- York St John University
Lord Mayor's Walk
York, YO31 7EX
Lee Higgins
York St John University, Music, Faculty Member
- Community Music, Philosophy of Music Education, Music Education, Community Arts, Semiotics of Music, Music, and 18 moreTeacher Education, Technology, Mental Health, History of music, Research Methodology, Musicology, Ontology of Music, Jacques Derrida, Diversity & Inclusion, Hospitality, Community participation and engagement, Improvisation, Music Improvisation, Comunity Music, Cultural Policy, Arts Education, Philosophy of Music, and Sociology of Musicedit
- Professor Lee Higgins is the Director of the International Centre of Community Music based at York St John University... moreProfessor Lee Higgins is the Director of the International Centre of Community Music based at York St John University, UK. As a community musician, he has worked across the education sector as well as within health settings, prison and probation service, youth and community, adult education, and arts organizations. As a presenter and guest speaker, Lee has worked on four continents in university, school, and NGO settings and was the President of International Society of Music Education (2016-2018). He is the senior editor for the International Journal of Community Music and was author of Community Music: In Theory and in Practice (2012, Oxford University Press), co-author of Engagement in Community Music (2017, Routledge) and co-editor of The Oxford Handbook of Community Music (2018).Press).edit
Commissioned by soundLINCS and funded by Youth Music, the purpose of this document is to articulate the findings of an investigation focused on the efficacy of a training initiative which sought a greater understanding of music, and its... more
Commissioned by soundLINCS and funded by Youth Music, the purpose of this document is to articulate the findings of an investigation focused on the efficacy of a training initiative which sought a greater understanding of music, and its value as a resource and intervention for Children’s Services Practitioners (CSPs) in Lincolnshire. The research team took part in a number of training days and engaged the participants in interviews and focus groups exploring the interaction between the Community Music Facilitator and the Children’s Services Practitioners, the music skills being passed on and their potential impact on the workforce. Questions included: What are the distinctive approaches to music development CPD in the soundLINCS project? What are each stakeholder group’s experiences of music development CPD? What is the perceived impact of music development CPD from the perspectives of each stakeholder group? What are the wider implications of the project?
Both responding and adding to the existing literature on Looked After Children and associated theoretical frameworks, workforce development, and projects that have previously engaged with music making the research findings suggested that (1) All participants on the training had a significant experience of music and were able to articulate its importance throughout their life journey; (2) A distinctive aspect of the soundLINCS training was to engage participants in a reflective dialogue of their music experience. Reflective practice was embedded in the training and resonated with the participants; (3) The training approach was effective and connected deeply with the Children’s Services Practitioners, aligning the personal to the professional. This created a springboard through which the workforce could employ music in developing relationships with the client group in the future; (4) The workforce valued the training and saw it as something different to the usual CPD offer; (5) The workforce indicated that working with music, in the way they were shown had the potential for supporting issues around behaviour and communication. In order to achieve greater impact they would need further resources, particularly technology based ones and importantly senior management support.
One of the objectives of the funding that supported the projected was to establish an evidence base that might be replicable beyond the geographic location. Because of the limited sample size and range of stakeholders engaged, this research can only point to the desirability to upscale the project. It is however clear that the primary research and literature point towards the potential benefits of rolling out CPD music training to the Looked After Children workforce.
Both responding and adding to the existing literature on Looked After Children and associated theoretical frameworks, workforce development, and projects that have previously engaged with music making the research findings suggested that (1) All participants on the training had a significant experience of music and were able to articulate its importance throughout their life journey; (2) A distinctive aspect of the soundLINCS training was to engage participants in a reflective dialogue of their music experience. Reflective practice was embedded in the training and resonated with the participants; (3) The training approach was effective and connected deeply with the Children’s Services Practitioners, aligning the personal to the professional. This created a springboard through which the workforce could employ music in developing relationships with the client group in the future; (4) The workforce valued the training and saw it as something different to the usual CPD offer; (5) The workforce indicated that working with music, in the way they were shown had the potential for supporting issues around behaviour and communication. In order to achieve greater impact they would need further resources, particularly technology based ones and importantly senior management support.
One of the objectives of the funding that supported the projected was to establish an evidence base that might be replicable beyond the geographic location. Because of the limited sample size and range of stakeholders engaged, this research can only point to the desirability to upscale the project. It is however clear that the primary research and literature point towards the potential benefits of rolling out CPD music training to the Looked After Children workforce.
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Community music as a field of practice, pedagogy, and research has come of age. The past decade has witnessed an exponential growth in practices, courses, programs, and research in communities and classrooms, and within the organizations... more
Community music as a field of practice, pedagogy, and research has come of age. The past decade has witnessed an exponential growth in practices, courses, programs, and research in communities and classrooms, and within the organizations dedicated to the subject. The Oxford Handbook of Community Music gives an authoritative and comprehensive review of what has been achieved in the field to date and what might be expected in the future. This Handbook addresses community music through five focused lenses: contexts, transformations, politics, intersections, and education. It not only captures the vibrant, dynamic, and divergent approaches that now characterize the field, but also charts the new and emerging contexts, practices, pedagogies, and research approaches that will define it in the coming decades. The contributors to this Handbook outline community music's common values that center on social justice, human rights, cultural democracy, participation, and hospitality from a range of different cultural contexts and perspectives. As such, The Oxford Handbook of Community Music provides a snapshot of what has become a truly global phenomenon.
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A community musician facilitator’s toolkit of skills enables them to engage deeply with musicians on both an interpersonal and musical level. This distinctive approach to practice has developed in response to cultural environments in... more
A community musician facilitator’s toolkit of skills enables them to engage deeply with musicians on both an interpersonal and musical level. This distinctive approach to practice has developed in response to cultural environments in which the ever-increasing commercialization and commodification of music practices has resulted in people’s widespread disengagement from active music making. The purpose of this chapter is to explore community music practice as an “intervention” under the guidance of a music facilitator. Four case studies are used to illustrate
the central notions of this approach. Underpinning these four case studies is also the concept of musical excellence in community music interventions. This notion of excellence refers to the quality of the social experience – the bonds formed, meaning and enjoyment derived, and sense of agency that emerges for individuals and the group – considered alongside the musical outcomes created through the music making experience. The chapter concludes by reflecting on the ways in which community music opens up new pathways for reflecting on, enacting, and
developing approaches to facilitation that respond to a wide range of social, cultural, health, economic, and political contexts.
the central notions of this approach. Underpinning these four case studies is also the concept of musical excellence in community music interventions. This notion of excellence refers to the quality of the social experience – the bonds formed, meaning and enjoyment derived, and sense of agency that emerges for individuals and the group – considered alongside the musical outcomes created through the music making experience. The chapter concludes by reflecting on the ways in which community music opens up new pathways for reflecting on, enacting, and
developing approaches to facilitation that respond to a wide range of social, cultural, health, economic, and political contexts.
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Initially an ‘alternative’ approach to formal education within developing countries, interest in non-formal education emerged from those who felt that formal education systems alone could not respond to the challenges of modern society.... more
Initially an ‘alternative’ approach to formal education within developing countries, interest in non-formal education emerged from those who felt that formal education systems alone could not respond to the challenges of modern society. In this chapter I introduce the concept of non-formal education and describe how these approaches have been applied to understanding musical development and learning with young people through processes such as facilitation. Through five illustrations of practice including popular music in a youth club and samba in a school, I explore the experiences of young people and the processes that enable these experiences to become crucibles of musical expression. In conclusion I suggest that value and recognition be given to non-formal music education in the context of promoting life-long musical learning.
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Although the term “community music” can be understood in a variety of ways, reflecting a myriad of possible contexts and musical situations (Veblen, Messenger, Silverman, & Elliott, 2013), this chapter has its focus on community music as... more
Although the term “community music” can be understood in a variety of ways, reflecting a myriad of possible contexts and musical situations (Veblen, Messenger, Silverman, & Elliott, 2013), this chapter has its focus on community music as an active intervention between a music leader and the participants with whom he or she is working (Higgins, 2012). As a form of thoughtful disruption, intervention denotes an encounter with “newness,” a perspective that seeks to create situations in which new events innovate and interrupt the present toward moments of futural transformation (Bhabha, 1994). Although there might be a danger that those who intervene are seen as an all-knowing Other, my particular location of intervention follows postmodern thinking inasmuch as there is an insistence of the emergence of the in-between, of boundary crossing through negotiation. Actions of interventions, which could include leading workshops, facilitating discussions, or supporting groups in their musical endeavors, demand deliberate strategies that seek to enable people in finding self-expression through musical means. Using teaching concepts rooted in non-formal education (A. Rogers, 2004), such as facilitation (Hogan, 2002), the pedagogic approaches employed by community musicians place an emphasis on negotiation through collaboration, and thus learning takes place through a “bottom-up” rather than “top-down” approach. With a heart toward coauthorship, collaborative group work, and a belief in the creative potential of all sections of the community, those who work in, and advocate for, community music have attempted to transform attitudes, behaviors, and values toward music making through their practice. This in turn has led to critical questioning surrounding the appropriateness of current music education provision in areas such as inclusion, community responsibility, creative opportunities, diversity, and preparation for a life in music making. This chapter has its focus on the creation of musical spaces that are open to each individual participant. Through two illustrative cases and a conceptual framework informed by Jacques Derrida’s writings on justice, I reveal why these music projects can be understood as sites for social justice and thus examples of hospitable music making.
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Community music therapy and applied ethnomusicology represent approaches to music making that enable a deeper understanding of community music. The purpose of this paper is to acknowledge and explore these two areas of musical discourse... more
Community music therapy and applied ethnomusicology represent approaches to music making that enable a deeper understanding of community music. The purpose of this paper is to acknowledge and explore these two areas of musical discourse and, in doing, point toward possible connections, meeting points, and differences in order to invigorate future conversations and collaborations. In conclusion, I suggest that there are more opportunities in community music, more room for scholarly discourse and more open floor for international debate. This constitutes an opportunity to strengthen distinctive fields and through collaboration bolster their philosophical, and thus political, positions in the broader discourse of music education
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Over the last few years community music has moved from an emergent practice to a fully fledged field consolidated through recent publications. This has given community music a scholarly arm not previously seen and as such opened the... more
Over the last few years community music has moved from an emergent practice to a fully fledged field consolidated through recent publications. This has given community music a scholarly arm not previously seen and as such opened the practice toward other musical domains including music therapy, ethnomusicology, and music education. In this keynote address I will consider the following questions: What makes community music practices distinctive? Why is community music important? and Why should music educators care? After situating community music within an international field of practice I will illustrate why I think community music should play an important role in music education. By describing community music as an ‘act of hospitality’ I will unravel some of its pedagogical characteristics and suggest how community music might impact music education more generally.
Research Interests: Psychology, Music Education, Music History, Musicology, Ethnomusicology, and 4 moreMusic Geography, H, M, and L
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Copyright in individual works within the repository belongs to their authors or publishers. You may make a print or digital copy of a work for your personal non-commercial use. All other rights are reserved, except for fair dealings or... more
Copyright in individual works within the repository belongs to their authors or publishers. You may make a print or digital copy of a work for your personal non-commercial use. All other rights are reserved, except for fair dealings or other user rights granted by the ...
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Copyright in individual works within the repository belongs to their authors or publishers. You may make a print or digital copy of a work for your personal non-commercial use. All other rights are reserved, except for fair dealings or... more
Copyright in individual works within the repository belongs to their authors or publishers. You may make a print or digital copy of a work for your personal non-commercial use. All other rights are reserved, except for fair dealings or other user rights granted by the ...
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This article presents a diversity of approaches and a heterogeneity of research methods used, where the aim is to contribute to understandings of how musical engagement across the lifecourse may foster health and well being. Multiple... more
This article presents a diversity of approaches and a heterogeneity of research methods used, where the aim is to contribute to understandings of how musical engagement across the lifecourse may foster health and well being. Multiple perspectives and methodological approaches located in the disciplines of music therapy, community music and music education will be described, including identifying affordances and constraints associated with documenting lifelong and lifewide musical pathways. The research presented examines how lifelong musical engagement in different contexts might contribute to health and well being for different populations. The authors describe and situate their disciplines, present different methodological approaches that might contribute to lifecourse research in music and provide examples of particular projects.
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In this article I present an argument or why improvisation in schoolmusic education is important. Trough a theoretical ramework thatpromotes and arms access and participation, I begin with an analysiso the literature and reveal three... more
In this article I present an argument or why improvisation in schoolmusic education is important. Trough a theoretical ramework thatpromotes and arms access and participation, I begin with an analysiso the literature and reveal three perspectives; improvisation and musi-cianship, improvisation as a situated orm o cultural and musical learning,and improvisation as experience. With an emphasis on improvisationas experience, I consider the opportunities or teachers and students toembark on signicant journeys o musical discovery where improvisationis always a part o what happens. Recasting amiliar concepts I thendescribe some approaches to improvisation explaining how I employ and mobilize terms such as event, acilitation, play and participation,and sae space. I conclude by suggesting that improvisation needs to betheorized dierently i it is to become a valued part o the day-to-day lives o music teachers and students
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Research Interests: Engineering and isme
Research Interests: Sociology and Psychology
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Representing Practices: Community music and arts-based research ... The study of community music activity is an emergent discipline. Exploration, inquiry, and research into its ... Community Music Activity (CMA),1 MENC's Special... more
Representing Practices: Community music and arts-based research ... The study of community music activity is an emergent discipline. Exploration, inquiry, and research into its ... Community Music Activity (CMA),1 MENC's Special Research Interest Group for Adult and Community
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... do something that he approved of, while I was also able to socialize and incorporate other less-conforming aspects of my personality, eg dancing, wearing bright clothes for carnival.' Azra pinpoints the ... 'I work... more
... do something that he approved of, while I was also able to socialize and incorporate other less-conforming aspects of my personality, eg dancing, wearing bright clothes for carnival.' Azra pinpoints the ... 'I work in a formal structured atmosphere where there isn't much fun or social ...
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... do something that he approved of, while I was also able to socialize and incorporate other less-conforming aspects of my personality, eg dancing, wearing bright clothes for carnival.' Azra pinpoints the ... 'I work... more
... do something that he approved of, while I was also able to socialize and incorporate other less-conforming aspects of my personality, eg dancing, wearing bright clothes for carnival.' Azra pinpoints the ... 'I work in a formal structured atmosphere where there isn't much fun or social ...
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Although the term “community music” can be understood in a variety of ways, reflecting a myriad of possible contexts and musical situations (Veblen, Messenger, Silverman, & Elliott, 2013), this chapter has its focus on community music... more
Although the term “community music” can be understood in a variety of ways, reflecting a myriad of possible contexts and musical situations (Veblen, Messenger, Silverman, & Elliott, 2013), this chapter has its focus on community music as an active intervention between a music leader and the participants with whom he or she is working (Higgins, 2012). As a form of thoughtful disruption, intervention denotes an encounter with “newness,” a perspective that seeks to create situations in which new events innovate and interrupt the present toward moments of futural transformation (Bhabha, 1994). Although there might be a danger that those who intervene are seen as an all-knowing Other, my particular location of intervention follows postmodern thinking inasmuch as there is an insistence of the emergence of the in-between, of boundary crossing through negotiation. Actions of interventions, which could include leading workshops, facilitating discussions, or supporting groups in their musical endeavors, demand deliberate strategies that seek to enable people in finding self-expression through musical means. Using teaching concepts rooted in non-formal education (A. Rogers, 2004), such as facilitation (Hogan, 2002), the pedagogic approaches employed by community musicians place an emphasis on negotiation through collaboration, and thus learning takes place through a “bottom-up” rather than “top-down” approach. With a heart toward coauthorship, collaborative group work, and a belief in the creative potential of all sections of the community, those who work in, and advocate for, community music have attempted to transform attitudes, behaviors, and values toward music making through their practice. This in turn has led to critical questioning surrounding the appropriateness of current music education provision in areas such as inclusion, community responsibility, creative opportunities, diversity, and preparation for a life in music making. This chapter has its focus on the creation of musical spaces that are open to each individual participant. Through two illustrative cases and a conceptual framework informed by Jacques Derrida’s writings on justice, I reveal why these music projects can be understood as sites for social justice and thus examples of hospitable music making.
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A documented history of almost fifty years and a growing internationalization and interculturalisation of community music invites a revisiting of some of the field’s approaches, ideologies, and contexts. This chapter critically reflects... more
A documented history of almost fifty years and a growing internationalization and interculturalisation of community music invites a revisiting of some of the field’s approaches, ideologies, and contexts. This chapter critically reflects on historical developments and current realities of how the field is conceptualized around the globe. It also touches on the role of community music facilitators in bringing about social change and outlines some of the key skills, working methods, values and ethics that are commonly associated with work in this field. It provides a snapshot of what has become a truly global phenomenon, and critically discusses the recurring question of whether community music needs a new defitinion or (re)definition in the twenty-first century.
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Community Music im Stadttheater Freiburg, ein Uberblick und Analyse aus internationaler (von Lee Higgins), nationaler (von Alicia de Banffy-Hall) und Theaterperspektive (Thalia Kellmeyer).
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The Oxford Handbook of Community Music captures the vibrant, dynamic, and diverse approaches that characterize community music across the world. The chapters give a comprehensive review of achievements in the field to date, providing a... more
The Oxford Handbook of Community Music captures the vibrant, dynamic, and diverse approaches that characterize community music across the world. The chapters give a comprehensive review of achievements in the field to date, providing a ‘go-to’ volume that both deepens our understanding of what community music does and what it might become. The Handbook also looks to the future and charts new areas that are likely to define the field in the coming decades, such as social justice, political activism, peacemaking, health and well-being, and online engagement with music in community contexts, to mention a few. It features established and emerging practices of scholars and practitioners whose work crosses boundaries between theoretical development, practical engagement, and music-making. The volume features a diversity of topics and approaches, structured in five parts: Contexts; Transformations; Politics; Intersections; and Education. The wealth of insights and thought-provoking pieces ...
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Those who are passionate about people, place, musical participation, inclusion and diversity, embrace community music. As an active intervention between a music leader or facilitator and participants community musicians intentionally... more
Those who are passionate about people, place, musical participation, inclusion and diversity, embrace community music. As an active intervention between a music leader or facilitator and participants community musicians intentionally create spaces for inclusive and participatory musical doing. As a form of non-formal music education musicians who work this way are committed to musical expression as a crucible for social transformation, emancipation, empowerment, and cultural capital. How can we describe the musical experiences of young people engaged in non-formal music education and what are the key features of this approach? This presentation will contextualize non-formal music education, illustrate its features through examples, and discuss why this approach is an essential aspect of music education. As a representative of ISME (International Society of Music Education) I will also place this work within a larger context and talk about what ISME is currently doing.
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The purpose of this article is to explore the desires and tensions inherent within the act of facilitating creative music-making workshops. Following the introduction, the article is divided into three sections: (1) a discussion of the... more
The purpose of this article is to explore the desires and tensions inherent within the act of facilitating creative music-making workshops. Following the introduction, the article is divided into three sections: (1) a discussion of the workshop event as a contingent struc-ture ...
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The purpose of this article is to make a case for arts-based research as an appropriate paradigm for community music research. In order to argue this I will consider the research strategies and methods currently employed in the... more
The purpose of this article is to make a case for arts-based research as an appropriate paradigm for community music research. In order to argue this I will consider the research strategies and methods currently employed in the investigation of community music and ask whether current research is appropriately representing its practice. In conclusion I suggest providing the research tools to enable community musicians to answer challenging questions surrounding practice and theory whilst continuing dynamic music leadership. This, I hope, will go some way in ensuring that practice and scholarship do not drift too far apart creating a tension between those that do the work and those that think and talk about it.
Research Interests: Sociology and Psychology
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Over the last few years community music has moved from an emergent practice to a fully fledged field consolidated through recent publications. This has given community music a scholarly arm not previously seen and as such opened the... more
Over the last few years community music has moved from an emergent practice to a fully fledged field consolidated through recent publications. This has given community music a scholarly arm not previously seen and as such opened the practice toward other musical domains including music therapy, ethnomusicology, and music education. In this keynote address I will consider the following questions: What makes community music practices distinctive? Why is community music important? and Why should music educators care? After situating community music within an international field of practice I will illustrate why I think community music should play an important role in music education. By describing community music as an ‘act of hospitality’ I will unravel some of its pedagogical characteristics and suggest how community music might impact music education more generally.
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Despite being a professor in American Studies at SUNY-Buffalo for most of his academic life, Charles (Charlie) Keil’s (b. 1939) career was dominated by an interest in music and music education. His scholarly contributions took many forms,... more
Despite being a professor in American Studies at SUNY-Buffalo for most of his academic life, Charles (Charlie) Keil’s (b. 1939) career was dominated by an interest in music and music education. His scholarly contributions took many forms, such as ethnographic fieldwork that resulted in wide-ranging books (Urban Blues, Tiv Song: The Sociology of Art in a Classless Society, Polka Happiness, My Music, Bright Balkan Morning: Romani Lives and the Power of Music in Greek Macedonia, Music Grooves), many essays and papers on music and music education, and efforts in promoting music education in the Buffalo area through his organization, M.U.S.E. (Musicians United for Superior Education). As an amateur musician with advanced training in American Studies (studying with, among others, David Schneider, Clifford Geertz, and Alan Merriam), Keil brought a keen eye, ear, and mind, along with his rigorous academic training, to the study of how people engaged with music, how they learned music, and t...
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Community musicians move in and between many diverse settings. They can be found facilitating local music activities in a wide range of community contexts. As skilled facilitators, there is an emphasis on active participation, sensitivity... more
Community musicians move in and between many diverse settings. They can be found facilitating local music activities in a wide range of community contexts. As skilled facilitators, there is an emphasis on active participation, sensitivity to context, equality of opportunity, and a commitment to diversity. From a historical heritage that includes community arts and cultural community development, the concept of cultural democracy, a sharing of values among cultural groups, rather than the democratization of culture, that attempts to establish cultural equality while preserving domination, has been a political touchstone for community musicians. As a call for both action and appropriate intervention, cultural democracy promotes a system of support and respect for the many cultures and communities across the world whilst attempting to give “voice” to those that have been historically excluded from the public domain. With no claim of superiority or special status, cultural democracy adv...
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Die COMMUNITY MUSIC Conference Munich ist die erste Konferenz im deutschsprachigen Raum, bei der die weltweit fuhrenden Personlichkeiten der Szene ihr vielfaltiges, konzentriertes Wissen weitergeben. Community Music ist der internationale... more
Die COMMUNITY MUSIC Conference Munich ist die erste Konferenz im deutschsprachigen Raum, bei der die weltweit fuhrenden Personlichkeiten der Szene ihr vielfaltiges, konzentriertes Wissen weitergeben. Community Music ist der internationale Fachbegriff fur musikalische Aktivitaten, bei denen kreative und soziale Prozesse gleichrangig sind. Gemeinschaftliches Musizieren schafft Raum fur asthetischen Ausdruck und inklusive Praxis. Zivilgesellschaftliches Engagement wird gefordert und Menschen unterschiedlichster Herkunft zusammengebracht. familylab hat die erste Community Music Konferenz in Deutschland die COMMUNITY MUSIC Conference Munich unterstutzt und dokumentiert. Hier stellen wir die Arbeiten der 14 internationalen Referenten in 14 Audios der Vortrage, 2 Filmen und einem ausfuhrlichen Booklet (24 Seiten deutsch/englisch) vor. Dies ist die erste Konferenz im deutschsprachigen Raum, bei der die weltweit fuhrenden Personlichkeiten der Szene ihr vielfaltiges, konzentriertes Wissen wei...
Although the term “community music” can be understood in a variety of ways, reflecting a myriad of possible contexts and musical situations (Veblen, Messenger, Silverman, & Elliott, 2013), this chapter has its focus on community music as... more
Although the term “community music” can be understood in a variety of ways, reflecting a myriad of possible contexts and musical situations (Veblen, Messenger, Silverman, & Elliott, 2013), this chapter has its focus on community music as an active intervention between a music leader and the participants with whom he or she is working (Higgins, 2012). As a form of thoughtful disruption, intervention denotes an encounter with “newness,” a perspective that seeks to create situations in which new events innovate and interrupt the present toward moments of futural transformation (Bhabha, 1994). Although there might be a danger that those who intervene are seen as an all-knowing Other, my particular location of intervention follows postmodern thinking inasmuch as there is an insistence of the emergence of the in-between, of boundary crossing through negotiation. Actions of interventions, which could include leading workshops, facilitating discussions, or supporting groups in their musical...
Presented at the Community Music in Theorie und Praxis International Conference