Community Music in Higher Education : Addressing Excellence (Standards) and Inclusivity (Accessibility)

Kurzfassung/Abstract

In rethinking concepts and redefining common terms in university music study, this
discussion addresses issues that pertain to the place that community music has opened up in both undergraduate and graduate programs. With reference to the conference sub-theme of Tradition, Locality, and Cultural Identity we locate this within a university setting. Concepts that underpin cm principles and oriented in the notion of people, places, participation, inclusion and diversity (Higgins and Willingham, p. 4), are discussed as music for whom, by whom and with whom. Terms such as inclusivity and excellence are embedded within cultural norms and protocols. We claim that these concepts merit a fresh look and an updated,
current reframing. History shows that this is not necessarily a new challenge. The Cairo Congress of Arab Music, 1932, brought scholars and performers from throughout the Arabicspeaking world as well as European musicians including Béla Bartók and Paul Hindemith in the hope of acknowledging a relationship between European classical and Arabic music. While the Arab contingent chose to represent their traditions with ensembles, the Europeans chose musicologists, composers and solo performers. An agreement to recognize the interrelationships failed to occur, resulting in a schism between conservatory musics and intercultural community music (Bohlman). This examination of musical practices between two or more distinctly different cultures resulted in considerable documentation and
publication, but little more in terms of ongoing practice and collaboration. Outcomes were not mobilized into practice. In examining boundaries and community, we seek to deepen the concept of inclusion to exceed the conditions of removing financial barriers or privileging solely musical expertise. In further thinking about inclusion/exclusion, we address aspects of procedural, structural, musical, social and leadership within the music for/by/with discussion. Within this framework, the question how can a curriculum that privileges Western European classical music be attractive to students whose desires for music learning are driven by the lives they have led in diverse and vital music traditions outside the Western canon? Where in our curriculum do students have opportunities to explore and experience the deeply social and cross-cultural valuing that music powerfully provides? As community music programs find homes in academies of higher education, institutions are adapting to non-traditional approaches in scholarship in the interest of utilizing relevant and practical strategies to support courses, programs and research. This presentation, reflecting on the theme of Life’s Journey Through Music, Partnerships and Social Cohesion, explores a
collaboration between two university programs in community music, one in Germany and the other in Canada. As the program coordinators who come from different learning cultures have found ways to work together and forge future plans much discussion has taken place most specifically on matters of research and teaching. Finally, we explore the demographics of participation; who is in and who is missing. Our goal is to strive for the ideal of always inclusive community and to identify the boundaries that inevitably emerge as a part of community construction.