How do we develop social inclusion through musical activities? What is the power of music in enhancing individual inclusion, group cohesion, and cross-community work in post-conflict environments? How can we investigate social music programmes and interventions? This comprehensive volume offers new research on these questions by an international team of experts from the fields of music education, music psychology, ethnomusicology, and community music. The book celebrates the rich diversity of ways in which learners of all ages participate in social music projects in complex settings. Contributions focus broadly on musical and social processes, considering its conceptualisation and practices in a number of contexts. The authors examine how social music projects can be fostered in complex settings, drawing examples from schools and community settings. These critical chapters will inspire readers to think deeply about social music interventions and their development. The book will be of crucial interest to educators, policymakers, researchers, and students, as it draws on applied research from across 14 countries, of which ten are in the Global South.

How do we develop musical creativity? How is musical creativity nurtured in collaborative improvisation? How is it used as a communicative tool in music therapy? This comprehensive volume offers new research on these questions by an international team of experts from the fields of music education, music psychology and music therapy. The book celebrates the rich diversity of ways in which learners of all ages develop and use musical creativity. Contributions focus broadly on the composition/improvisation process, considering its conceptualization and practices in a number of contexts. The authors examine how musical creativity can be fostered in formal settings, drawing examples from primary and secondary schools, studio, conservatoire and university settings, as well as specialist music schools and music therapy sessions. These essays will inspire readers to think deeply about musical creativity and its development. The book will be of crucial interest to music educators, policy makers, researchers and students, as it draws on applied research from across the globe, promoting coherent and symbiotic links between education, music and psychology research.

In 'Music as Social Life', Thomas Turino explores why it is that music and dance are so often at the centre of our most profound personal and social experiences.

This handbook is part of a series of thematic publications written by experienced youth workers for use in training and study sessions, produced under the Partnership Agreement on European Youth Worker Training run by the Council of Europe and the European Communities Commission. It focuses on issues of youth inclusion, participation and access, including definitions; barriers to youth participation; non-formal education methods compared to formal education and vocational training; inclusive youth work in practice including building trust and self-esteem; peer education, conflict management and a contractual approach; and practical exercises relating to these issues.

Music education has historically had a tense relationship with social justice. One the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the other hand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. The Oxford Handbook of Social Justice in Music Education provides a comprehensive overview and scholarly analyses of the major themes and issues relating to social justice in musical and educational practice worldwide. The first section of the handbook conceptualizes social justice while framing its pursuit within broader contexts and concerns. Authors in the succeeding sections of the handbook fill out what social justice entails for music teaching and learning in the home, school, university, and wider community as they grapple with cycles of injustice that might be perpetuated by music pedagogy. The concluding section of the handbook offers specific practical examples of social justice in action through a variety of educational and social projects and pedagogical practices that will inspire and guide those wishing to confront and attempt to ameliorate musical or other inequity and injustice. Consisting of 42 chapters by authors from across the globe, the handbook will be of interest to anyone who wishes to better understand what social justice is and why its pursuit in and through music education matters.

How can we better understand the past, present and future of Social Action through Music (SATM)? This ground-breaking book examines the development of the Red de Escuelas de Música de Medellín (the Network of Music Schools of Medellín), a network of 27 schools founded in Colombia’s second city in 1996 as a response to its reputation as the most dangerous city on Earth. Inspired by El Sistema, the foundational Venezuelan music education program, the Red is nonetheless markedly different: its history is one of multiple reinventions and a continual search to improve its educational offering and better realise its social goals. Its internal reflections and attempts at transformation shed valuable light on the past, present, and future of SATM. Based on a year of intensive fieldwork in Colombia and written by Geoffrey Baker, the author of El Sistema: Orchestrating Venezuela’s Youth (2014), this important volume offers fresh insights on SATM and its evolution both in scholarship and in practice. It will be of interest to a very varied readership: employees and leaders of SATM programs; music educators; funders and policy-makers; and students and scholars of SATM, music education, ethnomusicology, and other related fields.

This book sets out a contemporary perspective on music education, highlighting complex intersections between informal, non-formal and formal practices and contexts. At a time when the boundaries between music learning and participation are increasingly blurred, this volume is distinctive in challenging a ‘siloed’ approach to understanding the diverse international music education landscape. Instead, the book proposes a multi-layered continuum of practices that can be applied across a range of formal, informal or non-formal concepts to support the development of musical possible selves. It challenges existing conceptions of learning in music education in part by drawing on research in adult learning, but also by considering the contexts in which learning takes place, and the extent to which this learning can be classified as formal, informal or non-formal.