Who would choose to be a busker and why? How are buskers positioned by, and in relation to, state, commercial and social formations that configure public spaces and public selves? I approach busking through the concept of micropolitics, developed by Gilles Deleuze and Félix Guattari, which argues that life and politics are immanent: inseparable from and coextensive with one another. I take Zygmunt Bauman’s pessimistic vision of ‘liquid modernity’ – a chimeric analysis that maps the coercive and alienating conditions of postmodernism and neo-liberalism – as a fitting backdrop for highlighting the significance of street music. To facilitate this discussion, I draw on memories of my background as a busker, documentary sources and autoethnographic fieldwork conducted in ten locations across regional New South Wales (Australia) between June and August 2022. I adopt a storytelling approach, foregrounding the experience of busking for the busker, and combine this with documentary analysis of regulatory frameworks and quantitative analysis of my busking sessions and earnings in different locations. In contrast to recent studies that applaud the efficacy of regulations, and that represent buskers as rational agents pursuing commercial and artistic interests, I argue that busking, as a way of life, makes little sense except as micropolitical resistance to the alienating conditions of liquid modernity. Moreover, expressions of state, economic and social power frequently manifest contempt for buskers and busking, sometimes to the point of precluding buskers from effectively conducting their livelihoods within the scope of the law. I draw on Macalester Bell’s theorization of contempt as an indispensable ethical position that manifests disregard for its object, to consider the ways in which busking appeals to the humanity of state, commercial and social agents. ‘Ask forgiveness, not permission’ is an idiom of conventional wisdom for buskers, signalling, on the one hand, an internalization of the contempt they are accustomed to receiving from those in a position to facilitate ‘permission’ and, on the other, the ideal that, if things go well, they might inspire human agents to condemn the regulatory pedantry that would proscribe their livelihoods.
{"title":"Ask forgiveness, not permission: Busking, community and contempt","authors":"Joseph Williams","doi":"10.1386/ijcm_00080_1","DOIUrl":"https://doi.org/10.1386/ijcm_00080_1","url":null,"abstract":"Who would choose to be a busker and why? How are buskers positioned by, and in relation to, state, commercial and social formations that configure public spaces and public selves? I approach busking through the concept of micropolitics, developed by Gilles Deleuze and Félix Guattari, which argues that life and politics are immanent: inseparable from and coextensive with one another. I take Zygmunt Bauman’s pessimistic vision of ‘liquid modernity’ – a chimeric analysis that maps the coercive and alienating conditions of postmodernism and neo-liberalism – as a fitting backdrop for highlighting the significance of street music. To facilitate this discussion, I draw on memories of my background as a busker, documentary sources and autoethnographic fieldwork conducted in ten locations across regional New South Wales (Australia) between June and August 2022. I adopt a storytelling approach, foregrounding the experience of busking for the busker, and combine this with documentary analysis of regulatory frameworks and quantitative analysis of my busking sessions and earnings in different locations. In contrast to recent studies that applaud the efficacy of regulations, and that represent buskers as rational agents pursuing commercial and artistic interests, I argue that busking, as a way of life, makes little sense except as micropolitical resistance to the alienating conditions of liquid modernity. Moreover, expressions of state, economic and social power frequently manifest contempt for buskers and busking, sometimes to the point of precluding buskers from effectively conducting their livelihoods within the scope of the law. I draw on Macalester Bell’s theorization of contempt as an indispensable ethical position that manifests disregard for its object, to consider the ways in which busking appeals to the humanity of state, commercial and social agents. ‘Ask forgiveness, not permission’ is an idiom of conventional wisdom for buskers, signalling, on the one hand, an internalization of the contempt they are accustomed to receiving from those in a position to facilitate ‘permission’ and, on the other, the ideal that, if things go well, they might inspire human agents to condemn the regulatory pedantry that would proscribe their livelihoods.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135805115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Busking is part of the daily urban life of citizens worldwide. Every street music performance can affect buskers or passers-by in different ways because the people, the conditions, the terms and the reasons for music-making is unique every single time. This article aims to deliver social insights from the Greek busking community of Thessaloniki. Specifically, we examine the relationship between street musicians and their audience, according to their attitudes and practices during a street performance. For this study, a mix-methods approach was followed where quantitative and qualitative data was collected from 146 participants (82 were members of the audience and 64 were buskers). Our methodology relied on semi-structured interviews to collect buskers’ and audiences’ views on their experiences, as well as field notes and observation to document their relationship and reactions first-hand. The main findings indicate that buskers and audiences sustain a healthy relationship between them while buskers are thankful for the audience’s reaction to their performance and tend to make a series of performative choices, according to audience preferences. Furthermore, all audience members actively approve of the existence of street music and show their appreciation of being part of this community, by donating money and participating through various ways (singing, dancing, taking photos).
{"title":"‘If you play some good music, people immediately understand it’: Audience response to busking","authors":"Ioannis Litos, Eirini Papadaki","doi":"10.1386/ijcm_00079_1","DOIUrl":"https://doi.org/10.1386/ijcm_00079_1","url":null,"abstract":"Busking is part of the daily urban life of citizens worldwide. Every street music performance can affect buskers or passers-by in different ways because the people, the conditions, the terms and the reasons for music-making is unique every single time. This article aims to deliver social insights from the Greek busking community of Thessaloniki. Specifically, we examine the relationship between street musicians and their audience, according to their attitudes and practices during a street performance. For this study, a mix-methods approach was followed where quantitative and qualitative data was collected from 146 participants (82 were members of the audience and 64 were buskers). Our methodology relied on semi-structured interviews to collect buskers’ and audiences’ views on their experiences, as well as field notes and observation to document their relationship and reactions first-hand. The main findings indicate that buskers and audiences sustain a healthy relationship between them while buskers are thankful for the audience’s reaction to their performance and tend to make a series of performative choices, according to audience preferences. Furthermore, all audience members actively approve of the existence of street music and show their appreciation of being part of this community, by donating money and participating through various ways (singing, dancing, taking photos).","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135805117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The conditions under which buskers pursue their art have never been easy, but their situation has become even more complicated recently, as public spaces worldwide have been transformed under rampant neo-liberal conditions. Street music today often takes place against the backdrop of globally oriented urban planning, which is frequently shaped by neo-liberal considerations that ascribe specific qualities and functions to public outdoor places and spaces. By subjecting these spaces, which remain central for street music activities even in the digital age, to increasing official control and regulation, street musicians are often exposed to a regulatory frenzy – enacted by local politics and executed by local authorities – that makes it difficult or even impossible for many of them to perform in public in a manner of their choosing. Moreover, under such conditions the creative potential of street music is not allowed to unfold in its breadth and heterogeneity, but only in a limited manner. An analysis of the street art ordinances of the cities of Vienna, Salzburg and Innsbruck exemplifies the status quo in Austria in this regard and demonstrates how different the political strategies for dealing with street music are in this self-proclaimed country of music. Rather than being seen as a nuisance to be controlled, it is argued that a rich and diverse street music landscape has a significant democratic potential, which would flourish under a more sensitive approach to public spaces on the part of politics and city planning.
{"title":"Busking in the neo-liberal city: A critical inventory of a selection of street art ordinances in Austria","authors":"Sarah Chaker","doi":"10.1386/ijcm_00082_1","DOIUrl":"https://doi.org/10.1386/ijcm_00082_1","url":null,"abstract":"The conditions under which buskers pursue their art have never been easy, but their situation has become even more complicated recently, as public spaces worldwide have been transformed under rampant neo-liberal conditions. Street music today often takes place against the backdrop of globally oriented urban planning, which is frequently shaped by neo-liberal considerations that ascribe specific qualities and functions to public outdoor places and spaces. By subjecting these spaces, which remain central for street music activities even in the digital age, to increasing official control and regulation, street musicians are often exposed to a regulatory frenzy – enacted by local politics and executed by local authorities – that makes it difficult or even impossible for many of them to perform in public in a manner of their choosing. Moreover, under such conditions the creative potential of street music is not allowed to unfold in its breadth and heterogeneity, but only in a limited manner. An analysis of the street art ordinances of the cities of Vienna, Salzburg and Innsbruck exemplifies the status quo in Austria in this regard and demonstrates how different the political strategies for dealing with street music are in this self-proclaimed country of music. Rather than being seen as a nuisance to be controlled, it is argued that a rich and diverse street music landscape has a significant democratic potential, which would flourish under a more sensitive approach to public spaces on the part of politics and city planning.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135805116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the working relationship between a son–father busking partnership. Fionn is a man in his mid-20s, a violinist and busker, with Down’s Syndrome. His dad, Jonathan, is Fionn’s support and manager. In this article they detail the genesis and nature of their working relationship, the places they have travelled, aspects challenging the busking profession (including economics and technology) and the day-to-day business of busking, as well as the unique role they play in community music and interaction.
{"title":"The story of a busker, and his dad","authors":"Fionn Crombie Angus, Jonathan Angus","doi":"10.1386/ijcm_00081_1","DOIUrl":"https://doi.org/10.1386/ijcm_00081_1","url":null,"abstract":"This article explores the working relationship between a son–father busking partnership. Fionn is a man in his mid-20s, a violinist and busker, with Down’s Syndrome. His dad, Jonathan, is Fionn’s support and manager. In this article they detail the genesis and nature of their working relationship, the places they have travelled, aspects challenging the busking profession (including economics and technology) and the day-to-day business of busking, as well as the unique role they play in community music and interaction.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135804962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While busking can provide entertainment and contribute to community development, it can also stimulate discussions and debates within the community, prompting individuals to reflect on political and social crises. This is the case of post-pandemic Hong Kong, where citizens’ lives are tightly controlled; following a series of social movements, public gatherings have been prohibited due to questionable social distancing measures and the closure of pedestrian zones. This article presents a case study that examines the role of buskers as agents of change through community music engagement. Data were collected through semi-structured interviews with three buskers, participant observation and field notes taken during busking events. The findings from the conversation analysis revealed that buskers and citizens’ participation in busking activities helped cultivate their creative expression of ideas, empowering them to transcend the rigid societal structure and unequal power relations between authorities and citizens, enabling social advocacy efforts such as reclaiming lost public space, expanding the community into the online realm, and fostering a cultivated mindset of ‘becoming’ that sustains the possibilities of autonomy within the community.
{"title":"Buskers as agents of change in Hong Kong","authors":"Chi Ying Lam, Lee Cheng, Sunnie Yang He","doi":"10.1386/ijcm_00084_1","DOIUrl":"https://doi.org/10.1386/ijcm_00084_1","url":null,"abstract":"While busking can provide entertainment and contribute to community development, it can also stimulate discussions and debates within the community, prompting individuals to reflect on political and social crises. This is the case of post-pandemic Hong Kong, where citizens’ lives are tightly controlled; following a series of social movements, public gatherings have been prohibited due to questionable social distancing measures and the closure of pedestrian zones. This article presents a case study that examines the role of buskers as agents of change through community music engagement. Data were collected through semi-structured interviews with three buskers, participant observation and field notes taken during busking events. The findings from the conversation analysis revealed that buskers and citizens’ participation in busking activities helped cultivate their creative expression of ideas, empowering them to transcend the rigid societal structure and unequal power relations between authorities and citizens, enabling social advocacy efforts such as reclaiming lost public space, expanding the community into the online realm, and fostering a cultivated mindset of ‘becoming’ that sustains the possibilities of autonomy within the community.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135804963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although only a few months old at press time, ChatGPT has already established itself as one of the biggest disruptors of historical conceptions of authorship, reality and trust. The research community will no doubt face increasing challenges as it attempts to deal with peer review, conflicts-of-interest and publishing ethics. Readers may know that the International Journal of Community Music is a Committee on Publication Ethics (COPE) member. COPE establishes ethical guidelines for the academic publishing. No doubt these will evolve in the face of emerging artificial intelligence technology. The existing guidelines are helpful but still leave many issues unaddressed, such as what researchers should do when it comes to publishing in a journal they edit. In addition to Kathleen Turner’s autoethnographic reflective essay about the challenges arising from the COVID-19 crisis on a university-based community music training programme and Anna McMichael’s study of composer/musicians involved with the annual classical Tyalgum Music Festival in regional Australia, Issue 16:1 features three articles authored or co-authored by the journal’s editors, who devised an in-house system to ensure the integrity of the double-blind peer review system. The issue concludes with a dedication to Janice Waldron (1957–2022), who passed away suddenly and unexpectedly in November 2022.
{"title":"The ethics of being an editor–researcher","authors":"B. Bartleet, Don D. Coffman, R. Mantie","doi":"10.1386/ijcm_00072_2","DOIUrl":"https://doi.org/10.1386/ijcm_00072_2","url":null,"abstract":"Although only a few months old at press time, ChatGPT has already established itself as one of the biggest disruptors of historical conceptions of authorship, reality and trust. The research community will no doubt face increasing challenges as it attempts to deal with peer review, conflicts-of-interest and publishing ethics. Readers may know that the International Journal of Community Music is a Committee on Publication Ethics (COPE) member. COPE establishes ethical guidelines for the academic publishing. No doubt these will evolve in the face of emerging artificial intelligence technology. The existing guidelines are helpful but still leave many issues unaddressed, such as what researchers should do when it comes to publishing in a journal they edit. In addition to Kathleen Turner’s autoethnographic reflective essay about the challenges arising from the COVID-19 crisis on a university-based community music training programme and Anna McMichael’s study of composer/musicians involved with the annual classical Tyalgum Music Festival in regional Australia, Issue 16:1 features three articles authored or co-authored by the journal’s editors, who devised an in-house system to ensure the integrity of the double-blind peer review system. The issue concludes with a dedication to Janice Waldron (1957–2022), who passed away suddenly and unexpectedly in November 2022.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87989567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this autoethnographic reflective essay, I explore the challenges that the COVID-19 crisis presented to community music training and practice within a university setting, through the evocative ‘storying’ of key experiences from my own work. I acknowledge the sense of grief that came with losing opportunities for music-making face to face. Whilst online music-making matters, the visceral experience of sound within space was deeply missed by staff and students. In contrast, I also explore the possibilities that COVID-19 pushed us to explore. These include connecting with international partners in our regular teaching, establishing a digital collaborative project with a local school and creating online placement opportunities. I explore the unexpected developments in teaching, learning and scholarship that have occurred as a result. I also acknowledge the questions and critiques that the pandemic revealed. Whilst the longing for in-person music-making continued, it was reassuring to know that we retained our capacity to connect.
{"title":"The grief and the possibility: An autoethnographic reflection on teaching community music at third level during COVID-19","authors":"Kathleen Turner","doi":"10.1386/ijcm_00076_1","DOIUrl":"https://doi.org/10.1386/ijcm_00076_1","url":null,"abstract":"In this autoethnographic reflective essay, I explore the challenges that the COVID-19 crisis presented to community music training and practice within a university setting, through the evocative ‘storying’ of key experiences from my own work. I acknowledge the sense of grief that came with losing opportunities for music-making face to face. Whilst online music-making matters, the visceral experience of sound within space was deeply missed by staff and students. In contrast, I also explore the possibilities that COVID-19 pushed us to explore. These include connecting with international partners in our regular teaching, establishing a digital collaborative project with a local school and creating online placement opportunities. I explore the unexpected developments in teaching, learning and scholarship that have occurred as a result. I also acknowledge the questions and critiques that the pandemic revealed. Whilst the longing for in-person music-making continued, it was reassuring to know that we retained our capacity to connect.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81444646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this study was to assess the ways health and well-being-related terms and concepts (health, well-being, quality of life, wellness) appear in International Journal of Community Music (IJCM) articles. The research questions were: (1) how are health and well-being concepts defined or expressed in IJCM articles? (2) What are the central themes or trends in the use of health and well-being terms in IJCM articles? And (3) what are the implications of the use of health and well-being terms for the practice and research of community music? Utilizing an integrative review methodology and supported by database software Airtable, this study examined the application, discussion, operationalization, and contextualization of music, health and wellness terms and concepts as they appear in IJCM to determine the degree of conceptual coherence on health and well-being related terms. Despite the historical and growing interest in connections between music, health and wellness among community music researchers, analysis revealed a lack of coherence in the use of health-related terms and concepts. Further, health and well-being are rarely operationalized in IJCM articles. As a result, findings from studies are not comparable and it is difficult for the knowledge base to advance.
{"title":"Music, health and well-being in IJCM articles: An integrative review","authors":"Lloyd McArton, R. Mantie","doi":"10.1386/ijcm_00075_1","DOIUrl":"https://doi.org/10.1386/ijcm_00075_1","url":null,"abstract":"The purpose of this study was to assess the ways health and well-being-related terms and concepts (health, well-being, quality of life, wellness) appear in International Journal of Community Music (IJCM) articles. The research questions were: (1) how are health and well-being concepts defined or expressed in IJCM articles? (2) What are the central themes or trends in the use of health and well-being terms in IJCM articles? And (3) what are the implications of the use of health and well-being terms for the practice and research of community music? Utilizing an integrative review methodology and supported by database software Airtable, this study examined the application, discussion, operationalization, and contextualization of music, health and wellness terms and concepts as they appear in IJCM to determine the degree of conceptual coherence on health and well-being related terms. Despite the historical and growing interest in connections between music, health and wellness among community music researchers, analysis revealed a lack of coherence in the use of health-related terms and concepts. Further, health and well-being are rarely operationalized in IJCM articles. As a result, findings from studies are not comparable and it is difficult for the knowledge base to advance.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85230327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
R. Mantie, Jonathan G. Bayley, Kari K. Veblen, Kirsten Allstaff, Danielle Sirek
Janice Waldron (1957–2022), professor at the University of Windsor (Canada), was an accomplished musician, teacher and researcher. Her scholarly passions revolved around informal music learning practices, online and offline music communities, social media and music learning, and Irish and Scottish traditional musics. In this dedication to Waldron, five friends and colleagues – Kari Veblen, Jonathan Bayley, Kirsten Allstaff, Danielle Sirek and Roger Mantie – offer reflections on her life and work and the legacy she has left for scholars and practitioners of community music.
Janice Waldron(1957-2022)，加拿大温莎大学教授，是一位有成就的音乐家、教师和研究者。她的学术热情围绕着非正式音乐学习实践，在线和离线音乐社区，社交媒体和音乐学习，以及爱尔兰和苏格兰传统音乐。在对沃尔德伦的献礼中，五位朋友和同事——Kari Veblen, Jonathan Bayley, Kirsten Allstaff, Danielle Sirek和Roger Mantie——对她的生活和工作以及她为学者和社区音乐从业者留下的遗产进行了反思。
{"title":"Considering musical communities online and offline: A dedication to the life and work of Janice Waldron (13 April 1957–7 November 2022)","authors":"R. Mantie, Jonathan G. Bayley, Kari K. Veblen, Kirsten Allstaff, Danielle Sirek","doi":"10.1386/ijcm_00078_1","DOIUrl":"https://doi.org/10.1386/ijcm_00078_1","url":null,"abstract":"Janice Waldron (1957–2022), professor at the University of Windsor (Canada), was an accomplished musician, teacher and researcher. Her scholarly passions revolved around informal music learning practices, online and offline music communities, social media and music learning, and Irish and Scottish traditional musics. In this dedication to Waldron, five friends and colleagues – Kari Veblen, Jonathan Bayley, Kirsten Allstaff, Danielle Sirek and Roger Mantie – offer reflections on her life and work and the legacy she has left for scholars and practitioners of community music.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84732631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article outlines a conceptual framework for sharpening how we understand and articulate the social impact of community music. Frequently community music programmes speak about bold social impact intentions, especially in areas relating to social justice, with little explanation about the processes that could lead to such changes and patchy details about the extent to which those changes have actually occurred. This is not to say these programmes are not having a positive social impact in communities. Rather, there is an opportunity for our field to sharpen how we conceptualize, identify, evaluate and communicate these outcomes. This article builds on a mounting evidence base of research in our field that documents the multifarious benefits that come from participating in community music. However, it takes this research a step further by providing a conceptual framework for critically thinking through how these positive outcomes can lead to the kinds of macro, systemic changes needed for social impact to occur. As the field continues to grow and diversify internationally, against a backdrop of social, cultural and climate challenges, having ways to understand and articulate community music’s impact could enhance our practice and research, but also lead to greater influence in advocacy, policy and cross-sector domains.
{"title":"A conceptual framework for understanding and articulating the social impact of community music","authors":"B. Bartleet","doi":"10.1386/ijcm_00074_1","DOIUrl":"https://doi.org/10.1386/ijcm_00074_1","url":null,"abstract":"This article outlines a conceptual framework for sharpening how we understand and articulate the social impact of community music. Frequently community music programmes speak about bold social impact intentions, especially in areas relating to social justice, with little explanation about the processes that could lead to such changes and patchy details about the extent to which those changes have actually occurred. This is not to say these programmes are not having a positive social impact in communities. Rather, there is an opportunity for our field to sharpen how we conceptualize, identify, evaluate and communicate these outcomes. This article builds on a mounting evidence base of research in our field that documents the multifarious benefits that come from participating in community music. However, it takes this research a step further by providing a conceptual framework for critically thinking through how these positive outcomes can lead to the kinds of macro, systemic changes needed for social impact to occur. As the field continues to grow and diversify internationally, against a backdrop of social, cultural and climate challenges, having ways to understand and articulate community music’s impact could enhance our practice and research, but also lead to greater influence in advocacy, policy and cross-sector domains.","PeriodicalId":43980,"journal":{"name":"International Journal of Community Music","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80003866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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