ABSTRACT
At the present time there is a growth of music educational ‘outreach’ expected from and initiated by arts agencies, orchestras, opera houses, community groups, music centres and many other agencies. This inevitably calls into question the relationship between schools or colleges and music-making elsewhere. And there is a great deal of this music. For example, in her study in the 1980s of music in a relatively new town in England (Milton Keynes, population around 100,000), Ruth Finnegan found music in ninety-two schools, but also elsewhere. There were eight brass bands, 100 choirs, 200 small bands – including pop, rock, folk, jazz – four classical orchestras and several chamber groups. There was music-making in many of the seventy churches. These activities were not located geographically or in clearly defined communities. Rather, there were musical ‘pathways’, roads through music chosen by each person (Finnegan 1989).
