Abstract
This study investigated the social, cultural, cognitive, affective, and physical byproducts that occur when people gather together to make music in an amateur setting. Using a theoretical framework derived from the works of ethnomusicologist Blacking and sociologist Martin, the paper also draws inspiration from other seminal authors including theorist Wenger and sociomusicologist Russell. Participants included members of a jazz combo and community concert choir in a large urban Canadian city. Structured observation, semi-structured interviews with individuals, and focus groups were used to gather the data. Regardless of the participants’ background music training (formal or informal), results suggest that all were able to express their musicality within the group and the community setting through activities that encompass the secondary aspects of the groups’ musical practice. The article concludes with a call for professionals who interact with people through music to consider the nature and value of the secondary aspects of collective music-making.
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