Voice of the voiceless: Empowering young people through music
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Citation:Cooper, K. (2021). Voice of the voiceless: Empowering young people through music. (Unpublished document submitted in partial fulfilment of the requirements for the degree of Master of Architecture (Professional)). Unitec Institute of Technology, New Zealand. https://hdl.handle.net/10652/5537
Permanent link to Research Bank record:https://hdl.handle.net/10652/5537
RESEARCH QUESTION How can a community performing arts centre empower young people through the learning, making, and performance of music? ABSTRACT Young people typically struggle to find a place within society where their voice is heard. Music can empower adolescents to express themselves and find a path to self-discovery that can positively influence individual and communal outcomes. However, safe, age-appropriate spaces for young people to participate in these cultural explorations are in short supply, as is the ability to access affordable musical instruments and lessons. How can a community performing arts centre empower young people through the learning, making, and performance of music? Critical theories of empowerment, community and music include the works of Peter Hopkins, Robert A. Cutietta and Ian Appleton. Hopkins discusses the misrepresentation of young people in societal decision-making and the challenging relationship with adults in a communal context. Cutietta examines the requirements of young people engaging with music and the resources available outside of schools, whilst Appleton addresses the functional and technical requirements associated with the learning, making, and performance of music. This research project investigates whether a community performing arts centre, in conjunction with a smaller mobile performance intervention, can empower young people by introducing school-aged students to a variety of musical experiences within the master-planned greenfield development of Auranga in West Drury, Auckland. The project analysed the current themes, precedents/case studies, and specific conditions of the site in which these theories will be applied. The research undertaken identified the programme and associated spatial requirements for music learning, making, and performance in conjunction with social and cultural design aims/objectives that underpin the project. The established set of aims/objectives were used during design development to test theories and ideas, consequently leading to a resolved outcome.