In a field as prolific and grassroots as Participatory Creative Music, defining keywords is nothing short of challenging. Practices are constantly evolving and changing to meet participants’ interests and needs, and terminology can intersect and vary in usage in surprising ways. In the interests of establishing some common ground, here are some working definitions of keywords and how they might intersect:
Participatory Creative Music: a multitude of approaches to creating music in which everyone involved, regardless of their prior experience in making music, has active input in the creative process. Authorship and decision-making is shared to greater or lesser degrees, depending on context.
Community Music: music making by, for and with a group of people or individuals, often with a focus on relationship building and/or for the purposes of fostering community cohesion. The music being made may or may not be co-created by participants themselves.
On the intersection between Participatory Creative Music and Community Music:
Community choirs, orchestras and bands rehearsing and performing pre-existing music are examples of community music. These groups create community through music, some with members coming from a variety of backgrounds and others serving specific communities. Many are open to members with varying levels of experience or training in music.
Where these groups follow a creative process in which the participants contribute to the creation of a work, this is considered Participatory Creative Music.
Interactive art: artworks and art-making conceived with public interaction as a central element of the work. The public engages directly with the production, performance, or experience of the work, and the work responds to and is affected by this interaction.
On the intersection between Participatory Creative Music and Interactive art:
The intersections between Interactive art and Participatory Creative Music are many. Where community members participate in a process that creates music and sound, when authorship is shared, and/or when music and sound works are affected and changed through direct engagement, certain Interactive artworks are also considered Participatory Creative Music.
Step 1
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Step 2
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industrys standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged.
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industrys standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged.
Étape 1
Lorem Ipsum est tout simplement un texte factice de l'industrie de l'impression et de la composition. Lorem Ipsum est le texte factice standard de l'industrie depuis les années 1500, quand un imprimeur inconnu a pris une cuisine de type et l'a brouillé pour faire un livre de spécimen de type. Il a survécu non seulement à cinq siècles, mais aussi au saut dans la composition électronique, demeurant essentiellement inchangé.
Étape 2
Lorem Ipsum est tout simplement un texte factice de l'industrie de l'impression et de la composition. Lorem Ipsum est le texte factice standard de l'industrie depuis les années 1500, quand un imprimeur inconnu a pris une cuisine de type et l'a brouillé pour faire un livre de spécimen de type. Il a survécu non seulement à cinq siècles, mais aussi au saut dans la composition électronique, demeurant essentiellement inchangé.
Lorem Ipsum est tout simplement un texte factice de l'industrie de l'impression et de la composition. Lorem Ipsum est le texte factice standard de l'industrie depuis les années 1500, quand un imprimeur inconnu a pris une cuisine de type et l'a brouillé pour faire un livre de spécimen de type. Il a survécu non seulement à cinq siècles, mais aussi au saut dans la composition électronique, demeurant essentiellement inchangé.