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An investigation into the value of developing an artistic programme which integrates the aesthetic, the praxial and the social dimensions of an art form, specifically music, and the implications of such development on the training of emerging music practitioners.
This report details the design, implementation and evaluation of a programme of action...
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Citations
... To ask the question, 'is it any good?' requires us to also understand 'what is it good for?' More specifically, any judgements about quality in music need to be made with reference to the aesthetic / presentational, praxial / participatory and social dimensions of music which exist in a kind of 'creative tension' with each other (Camlin 2015a Gateshead, 2015 Page 4 of 9 musical participation and musical performance too readily, we end up with situations which 'jar' our musical sensibilities, and which lead to discomfort on the part of our participants and their audiences, and mark those situations as incongruent. The dissonances which occur when the form and the context of musical situations are at odds with each other can be sufficient to prevent our full immersion in those situations, as performers, participants or audience members. ...
... One of the challenges of this kind of 'real world' (Bennett 2012) learning is in developing conceptual frameworks which describe the practices of such complex situations. Over time, an 'integrative' model of music -as present in the organisation's artistic practices -has emerged from this ongoing dialogue between the organisation, its staff and its students, which I describe as part of my doctoral thesis (Camlin 2015a), and which has helped to begin to address some of the philosophical complexities and paradoxes touched upon herein. It is a 'situated' model, emerging from the particular situation of its nativity, but I mention it here as it may provide insights into how similar concepts might evolve in other situations. ...
ENGLISH TRANSLATION:
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 (Higgins 2012; Brown et al. 2014; Elliott & Silverman 2013). While this ‘praxial turn’ (Elliott 1995; Elliott 2009) 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 achievable 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 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 chapter, 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.
... Music is multi-dimensional in its nature (Camlin, 2015c). Accounting for the "aesthetic" dimension of music means accounting for the quality of music that is produced in performance, while accounting for the "praxial" dimension of music means structuring musical opportunities to maximise access, inclusion and participation (Camlin, 2015c(Camlin, , 2016. As well as the musical outcomes arising from the "creative tension" between these musical dimensions, there are other extrinsic benefits and extra-musical outcomes of musical situations which are broadly social in nature e.g. ...
As a community of practice (Lave & Wenger, 1991), Community Music (CM) has traditionally voiced concern at the lack of consensus or agreement surrounding what constitutes CM practice (Brown, Higham, & Rimmer, 2014; Deane & Mullen, 2013; Higgins, 2012; Kelly, 1983; McKay & Higham, 2012). Rather than seeing this historical and traditional lack of consensus as a fundamental weakness of the community, I suggest that we might view the diversity of CM practice-and the dissensus surrounding such practice-as one of CM's defining characteristics. We tell ourselves as a community that, even though the practices themselves are complex, fluid and emergent, we need conceptions of those same practices which are simple and fixed, so that those unfamiliar with the practices – in particular, funders-might grasp them more easily. However, I think that this is to do the diversity and complexity of the practices themselves a disservice. Rather than simpler conceptions of CM practice which reduce its great diversity, I believe we need more sophisticated ones which communicate its full richness. In this paper, I suggest that the related concepts of dissensus (Ranciere, 2003a) and dialogue (Bakhtin, 1981; Freire, 1970; Wegerif, 2012) may help to provide such a conceptual framework, which explains CM practice in simple terms as a " situational " (Hersey, 1997) response to the needs and aspirations of its participants, and its situations. In particular, I emphasise how a dialogic approach to CM can help integrate a wide variety of perspectives which might otherwise be considered dichotomous, including some of the ongoing debates around e.g. formal / informal; pedagogy / andragogy / heutagogy; performance / participation; aesthetic / praxial; process / product; ethical / technical. By developing deeper insights into the nature of the dissensus and dialogue which underpins CM practice, I hope that-as a community-we might come to a better understanding of some of the pedagogical approaches which define such practice, and which might have significance for the wider music education sector, in terms of developing stronger and more effective learner-centred and individualised approaches to music teaching-learning situations (Elliott, 1995, p. 241).
... To ask the question, 'is it any good?' requires us to also understand 'what is it good for?' More specifically, any judgements about quality in music need to be made with reference to the aesthetic / presentational, praxial / participatory and social dimensions of music which exist in a kind of 'creative tension' with each other (Camlin 2015a). If we conflate Singing The Rights We Do Not Possess: The Rights of Community Music Dave Camlin, Sage Gateshead, 2015 Page 4 of 9 musical participation and musical performance too readily, we end up with situations which 'jar' our musical sensibilities, and which lead to discomfort on the part of our participants and their audiences, and mark those situations as incongruent. ...
... One of the challenges of this kind of 'real world' (Bennett 2012) learning is in developing conceptual frameworks which describe the practices of such complex situations. Over time, an 'integrative' model of music – as present in the organisation's artistic practices -has emerged from this ongoing dialogue between the organisation, its staff and its students, which I describe as part of my doctoral thesis (Camlin 2015a), and which has helped to begin to address some of the philosophical complexities and paradoxes touched upon herein. It is a 'situated' model, emerging from the particular situation of its nativity, but I mention it here as it may provide insights into how similar concepts might evolve in other situations. ...
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 (Higgins 2012; Brown et al. 2014; Elliott & Silverman 2013). While this ‘praxial turn’ (Elliott 1995; Elliott 2009) 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 achievable 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 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.
Community Music und Outreach gewinnen in der Musikvermittlung angesichts kulturpolitischer Forderungen nach kultureller Teilhabe stetig an Bedeutung. Während die Ansätze im angloamerikanischen Raum seit jeher einen festen Bestandteil der Musikvermittlung von Orchestern und Konzerthäusern bilden, wird im deutschsprachigen Raum damit weitgehend Neuland betreten. Die Publikation befasst sich daher mit der Frage, welche Perspektiven und daraus resultierenden Anforderungen sich für die Ausrichtung an Outreach und die Einbindung von Community Music in die institutionelle Musikvermittlung im Konzertbetrieb ergeben. Ausgehend von der Darstellung der Prinzipien und historischen Entwicklung von Community Music in Großbritannien und Deutschland werden Begründungsmuster für Outreach vorgestellt und im Spannungsfeld von Teilhabe und Teilnahme beleuchtet. An die Beschreibung ausgewählter deutschsprachiger Outreach-Formate knüpft – orientiert am Partizipationsverständnis, den Grundprinzipien von Community Music und einer Sondierung des Vermittlungsbegriffs – eine kritisch-konstruktive Bestandsaufnahme der bestehenden Praxis an. Auf der Suche nach Zukunftsperspektiven der Musikvermittlung werden schließlich Möglichkeitsräume für Partizipation sowie Outreach als Change-Management unter Bezug auf das Konzept der Artistic Citizenship beschrieben.
Download: OPUS Universität Augsburg
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The practices of Community Music (CM) have tended to evolve in very practical ways, amongst communities of practitioners and their communities of participants (Camlin 2015b, p.236). Because of this, developing a ‘theory’ of CM practice through research has been elusive, and the endeavour of doing so viewed with suspicion by some of its practitioners. Reflecting on my own experiences of developing a professional praxis - building a critical understanding of my own practice through doctoral study - I suggest, however, that this kind of praxial development can help establish CM as a ’polyphonic truth’ within the Academy. There are a number of reasons for wishing to do so; as well as increasing the value of CM’s diverse practices as cultural capital, it also helps give our field more of a voice in current debate. The emergent turn in cultural policy toward more sophisticated methods of understanding cultural value (Crossick & Kaszynska 2016), participation and ‘everyday creativity’ (Hunter et al. 2016) speaks directly to CM practices, and it is important that as a field, we are able to contribute to and inform the shape of this discourse from a position of confidence and authority.
One way of seeing the fundamental changes to the field of music - and consequently music education - brought about in recent years by the transformation of music’s economic value through online distribution, is that of a ‘hysteresis’ (Bourdieu 1977, p.83; Hardy 2008, pp.126–144), where there is a time lag between changes in the field, and changes in the ‘habitus’ of the field’s occupants. However, while this ‘hysteresis’ is not confined to the field of music, building a critical understanding of what happens to our field as it undergoes the radical transformations it is currently experiencing, will potentially give us useful insights into our future cultural lives. The massive social, political, economic, environmental, cultural and technological transformations currently disrupting human experience across the globe will almost certainly increase in complexity over time, and what ‘music’ means to citizens thirty years hence is likely to be radically different to what it meant to citizens thirty years ago.
If we are to develop a critical understanding of music – and music education – practices in such a rapidly changing cultural landscape, the role of the musician-as-researcher is therefore one to be encouraged. As an emergent voice in the Academy, CM has a great deal to offer this discourse, because its practices are broadly emancipatory, inclusive and accessible, all of which are key concepts in understanding the future role and value of music in society.
