The island of Kökar, located in the outer archipelago of the Åland islands of Scandinavia, is traditionally a society known for its rich culture connected to the living tradition of traditional folk music. In media the island is portrayed as The island of Fiddles. Yet at the same time the number of people actually playing, singing and dancing in the traditional style is declining year by year. With the application of Thomas Turinos conceptual framework on participatory- and performative music making, island culture is analyzed, looking at what wider societal values are expressed within the contemporary musicking practices. The study shows example of different types of musicing contexts, key actors and -arenas, as well as ideas on the connection between music and a Kökar island identity. The essay provides empirical evidence for how different musical events such as a cultural festival, a choir and a fiddler team can contribute to social sustainability, in accordance with Turino's theory of participatory music making as part of artistic citizenship.

This study views the Field Band Foundation’s activities through the lens of artistic citizenship. The aim of this study is to create an expanded theoretical framework for music education as/for artistic citizenship by analysing the related literature and data gathered from the Field Band Foundation in the Gauteng area. In Another Perspective: Music Education as/for Artistic Citizenship Elliott (2012a) gives practitioners three goals to realize if they wish to empower participants to achieve artistic citizenship. These three goals may be summarized as: 1) putting music to work in the community 2) infusing music with an ethic of care and 3) making music as ethical action for social justice. These three goals served as the initial compass during the conception and analysis stages of this study. This study was designed as an instrumental case study. The eclectic data set is made up of literature, interviews, documents, visual and audio-visual data gathered from March 2013 to July 2014. Atlas.ti7 was used to analyse the data. A preliminary theoretical framework was created from the literature. In this framework each of the three themes, expressed through Elliott’s goals, are expanded to include various categories. This framework was used as a priori codes to better understand artistic citizenship as lived in the Field Band Foundation. During the analysis of the data gathered from the Field Band Foundation the categories identified in the literature was expanded to include sub-categories. After analysing the data, gathered in the Field Band Foundation, an expanded theoretical framework for artistic citizenship was created. From the view point of artistic citizenship a community music education project, such as the Field Band Foundation, is shown to empower participants to achieve personal and communal transformation. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

This study views the Field Band Foundation’s activities through the lens of artistic citizenship. The aim of this study is to create an expanded theoretical framework for music education as/for artistic citizenship by analysing the related literature and data gathered from the Field Band Foundation in the Gauteng area. In Another Perspective: Music Education as/for Artistic Citizenship Elliott (2012a) gives practitioners three goals to realize if they wish to empower participants to achieve artistic citizenship. These three goals may be summarized as: 1) putting music to work in the community 2) infusing music with an ethic of care and 3) making music as ethical action for social justice. These three goals served as the initial compass during the conception and analysis stages of this study. This study was designed as an instrumental case study. The eclectic data set is made up of literature, interviews, documents, visual and audio-visual data gathered from March 2013 to July 2014. Atlas.ti7 was used to analyse the data. A preliminary theoretical framework was created from the literature. In this framework each of the three themes, expressed through Elliott’s goals, are expanded to include various categories. This framework was used as a priori codes to better understand artistic citizenship as lived in the Field Band Foundation. During the analysis of the data gathered from the Field Band Foundation the categories identified in the literature was expanded to include sub-categories. After analysing the data, gathered in the Field Band Foundation, an expanded theoretical framework for artistic citizenship was created. From the view point of artistic citizenship a community music education project, such as the Field Band Foundation, is shown to empower participants to achieve personal and communal transformation. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

This document examines current practices and opportunities in the music performance field related to artistic citizenship, community engagement, and the field of teaching artistry. The relationship of musicians to their audiences and communities has shifted significantly in the twenty-first century, and there is an increasing need to redefine the essential skills of the professional musician. Derived from the field of teaching artistry, the concept of "activating artistry" suggests that our greatest strength and power as artists lies in drawing out individual artistic expression in other people, and it is with this power that artists as a workforce can create meaningful change in society. This intention could be manifested in many different contexts during the course of a given music career, however, developing the tool kit necessary for engaging in such work is not widely emphasized in the training of musicians. What tools can be provided for students and professionals to help them navigate both traditional and evolving career paths in music? How are bassoonists doing as a field in addressing the imperative of community engagement and artistic citizenship? How might we explore more collaborative ways to engage with our diverse communities – ways that value their perspectives? These questions guide an exploration of current practices in the bassoon field, with an overall goal of providing practical examples, resources, and inspiration for engaging in the work of activating artistry. Central to the discussion is the intersection of the professional bassoonist with the teaching artist field. Examples of lesson plans/strategies and ideas for curating educational performances demonstrate potential uses of the bassoon and its repertoire in teaching artist residencies and other community engagement settings.