Every day people come together to make music. Whether amateur or professional, young or old, jazz enthusiasts or rock stars, what is common to all of these musical groups is the potential to create communities of musical practice (CoMP). Such communities are created through practices: ways of engaging, rules, membership, roles, identities and learning that is both shared through collective musical endeavour and situated within certain sociocultural contexts. Ailbhe Kenny investigates CoMP as a rich model for community engagement, musical participation and transformation in music education.
This book is the first to produce a valid and reliable in-depth study of music communities using a community of practice (CoP) framework - in this case focusing on the social process of musical learning. Employing case study research within Ireland, three illustrations from particular sociocultural, genre-specific, economic and geographical contexts are examined: an adult amateur jazz ensemble, a youth choir, and an online Irish traditional music web platform. Each case is analysed as a distinct community and phenomenon offering sharpened understandings of each sub-culture with specific findings presented for each community.
Part 1: A Place for Communities of Musical Practice
1. Defining communities of musical practice
2. Investigating communities of musical practice
Part 2: Illustrations of Communities of Musical Practice
3. A jazz community
4. A choral community
5. An online community
Part 3: Insights from Communities of Musical Practice
6. Understanding communities of musical practice
7. Fostering communities of musical practice.
The theme for the series is the psychology of music, broadly defined. Topics include (i) musical development at different ages, (ii) exceptional musical development in the context of special educational needs, (iii) musical cognition and context, (iv) culture, mind and music, (v) micro to macro perspectives on the impact of music on the individual (from neurological studies through to social psychology), (vi) the development of advanced performance skills and (vii) affective perspectives on musical learning. The series presents the implications of research findings for a wide readership, including user-groups (music teachers, policy makers, parents) as well as the international academic and research communities. This expansive embrace, in terms of both subject matter and intended audience (drawing on basic and applied research from across the globe), is the distinguishing feature of the series, and it serves SEMPRE’s distinctive mission, which is to promote and ensure coherent and symbiotic links between education, music and psychology research.