Community Music

Higgins, Lee

doi:10.1093/acprof:oso/9780199777839.001.0001

Cited by 110 publications

(14 citation statements)

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“…The lens through which we examined this blended formal/informal college music ensemble was what Higgins (2007aHiggins ( , 2007bHiggins ( , 2012, drawing from the work of French philosopher Jacques Derrida, described as acts of hospitality. In describing degrees of hospitality, Higgins likened the concept to hosting a party.…”

Section: Theoretical Frameworkmentioning

confidence: 99%

“…In describing degrees of hospitality, Higgins likened the concept to hosting a party. In contrast to a more hospitable party host, who opens his or her house to everyone with no preconditions, a less hospitable party host might invite specific guests, select the music to be played, and perhaps even hide the CDs and protect the wooden surfaces with tablecloths (Higgins, 2012). Put into a music education context, in contrast to a more hospitable bandleader, who opens his or her program to everyone with no preconditions, a less hospitable bandleader might teach only students who play certain prespecified instruments, select the music to be played, and preserve the masterworks by passing them on to members of the next generation.…”

Section: Theoretical Frameworkmentioning

confidence: 99%

“…Finally, we use the term hospitality (Higgins, 2007a(Higgins, , 2007b(Higgins, , 2012 to contextualize the kind of environment the bandleader curates for music making and learning.…”

Section: Definitionsmentioning

confidence: 99%

“…We use the term blended formal/informal to describe an approach that scholars (Feichas, 2010; Georgii-Hemming & Westvall, 2010; Green, 2006; Isbell, 2015; McPhail, 2013; O’Flynn, 2006) have called for that incorporates both formal and informal practices and includes students from both formal and informal backgrounds. Finally, we use the term hospitality (Higgins, 2007a, 2007b, 2012) to contextualize the kind of environment the bandleader curates for music making and learning.…”

Section: Informal Music Learningmentioning

confidence: 99%

“…As students get older, they increasingly perceive a disconnection between school music and music experienced outside of school (De Vries, 2010; Greer, Dorow, & Randall, 1974; Hargreaves, Comber, & Colley, 1995; McPherson & Hendricks, 2010). In contrast to music experienced outside of school, some scholars have suggested that school music can be inhospitable (Higgins, 2007a, 2007b, 2012), undemocratic and noncreative (Allsup, 2003; Georgii-Hemming & Westvall, 2010; Green; 2002; Jaffurs, 2004), not conducive to the development of independent and self-directed learners (Lebler, 2007), and not affirming of students’ musical interests and skills (De Vries, 2010; McPhail, 2013). It is not that students dislike music; many of them just do not like school music (McPherson & Hendricks, 2010; Seifried, 2006; Shah, 2006; Temmerman, 1993).…”

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confidence: 99%

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Bringing the Outside In

West

Cremata

2016

Journal of Research in Music Education

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Through the lens of hospitality, we explored the meanings that members constructed about their experiences within a blended formal/informal college music ensemble. The focus in this ensemble was not on competition and musical excellence but on independent musicianship and praxis. The bandleader had his roots in tradition but his heart in socially relevant pedagogy and favored a less autocratic teaching and learning style. The makeup of the ensemble also included students from both formal and informal backgrounds. Conducting gesture was casual, bandstand formation was loose and free, outfits were expressive of the individual, and tone and balance were more a reflection and celebration of individuals and less of a whole or single sound. Much of the music was performed from standard notation but was chosen collectively, often related to popular contexts, and the overall emphasis was not on uniformity but on individuality and student creativity. Musical decisions often were made democratically, and opinions from within the ensemble were affirmed in the process. The ensemble consisted of a group of approximately 13 members whose experience ranged from beginner to over 30 years and who played everything from violin to iPad. Themes that emerged were inclusivity, autonomy, and affirmation.

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Section: Theoretical Frameworkmentioning

confidence: 99%

Section: Theoretical Frameworkmentioning

confidence: 99%

“…Finally, we use the term hospitality (Higgins, 2007a(Higgins, , 2007b(Higgins, , 2012 to contextualize the kind of environment the bandleader curates for music making and learning.…”

Section: Definitionsmentioning

confidence: 99%