Passionately engaged music researcher with a track record over 30 years in leadership positions in art and academia. Primary fields of exploration include cultural diversity, systems of learning and teaching, communities, cultural policy and organisation, and sustainability. Address: QCRC, Griffith University, 140 Grey Street, South Brisbane 4101, Queensland, Australia
Across the world, much community music-making continues to flourish as ‘organic’ practices. But a... more Across the world, much community music-making continues to flourish as ‘organic’ practices. But as communities and their circumstances change, sometimes the need arises for active interventions with the aim to establish or restore. It is mostly these interventions that are now widely referred to as ‘community music activities’. A third—and rarely recognized—aspect on the community music spectrum is institutionalized music-making. Often depicted as the very antithesis of community music-making, I will argue in this chapter that most music institutions in fact arose from an expressed community need, and they are therefore essential in understanding the full scope and dynamics of community music-making. Next, a nine-domain framework of key characteristics of community music practices serves to address the problem of trying to define a great diversity of practices. From there, the discussion moves towards the relationship between community and the sustainability of music practices, intr...
Over the past several decades, it has become common practice among music educators to speak of al... more Over the past several decades, it has become common practice among music educators to speak of all “musics” as being of equal value. I have no doubt that “political correctness” motivates some of this talk. At the same time, however, I see concrete evidence of a growing openness to all types of music in the form of eclectic concert programming, new “world music” teaching-learning materials, new journal and magazine publications, and the birth and development of actual musical practices.
... Author, Schippers, Huib; Bartleet, Brydie-Leigh. Publication Title, Sites of Cosmopolitanism:... more ... Author, Schippers, Huib; Bartleet, Brydie-Leigh. Publication Title, Sites of Cosmopolitanism: Conference Papers. Editor, David Ellison and Ian Woodward. Year Published, 2005. Publisher, Centre for Public Culture & Ideas, Griffith University. Peer Reviewed, Yes. Published, Yes. ...
Introduction In the literature on Indian music and ‘world music education,’ the time-honoured sys... more Introduction In the literature on Indian music and ‘world music education,’ the time-honoured system of guru-śisya-paramparā is often quoted as the perfect example of a close relationship between master and pupil to perpetuate a predominantly oral musical tradition. There is some justification for this: North Indian classical music has been successfully passed down as an oral tradition through guru-śisya-paramparā for many centuries, and has remained a vibrant and living tradition to this day. However, with drastic changes in economic and social conditions in India (e.g. Jain, 2005), the spread and increased uptake of Indian classical music in the West for over half a century (Farrell, 1997), and emerging critical voices amongst contemporary Indian students, new conditions and contexts have arisen that challenge a system essentially based on a court patronage environment.
Many would regard the union of conservatoires (or schools of music) and universities as a marriag... more Many would regard the union of conservatoires (or schools of music) and universities as a marriage of convenience: the bride beautiful, artistic, but without means; the groom perhaps a little dull, but a stable provider. The sacrifices within this arrangement are significant. There are considerable tensions between approaches to educating practicing artists and those appropriate to, say, nurturing the next generation of accountants. The demands on compliance to sets of rules based on science and technology rather than arts and humanities can be stifling and time-consuming. In addition, and perhaps even more challenging, there are the monumental efforts to justify and secure appropriate levels of funding to maintain quality teaching and learning which require a substantial component of one-on-one instruction.
In the twenty-first century, Australian musicians increasingly maintain 'portfolio' caree... more In the twenty-first century, Australian musicians increasingly maintain 'portfolio' careers, in which they combine diverse employment arrangements and activities. Often, these incorporate industry sectors outside of music. This career pattern is widespread but not well understood, largely because of the limitations of existing research. The lack of knowledge about musicians' work and careers means that Australia currently may not provide appropriate and effective policy, funding, initial training and continuing career support across the diverse music sector. This article discusses existing research relating to the careers and skilling needs of musicians in Australia, and outlines a targeted agenda for further research that has the potential to inform stronger alignment between the requirements of building sustainable music careers and musicians' education and training.
Thirty years into a history of deep engagement with music and musicians from other cultures, I ta... more Thirty years into a history of deep engagement with music and musicians from other cultures, I take a taxi ride out of Hanoi which triggers a series of experiences and a train of thought. The story of the unprompted decline of ca tru, a refined song form that kept unfortunate company in its recent past, strengthens my belief that the music does not necessarily flower or disappear for musical reasons, but that the environment and particularly underlying constructs (friendly or hostile) are decisive. I realise more profoundly than ever before how some of the factors in the ecology of musical diversity are beyond our control, while others can be made to work consciously and effectively for and against survival of specific forms of music. This crystallises my thinking and beliefs on working with communities across the world on their terms. It gives rise to the idea for a major project empowering these communities to access and share online both understanding and practical tools to ensur...
Global collaborative networks have been established in multiple fields to move beyond research th... more Global collaborative networks have been established in multiple fields to move beyond research that over-relies on “WEIRD” participants and to consider central questions from cross-cultural and epistemological perspectives. As researchers in music and the social sciences with experience building and sustaining such networks, we participated in a virtual symposium on February 7, 2021. to exchange knowledge, ideas, and recommendations, with an emphasis on developing global networks to investigate human music-making. We present 14 key take-home recommendations, particularly regarding 1) enhancing representation of researchers and research participants, 2) minimizing logistical challenges, 3) ensuring meaningful, reproducible comparisons, and 4) incentivizing sustainable collaboration and shared research practices that circumvent research hierarchies. Two overarching conclusions are that sustainable global collaborations should attempt shared research practices including diverse stake-h...
FOREWORD BY PATRICIA SHEHAN CAMPBELL PROLOGUE: FACING THE MUSIC ACKNOWLEDGEMENTS 1. Journeys in m... more FOREWORD BY PATRICIA SHEHAN CAMPBELL PROLOGUE: FACING THE MUSIC ACKNOWLEDGEMENTS 1. Journeys in music. An auto-ethnography 2. Positioning 'world music' in education. A conceptual history 3. The myth of authentic traditions in context. A deconstruction 4. Global perspectives on learning and teaching music. An analysis 5. Communities, conservatories, and curricula. A critique 6. Understanding music learning and teaching across cultures. A framework 7. Music cultures in motion. A case study EPILOGUE: SHAPING MUSIC EDUCATION FROM A GLOBAL PERSPECTIVE APPENDICES APPENDIX 1: EMERGENCY GUIDELINES IN CASE OF WORLD MUSIC APPENDIX 2: SAMPLE QUESTIONS FOR INTERVIEWING WORLD MUSICIANS ON LEARNING AND TEACHING APPENDIX 3: EXAMPLE OF A SERIES OF CLASSES ON WORLD MUSIC WITH A THEMATIC APPROACH APPENDIX 4: FIVE DOMAINS OF MUSICAL SUSTAINABILITY IN CONTEMPORARY CONTEXTS APPENDIX 5: THE WORLD MUSIC ADVENTURES OF PRIMARY TEACHER MS BENSON GLOSSARY BIBLIOGRAPHY INDEX ENDNOTES
From the beginning of the twenty-first century, there has been a rapid growth of interest in the ... more From the beginning of the twenty-first century, there has been a rapid growth of interest in the preservation of Intangible Cultural Heritage (ICH), stimulated by a suite of UNESCO Conventions and Declarations (2001, 2003, 2005, and UNCHR 2007). Globally, this has led to impressive growth of awareness and efforts to preserve the world’s arts and crafts, and considerable investment by many countries in initiatives to preserve cultural diversity. A key element in these efforts is defining the nature of what needs to be preserved in consultation with communities, and devising strategies on how best to approach the particular challenges that entails. While globalization and urbanization are often painted as the enemies of sustainability, I argue that most struggles and celebrations of sustainability in the arts inevitably play out in contemporary urbanized, globalized, mediatized, and commodified environments, which may be part of the solution as much as they are part of the problem. Fo...
Over the past five decades, the world of music education has seen unprecedented change. This can ... more Over the past five decades, the world of music education has seen unprecedented change. This can in part be attributed to the intensified exchange of musical sounds and concepts between cultures, brought about by dramatic increases in travel, migration and media exposure. Cultural diversity is broadly accepted as an important factor in music education at the beginning of the 21st century, as is witnessed by its recurrence in publications and at conferences across the globe (Kors et al., 2003). But is it really? On closer examination, many educational practices still display an essentially monocultural focus at the levels of methodology, issues of context, and approaches to cultural diversity. This paper explores explicit and implicit aspects of musical transmission and learning, using examples of predominantly vocal traditions from across the world as examples. It discusses factors that determine approaches to tradition, authenticity and context, to aural and holistic learning, and ...
Across the world, much community music-making continues to flourish as ‘organic’ practices. But a... more Across the world, much community music-making continues to flourish as ‘organic’ practices. But as communities and their circumstances change, sometimes the need arises for active interventions with the aim to establish or restore. It is mostly these interventions that are now widely referred to as ‘community music activities’. A third—and rarely recognized—aspect on the community music spectrum is institutionalized music-making. Often depicted as the very antithesis of community music-making, I will argue in this chapter that most music institutions in fact arose from an expressed community need, and they are therefore essential in understanding the full scope and dynamics of community music-making. Next, a nine-domain framework of key characteristics of community music practices serves to address the problem of trying to define a great diversity of practices. From there, the discussion moves towards the relationship between community and the sustainability of music practices, intr...
Over the past several decades, it has become common practice among music educators to speak of al... more Over the past several decades, it has become common practice among music educators to speak of all “musics” as being of equal value. I have no doubt that “political correctness” motivates some of this talk. At the same time, however, I see concrete evidence of a growing openness to all types of music in the form of eclectic concert programming, new “world music” teaching-learning materials, new journal and magazine publications, and the birth and development of actual musical practices.
... Author, Schippers, Huib; Bartleet, Brydie-Leigh. Publication Title, Sites of Cosmopolitanism:... more ... Author, Schippers, Huib; Bartleet, Brydie-Leigh. Publication Title, Sites of Cosmopolitanism: Conference Papers. Editor, David Ellison and Ian Woodward. Year Published, 2005. Publisher, Centre for Public Culture & Ideas, Griffith University. Peer Reviewed, Yes. Published, Yes. ...
Introduction In the literature on Indian music and ‘world music education,’ the time-honoured sys... more Introduction In the literature on Indian music and ‘world music education,’ the time-honoured system of guru-śisya-paramparā is often quoted as the perfect example of a close relationship between master and pupil to perpetuate a predominantly oral musical tradition. There is some justification for this: North Indian classical music has been successfully passed down as an oral tradition through guru-śisya-paramparā for many centuries, and has remained a vibrant and living tradition to this day. However, with drastic changes in economic and social conditions in India (e.g. Jain, 2005), the spread and increased uptake of Indian classical music in the West for over half a century (Farrell, 1997), and emerging critical voices amongst contemporary Indian students, new conditions and contexts have arisen that challenge a system essentially based on a court patronage environment.
Many would regard the union of conservatoires (or schools of music) and universities as a marriag... more Many would regard the union of conservatoires (or schools of music) and universities as a marriage of convenience: the bride beautiful, artistic, but without means; the groom perhaps a little dull, but a stable provider. The sacrifices within this arrangement are significant. There are considerable tensions between approaches to educating practicing artists and those appropriate to, say, nurturing the next generation of accountants. The demands on compliance to sets of rules based on science and technology rather than arts and humanities can be stifling and time-consuming. In addition, and perhaps even more challenging, there are the monumental efforts to justify and secure appropriate levels of funding to maintain quality teaching and learning which require a substantial component of one-on-one instruction.
In the twenty-first century, Australian musicians increasingly maintain 'portfolio' caree... more In the twenty-first century, Australian musicians increasingly maintain 'portfolio' careers, in which they combine diverse employment arrangements and activities. Often, these incorporate industry sectors outside of music. This career pattern is widespread but not well understood, largely because of the limitations of existing research. The lack of knowledge about musicians' work and careers means that Australia currently may not provide appropriate and effective policy, funding, initial training and continuing career support across the diverse music sector. This article discusses existing research relating to the careers and skilling needs of musicians in Australia, and outlines a targeted agenda for further research that has the potential to inform stronger alignment between the requirements of building sustainable music careers and musicians' education and training.
Thirty years into a history of deep engagement with music and musicians from other cultures, I ta... more Thirty years into a history of deep engagement with music and musicians from other cultures, I take a taxi ride out of Hanoi which triggers a series of experiences and a train of thought. The story of the unprompted decline of ca tru, a refined song form that kept unfortunate company in its recent past, strengthens my belief that the music does not necessarily flower or disappear for musical reasons, but that the environment and particularly underlying constructs (friendly or hostile) are decisive. I realise more profoundly than ever before how some of the factors in the ecology of musical diversity are beyond our control, while others can be made to work consciously and effectively for and against survival of specific forms of music. This crystallises my thinking and beliefs on working with communities across the world on their terms. It gives rise to the idea for a major project empowering these communities to access and share online both understanding and practical tools to ensur...
Global collaborative networks have been established in multiple fields to move beyond research th... more Global collaborative networks have been established in multiple fields to move beyond research that over-relies on “WEIRD” participants and to consider central questions from cross-cultural and epistemological perspectives. As researchers in music and the social sciences with experience building and sustaining such networks, we participated in a virtual symposium on February 7, 2021. to exchange knowledge, ideas, and recommendations, with an emphasis on developing global networks to investigate human music-making. We present 14 key take-home recommendations, particularly regarding 1) enhancing representation of researchers and research participants, 2) minimizing logistical challenges, 3) ensuring meaningful, reproducible comparisons, and 4) incentivizing sustainable collaboration and shared research practices that circumvent research hierarchies. Two overarching conclusions are that sustainable global collaborations should attempt shared research practices including diverse stake-h...
FOREWORD BY PATRICIA SHEHAN CAMPBELL PROLOGUE: FACING THE MUSIC ACKNOWLEDGEMENTS 1. Journeys in m... more FOREWORD BY PATRICIA SHEHAN CAMPBELL PROLOGUE: FACING THE MUSIC ACKNOWLEDGEMENTS 1. Journeys in music. An auto-ethnography 2. Positioning 'world music' in education. A conceptual history 3. The myth of authentic traditions in context. A deconstruction 4. Global perspectives on learning and teaching music. An analysis 5. Communities, conservatories, and curricula. A critique 6. Understanding music learning and teaching across cultures. A framework 7. Music cultures in motion. A case study EPILOGUE: SHAPING MUSIC EDUCATION FROM A GLOBAL PERSPECTIVE APPENDICES APPENDIX 1: EMERGENCY GUIDELINES IN CASE OF WORLD MUSIC APPENDIX 2: SAMPLE QUESTIONS FOR INTERVIEWING WORLD MUSICIANS ON LEARNING AND TEACHING APPENDIX 3: EXAMPLE OF A SERIES OF CLASSES ON WORLD MUSIC WITH A THEMATIC APPROACH APPENDIX 4: FIVE DOMAINS OF MUSICAL SUSTAINABILITY IN CONTEMPORARY CONTEXTS APPENDIX 5: THE WORLD MUSIC ADVENTURES OF PRIMARY TEACHER MS BENSON GLOSSARY BIBLIOGRAPHY INDEX ENDNOTES
From the beginning of the twenty-first century, there has been a rapid growth of interest in the ... more From the beginning of the twenty-first century, there has been a rapid growth of interest in the preservation of Intangible Cultural Heritage (ICH), stimulated by a suite of UNESCO Conventions and Declarations (2001, 2003, 2005, and UNCHR 2007). Globally, this has led to impressive growth of awareness and efforts to preserve the world’s arts and crafts, and considerable investment by many countries in initiatives to preserve cultural diversity. A key element in these efforts is defining the nature of what needs to be preserved in consultation with communities, and devising strategies on how best to approach the particular challenges that entails. While globalization and urbanization are often painted as the enemies of sustainability, I argue that most struggles and celebrations of sustainability in the arts inevitably play out in contemporary urbanized, globalized, mediatized, and commodified environments, which may be part of the solution as much as they are part of the problem. Fo...
Over the past five decades, the world of music education has seen unprecedented change. This can ... more Over the past five decades, the world of music education has seen unprecedented change. This can in part be attributed to the intensified exchange of musical sounds and concepts between cultures, brought about by dramatic increases in travel, migration and media exposure. Cultural diversity is broadly accepted as an important factor in music education at the beginning of the 21st century, as is witnessed by its recurrence in publications and at conferences across the globe (Kors et al., 2003). But is it really? On closer examination, many educational practices still display an essentially monocultural focus at the levels of methodology, issues of context, and approaches to cultural diversity. This paper explores explicit and implicit aspects of musical transmission and learning, using examples of predominantly vocal traditions from across the world as examples. It discusses factors that determine approaches to tradition, authenticity and context, to aural and holistic learning, and ...
Uploads