This examination of musical practices between two or more distinctly different cultures resulted in considerable documentation and publication, but little more in terms of ongoing practice and collaboration. An agreement to recognize the interrelationships failed to occur, resulting in a schism between conservatory musics and intercultural community music (Bohlman). While the Arab contingent chose to represent their traditions with ensembles, the Europeans chose musicologists, composers and solo performers. The Cairo Congress of Arab Music, 1932, brought scholars and performers from throughout the Arabicspeaking world as well as European musicians including Béla Bartók and Paul Hindemith in the hope of acknowledging a relationship between European classical and Arabic music. History shows that this is not necessarily a new challenge. We claim that these concepts merit a fresh look and an updated, current reframing.

Terms such as inclusivity and excellence are embedded within cultural norms and protocols. 4), are discussed as music for whom, by whom and with whom.

Concepts that underpin cm principles and oriented in the notion of people, places, participation, inclusion and diversity (Higgins and Willingham, p. With reference to the conference sub-theme of Tradition, Locality, and Cultural Identity we locate this within a university setting. In rethinking concepts and redefining common terms in university music study, this discussion addresses issues that pertain to the place that community music has opened up in both undergraduate and graduate programs.

Kite liberator soundtrack