands Park.
These case studies are used to illustrate the di erent in ections that may pertain to the terms ‘community
music’ or ‘applied ethnomusicology’, while also demonstrating the overlaps between them. Finally,
attention is drawn to the risks that are always involved in cultural interventions, regardless from where they
may emanate.

Roger Mantie’s chapter examines concepts of leisure, rational recreation, education, and mass leisure, and

Downloaded from https://academic.oup.com/edited-volume/34637/chapter/345804526 by OUP site access user on 25 February 2024


poses critical questions about the benevolent intentions and ‘innocent’ assumptions often made in the
name of community music practice and cultural democracy. Following the thread of diverse intersections,
Michael Balfour explores two recent projects that use community music and theatre to highlights important
ways in which interdisciplinary music projects are tackling issues related to military personnel coming
home from recent con icts. The chapter highlights two recent projects in Australia: Fred Smith’s Going
Home initiative, part of a larger research project focused on arts-based approaches to supporting ex-
military personnel and their families, and A Soldiers Wife, developed by Sugarrush in collaboration with
Legacy Australia. In particular, his chapter explores these modalities and discusses the implications for
future arts and music projects.

In the nal chapter of this section, Peter Gouzouasis and Danny Bakan turn the focus to research in
particular, and explore the intersections of community music practice and arts-based research. Through a
p. 451 complicated conversation they unpack various forms and roots of arts-based research, meanings of
community, and possibilities for doing research while engaged in community music-making. Such
considerations not only transform the research agenda of community music, but in many respects, add a
p. 452 new dimension to considerations of community music and personal growth and social change.

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