Running head: PARADIGMS, PERSPECTIVES AND PARTICIPATION Paradigms, Perspectives and Participation: Reconceptualising Amateur Orchestras as Unique Socio-Musical Communities of Practice A thesis submitted for the degree of Doctor of Philosophy by James Donald Arrowsmith College of Business, Arts and Social Sciences Brunel University June 2016 PARADIGMS, PERSPECTIVES AND PARTICIPATION Dedication To my wife, Katharine Schell Arrowsmith; your love, patience and support have been endless throughout this process, and I am forever grateful. To my children, Elizabeth London Arrowsmith and Douglas Walter Arrowsmith; you have both been so wonderful while daddy has been busy. I hope that, one day, you all have the opportunity to share your music with the world. ii PARADIGMS, PERSPECTIVES AND PARTICIPATION Acknowledgements I would like to acknowledge the many people whose support and contributions helped to make this thesis possible: My parents, who have encouraged and supported me throughout my career; My long-suffering reader, Gillian, who has been diligent and patient, and whose help and advice were invaluable in the completion of this work; My thesis supervisor, Prof. Peter Wiegold, who has inspired me to explore new pathways and to embrace new concepts in my musicianship. Thank you for your guidance and for giving me the opportunity to pursue this project; Dr. Tom Ryan for his invaluable assistance in editing this document; Finally, my sincere thanks to the many musicians, conductors, administrators, committee members, and audience members who participated in this research. I am grateful for the opportunity to have seen their hard work and dedication first hand, and to have shared in their music-making. iii PARADIGMS, PERSPECTIVES AND PARTICIPATION Abstract Using Ezra Schabas’ (1966) report on Ontario community orchestras as a catalyst for inquiry, this dissertation examines the nature of amateur orchestras, arguing that they may be reconceptualised as unique, socio-musical communities of practice through an exploration of several factors which influence their health and sustainability. These include: aspects of amateur musical engagement; the relationship between amateur musicians and the various professional actors found in the amateur context; the importance of ensemble-based music education as a crucible for the development of individual artistry, life-long musical learning, and a socio-musical skill set which will encourage and enhance future orchestral participation; the adoption of new, creative and collaborative practices as pathways to improved socio-musical awareness and artistic freedom; and an approach to public engagement which celebrates diversity, embraces cultural democracy, and fosters community cohesion among players and the public. These concepts are explored against the backdrop of two contrasting paradigms of practice: the traditional symphony orchestra and Community Music. This comparison suggests a new paradigm for amateur orchestras, embodying the characteristics of amateurism, socio-musical cohesion, and community engagement, which can properly be described as “community orchestras.” Key words: amateur, community, community of practice, Community Music, engagement, orchestra iv PARADIGMS, PERSPECTIVES AND PARTICIPATION Table of Contents Abstract .............................................................................................................................................. iv INTRODUCTION .................................................................................................................................. 1 The Schabas Report ....................................................................................................................... 1 Growing Up in the Sudbury Symphony Orchestra .................................................................. 2 Schabas and the Sudbury Symphony Orchestra ..................................................................... 3 Community Music ................................................................................................................... 4 Catalysts for Research ............................................................................................................. 5 The Research Questions .......................................................................................................... 6 Chapter Overview Over-view ....................................................................................................... 8 Summary ....................................................................................................................................... 11 Notes ............................................................................................................................................ 12 CHAPTER ONE: POSITIONING THE RESEARCH, LITERATURE REVIEW AND RESEARCH RATIONALE ... 15 The Nature of Amateur Orchestras ............................................................................................... 16 Concepts of Amateurism and Professional Identity ................................................................ 18 Amateur Professional Identity: Serious Leisure ....................................................................... 20 Community Music.......................................................................................................................... 21 Community Music Concepts and Practices: Music Education ................................................. 22 Community Music Concepts and Practices: Social Justice ....................................................... 23 Community Music Concepts and Practices: Musicking ........................................................... 23 Community Music Concepts and Practices: Lifelong Learning ................................................ 23 Music Education ............................................................................................................................ 24 Approaches to Music Education: Ensemble Learning .............................................................. 25 Innovative Practice ........................................................................................................................ 26 El Sistema ...................................................................................................................................... 26 v PARADIGMS, PERSPECTIVES AND PARTICIPATION Community Engagement ............................................................................................................... 27 Community Engagement: Cultural Democracy ........................................................................ 27 Community Engagement: Authentic Participation .................................................................. 28 Community Engagement: Social Capital and Cohesive Community ........................................ 29 Communities of Practice ............................................................................................................... 30 Summary........................................................................................................................................ 30 Notes ............................................................................................................................................. 31 CHAPTER TWO: METHODOLOGY ....................................................................................................... 34 Research Approaches .................................................................................................................... 34 Qualitative Research into Amateur Orchestras ........................................................................ 34 Conducting the Research: Questionnaires ............................................................................... 35 Conducting the Research: Interviews ....................................................................................... 36 Conducting the Research: Participant Observation .................................................................. 37 Conducting the Research: Case Studies .................................................................................... 40 Conducting the Research: Grounded Theory ........................................................................... 41 Conducting the Research: Grounded Theory and Community Music ...................................... 42 Summary........................................................................................................................................ 42 Notes ............................................................................................................................................. 44 CHAPTER THREE: THEMES AND FRAMEWORKS ................................................................................ 45 Presenting the Research: Identifying Themes, Displaying Data ................................................... 45 Contrasting Paradigms: Traditional Orchestras and Community Music ....................................... 46 Traditional Orchestral Paradigms: Selectivity, Hierarchy and the Cannon .............................. 47 Community Music Paradigm: Hospitality, Creativity and Cultural Democracy ....................... 49 Contrasting Paradigms in the Research ................................................................................... 51 Summary........................................................................................................................................ 52 vi