A Collaboration Model for School and Community Music Education

Robinson, Mitchell

doi:10.1080/10632919809599454

Cited by 6 publications

(8 citation statements)

References 1 publication

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“…Speaking from a Canadian context, Veblen (2003) observes ‘there is a rich and complex mosaic of community music groups, activities, and networks in Canada which relates to music in schools in important ways’ (Veblen, 2003, p. 27). Likewise Robinson (1998) describes the ways in which groups of arts organisations, schools and colleges in the USA have joined together in innovative working relationships to challenge the ‘ hows , whats , and whys of the music education enterprise in both institutions’ (p. 36). Albrecht (1997) similarly explores how the expansion of parental, teacher and community resident participation in the culture of Wisconsin public schools has resulted in positive social changes in these communities.…”

Section: The Relationship Between School Music and Community Music Inmentioning

confidence: 99%

Building vibrant school–community music collaborations: three case studies from Australia

Bartleet¹

2012

Brit. J. Music. Ed.

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Link to this article: http://journals.cambridge.org/abstract_S0265051711000350How to cite this article: Brydie-Leigh Bartleet (2012). Building vibrant school-community music collaborations: three case This paper explores the relationship between school music and community music in Australia. While many Australian schools and community music activities tend to exist in relative isolation from one another, a range of unique school-community collaborations can be found throughout the country. Drawing on insights from Sound Links, one of Australia's largest studies into community music, this paper explores three case studies of these unique school-community collaborations. These collaborations include a community-initiated collaboration, a school-initiated collaboration and a mutual collaboration. The author brings these collaborations to life for the reader through the words and experiences of their participants, and explores their structures, relationships, benefits, and educational and social outcomes. These descriptions feature important concepts, which could be transferred to a range of other cultural and educational settings in order to foster more vibrant school-community collaborations.

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Section: The Relationship Between School Music and Community Music Inmentioning

confidence: 99%

Building vibrant school–community music collaborations: three case studies from Australia

Bartleet¹

2012

Brit. J. Music. Ed.

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“…These concerts are part of a growing trend in school-based performance programmes. Robinson (1998) concurred that “Groups of arts organizations, schools, and colleges in some locations across the country are now banding together in innovative working relationships designed to break down the arbitrary barriers between agencies and replace them with complementary goals and missions” (p. 2). Rethinking the idea of community presents opportunities to explore musical transmission not just as symbols of social grouping, but as central in generating, shaping, and sustaining new collectivities (Shelemay, 2011).…”

Section: Discussionmentioning

confidence: 99%

“…The literature presents a positive picture of musical collaboration occurring in schools and communities internationally (Chong et al, 2013; Griffin, 2007; Kenny, 2014; Robinson, 1998). For teachers directing school ensembles, the burden of creating partnerships on top of a busy workload can seem unnecessary.…”

Section: Discussionmentioning

confidence: 99%

“…Such collaborations can also maintain collegial support in places where music teachers feel isolated or unsupported. The Eastman/Rochester partnership in New York involves university, school and community and provides complementary goals and share resources between institutions wanting to promote young musicians (Robinson, 1998). In Limerick, Ireland, a partnership between a third level institution, resource agency and primary school provides musical opportunities for students in a disadvantaged area (Kenny, 2014).…”

Section: Introductionmentioning

confidence: 99%

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“I think everyone’s been thrilled”: Music teachers’ perspectives on school music performance collaborations

Sutherland

2017

International Journal of Music Education

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Thanks to the efforts of music teachers in arranging concerts, young musicians develop a multitude of skills when performing with others. Music teachers are notoriously time-poor with the pressures of various curricular and co-curricular demands. To find time to provide performance opportunities for students that involve other schools adds layers of administrative complexities to an already comprehensive workload. Although there is literature to suggest the benefits of collaboration, the necessities of getting the mechanics of a music department running smoothly often places the idea of musical collaboration in the category of “luxury” to be considered “when there is time”. The experiences of several music teachers from different schools who have collaborated on a series of concerts performed biannually evolved over six years and significantly impacted their music departments. An important component of these concerts was the impact of the visiting conductors who acted as “Artists in Residence” in the lead up to the performance. The findings suggest collaboration as being vital to the building process of a developing Music Department and the article makes recommendations for the use of guest conductors.

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“…Increasingly, effective partnership with the wider world is a key feature of successful schools. Several publications and policies have been produced and research studies have explored successful partnership projects helping a range of providers and interested parties to work more effectively together (Arts Council England (ACE), 2001Addo, 2003;Bretherick & Keeler, 2004;Cheung, 2008;Coll & Deane, 2008;Department for Children, Schools and Families (DCLG), 2006, 2008a, 2008bDeNardo, 1997DeNardo, , 2001Dreeszen, 1992;King & Reeve, 2006;McCusker, 1999;Partnerships for Schools, 2009;QCA, 2007;Robinson, 1998;Sinsabaugh, 2006;Stephens, 2008;United Nations Educational, Scientific and Cultural Organization (UNESCO), 2006;Wharton Conkley & Henry, 2002).…”

Section: The Importance Of Partnership Workingmentioning

confidence: 99%

Effective partnership working in music education: Principles and practice

Hallam¹

2011

International Journal of Music Education

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Successful partnerships between policy makers and deliverers, providers and recipients can be both strategic and operational. Partnerships can operate in several different ways at the same time. Joint programmes achieve more than each organization or individual can achieve separately. The impact on children and young people can be profound if the quality of musical experiences provided is high; and there is benefit to young people, their families, musicians and teachers, the whole school and the community. Effective partnership working takes account of context; requires good communication, time, leadership, mutual trust, clarity of roles and responsibilities, and the support of senior management. Training needs must be identified and addressed. Planning, monitoring and evaluation are crucial and a shared ethos and sense of purpose are essential. The article draws on evidence for effective partnership working in music education and concludes that young people can access a more meaningful and worthwhile music education programme if the strengths of different partners are effectively harnessed and deployed. Practical suggestions are offered.

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A Collaboration Model for School and Community Music Education

Cited by 6 publications

References 1 publication

Building vibrant school–community music collaborations: three case studies from Australia

Building vibrant school–community music collaborations: three case studies from Australia

“I think everyone’s been thrilled”: Music teachers’ perspectives on school music performance collaborations

Effective partnership working in music education: Principles and practice

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