,AN>*Y 9 ,MILTON ,KEYNES 

,PEOPLE 3 

,AU?OR 3 ,COL9 ,W>D 

,TEXT 3 

  

,PHOTO BY TXMX #b1,C,C ,B,Y-,N,C-,N,D ,LIC5SE  
,EV]YONE HAS !IR [N DEF9ITION ( AN>*ISM4 ,ONE ,I F9D G5]ALLY USEFUL IS ! FIR/ ?REE P>AGRAPHS ( ! >TICLE ,PET] ,KROPOTK9 WAS ASK$ TO WRITE = ! #aa ? $ITION ( ! ,5CYCLOP$IA ,BRITANNICA 9 #a#i#e4 ,?IS IS ! COLLECTION ( VOLUMES :I* 7H[EV] REPUGNANT WE N[ F9D ITS SALES TE*NIQUES7 IS ! PLACE WE LOOK = A WORK+ DEF9ITION ( MO/ ?+S4 

,KROPOTK9'S FIR/ P>AGRAPH SAID ?AT3 

,A,N,>,*,I,S,M 7FROM ! ,GREEK1 CONTR>Y TO AU?ORITY71 IS ! NAME GIV5 TO A PR9CIPLE OR !ORY ( LIFE & CONDUCT UND] :I* SOCIETY IS CONCEIV$ )\T GOV]NM5T -- H>MONY 9 SU* A SOCIETY BE+ OBTA9$1 NOT BY SUBMISSION TO LAW1 OR BY OB$I5CE TO ANY AU?ORITY1 BUT BY FREE AGREEM5TS CONCLUD$ BETWE5 ! V>I\S GR\PS1 T]RITORIAL & PR(ESSIONAL1 FREELY CON/ITUT$ = ! SAKE ( PRODUCTION & CONSUMPTION1 AS ALSO = ! SATISFACTION ( ! 9F9ITE V>IETY ( NE$S & ASPIRATIONS ( A CIVILIZ$ BE+4 

,?AT'S HIS FIR/ P>AGRAPH1 & ( C\RSE HE HAS ! USUAL PROBLEM ( ANYONE WRIT+ AN 5CYCLOP$IA DEF9ITION1 HE HAS TO BE CONCISE1 BUT AT ! SAME TIME1 TO BR+ EV]Y?+ 94 ,SO HIS SECOND P>AGRAPH GOES3 

,9 A SOCIETY DEVELOP$ ON !SE L9ES1 ! VOLUNT>Y ASSOCIATIONS :I* ALREADY N[ BEG9 TO COV] ALL ! FIELDS ( HUMAN ACTIVITY W\LD TAKE A /ILL GREAT] EXT5SION SO AS TO SUB/ITUTE !MSELVES = ! ,/ATE 9 ALL ITS FUNCTIONS4 ,!Y W\LD REPRES5T AN 9T]WOV5 NETWORK1 COMPOS$ ( AN 9F9ITE V>IETY ( GR\PS & F$]ATIONS ( ALL SIZES & DEGREES1 LOCAL1 REGIONAL1 NATIONAL & 9T]NATIONAL -- TEMPOR>Y OR MORE OR LESS P]MAN5T -- = ALL POSSIBLE PURPOSES3 PRODUCTION1 CONSUMPTION & EX*ANGE1 COMMUNICATIONS1 SANIT>Y >RANGEM5TS1 $UCATION1 MUTUAL PROTECTION1 DEF5SE ( ! T]RITORY1 & SO ON2 &1 ON ! O!R SIDE1 = ! SATISFACTION ( AN EV] 9CREAS+ NUMB] ( SCI5TIFIC1 >TI/IC1 LIT]>Y & SOCIABLE NE$S40 

,KROPOTK9 WAS A SCI5TI/1 A PHYSICAL GEOGRAPH] 9 ORIG91 & HIS ?IRD P>AGRAPH DREW AN ANALOGY FROM PHYSICS & FROM BIOLOGY1 & Y\ MI<T EV5 CLAIM FROM /RUCTURAL ME*ANICS & MUSIC4 ,= HE CLAIM$ ?AT3 

,MOREOV]1 SU* A SOCIETY W\LD REPRES5T NO?+ IMMUTABLE4 ,ON ! ,CONTR>Y -- AS IS SE5 9 ORGANIC LIFE AT L>GE -- H>MONY W\LD 7IT IS CONT5D$7 RESULT FROM AN EV]-*ANG+ ADJU/M5T & READJU/M5T ( EQUILIBRIUM BETWE5 ! MULTITUDES ( =CES & 9FLU5CES1 & ?IS ADJU/M5T W\LD BE ! EASI] TO OBTA9 AS NONE ( ! =CES W\LD 5JOY A SPECIAL PROTECTION FROM ! ,/ATE4 

,!SE OP5+ REM>KS EXPRESS ! K]NEL ( HIS >GUM5T = SOCIETY AS OPPOS$ TO ! ,/ATE1 & = ! COMMUNITY AS OPPOS$ TO ! GOV]NM5T4 

,SOCIETY OR ! ,/ATE 

,! NEXT /AGE 9 ! >GUM5T = ME1 AT LEA/1 WAS PROVID$ BY ! PHILOSOPH] ,M>T9 ,BUB]1 :O WASN'T AN AN>*I/1 AL?\< HE HAD /RONG AN>*I/ CONNECTIONS4 ,HE WAS ! FRI5D & EXECUTOR ( A ,G]MAN AN>*I/ ,GU/AV ,L&AU]1 :O MADE A V]Y PR(\ND REM>K1 :I* ,I QUOTE FROM ,BUB]'S BOOK ,PA?S 9 ,UTOPIA 7,R\TL$GE1 #d#i74 0,! /ATE01 SAID ,L&AU]1 0IS NOT SOME?+ :I* CAN BE DE/ROY$ BY A REVOLUTION1 BUT IS A CONDITION1 A C]TA9 RELATION%IP BETWE5 HUMAN BE+S1 A MODE ( HUMAN BEHAVIOR2 WE DE/ROY IT CONTRACT+ O!R RELATION%IPS1 BY BEHAV+ DIFF]5TLY40 ,BUB] WROTE A BRILLIANT ESSAY CALL$ ',SOCIETY & ! ,/ATE' :I* WAS PR9T$ 9 ,5GLI% 9 ! LONG-DEAD J\RNAL ,WORLD ,REVIEW 9 #a#i#e#a1 & PR9T$ 9 A BOOK ( HIS CALL$ ,PO9T+ ! ,WAY4 

,BUB] BEG9S BY MAK+ A CLE> DI/9CTION BETWE5 ! SOCIAL PR9CIPLE & ! POLITICAL PR9CIPLE1 PO9T+ \T ?AT 0IT IS 9H]5T 9 SOCIAL /RUCTURES ?AT PEOPLE EI!R F9D !MSELVES ALREADY L9K$ ) ONE ANO!R 9 AN ASSOCIATION BAS$ ON A COMMON NE$ OR A COMMON 9T]E/1 OR ?AT !Y B& !MSELVES TOGE!R = SU* A PURPOSE1 :E!R 9 AN EXI/+ OR A NEWLY-=M$ SOCIETY40 ,& HE !N GOES ON TO /RESS HIS AGREEM5T ) ! ,AM]ICAN SOCIOLOGI/ ,ROB]T ,MAC,IV]1 ?AT 0TO ID5TIFY ! SOCIAL ) ! POLITICAL IS TO BE GUILTY ( ! GROSSE/ ( ALL CONFUSIONS1 :I* COMPLETELY B>S ANY UND]/&+ ( EI!R SOCIETY OR ! /ATE04 

,! POLITICAL PR9CIPLE = ,BUB]1 JU/ AS = ,KROPOTK91 IS *>ACT]IZ$ BY P[]1 AU?ORITY1 HI]>*Y1 DOM9ION4 ,HE SEES ! SOCIAL PR9CIPLE :]EV] PEOPLE L9K !MSELVES 9 ! PURSUIT ( A COMMON NE$ OR 9T]E/4 ,!N HE HAS A V]Y 9T]E/+ FLA% ( UND]/&+1 :I* ,I SEE 5DLESSLY ILLU/RAT$ 9 CONTEMPOR>Y POLITICS4 ,:AT IS IT1 ,BUB] ASKS1 ?AT GIVES ! POLITICAL PR9CIPLE ITS ASC5DANCY8 ,HIS ANSW] WAS3 0,! FACT ?AT EV]Y PEOPLE FEELS ITSELF ?REAT5$ BY ! O!RS GIVES ! ,/ATE ITS DEF9ITE UNIFY+ P[]2 IT DEP5DS UPON ! 9/9CT ( SELF PRES]VATION ( SOCIETY ITSELF2 ! LAT5T EXT]NAL CRISIS 5ABLES IT TO GET ! UPP] H& 9 9T]NAL CRISES 444 ,ALL =MS ( GOV]NM5T HAVE ?IS 9 COMMON3 EA* POSSESSES MORE P[] ?AN IS REQUIR$ BY ! GIV5 CONDITIONS2 9 FACT1 ?IS EXCESS 9 ! CAPACITY = MAK+ DISPOSITIONS IS ACTUALLY :AT WE UND]/& BY POLITICAL P[]4 ,! MEASURE ( ?IS EXCESS :I* CANNOT1 ( C\RSE1 BE COMPUT$ PRECISELY1 REPRES5TS ! EXACT DIFF]5CES BETWE5 ADM9I/RATION & GOV]NM5T40 ,BUB] CALLS ?IS EXCESS ! 0POLITICAL SURPLUS0 & HE OBS]VES ?AT 0ITS JU/IFICATION D]IVES FROM ! EXT]NAL & 9T]NAL 9/ABILITY1 FROM ! LAT5T /ATE ( CRISIS BETWE5 NATIONS & )9 EV]Y NATION4 ,! POLITICAL PR9CIPLE IS ALWAYS /RONG] 9 RELATION TO ! SOCIAL PR9CIPLE ?AN ! GIV5 CONDITIONS REQUIRE4 ,! RESULT IS A CONT9U\S DIM9UTION 9 SOCIAL SPONTANEITY40 

,NEI<BORHOOD & ASSOCIATION 

,I F9D ?IS A DEVA/AT+ P]CEPTION4 ,& ,I ?9K ?AT A :OLE LOT ( PEOPLE HAVE ALWAYS HAD AN 9/9CTIVE FEEL+ ?AT IF ANY COMMUNITY CAN'T ORGANIZE ITSELF1 IT IS GO+ TO F9D GOV]NM5TAL BODIES FILL+ ! VACUUM4 ,!RE HAS BE5 AT LEA/ SIXTY YE>S ( EF=T TO E/ABLI% LOCAL COMMUNITY ASSOCIATIONS AS VOLUNT>Y1 DEMOCRATIC1 ALL-EMBRAC+ BODIES ABLE TO BECOME UNIFY+ 9FLU5CES 9 EV]Y LOCALITY4 ,!SE EF=TS >E REPORT$ 9 A NEW BOOK CALL$ ,5T]PRIS+ ,NEI<BORS3 ! DEVELOPM5T ( ! ,COMMUNITY ,ASSOCIATION MOVEM5T PUBLI%$ ?IS YE> BY ! ,NATIONAL ,F$]ATION ( ,COMMUNITY ,ASSOCIATIONS4 ,DAVID ,DONNISON PROVIDES AN 9T]E/+ 9TRODUCTION WELCOM+ ! HONE/Y ( ?IS HI/ORY BECAUSE ITS APPROA* TO SEV]AL QUE/IONABLE ASSUMPTIONS ?AT A :OLE LOT ( WOR?Y GRASSROOTS ORGANIZ]S TAKE = GRANT$1 PRIM>ILY ! IDEA ?AT 0PEOPLE WANT TO SP5D !IR TIME MAK+ FRI5DS ) NEI<BORS RA!R ?AN BECAUSE !Y HAVE %>$ 9T]E/S04 

,WE CAN DEF9E ! TWO POSSIBILITIES AS COMMUNITIES ( PROP9QUITY & COMMUNITIES ( 9T]E/4 ,9 PRACTICE PL5TY ( US BELONG1 = DIFF]5T REASONS1 TO BO?1 FULFILL+ ,KROPOTK9'S ASPIRATIONS TO 0AN 9T]WOV5 NETWORK1 COMPOS$ ( AN 9F9ITE V>IETY ( GR\PS & F$]ATIONS ( ALL SIZES & DEGREES0 & SO ON4 ,/UD5TS ( ! SOCIAL PROBLEMS ?AT W]E SAID TO >ISE 9 ! VA/ NEW \T-( T[N H\S+ E/ATES ( ! 9T]-W> YE>S1 LIKE ,DAG5HAM \TSIDE ,LONDON OR ,WY!N%AWE \TSIDE ,MAN*E/]1 W]E APT TO ATTRIBUTE !M TO ! FACT ?AT HUGE NEW SETTLEM5TS ( PEOPLE :O W]E /RANG]S TO EA* O!R F\ND !MSELVES LIV+ TOGE!R 9 PLACES )\T ! FAMILI> COMRNUNIRY FACILITIES ( ! PLACES !Y HAD COME FROM1 & ?\<T ?AT :AT WAS NE$$ WAS A PROGRAM ( COMMUNITY BUILD+4 

,! LESSONS W]E SUPPOS$ TO HAVE BE5 LE>N$ 9 ! PO/W> PROGRAMS ( ,NEW ,T[NS :I* CULM9AT$ ) ,MILTON ,KEYNES4 ,9 PRACTICE ! /OP_/GO F9ANC+ ( ! ,NEW ,T[NS ALL ?R\< ! FIFTIES1 SIXTIES & SEV5TIES MEANT ?AT ! ASPIRATIONS = SYN*RONIZ+ NEW H\S+1 NEW 9DU/RY & SOCIAL & COMMUNITY FACILITIES SELDOM REALLY HAPP5$ AS PLANN$ & AS DESCRIB$ 9 ! PUBLICITY MAT]IAL4 ,BUT ,I DO ?9K IT IS FAIR TO SAY ?AT ! MONEY 9VE/$ 9 MO/ ( ! ,NEW ,T[NS ON ! FUND+ ( COMMUNITY FACILITIES1 9CLUD+ PAY+ ! SAL>IES ( PEOPLE DESCRIB$ AS ,COMMUNITY ,DEVELOPM5T ,(FIC]S OR SOME SIMIL> TITLE1 WAS WELL SP5T1 & CONTRA/S FAVORABLY ) ! EXP]I5CE ( ! PO/W> V]SIONS ( ?OSE PRE-W> \T ( T[N H\S+ E/ATES :I* WE ALL KN[ AB\T3 ! PLACES :]E WE LOVE TO SEE TELEVISION FILMS ( ! BL[+-UP BY PUBLIC AU?ORITIES 7NOT AN>*I/S7 ( T[] BLOCKS :I* WON'T HAVE BE5 PAID = UNTIL ! E>LY #bL/ C5TURY4 

,ALL ! SAME1 ! WOR?Y CITIZ5S :O ORGANIZE LOCAL COMMUNITY ASSOCIATIONS1 :OM WE ALL KN[1 :5 !Y PAUSE & REFLECT ON !IR LABORS1 TALK WI/FULLY ( ! APA?Y & 9DIFF]5CE ( ! PEOPLE ALL >\ND4 ,!Y >E NOT ANGRY1 !Y >E JU/ REGRETFUL ?AT O!R PEOPLE DON'T LIVE UP TO A P>TICUL> IDEA ( SOCIETY & COMMUNITY BAS$ ON PROP9QUITY4 ,IT MAKES ME POND] YET AGA91 NOT ONLY ON ! V]Y SIGNIFICANT OBS]VATION ,I HAVE QUOT$ TO Y\ FROM ,PR(ESSOR ,DONNISON1 BUT ON ,KROPOTK9'S ASPIRATIONS = AN AN>*I/ SOCIETY4 

,MILTON ,KEYNES & MUSIC 

,?IS IS :Y ,I NE$ TO TELL Y\ AB\T MY DISCOV]Y ( AN>*Y1 9 ,KROPOTK9'S S5SE1 9 ,MILTON ,KEYNES4 ,IT IS BECAUSE ,I HAVE BE5 READ+1 ) V]Y GREAT PLEASURE1 ! BOOK ,! ,HIDD5 ,MUSICIANS3 MUSIC-MAK+ 9 AN ,5GLI% T[N BY ,RU? ,F9NEGAN1 PUBLI%$ LA/ YE> BY ,CAMBRIDGE ,UNIV]SITY ,PRESS4 ,%E IS AN AN?ROPOLOGI/ FROM ! ,OP5 ,UNIV]SITY1 SO ! P>TICUL> ,5GLI% T[N %E DESCRIBES IS ,MILTON ,KEYNES4 ,! IMM5SE ADVANTAGE ( H] E?NOGRAPHICAL APPROA* IS ?AT %E REFRA9S FROM MAK+ ?OSE VALUE ASSUMPTIONS AB\T MUSIC ?AT MO/ PEOPLE AUTOMATICALLY ASSUME4 ,AS WE ALL KN[1 PEOPLE TALK AB\T 'S]I\S' MUSIC1 MEAN+ ! MUSIC !Y TAKE S]I\SLY1 & IMPLY+ ?AT ALL O!R MUSIC IS SOMEH[ FRIVOL\S4 

,PR(ESSOR ,F9NEGAN HAS1 ,I AM SURE1 H] [N MUSICAL PREF]5CES1 BUT %E DOES NOT ALL[ !M TO 9TRUDE ON H] /UDY ( MUSIC-MAK+4 ,I AM REM9D$ ( ,M>K ,TWA9'S QUIP ?AT 0,WAGN]'S MUSIC ISN'T REALLY HALF AS BAD AS IT S\NDS04 

,SALVATION ,>MY B&S1 ! ,%]WOOD ,S9FONIA1 ! FAMILIES DRESS+ UP = ! ,C\NTRY & ,WE/]N NI<T1 *UR* *OIRS1 ! ,MORRIS ,M5 & A HUNDR$ ROCK GR\PS >E ALL MUSIC1 & :5 Y\ CONSID] ! PEOPLE HIR+ V5UES1 >RANG+ GIGS1 NEGOTIAT+ ) VISIT+ SOLOI/S1 DRAW+ UP PROGRAMS1 F]RY+ !IR *ILDR5 TO REHE>SALS & C>T+ TONS ( EQUIPM5T >\ND1 LET ALONE PACK+ 9 ! AUDI5CES1 Y\ REALIZE ?AT A VA/ & HI!RTO UNRECORD$ PROPORTION ( ! POPULATION ANY:]E IS DIRECTLY 9VOLV$ 9 ! ACTIVITY ( MUSIC-MAK+4 ,9 FACT Y\ FEEL ?AT ! :OLE POPULATION 9 ONE WAY OR ANO!R IS 9DIRECTLY 9VOLV$4 

,?IS IS A REM>KABLE SOCIAL FACT3 ?AT MUSIC-MAK+ IS1 MORE ?AN ANY?+ ELSE Y\ CAN ?9K ( QUICKLY1 ! CEM5T ( SOCIETY1 ! EXPRESSION ( ?AT SOCIAL SPONTANEITY ?AT ,BUB] WAS LOOK+ =1 ! MO/ IMM$IATE & ACCESSIBLE EXAMPLE ( ,KROPOTK9'S VISION ( ! HI<E/ DEVELOPM5T ( VOLUNT>Y ASSOCIATION 9 ALL ITS ASPECTS1 9 ALL POSSIBLE DEGREES1 = ALL IMAG9ABLE AIMS2 EV] *ANG+1 EV] MODIFI$ ASSOCIATIONS :I* C>RY 9 !MSELVES ! ELEM5TS ( !IR DURABILITY & CON/ANTLY ASSUME NEW =MS :I* ANSW] BE/ TO ! MULTIPLE ASPIRATIONS ( ALL40 

,PR(ESSOR ,F9NEGAN MANAGES TO SWEEP ASIDE 5DLESS ASSUMPTIONS3 ! SOCIOLOGI/S' PREOCCUPATION ) CLASS1 ! DI/9CTIONS WE MAKE BETWE5 PR(ESSIONAL & AMATEUR1 &1 ABOVE ALL1 IDEAS AB\T MUSICAL EXCLUSIV5ESS4 ,! SAME BUSY P]=M]S CAN F9D !MSELVES 9 A BRASS B& ONE NI<T1 9 A SYMPHONY OR*E/RA ANO!R1 & 9 AN AD HOC JAZZ GR\P AT ! WEEK5D4 ,?IS IS ! FLUIDITY ( 9VOLVEM5T 9 *ANG+ COMMUNITIES ?AT ATTRACT$ ,BUB] & ,KROPOTK94 ,IT'S NICE TO ?9K ?AT A VALUABLE ELEM5T ( ! COMMUNITY QUOTI5T ( ANY SOCIETY1 ,EA/ OR ,WE/1 CAN BE EXPRESS$ 9 T]MS( ! %E] NUMB] ( Y\NG PEOPLE 5DLESSLY PRACTIC+ = !IR BIG P]=MANCES 9 A LOCAL PUB UND] ! SELF DEPRECAT+ GR\P NAMES !Y *OOSE 7,RU? ,F9NEGAN LI/S MORE ?AN A HUNDR$1 ( :I* A MILD EXAMPLE IS ',TYPICAL ,%IT'74 ,?IS IS ! BACKH&$ WAY 9 :I* %>$ 5?USIASMS HOLD COMMUNITIES TOGE!R4 

,LET US TAKE A LOOK AT SOME ( ! 9T]LOCK+1 MUTUALLY SUPPORTIVE COMMUNITIES ?AT H] BOOK DESCRIBES1 SEE+ !M AS A MEASURE ( ! COMMUNITY CONT5T ( ,MILTON ,KEYNES4 

,! MUSIC SUBCULTURE 

,%E NOTES H[ WE HAVE A SOCIALLY DEF9$ CANON ( 'CLASSICAL MUSIC' EPITOMIZ$ BY V>Y+ COMB9ATIONS ( PR(ESSIONAL PLAY]S1 LIVE1 BROADCA/ & RECORD$1 :I* 0IMPLICITLY MOLD$ PEOPLE'S VIEWS ( MUSIC0 BUT 0!RE WAS ALSO A :OLE GRASS-ROOTS SUB-CULTURE ( LOCAL CLASSICAL MUSIC4 ,?\< P]HAPS '9VISIBLE' TO MO/ S*OL>S1 9 PRACTICE ?IS WAS ! ESS5TIAL LOCAL MANIFE/ATION ( ! NATIONAL MUSIC SY/EM 444 ONE ASPECT WAS ! PROVISION ( AUDI5CES ) ! NECESS>Y SKILLS ( APPRECIATION = PR(ESSIONALS COM+ TO GIVE CONC]TS LOCALLY1 BUT IT EXT5D$ F> BEYOND ?IS TO ! :OLE SY/EM ( LOCAL TRA9+1 PLAY+1 ACTIVELY PRACTIC+ MUSICAL GR\PS & PUBLIC P]=MANCES BY LOCAL MUSICIANS40 

,ONE CONCRETE EXAMPLE ( ?IS CONT9U+ TRADITION IS ! WAY 9 :I* PR9T$ SCORES & MUSIC P>TS1 BO? VOCAL & 9/RUM5TAL1 GET PASS$ ON3 0,!SE W]E (T5 BORR[$ RA!R ?AN B\<T & :5 A LOCAL *OIR1 SAY1 F\ND ITSELF1 AS SO (T51 S++ FROM OLD & WELL-M>K$ COPIES1 IT WAS EASY TO PICTURE ! E>LI] *OIRS #b1 #c OR EV5 #e YE>S AGO S++ FROM ! SELF SAME COPIES -- & REP]TOIRE -- ( CLASSICAL *ORAL MUSIC 9 ! DAY :51 P]HAPS1 ?OSE P>TS CO/ JU/ ONE P5NY40 

,9 ,MILTON ,KEYNES1 AS 9 ANY:]E ELSE1 ! CLASSICAL MUSIC TRADITION RE/S ON HI<LY TRA9$ SPECIALI/ MUSICIANS1 SO IT CAN BE SE5 AS A 0HI<->T PURSUIT = ! FEW04 ,BUT LOOK+ A LITTLE CLOS]1 ,RU? ,F9NEGAN SEES ?AT LOCAL MUSICIANS 0V>I$ 5ORM\SLY 9 T]MS ( $UCATIONAL QUALIFICATIONS1 SPECIALI/ EXP]TIZE1 OCCUPATION1 WEAL? & G5]AL E?OS40 ,TAKE ! LEAD+ AMATEUR OR*E/RA1 ! ,%]WOOD ,S9FONIA1 :]E %E F\ND EXCEPTIONS TO ! USUAL ASSUMPTIONS1 0LIKE ! Y\NG SAUSAGE-MAK]1 LAT] MUSIC %OP ASSI/ANT1 :O BESIDES BE+ A ,%]WOOD ,S9FONIA VIOL9I/ WAS A KEYBO>D PLAY] & COMPOS] ) A LOCAL ROCK GR\P1 OR PUPILS FROM LOCAL COMPREH5SIVE S*OOLS NOT ALL 9 ! 'BE/' >EAS40 

,TAKE TOO ! ,BRASS ,B& WORLD4 ,DON'T BE DECEIV$ BY ! WAY ?AT PEOPLE IMPLY ?AT ?AT SECTOR IS 'A WORLD ( ITS [N' CONF9$ TO FAMILIES :]E IT HAD BECOME A TRADITION4 ,!RE IS 5DLESS EVID5CE ( ?IS 9 ! TRADITION ( ,SALVATION ,>MY B&S1 WORKS B&S OR ,BOYS' ,BRIGADE B&S1 BUT WE'RE ALL FAMILI> ) GREAT & FAM\S P]=M]S :O BELONG$ AS MU* TO ! ALLEG$LY 9COMPATIBLE GR\P+S ( ! DANCE B&1 JAZZ GR\P OR SYMPHONY OR*E/RA4 ,9 ,MILTON ,KEYNES1 ,RU? ,F9NEGAN F\ND ?AT NO O!R MUSICAL GR\PS1 EXCEPT POSSIBLY A FEW *UR* *OIRS1 HAD SU* SOLID L9KS1 SOMETIMES ACTUAL 9/RUM5TS & %EET MUSIC FROM LONG BE=E ! NEW CITY WAS CONCEIV$3 FROM ! ,WOBURN ,S&S ,B& ( #a#h#f#g1 ! ,WOLV]TON ,T[N & ,RAILWAY ,B& ( #aih OR ! ,BLET*LEY ,BOYS' ,BRIGADE ,BUGLE ,B& ( #a#i#b#h4 ,BY ! #a#i#hS ! CON/ITU5TS (1 SAY1 ! ,/ANTONBURY ,BRASS OR ! ,BLET*LEY ,B& & ! NEW ,BROSELEY ,BRASS HAD MEMB]S ( BO? SEXES & ALL AGES4 ,RU? ,F9NEGAN WAS ASSUR$ ?AT !IR POLITICAL COMMITM5TS W]E ACROSS ! :OLE SPECTRUM & ! PEOPLE 9VOLV$ 9CLUD$ PO/M51 TEA*]S1 TELEPHONE 5G9E]S1 MOTOR ME*ANICS1 P]SONNEL MANAG]S1 BUT*]S1 TRA9 DRIV]S1 CL]KS1 LABOR]S1 /OREM5 & %OPWORK]S1 0BUT ALSO 9CLUD$ COMPUT] 5G9E]S1 A BUILD+ 9SPECTOR1 A MIDWIFE & SEV]AL S*OOL*ILDR504 

,=GET Y\R ASSUMPTIONS3 ! BRASS B& WORLD WAS MORE REPRES5TATIVE ( CLASS & OCCUPATION 9 ,MILTON ,KEYNES ?AN ANY POLITICAL GR\P4 ,& EXACTLY ! SAME WAS F\ND TO BE TRUE ( ! FOLK MUSIC WORLD4 ,ONE ( ! ?+S %E OBS]V$ 9 LOCAL FOLK CLUBS WAS !IR RELATIVE TRANSI5CE3 0,!RE W]E O!RS TOO1 EV5 LESS LONG-LA/+1 :I* = A TIME 5GAG$ PEOPLE'S 5?USIASM BUT FAD$ \T AFT] A FEW YE>S OR MON?S 4440 LIKE ! ,CONCRETE ,C[ ,FOLK ,CLUB4 ,ONE LEAD+ S+] AT ! ,BLACK ,HORSE 9 ,GREAT ,L9=D EXPLA9$ ?AT 0ANYBODY'S WELCOME TO JO9 91 PLAY ALONG1 S+ A SONG1 ADD SOME H>MONY TO A *ORUS OR SIMPLY HAVE A BE] & LI/504 

,*ANGE & V>IETY 

,?IS IS A REM9D] ( ,KROPOTK9'S IMPORTANT /RESS ON IMP]MAN5CE1 & HIS 9SI/5CE ON 0AN 9F9ITE V>IETY ( GR\PS 444 TEMPOR>Y OR MORE OR LESS P]MAN5T 444 AN EV]-*ANG+ ADJU/M5T & READJU/M5T ( EQUILIBRIUM04 ,9 ! BRASS WORLD WE EMPHASIZE !CONT9UITY ( TRADITION1 9 ! FOLK WORLD WE LOVE ! WAY 9 :I* ! MOOD & ! V5UE *ANGE FROM PUB TO PUB4 ,I SEE1 :]E ,I LIVE 9 ,SUFFOLK1 H[ AS ! V5UE *ANGES1 P]=M]S1 SOME ( !M OLD FRI5DS1 O!RS COMPLETE /RANG]S1 ADJU/ TO ! MOOD1 ! AUDI5CE & ! AC\/ICS1 & PLAY ALONG TOGE!R1 SOMETIMES ACCOMPANY+ A S+] NONE ( !M HAVE MET BE=E1 EX*ANG+ ?R\< GE/URES & EYE-SIGNALS 9=MATION AB\T KEY & TEMPO1 *ORDS & H>MONY4 ,IT IS EXACTLY ! SAME AUTOMATIC RECIPROCITY ?AT Y\ NOTICE BETWE5 ! MEMB]S ( A /R+ QU>TET1 ) ! SIGNIFICANT DIFF]5CE ?AT PEOPLE LIKE ! ,AMADEUS HAD PLAY$ TOGE!R = =TY YE>S4 

,:5 ! :OLE V>IEGAT$ PAT*WORK ( ! FOLKWEAVE PATT]N COMES TOGE!R1 AS 9 ! ,FOLK-ON-!-,GRE5 ,FE/IVAL 9 ,/ONY ,/RAT=D1 !Y PROVIDE1 AS ,RU? ,F9NEGAN COMM5TS1 0A MAGNIFIC5T %[PIECE ( LOCAL TAL5T0 BR++ 9 O!R /REAMS LIKE ,CEILIDH B&S TO DANCE TO1 OR ! ,MORNS-DANC+ GR\PS4 ,AS ONE ADH]5T TOLD H]1 0BY PLAY+ ) O!R PEOPLE Y\ GET ANO!R DIM5SION TO P]=MANCE04 

,!N %E MOVES TO ! WORLD ( MUSIC !AT]1 MEAN+ OP]A1 ! ,GILB]T & ,SULLIVAN LI<T OP]AS1 MUSICAL PLAYS -- NOT SO MU* ',OKLAHOMA' OR ',WE/ ,SIDE ,/ORY' AS LOCAL GR\PS C\LD NEV] AF=D ! COPYRI<T FEES 9VOLV$1 BUT OLD FAVORITES &1 = EXAMPLE1 ! S]IES ( MUSICAL PLAYS BAS$ ON LOCAL HI/ORY :I* EM]G$ ON ! ,/ANTONBURY ,CAMPUS1 ONE ( :I* ,I HAVE ACTUALLY SE54 ,IT ALSO COV]S ! PANTOMIMES PUT ON AT ,*RI/MAS BY EV]Y K9D ( GR\P FROM S*OOLS TO ,WOM5'S ,9/ITUTES4 

,IF Y\R MEASURE ( ! IMPORTANCE ( MUSIC 9 HUMAN SOCIETY IS ! %E] NUMB] ( PEOPLE 9VOLV$ 9 ! ACTUAL PRODUCTION1 MUSIC !AT] MU/ BE ! W9N]4 ,AMONG P]=M]S IT BR+S TOGE!R BO? S+]S & ACTORS1 & IT ALSO CALLS = ! UTMO/ SKILL 9 SC5E DESIGN]S1 LI<T+ ELECTRICIANS1 PA9T]S & /AGE-H&S1 CO/UME MAK]S1 & AN 5ORM\S NUMB] ( CITIZ5S 9VOLV$ 9 GETT+ PEOPLE TO REHE>SALS1 FE$+ & B$D+ !M1 BOOK+ HALLS1 PRODUC+ PROGRAMS1 DRUMM+ UP ! AUDI5CE & SELL+ TICKETS4 ,MANY SU* V5TURES W]E CONDUCT$ TO RAISE FUNDS = LOCAL CAUSES1 & ,RU? ,F9NEGAN IS ELOQU5T AB\T ! MEAN+ = ! P>TICIPANTS 

444LOCAL SOLOI/S FL\RI%$ & EV5 ! LESS SKILL$ *ORUS & SMALL-P>T S+]S EXP&$1 /EEP$ 9 MUSIC = H\RS ON 5D1 ATT5D+ CON/ANT REHE>SALS1 /UDY+ !IR P>TS 9 EV]Y ODD MOM5T !Y C\LD SNAT* FROM WORK OR FAMILY -- SMALL WOND] ?AT ONE CONCLUD$ ',I ATE1 SLEPT & DREAM$ MUSIC'4 ,SOME MEMB]S HAD BE=E HAD RELATIVELY LITTLE SY/EMATIC MUSICAL EXP]I5CE1 & = !M SU* EXP]I5CE W\LD BE A REVELATION -- AS = ! LOCAL PLUMB] UNABLE TO READ NOTAT$ MUSIC :O TALK$ & TALK$ ( ! JOY ( S++ 9 OP]AS & PANTOMIMES & HIS DISCOV]Y ( ! BEAUTIES ( LI/5+ TO MUSIC4 ,= !IR REGUL> AUDI5CES TOO1 ! PUBLIC P]=MANCES W]E NOT ONLY GR& OCCASIONS ( !ATRICAL DISPLAY1 M>K$ BY COLOR1 MOVEM5T1 DANCE & DRAMATIC AS WELL AS MUSICAL EXPRESSION1 BUT ALSO AN OPPORTUNITY TO HE> WELL-KN[N TUNES & >RANGEM5TS :I* EV5 AFT] ! 5D ( ?AT YE>'S P]=MANCE C\LD REMA9 9 ! MEMORY TO EVOKE ?AT SPECIAL EXP]I5CE & LAY ! F\NDATION = LOOK+ =W>D TO NEXT YE>'S PRODUCTION40 

,FLUIDITY & MOVEM5T 

,!N !RE'S ! JAZZ WORLD4 ,! ?REE BE/-KN[N B&S PLAY+ 9 ,MILTON ,KEYNES 9 ! E>LY #a#i#hS W]E ! ,ORIG9AL ,GR& ,UNION ,SYNCOPATORS1 ! ,F5NY ,/OMP]S & ! ,T-,BONE ,BOOGIE ,B&4 ,DR ,F9NEGAN DISCUSSES !SE ?REE ) A BRIEF M5TION ( DOZ5S ( O!RS 9 ! >EA4 ,!SE GR\PS WON A HUGE REPUTATION LOCALLY1 ) WILDLY UNEXPECT$ COMB9ATIONS ( P]=M]S & 9/RUM5TS4 ,TALK+ ( ! ,T-,BONE ,BOOGIE ,B&1 %E EXPLA9S ?AT 0!Y PRES5T$ !MSELVES AS A ZANY 'FUN B&'1 BUT !IR ACT FOLL[$ MANY TRADITIONAL JAZZ & BLUES SEQU5CES1 ) BEAUTIFUL TRADITIONAL PLAY+ 9T]SP]S$ ) !IR [N WILD] 5ACTM5TS ( BLUES4 ,!Y SPOKE ( !SE AS 'IMPROVIS$ \T ( NO:]E1 ON ! SPUR ( ! MOM5T'1 BUT !Y W]E 9 PRACTICE BAS$ ON LONG H\RS ( JAMM+ TOGE!R AS A GR\P40 ,%E GOES ON TO SAY ?AT 0!Y SAW !MSELVES AS 'A COMMUNITY B&'1 PLAY+ 'TO GIVE O!R PEOPLE 5JOYM5T 444 & = \R [N 5JOYM5T AS WELL'1 A HOBBY RA!R ?AN PR(ESSIONAL 5T]PRISE4 ,:5 !Y W]E APPROA*$ BY A RECORD+ COMPANY & (F]$ MONEY TO GO PR(ESSIONAL1 !Y TURN$ IT D[N40 

,H] ACC\NT ( ! FLUIDITY ( ! JAZZ GR\PS S\NDS LIKE ,KROPOTK9 DESCRIB+ HIS IDEAL SOCIETY4 ,%E SEES ! ACTUAL 9/RUM5TAL COMPOSITION ( JAZZ GR\PS AS 0MORE V>IABLE ?AN 9 MO/ O!R MUSICAL WORLDS0 & ?AT 0JAZZ MUSICIANS W]E TI$ NEI!R TO WRITT5 =MS NOR TO EXACT MEMORIZATION1 BUT RA!R 5GAG$ 9 A =M ( COMPOSITION-9-P]=MANCE FOLL[+ ACCEPT$ /YLI/IC & !MATIC PATT]NS04 

,= !M1 JAZZ WAS FRE$OM1 AS COMP>$ ) EI!R CLASSICAL MUSIC OR ROCK4 ,%E SAYS ?AT 0F> MORE ?AN O!R MUSICIANS !Y W\LD BREAK 9TO SMILES ( RECOGNITION OR ADMIRATION AS ONE AFT] ANO!R PLAY] TOOK UP ! SOLO SPOT1 & LOOK$ AT EA* O!R 9 PLEASURE AFT] ! 5D ( A NUMB]1 AS IF HAV+ EXP]I5C$ SOME?+ NEWLY CREAT$ AS WELL AS FAMILI>4 ,AS ONE LOCAL JAZZ PLAY] PUT IT1 'WE IMPROVISE1 ) ! TUNES US$ AS VEHICLES1 SO EV]Y?+ ! GR\P DOES IS ORIG9AL'4 ,LOCAL JAZZ MUSICIANS (T5 BELONG$ TO SEV]AL JAZZ B&S1 MOV+ EASILY BETWE5 DIFF]5T GR\PS 444 JAZZ 9 ,MILTON ,KEYNES IS MORE A S]IES ( V5UES ?AN AN 9TEGRAT$ & SELF CONSCI\S MUSICAL WORLD 444 & BO? ! MUSICAL ACTIVITY ITSELF1 & ! %>$ SKILLS1 PRIDE & CONV5TIONS ?AT CON/ITUT$ JAZZ PLAY+ SEEM$ TO BE A CONT9U+ ELEM5T 9 !IR [N ID5TITY & !IR P]CEPTIONS ( O!RS40 

,DISS5T & COOP]ATION 

,!N %E MOVES TO ! C\NTRY & WE/]N WORLD1 DESCRIB+ ! ,MILTON ,KEYNES ,DIVID$ ,C\NTRY & ,WE/]N ,CLUB1 GO+ /RONG 9 ,BLET*LEY S9CE ! MID #a#i#gS4 ,! CLUB'S NAME1 %E SAYS1 9DICAT$ C]TA9 OPTIONS4 ,ONE ( !SE WAS 9 DRESS3 'DIVID$' BETWE5 ?OSE :O *OSE TO COME DRESS$ 'JU/ AS Y\ LIKE' & ?OSE :O PREF]R$ 'WE/]N DRESS'4 ,EI!R WAS ACCEPTABLE1 & >\ND HALF HAD OPT$ = ONE OR ANO!R V]SION ( 'WE/]N' GE> :I* C\LD RANGE FROM A TOK5 C[BOY HAT OR SC>F OR TO ! FULL REGALIA4 0,9 CONTRA/ TO ROCK & JAZZ EV5TS10 %E EXPLA9S1 0! AUDI5CE SITT+ R\ND ! TABLES WAS FAMILY BAS$1 ) R\<LY EQUAL NUMB]S ( M5 & WOM51 SEV]AL *ILDR51 & PEOPLE ( EV]Y AGE FROM ! TW5TIES UPW>DS1 9CLUD+ MIDDLE-AG$ & ELD]LY PEOPLE2 ONLY ! LATE TE5AG]S W]E ABS5T4 ,IT WAS A 'FAMILY NI<T \T' 444 ! SECRET>Y WELCOM$ 9DIVIDUAL VISITORS FROM O!R CLUBS TO 9T]E/ & SMILES FROM HIS LI/5]S -- AN E/ABLI%$ CU/OM 9 C\NTRY & WE/]N CLUBS1 9 KEEP+ ) !IR G5]AL ATMOSPH]E ( FRI5DL9ESS & P]SONAL W>M?04 

,%E MAKES IT S\ND ALMO/ LIKE A MEET+ ( A RELIGI\S SECT LIKE ! ,%AK]S 9 N9ETE5? C5TURY ,AM]ICA3 0,AS ! EV5+ W5T ON1 MORE & MORE PEOPLE GOT UP TO DANCE1 ADD+ TO & DEVELOP+ ! MUSIC ?R\< !IR RHY?MIC MOVEM5TS 9 ! DANCE -- ONE ( ! AGE-OLD MODES ( MUSICAL EXPRESSION & APPRECIATION4 ,! ATMOSPH]E WAS RELAX$ & UNSELFCONSCI\S4 & MO/ PEOPLE :ATEV] !IR AGE1 SEX OR BUILD LOOK$ REM>KABLY C>EFREE AS !Y DANC$ TO ! B& -- ! MIDDLE-AG$ WOMAN ) H] TI<T JEANS1 J]SEY & BIG LEA!R BELT OV] H] WELL-R\ND$ BULGES1 ! VISIT+ TE*NICIAN & GR&FA!R ) HIS BROK5 SMOKE-/A9$ TEE?1 GLEAM+ GUN & C[BOY GE>1 ! Y\NG WIFE \T = ! EV5+ ) H] HUSB&1 DRAWN 9 BY HIS G5]AL 9T]E/ 9 C\NTRY & WE/]N MUSIC & N[ %>+ HIS 5?USIASM -- & SCORES ( O!RS40 

,! C\NTRY & WE/]N WORLD WAS A CO-EXI/5CE ( PEOPLE 9T]E/$ 9 ! 'WE/]N' ASPECTS & ?OSE :O MO/ VALU$ ! MUSIC4 ,?IS CO-EXI/5CE WAS SUMM$ UP 9 ! V]Y NAME ( ! ,MILTON ,KEYNES ,DIVID$ ,C\NTRY & ,WE/]N ,CLUB1 :I* AS ,DR ,F9NEGAN SAYS1 AT FIR/ SI<T SUGGE/S DISS5SION1 BUT 9 PRACTICE SYMBOLIZES FRUITFUL COOP]ATION & AN ULTIMATE %>+ ( 9T]E/S BETWE5 !SE W+S ( ! C\NTRY & WE/]N WORLD4 

,%E MOVES ON TO ANO!R MUSICAL SC5E1 ROCK & POP1 A CAT*-ALL PHRASE S9CE MEAN+S & DEF9ITIONS >E ALWAYS %IFT+ ) :AT ,D]EK ,JEWELL CALLS ! CONT9UAL FLUX ( ! VOCABUL>Y ( POPUL> FA%ION4 ,DR ,F9NEGAN DESCRIBES H[ 0,MILTON ,KEYNES WAS SW>M+ ) ROCK & POP B&S4 ,!Y W]E P]=M+ 9 ! PUBS & CLUBS1 PRACTIC+ 9 G>AGES1 Y\? CLUBS1 *UR* HALLS & S*OOL CLASSROOMS1 ADV]TIS+ = NEW MEMB]S 9 ! LOCAL PAP]S & LUGG+ !IR 9/RUM5TS >\ND BY C> OR ON FOOT4 ,!RE W]E PROBABLY AB\T #a GR\PS1 EA* ) !IR [N COLORFUL NAMES & BR& ( MUSIC 444 ,FROM ! AM\NT ( TIME1 TR\BLE & 79 MANY CASES7 MONEY ! PLAY]S 9VE/$ 9 !IR MUSIC1 & FROM !IR [N COMM5TS1 IT WAS CLE> ?AT !Y GOT GREAT SOCIAL & P]SONAL SATISFACTION FROM !IR B& MEMB]%IP -- 'MAK+ PEOPLE LI/5 TO :AT Y\ SAY' & 'F9D+ A WAY TO EXPRESS \RSELVES' -- RA!R ?AN REG>D+ IT PRIM>ILY AS A PR(ITABLE 5T]PRISE 444 ,! PLAY]S' AGES1 $UCATIONAL BACKGR\NDS & OCCUPATION W]E MORE V>I$ ?AN MO/ ( ! G5]ALIZATIONS AB\T MOD]N ROCK MUSIC & Y\? CULTURE MI<T SUGGE/40 

,%E IS GREATLY SKEPTICAL AB\T ! SUCCESSION ( S*OL>LY WRIT+S AB\T MASS CULTURE1 ONE 9FLU5TIAL GR\P SEE+ IT AS 0ESS5TIALLY RUL$ BY ! M>KET PLACE1 SOPORIFIC & NON->TI/IC1 DELIV]$ BY NONCREATIVE & COMM]CIALIZ$ P]=M]S TO PASSIVE & BRA9WA%$ MASS AUDI5CES10 ANO!R GR\P ( ,M>XI/ CRITICS SEE+ IT AS DOM9AT$ BY A CAPITALI/ P[] ELITE1 :ILE YET ANO!R DECL>ES ?AT IT IS A 0CULTURAL /RUGGLE0 ) 0! WORK+ CLASS /RUGGL+ TO ASS]T !IR [N RADICAL CLAIMS AGA9/ ! CAPITALI/ WORLD0 -- A =M ( WORK+-CLASS Y\? PROTE/4 

,!SE VIEWS OBVI\SLY >5'T CONV9C+ :5 APPLI$ TO 0! AMATEUR GRASS-ROOTS LOCAL P]=M]S & !IR FACE-TO-FACE AUDI5CES10 BUT ALL ! SAME1 0LOCAL P>TICIPANTS & OBS]V]S W]E /ILL TO SOME EXT5T AFFECT$ BY ?IS S]IES ( ASSUMPTIONS & W]E PREP>$ FROM TIME TO TIME TO MAKE EFFECTIVE USE ( SU* IMAGES AS !IR [N PUBLICITY04 

,H] [N CONCLUSION IS ?AT 0! MO/ PROM95T S+LE *>ACT]I/IC ( ROCK PLAY]S 9 ,MILTON ,KEYNES -- AP>T FROM !IR V>IETY -- WAS !IR 9T]E/ 9 EXPRESS+ !IR [N VIEWS & P]SONALITY ?R\< MUSIC-MAK+3 A /RESS ON 9DIVIDUALITY & >TI/IC CREATION :I* ACCORDS ILL ) ! MASS !ORI/S' DEL9EATION ( POPUL> MUSIC04 ,A /RIK+ FEATURE %E SAW RUNN+ ?R\< ALL ! B&S WAS A S5SE ( P]SONAL PRIDE & A*IEVEM5T4 ,H] F9AL WORD ON !M WAS ?AT 9 SU* B&S 0!IR MEMB]S FELT !Y C\LD REALLY MAKE SOME 9DIVIDUAL M>K 444 9 CONTRA/ TO ! HI]>*IES & 9SECURITIES ( S*OOL1 WORK OR ! SOCIAL S]VICES1 PLAY+ 9 A B& PROVID$ A M$IUM :]E PLAY]S C\LD EXPRESS !IR [N P]SONAL ES!TIC VISION & ?R\< !IR MUSIC A*IEVE A S5SE ( CONTROLL+ !IR [N VALUES1 DE/9Y & SELF ID5TITY40 

,CREATIVITY 

,%E GOES ON TO DISCUSS ! PROCESSES BY :I* MUSICIANS 9 ,MILTON ,KEYNES LE>N$ ! TE*NIQUES ( !IR >T1 ! NATURE ( P]=MANCES4 ,:E!R ! P]=MANCE WAS SE5 AS AN '5GAGEM5T'1 A 'CONC]T'1 A 'RECITAL'1 A 'BOOK+' OR A 'GIG'1 !RE W]E SEV]AL =MS ( SOCIAL ORGANIZATION REQUIR$3 0ME*ANISMS TO FRAME ! OCCASION AS SOMEH[ AP>T1 PRIOR PREP>ATION BY ORGANIZ]S1 & ! CRUCIAL PRES5CE ( AN AUDI5CE1 NOT JU/ AS PASSIVE RECIPI5TS BUT AS ACTIVE & EXP]I5C$ P>TICIPANTS !MSELVES PLAY+ AN ESS5TIAL ROLE 9 CON/ITUT+ ! OCCASION AS A MUSICAL EV5T04 ,!N %E MOVES TO AN ANALYSIS ( COMPOSITION1 CREATIVITY & P]=MANCE4 ,A LOT ( MUSICAL COMPOSITION HAPP5S 9 ,MILTON ,KEYNES 9 SEV]AL WAYS4 0,! FIR/ IS ! WELL-KN[N CLASSICAL MODE ( PRIOR-WRITT5 COMPOSITION BY AN 9DIVIDUAL4 ,?IS MODE IS ASSUM$ TO BE ! NATURAL =M ( 'COMPOSITION' 9 MO/ S]I\S WRIT+ AB\T MUSIC40 ,A LOT ( ?AT HAPP5S H]E1 LIKE ! WORK ( ,JOHN ,DANKWOR?1 WORK+ NATIONALLY & 9T]NATIONALLY1 NOT PRIM>ILY ?R\< LOCAL MUSICAL NETWORKS4 ,!RE'S A LOT ( *UR* COMPOSITION1 HYMNS & C>OLS1 & A LOT ( MUSIC WRITT5 = LOCAL S*OOL MUSIC FE/IVALS1 OR = ! BIG MUSIC DRAMAS FROM ! ,/ANTONBURY DRAMA GR\P4 

,BUT !RE >E O!R MODELS ( COMPOSITION :I*1 %E SEES1 0OV]LAP & MUTUALLY 5RI* EA* O!R04 ,& %E CONCLUDES ?AT 0ONCE ONE UND]/&S ! VALIDITY ( DIFF]+ SY/EMS = CREAT+ ORIG9AL MUSIC1 EA* AUTONOM\S 9 ITS [N T]MS1 IT BECOMES CLE> ?AT !RE IS 9DE$ A REM>KABLE AM\NT ( MUSICAL CREATIVITY & ! GRASS ROOTS4 ,9 ALL =MS ( MUSIC1 BUT P]HAPS MO/ /RIK+LY ( ALL 9 ! PRIOR-COMPOSITION-?R\< PRACTICE ( ROCK GR\PS1 ! LOCAL MUSICIANS >E QUITE CONSCI\SLY & DELIB]ATELY AMONG ! MOD]NDAY MUSICAL COMPOS]S40 

,PLURALISM & COMMITM5T 

,I HAVE QUOT$ AT L5G? FROM ,DR ,F9NEGAN'S ACC\NT ( ! DIFF]5T MUSICAL WORLDS ( ,MILTON ,KEYNES4 ,%E IS WELL AW>E ?AT !RE >E O!RS TOO4 ,!RE'S ! BIG RANGE ( ,IRI% MUSIC1 BO? ASSOCIAT$ ) GR\PS LIKE ! ,]9 ,S+]S & ! ,GRE5 ,GRASS ,SOCIAL ,CLUB AS WELL AS ! ,/ ,PATRICK'S ,DAY ,MASS ( ! ,MILTON ,KEYNES ,IRI% ,SOCIETY4 ,OR !RE'S ! ,AU/RIAN1 ,SWISS & ,G]MAN MUSIC AT ! ,BLET*LEY ,$ELWEISS ,CLUB1 OR ! ,MILTON ,KEYNES ,WEL% ,SOCIETY1 OR ! ,H9DU ,Y\? ,ORGANIZATION ?AT CELEBRAT$ ! ,DIWALI ,FE/IVAL1 OR ! ,BUDDHI/ GR\P ASSOCIAT$ ) ! ,PEACE ,PAGODA1 OR ! MUSICAL TRADITIONS ( ! ,SIKH COMMUNITY & ! ,MUSLIM POPULATION1 EA* ) !IR [N MUSICAL TRADITIONS4 ,OR ! ,MILTON ,KEYNES ,PIPE & ,DRUM ,B& OR ! CELEBRATION ( ! ,*9ESE ,NEW ,YE> ) DRAGON & DRUM BEAT4 ,%E /RESSES ONCE AGA9 ?AT 09 ! LIMIT$ S5SE 9 :I* ! METAPHOR ( 'MUSICAL WORLD' IS MEAN+FUL1 !RE IS A PLURALITY ( SU* WORLDS 9 LOCAL MUSIC-MAK+40 

,!N %E EXAM9ES ! HOME1 ! S*OOL & ! *UR*ES1 CLUBS & PUBS1 NOT ONLY AS ! PHYSICAL PLACES = MUSIC MAK+1 BUT AS PROVID+ 0A COMPLEX ( EXPECT$ ROLES & OPPORTUNITIES = MUSIC0 :I* CONT9UES YE> AFT] YE>4 ,AFT] ALL 0MUSIC DOES NOT JU/ HAPP5 'NATURALLY' 9 ANY SOCIETY1 BUT HAS TO HAVE ITS RECOGNIZ$ TIME & PLACE1 ITS ORGANIZATION ( P]SONNEL1 RES\RCES1 & PHYSICAL LOCATIONS04 ,& %E HAS TWO *APT]S1 ONE CALL$ ',WORK+ AT IT' & ANO!R ON ',SMALL WORK+ B&S'1 :I* ILLU/RATE ! HUGE TIME & EF=T ?AT VA/ NUMB]S ( PEOPLE1 A MU* WID] GR\P ?AN ACTUAL P]=M]S1 PUT 9TO MAK+ MUSIC HAPP54 ,ONCE MORE1 ,I CAN'T RESI/ QUOT+ FROM ! BOOK AT L5G?3 

,NOT SURPRIS+LY SOME GR\PS W]E MORE EFFECTIVE ?AN O!RS 9 ATTRACT+ ! NECESS>Y P]SONNEL1 COP+ ) ! V>I\S CON/RA9TS1 & MORE OR LESS MEET+ !IR P>TICIPANTS' ASPIRATIONS1 BUT EV5 ! SMALLE/ ( !M -- ! PREC>I\S *UR* *OIR ( F\R MEMB]S AS MU* AS ! #i-/RONG ,MILTON ,KEYNES ,*ORALE -- ULTIMATELY DEP5D$ ON ! ORD]$ COMMITM5T ( ITS P>TICIPANTS3 )\T ?AT NONE C\LD CONT9UE4 

,:5 ONE ?9KS ( LOCAL MUSIC1 !N1 ! CORRECT IMPRESSION %\LD NOT BE EI!R ( ! 'CULTURAL DES]T' ?AT SOME PICTURE1 OR ( A SET ( SM>TLY OP]AT$ & HI<LY EFFICI5T GR\PS1 OR YET ( ! NATURAL COOP]ATION ( COMMUNALLY ORI5T$ OR SELFLESS 9DIVIDUALS1 BUT RA!R A V>IEGAT$ L&SCAPE MADE UP ( A :OLE S]IES ( DIFF]+ K9DS ( GR\PS & ACTIVITIES1 SOME TI<TLY ORGANIZ$1 VISIBLE & POPUL\S1 O!RS MORE 9=MAL1 SOME /RUGGL+ OR ON !IR LA/ LEGS1 SOME />T+ UP & P]HAPS B5EFIT+ FROM ! DISSOLUTION ( O!RS1 SOME E/ABLI%$ BUT /ILL VULN]ABLE1 SOME 9 DIRECT COMPETITION ) O!R GR\PS AT SOME TIMES BUT JO9+ 9 COOP]ATIVE V5TURES AT O!RS1 SOME LA/+ OV] ! YE>S1 & SOME APPE>+ = JU/ ONE OR TWO EV5TS !N LAPS+4 ,9 ! RI* TAPE/RY ?AT MAKES UP LOCAL MUSIC1 :AT ALL !SE GR\PS & ACTIVITIES HAVE 9 COMMON-:E!R L>GE OR SMALL1 'SUCCESSFUL' OR NOT1 H>MONI\S OR QU>RELSOME OR MIX$ -- IS ! NE$ = A CON/ANT 9PUT ( ORGANIZ$ CO-ORD9AT$ EF=T FROM ?OSE :O AT ONE LEVEL OR ANO!R P>TICIPATE 9 !M4 

,N[ :]E HAVE Y\ SE5 ?IS K9D ( LANGUAGE BE=E8 ,WELL PRECISELY 9 ,KROPOTK9'S DEF9ITION ( AN>*ISM ) :I* ,I BEGAN4 ,JU/ TO COMPLETE ! SAGA1 ,I WILL QUOTE @&OM ,RU? ,F9NEGAN'S NEXT P>AGRAPH4 0,MANY ( ! PICTURES WE >E GIV5 ( CULTURAL ACTIVITY 9 ?IS C\NTRY RE/ ON A TOP-D[N MODEL 7PATRONAGE COM+ FROM ! /ATE OR ! L>GE COMM]CIAL CONC]NS7 OR ON A MODEL ( CULTURE1 & MORE SPECIFICALLY MUSIC1 AS ESS5TIALLY & IDEALLY ! PRES]VE ( SPECIALI/S OR AS PRIM>ILY CONDUCT$ ?R\< ! MASS M$IA OR L>GE-SCALE PR(ESSIONAL CONC]TS4 ,LOCAL MUSIC-MAK+ FALLS EASILY )9 NONE ( !SE MODELS4 ,NOR DOES IT FIT ! ALSO COMMON IDEA ?AT AMATEUR CULTURAL ACTIVITIES >E SOMEH[ NATURAL1 EASY & C>EFREE1 CO/+ NO?+ & \TSIDE ! NORMAL SPH]E ( ?OSE :O >E 9T]E/$ 9 ORGANIZATIONAL PROCESSES4 ,ON ! CONTR>Y1 ! ORGANIZATIONAL PROCESSES ( EFFECTIVE WORK1 DECISION MAK+1 COMMUNICATION1 *OICE BETWE5 ALT]NATIVE ME?ODS ( A*IEV+ OBJECTIVES1 DELEGATION ( RESPONSIBILITIES &1 ABOVE ALL1 COOP]ATION 9 ! ATTA9+ ( MORE OR LESS AGRE$ 5DS CAN ALL BE F\ND 9 ! PROCESSES ( RUNN+ LOCAL AMATEUR MUSIC -- 9DE$ !Y MU/ BE F\ND !RE IF IT IS TO CONT9UE40 

,MY CLAIM IS ?AT ?IS BOOK 5CAPSULATES A M>VEL\S PIECE ( RESE>*1 DESCRIB$ ) GREAT S5SITIVITY1 & BEAUTIFULLY WRITT54 ,YET NE>LY EV]YONE ,I KN[ 9 ,MILTON ,KEYNES HAS NEV] HE>D ( ?IS BOOK PUBLI%$ LA/ YE>1 & ! ONE :O HAD HE>D ( IT SAID1 CORRECTLY1 ?AT IT WAS SO LUDICR\SLY EXP5SIVE 7,G,B,P#c#e7 ?AT HE C\LD NEV] DREAM( BUY+ IT4 ,I MYSELF HAVE NEV] SE5 IT REVIEW$ ANY:]E1 YET ,I SEE IT AS ! MO/ 5LI<T5+ PIECE ( AN?ROPOLOGICAL OR SOCIOLOGICAL RESE>* ?AT ,I HAVE READ = YE>S4 ,OBVI\SLY ! PRICE HAS NO?+ TODO ) ANY WI%ES ( ! AU?OR4 

,YET IF ,I W]E ! M>KET+ MANAG] ( ! ,CAMBRIDGE ,UNIV]SITY ,PRESS ,I W\LD HAVE 9/ANTLY SE5 ! OPPORTUNITIES ( A PAP]BACK RUN-ON1 ON NEWSPR9T IF IT'S ANY *EAP]1 ( SEV]AL ?\S& COPIES ) BIG LETT]+ ON ! COV] SAY+ ',MUSIC 9 ,MILTON ,KEYNES3 ! TRU? AT LA/'1 & ,I W\LD HAVE T\T$ IT >\ND EV]Y BOOK%OP &NEWSAG5T 9 ,BLET*LEY1 ,/ONY ,/RAT=D1 ,WOLV]TON & C5TRAL ,MILTON ,KEYNES1 & W\LD F9D ?AT VA/ NUMB] ( CITIZ5S W\LD WANT TO BUY IT1 IF ONLY BECAUSE ON ! EVID5CE ( ?IS BOOK A V]Y BIG PROPORTION ( ! PEOPLE :O LIVE !RE >E 9VOLV$ 9 ONE OR ANO!R ( !SE PLURAL WORLDS ( MUSIC 9 ,MILTON ,KEYNES4 

,! LESSONS 

,I'VE JU/ REF]R$ TO A FAILURE 9 M>KET+1 & ?IS GIVES ME ! *ANCE TO DRAW AN OBVI\S IMPLICATION FROM ?IS BOOK4 ,= T5 YE>S WE HAVE BE5 LECTUR$ BY \R RUL]S AB\T ! VIRTUES ( ! M>KET ECONOMY1 ! ALLEG$ MAGIC ( ! M>KET1 & ?IS BY A CLEV] PROPAG&A TRICK HAS BE5 DESCRIB$ AS ! 5T]PRISE CULTURE4 ,N[ 5T]PRISE HAS NO?+ TO DO ) MAK+ A PR(IT BY BUY+ *EAP & SELL+ DE>4 ,9 ! V]Y LA/ P>AGRAPH ( H] MAGNIFIC5T BOOK ,RU? ,F9NE AN REFLECTS ?AT 0! REALITY ( HUMAN BE+S IS TO BE F\ND NOT ONLY 7MAYBE NOT MA9LY7 9 !IR PAID EMPLOYM5T OR EV5 !IR ?\<T1 BUT ALSO 9 !IR 5GAGEM5T 9 RECOGNIZ$ CULTURAL PRACTICES 444 ,AMONG ! MO/ VALU$ &1 IT MAYBE1 MO/ PR(\NDLY HUMAN ( SU* PRACTICES 9 \T SOCIETY IS ?AT ( MUSIC04 

,IF MY PURPOSE WAS JU/ TO WRITE AB\T H] BOOK1 ?AT IS :]E ,I W\LD 5D4 ,BUT ,I WANT Y\ TO REFLECT ON :AT AN 9T]E/+ WORLD WE W\LD BE LIV+ 9 IF WE ORGANIZ$ EV]Y?+ ! WAY WE ORGANIZE \R MUSIC4 ,I M5TION$ ,M>T9 ,BUB]'S P]CEPTION ( ! SOCIAL PR9CIPLE AS :AT HAPP5S :]EV] PEOPLE 0L9K !MSELVES 9 ! PURSUIT ( A COMMON NE$ OR 9T]E/0 & ,KROPOTK9'S CONCEPT ( ?IS K9D ( VOLUNT>Y COOP]ATION AS A SOCIAL /RUCTURE :I* W\LD 0REPRES5T NO?+ IMMUTABLE4 ,ON ! CONTR>Y -- AS IS SE5 9 ORGANIC LIFE AT L>GE0 HE W5T ON 0 -- H>MONY W\LD RESULT FROM AN EV]-*ANG+ ADJU/M5T & READJU/M5T ( EQUILIBRIUM BETWE5 ! MULTITUDE ( =CES & 9FLU5CES01 BUT ABOVE ALL1 0W\LD REPRES5T AN 9T]WOV5 NETWORK1 COMPOS$ ( AN 9F9ITE V>IETY ( GR\PS & F$]ATIONS ( ALL SIZES 444 TEMPOR>Y OR MORE OR LESS P]MAN5T -- =ALL POSSIBLE PURPOSES40 

,SUPPOSE ?IS WAS ! WAY WE *OSE TO ORGANIZE \R WORK1 OR \R $UCATION OR ! PRODUCTION & MANAGEM5T ( H\S+1 OR \R HEAL? S]VICES1 OR \R TRANSPORT1 OR ANY ( ! ?+S ?AT MAKE LIFE POSSIBLE & 5JOYABLE 9 ,MILTON ,KEYNES OR ANY:]E ELSE8 

,FROM 3 ,!,AN>*I/,LIBR>Y4ORG4 

,*RONOLOGY 3 
,JULY #b#b1 #bai 3 ,AN>*Y 9 ,MILTON ,KEYNES -- ,ADD$4 
,JANU>Y #c1 #bbb 3 ,AN>*Y 9 ,MILTON ,KEYNES -- ,UPDAT$4 

 FILE G5]AT$ FROM 3  
HTTP3_/_/REVOLTLIB4COM_/