ABSTRACT
Students have been exploring music without the intervention of traditional performing media, like an instrument or voice, for a century, and digital technologies, particularly among digital natives, are so pervasive that their role in music teaching, learning and dissemination cannot be overestimated. Various drivers including financial exigency and the efficient use of time, space, and human resources have undermined the teacher/student paradigm to the extent that private instruction is no longer the hub, but only one spoke of the music learning environment. There has also been greater collaboration and cross-over between professional and amateur music-making. In fact, participatory music practices are reforming performative music practices. Curricular reform that requires blending performative and participatory musics, or that introduces new pedagogical methodologies, requires retraining instructors who otherwise remain entrenched in their ways. Community Music programs, which are becoming increasingly prevalent in higher education worldwide, seek to repair this unnatural rift between performative and participatory musics.
