This presentation seeks to highlight the intersections, both ideological and practical, between community music practices and Carl Orff’s music pedagogical philosophy. Specifically, it examines shared philosophical positions, values, and principles that underpin musical creativity through a review of existing literature, the presentation of empirical data, and examples of community music programs from both international and Greek contexts. Community music is a conscious invitation to a diverse range of people with varying abilities, needs, and interests to actively engage in participatory musical performance and creation (Higgins, 2012). In a safe environment characterized by acceptance, diversity, and inclusion, participants are given the opportunity to explore their potential, express themselves, and collaborate musically to achieve a common (and often extra-musical) goal (Stamou & Litos, 2023). Community musicians design and coordinate musical activities within each community, ensuring equitable participation of all members. On the other hand, Carl Orff’s music pedagogical work treats speech, music, and movement/dance as unified expressive and communicative means. It is rooted in three pillars: education, art, and humanism (Salmon, 2012). The strength of the Orff-Schulwerk approach lies in its continuous evolution to meet the challenges and needs of different societies and historical contexts while maintaining its timeless simplicity and foundation in elemental. Its primary objectives include a holistic approach to human development, fostering expressiveness and creativity, and ensuring the right to artistic expression (Agalianou & Tsaftaridis, 2016). Community music meets the Orff-Schulwerk approach through experimentation, improvisation, composition, and performance, both individually and collectively. The communal nature of collective musical practice is enhanced by utilizing speech as a rhythmic phenomenon, music and dance as forms of social expression and communication. A shared goal is to facilitate authentic artistic experiences and interaction among participants through activities that respect the social and cultural context and the individuality of each person. As such, Orff’s approach to music and movement education offers community musicians a creative framework for engaging with the communities they serve. At the same time, in more formal educational settings, the application of Orff-Schulwerk expands the sense of community-based creativity.

• Meaningful musical experiences
• Music and communities

• Yiannis Litos is a PhD Candidate in the Department of Music Science and Art, University of Macedonia. He studied musicology/music education (Department of Music Studies), pedagogy (Department of Primary Education) and holds a master’s degree in arts and education (Department of Early Childhood Education) from the University of Ioannina. He is the co-editor of two books. Yiannis has participated in international conferences and has published articles and book chapters. His current research interests include community music and inclusive musical practices with disadvantaged children, sociological approaches of busking, and the use of music, movement, and dance in educational and community settings.

• Olympia Agalianou: PhD in pedagogy and a degree in P.E. and Sport Science (N.K.U.A.). Music studies (harmony degree). Two-year course in Orff-Schulwerk, three years course in dance therapy and four-year studies in systemic counselling. Writer of a monography, 14 chapters in collective books articles in scientific journals and conference proceedings and school textbooks. Since 1995 he has been working as an educator in lifelong education in Greece and abroad. Serves as Special Educational Staff in the Department of Early Childhood Education at N.K.U.A., teaches at master's degree postgraduate programs at the University of Macedonia, Democritus University of Thrace and N.K.U.A