The possibility of making music a more secure source of income for the professional musician does not seem to offer much hold for the future of music. However, the possibility of making music more a part of the life of the people through amateur participation offers a possibility for further growth of music which may help to make music a truly worthwhile part of our culture. It is the purpose of this thesis to examine the field of post school instrumental music. Post school instrumental music, for the purposes of this thesis, shall be defined as music, for the purposes of this thesis, shall be defined as music played by groups of people who have left school through graduation or other means nad have continued to play their instruments as amateurs or as semi-professionals. While the study was limited to Central California much of the data obtained is probably not confined to Central California but applies to a certain degree all over the United States. Instrumental and vocal music have many things in common. Much which can be said for vocal music holds true in the field of instrumental music. This thesis will also establish the value of post school music to the individual, the community, and music itself; the opportunities in post school music which exist at the present time; the attitudes of the individuals who could lead and participate in post school music; end the possibilities for the development of a worthwhile program of post school instrumental music in Central California.

This study investigates the connections between the experiences of participants and a facilitator in an intergenerational community music ensemble, including how participants make personal sense of their individual identities and positions within the field of the Intergenerational Community Cello Ensemble (ICCE), how participants map their musical and pedagogical interactions in the field of the ICCE, and how my experiences as a facilitator impact and evidence the construction of my own identities both within and beyond the field of the ICCE. I applied a lens of habitus based on Pierre Bourdieu’s social capital theory to examine how participants constructed a sense of self in their fields and to explore how participants shaped and were shaped by their social worlds. Thirteen cellists, including me, participated in this study. These cellists represented differing socio-demographics of age, race, gender, and religion. I collected data from multiple interviews with seven of the participants, recorded observations of the ensemble rehearsals, and facilitated two focus group surveys. The focus group surveys were open to all participants, but attendance varied based on availability. Research questions included: How does the experience of participating in the ICCE impact individual identities and positions within the field of the intergenerational community music ensemble? How are these identities and positions impacted within the field of the ICCE? How are these identities and positions impacted within fields beyond the ICCE? Is there any transfer between the ICCE and fields beyond the ICCE? How do participants map their musical and pedagogical interactions in the field of the ICCE? How does my experience as a facilitator impact and evidence the construction of my own identities both within and beyond the field of the ICCE? My data analysis suggested that participants experienced an overall sense of connection and increased musical proficiency in various areas: musical reading, instrumental proficiency and performance, and musical and pedagogic authority. I also considered how my identity was shaped by the reciprocal relationships developed through facilitation and participation in the ICCE. Findings suggest that participants advanced their musical and social skills as forms of personal development thus enhancing their perceptions of community music’s social and performative experiences. This study explores ways that trust, mutual respect, and shared capital were exchanged between participants and the participant-facilitator, including how these relationships enhanced confidence and connections reciprocally between those musicking and extending into broader communities in which they operate.

No description available.

The primary purpose of this paper is to document the two-year development of The East-Central Indiana Community Singers, Incorporated. In these two years the goals were to strive for more professional musicianship in performance and to promote the group's becoming a self-sustaining organization. By a clear exposition of the methods utilized in dealing with the major difficulties, the writer hopes to be of assistance to others engaged in such endeavors, and to encourage the development of other community choral organizations. Beginning conductors hope for professional situations that will allow ample time for research of the literature and for the selection, preparation, and rehearsal of music for performance. Such professional opportunities are not only rare but are most often reserved for those with considerable experience. As director of the Community Singers, the writer is fortunate in having had such an opportunity. Many orchestras are able to pay for professional services; the writer feels that it is also possible for choral organizations to achieve a higher-position in the professional music world.The development of a community chorus is a great challenge that can grow into a professional opportunity. It requires musicianship, a commanding rehearsal technique, the belief that what one is doing is really important, and the willingness to do all the little tasks of mobilizing an organization. It is an exercise in the music education of a miscellaneous group of amateur singers and of the members of a community (the audience), the majority of whom are not likely to be musically educated. It involves cultivating the skills of those with minimal proficiency while, at the same time, fulfilling an obligation to provide a quality experience for the more talented singers. It also involves supervision of the growth of the non-musical aspects of an organizations e.g., the development of a sustained funding program and the improvement of public relations in the community.This document speaks, therefore, to the musician whose primary drive is naturally focused on his own musicianship and the musical development of an ensemble. Its message is that in order to achieve these primary goals, the young director must find ways to attract reliable singers and develop greater audience interest. He is forced to divide his energy to encompass virtually all other aspects of a young, developing organization.Paralleling an account of the actual development process is a brief history of the foundation of the East-Central Indiana Community Singers. An analysis of the state of the group at the end of its first season is also given. The document will then proceed with a description of all pertinent methods used to develop stability during the chorus' second season. The methods will cover both rehearsal-performing goals and ancillary organizational activity.The year's experience as director of the East-Central Indiana Community Singers has been invaluable to the author of this paper. At the outset she conceived of her responsibilities as being primarily musical. In fact, as a musician she was invited to assume the position as conductor of the group, and as a musician she accepted that contract. In the body of this document is overwhelming evidence of the fact that such a position in an arts organization in the United States involved many talents and energies not necessarily related to music. This writer feels that her experiences have been typical of the experiences any conductor faces in a similar endeavor. Therefore, although the work of developing a community choral organization has been of great value to her personally, she is convinced that the process described here in detail can be of practical use to others. The description is augmented by appendixes that include copies of financial business papers, correspondence, representative publicity and performance dates. These materials provide the interested reader with procedural models that can be adapted for use by other organizations.Regarding specific documentation of the development of the Community Singers, the writer includes a tape of the performance in English of the Brahma Requiem, as it was recorded on March 30, 1980, in the Masonic Auditorium of Muncie, Indiana, with full orchestra, a chorus of eighty-seven singers, and a generous audience.

Thesis (B.A. (Hons.))--University of Western Sydney, 2004. / A thesis submitted to the University of Western Sydney, College of Arts, Education and Social Sciences, School of Contemporary Arts, in partial fulfilment of the requirements for the degree of Bachelor of Arts Honours (Music). Includes bibliographies.

This study explores the experiences of a group of music therapy students in setting up and working at three community placements: a residential home for the mentally disabled, an HIV/Aids clinic at a state hospital and a shelter for homeless boys. The study investigates how these students made use of a Community Music Therapy framework in conducting, reflecting on and discussing the music therapy work at these placements. The research was conducted utilizing qualitative research methodology and data were in the form of three semi-structured interviews which were conducted with the six students - two from each placement. Transcriptions of the interviews were subjected to content analysis by the researcher and these findings are discussed in relation to seven categories, namely Space and Boundaries, Performance, Community Music Therapy Theory, Staff’s varying Attitudes and Involvement, Goals and Value, Logistics and Challenges, and Students’ Personal Development. Lastly three themes that emerged from the data, namely Shifting the boundaries: music therapy inside and out; Interacting with the context and Students’ development: professional and personal growth, are discussed. / Dissertation (MMus)--University of Pretoria, 2009. / gm2014 / Music / Unrectricted

The choral music experience was one of the countless areas of daily life upended by the COVID-19 pandemic. The St. Paul’s Episcopal Church Choir , primarily comprised of volunteer congregation singers, transitioned to a fully virtual choir format from March 2020 to May 2021. During this time, the choir members recorded their voices from home to create over 200 virtual choir performances. The purpose of this instrumental case study was to investigate participant perspectives of an established church choir program’s transition into and out of a virtual format during the COVID-19 pandemic. The goal of this study was to answer the following questions: (1) What do participants cite as influences on their choice to participate or not participate in the Virtual Choir? (2) How do participants describe their perceived benefits of their Virtual Choir participation? (3) What do choir members value most in their church choir participation?Data were collected in fall 2021 as the choir returned to in-person singing. Thirteen volunteer choir members participated in the data collection which consisted of a written statement, one-on-one interview, and focus group discussion. Participants reflected on their experiences in the choir prior to, during, and after the COVID-19 quarantine. The participants’ perspectives were compared to existing studies on community choral music participation. Data revealed that participants described the Virtual Choir recording process as musically unsatisfying when compared to in-person singing. Some participants struggled with hearing their own recorded voice and missed the experience of sharing music-making in the moment with their fellow choir members. Despite their frustrations, participants found motivation in supporting the church community and the continued virtual social interactions with the choir. Participants benefited from a virtual social outlet through weekly Zoom choir rehearsals which allowed for continued contact and check-ins with fellow singers. Some participants stated that they benefited from musical gains as the Virtual Choir provided a reason to sing when in-person opportunities became unavailable. Others cited how the weekly recorded process prevented musical skill deterioration as they could practice and monitor their vocal progress through their isolated recordings. Data also revealed that participants valued the church choir community more than the music itself. Participants care for their fellow choir members and their choir participation led to a choir family dynamic described as special and unique compared to other areas of their lives. Findings were compared with existing community choral music participation research to identify many consistencies between the motivations, benefits, and values of the Virtual Choir participation. Despite the similarities, key differences highlighted how the Virtual Choir led to stress and frustration for many participants. Music-making with the Virtual Choir was described as unsatisfying and more challenging than the in-person format. Findings demonstrate that continuing adult music education should not be overlooked by music educators, directors, and teacher educators. Adult music education provides opportunities for choir members to pursue a lifelong love of music and music learning. While the virtual format increased accessibility for choir members during the quarantine, educators must consider supporting singers’ vocal self-efficacy as to not exclude potential ensemble members. As virtual music-making continues to evolve, educators, directors, and teacher educators should consider professional development and training to be prepared for virtual music-making opportunities within their programs. / Music Education

No description available.

Qualitative research was conducted in order to explore the generation of social and musical capital through music therapy sessions and musical activities with youths attending the Redefine Community Music Project in the Western Cape. This study was conducted from the perspective of Wood‟s Matrix Model (2006) of music therapy where different interlinking musical activities in a range of contexts are shown to extend the benefits of individual music therapy. Data were gathered through conducting a case study with one of the ensemble groups in the Redefine Community Music Project. This group attended music therapy sessions, and the members of the group took part in ensemble rehearsals in preparation for the bi-annual public performance. Data were analysed through using Ansdell and Pavlicevic‟s (2001) method of qualitative content analysis, as well as the analytic technique of open coding proposed by Gibbs (2007). The findings suggest that the multi-faceted format of the Matrix Model of music therapy (Wood, 2006), as reflected in the socio-musical networks of the Redefine Community Music Project, offered participants enhanced opportunities to generate social and musical capital. By facilitating diverse opportunities for musicing in various contexts, participants were enabled to accrue a broad range of social and musical capital with which to create valuable relationships to the self and with others. It is suggested that music therapists and community musicians wishing to facilitate the generation of social capital through music flexibly adapt their practices to the socio-musical needs of the communities in which they work and offer diverse formats of musicing in which social and musical capital may be generated. In this manner individuals and communities may be empowered to cultivate relationships of diverse value in a creative way. / Dissertation (MMus)--University of Pretoria, 2012. / Music / unrestricted

粤劇亦被譽為「南國紅豆」已有三百多年歷史是中國傳統戲曲之一。粤劇流傳於南中國,香港,以及海外華人的社會,其中以廣州佛山一帶最為著名。然而在近年外來文化的影響下,粤劇逐漸被忽視。自二零零九年起,粤劇正式被列為聯合國教科文組織人類非物質文化遺產。隨著國家政府對粤劇的重視,地方傳統曲藝在廣州的發展亦產生了變化。本論文以廣州粤劇的音樂社區為中心,著眼於樂師,把樂師分為業餘者,職業樂師及國家級演奏員三類。本論文亦論述粤劇樂師在粤劇國家化的過程中所面對的改變及所扮演的角色,並探討粤劇由一種地方性的民間傳統藝術演變為一項代表國家的非物質文化遺產對當地音樂社區造成的衝擊。 / Since Cantonese Opera was declared an intangible cultural heritage representation by United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2009, the Chinese government has carried out different policies to “develop Cantonese Opera. This study looks at the recent “development“ of Cantonese Opera in Guangzhou from the perspective of musicians. In Guangzhou, different forms of performing groups are present, from privately organized interest groups to state-managed national troupes. This study divides the music community in Guangzhou into three sub-communities: amateurs, professionals and national musicians and investigates the changing lifestyle and way of interaction of musicians within the music community due to the changes that have occurred in Guangzhou with the listing of Cantonese Opera as an intangible cultural heritage. / This research focuses on the musicians in the Cantonese Opera music community in Guangzhou. Based on a three-month intensive fieldwork and two pilot studies conducted in 2011 using participant observation and indepth interview, this thesis aims to explore the following questions: in what ways are the musicians’ social life and mode of living altered? Has the whole music community become more strengthened and united owing to the social changes? Or is the music community becoming more stratified? Is the music community harmonious or full of dissonance? / Detailed summary in vernacular field only. / Cheung, Ah Li. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 127-133). / Abstracts also in Chinese. / Abstract --- p.i / 摘要 --- p.ii / Acknowledgements --- p.iii / Table of Contents --- p.v / List of Figures and Tables --- p.vii / Chapter Chapter One --- : Introduction --- p.1 / Introduction --- p.1 / Contribution --- p.4 / Defining Music Community --- p.6 / Literature Review --- p.8 / The Ethnomusicological Perspective --- p.8 / The Socio-cultural Perspective --- p.10 / The Heritage Perspective --- p.13 / Methodology --- p.15 / Participant Observation --- p.17 / Interviews --- p.19 / Thesis Structure --- p.20 / The Romanization of Chinese Wordings --- p.21 / Chapter Chapter Two --- : History of Cantonese Opera and its Music Community --- p.22 / Tracing the Roots of Cantonese Opera --- p.22 / Before the 1900s --- p.24 / From the 1900s to the 1960s --- p.25 / From the 1960s to the 1980s --- p.25 / From the 1980s until the Present --- p.26 / Background of the Cantonese Opera Music Community --- p.29 / Differentiating between Yueju, Yuequ and Yuele --- p.33 / The Music Community in Guangzhou --- p.35 / Chapter Chapter Three --- : The Amaterus - The “Happy“ Ones? --- p.38 / General Description --- p.38 / Primary Informants --- p.39 / The Sunshine Cantonese Opera Troupe --- p.40 / The District Workers’ Association Cantonese Opera Troupe --- p.41 / The Evergreen Cantonese Opera Troupe --- p.43 / What is “Sifoguhk“? --- p.44 / Hierarchies between Amateurs --- p.46 / The Status of Sifu --- p.47 / The Musicians’ List --- p.48 / The Amateur Community as a Whole --- p.50 / The Invasion of Capitalism --- p.51 / The “Common Enemy“ --- p.53 / Summary: Are they truly the “happy ones“? --- p.56 / Chapter Chapter Four --- : The Professional Musicians - The Dream Chasers --- p.58 / General Description --- p.58 / “The Cantonese Opera Music Boulevard“ --- p.58 / Primary Informants --- p.60 / The New World Hotel --- p.61 / The City Grand Hotel --- p.62 / Tensions within the Community --- p.63 / Competition between Tea Houses --- p.64 / Relationship between Musicians, Singers and the Audience --- p.67 / The Professional Music Community as a Whole --- p.70 / The Rural-City Melting Pot --- p.71 / The Changing Market Demand --- p.73 / Summary: What is the Shared Dream? --- p.76 / Chapter Chapter Five --- : The National Experts - The Heritage Preservers --- p.78 / General Description --- p.78 / The State’s Theatres --- p.79 / Primary Informants --- p.82 / The Guangzhou City Cantonese Opera Troupe --- p.83 / The Cantonese Music and Folk Art Troupe --- p.84 / Categorizing Musicians --- p.85 / The Yueju and Yuequ Distinction --- p.86 / The National Ranking System --- p.88 / The Power of the State --- p.91 / The Institutionalization of Folk Art --- p.92 / The Nationalization of Local Art Form --- p.94 / Summary: The Heritage Preservers --- p.97 / Chapter Chapter Six --- : From Art-form to Uni-form --- p.99 / Introduction --- p.99 / The Composition of the Community --- p.101 / The Characteristics of the Community --- p.106 / Segregation within the Community --- p.110 / Summary --- p.115 / Chapter Chapter Seven --- : Conclusion --- p.118 / Bibliography --- p.127