Community Season 1 Music

Community is a show where intense paintball battles break out in the hallways and tainted meat turns a school dinner into a pseudo-zombie outbreak. But it’s also a place where students learn how to grow up and live with their mistakes.

No song captures this more than the show’s main title music. Stately chords, soaring strings and a discordant piano topline make this one of the most iconic themes in television history.

At Least It Was Here

The first season of Community was full of memorable moments, from Pierce’s fever dream after huffing paint fumes to Annie’s sexy dance in the library. But one song that really stuck out was the show’s theme, At Least It Was Here by The 88.

The song’s lyrics are about the end of something, but it’s up to listeners to decide what that something is. Fans have been debating the meaning of the song on forums since Community became a cult favorite, and most interpretations lean toward morbidity.

Despite the death-themed song, it has a catchy melody that’s perfect for a show about the joys of community college. It’s been hummed by Troy, Abed, Shirley, and more throughout the series, even though the song isn’t explicitly in the episodes themselves.

Greendale Is Where I Belong

From the first episode of Community, this song has been interpreted in a variety of ways. Some interpret it as a death song (and it does reference ropes and the specter of hanging yourself), while others see it as more life-affirming. Regardless of what you think it means, the song is catchy and the perfect backdrop to the study group’s misadventures.

This tune is played during a montage of the study group getting ready for their second year at Greendale. Jeff makes amends with Pierce over their Spanish project snafu, and Annie’s attempts to impress her jaded professor lead to an accidental rap battle.

It also plays during a scene in which Jim Rash’s Dean Pelton tries to convince his staff to make Greendale more respectable, culminating in an epic paintball battle with the dean of City College. This is a great example of the cheeky humor that makes the show so special. It’s a shame that it only ran for six seasons.

Brooklyn Nine-Nine

If there is one TV show that has remained a cult favorite in the streaming era, it’s Community. After NBC canceled the comedy in 2014, Sony-backed SVOD platform Yahoo Screen picked up the series for its fifth and final season. And now, more than seven years after the show’s last episode aired, it’s finally getting a movie.

The show stars Andy Samberg as Jake Peralta, a talented but immature NYPD detective in Brooklyn’s 99th Precinct who clashes with their new, serious commanding officer, Raymond Holt. The rest of the squad includes his fellow detectives, over-achievers Amy Santiago and Charles Boyle; sexy yet intimidating Rosa Diaz; the devoted family man Detective Sergeant Terry Jeffords; and the lax precinct administrator Gina Linetti.

The show’s cold open, featuring a group of police officers dancing to “Move On Up” by The 88, is particularly iconic. The lyric “stick your hair down flat like it was covered in mud/trim that pencil mustache and pop those peepers” perfectly describes the scene.

Journey To The Center Of Hawkthorne

A 2D platformer that evokes the look of 16-bit video games. It was built using LOVE, an open-source game engine that allows anyone to contribute to the game and its development. It was created for use in Community’s Digital Estate Planning episode, and it has also been made available for non-Community viewers.

It’s not clear whether the creators of Journey to the Center Of Hawkthorne intended it as a peace offering to Chevy Chase (who plays Pierce in the episode) or as a dig at his feuds with Dan Harmon, but it serves both purposes well. The game pits the study group against Cornelius’s former assistant and his warped view of everyone else he considers inferior to himself.

Its pixelated style and gameplay make it easy for even the least literate gamers to understand its mechanics. But it’s the inclusion of morality systems and creativity-encouraging gameplay that makes it a true testament to gaming in all its forms.

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Community Music Releases New Single “Make Room”

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Community Music, the worship arm of Chicago’s Community Christian Church, releases their newest single “Make Room.” Written by Lucas and Evelyn Cortazio (of The Church Will Sing), Josh Farro (of Paramore) and Rebekah White; the song is a call to surrender and leave space for God in our lives.

The song’s lyrics line up perfectly with Scripture, calling for believers to give up their successes and failures, completely yielding to Christ (Romans 12:1-2; Isaiah 43:5, Isaiah 64:6). Lines 1-3 also call for believers to migrate away from manmade religion and tradition, migrating to pure and undefiled Christianity (James 1:27).

Get the Original Master MultiTracks and Charts for this arrangement in all keys here! (Key Finder available for download to find the key that best fits your vocal range.)

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Eastman Community Music School

Eastman Community Music School offers students of all ages the opportunity to study an instrument or sing. Its world-class teachers provide individualized instruction to each student, and students learn in concert halls such as Kilbourn and Messinger.

The school is a valuable resource for the city of Rochester and its residents, but it’s not without its challenges.

The History

In its century of existence, Eastman has enrolled more than 10,000 living alumni who are distinguished in every aspect of musical life: from concert stage and recording studio to public school classroom and administrative offices. Some of the world’s finest musicians and music educators – such as Academy Award-winning composer-arranger Alexander Courage, Metropolitan Opera conductor Richard Woitach, jazz artist Chuck Mangione, and soprano Renee Fleming – are Eastman graduates.

Peter Kodzas, associate dean of ECMS, says the new renovation brings the campus into modern standards for teaching and practice rooms. Before the renovation, he says, he and other staff members had to leave one room empty between each practice or teaching space in order not to disturb neighbors.

During Dean Douglas Lowry’s tenure, the school renovated and expanded Kodak Hall, Kilbourn Hall, the Eastman Theatre, and the Eastman East Wing. He also was instrumental in strengthening the School’s presence throughout downtown Rochester, and he helped the community revitalize the area’s historic Eastman Square. Lowry was replaced by Jamal Rossi, who is the Joan and Martin Messinger Dean of ECMS.

The ECMS World Campus

ECMS is more than a music school; it is a community of musicians, with more than 1,700 students a year and hundreds of performances. A top-notch mix of artist-educators, collegiate faculty members, and Eastman students teach the student body that ranges in age from infants to seniors.

Those who walk by the school on Gibbs Street will notice a new waiting room for parents and refreshes classrooms, but the real transformation will be in the practice rooms and classrooms. For instance, the improved construction and acoustic work means that musicians will no longer have to worry about their sound bleeding into a space where someone else is practicing an entirely different instrument.

Petar Kodzas, associate dean of ECMS, says that the refurbished buildings will ensure that people who want to learn an instrument can do so. He also believes that musical ability shouldn’t be a factor in whether one wants to take lessons at the community music school, a sentiment shared by many of its teachers.

The ECMS Admissions Process

The school’s reputation is spectacular but the environment is toxic. If you are not 100% committed to becoming a superb musician this is not the place for you. The stress levels are high and the competition among students and profs is cutthroat.

The college offers bachelor’s, master’s and doctorate degrees. Its tuition and fees are among the highest in the country. It also offers scholarships and financial aid to eligible students.

Undergraduate applicants are required to submit three letters of recommendation. Two must be from music professionals and the third may be either from a music professional or an academic teacher.

The ECMS’s curriculum is divided into four major areas: performance, theory and history, and composition. The program is designed to help students develop their musical potential in the context of a comprehensive education. The school’s faculty includes Grammy winners, Guggenheim Fellows and ASCAP award recipients. Its students, staff and guest artists present more than 900 concerts each year to the Rochester community.

The ECMS Curriculum

ECMS students learn to create, perform, and communicate music in an integrated, comprehensive curriculum. Through individual instrumental and voice lessons, group classes in music theory, history, aural skills, and technology, as well as ensembles, students develop their musical abilities through the process of creating and rehearsing music with others.

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Tufts Community Music Program

Tufts Community Music Center offers a variety of musical ensembles. Among these are chamber music, choirs, Javanese gamelan, and a concert band. Students may join these ensembles by audition.

Students who enjoy singing will learn a cappella music styles such as pop, rock, r&b, and hip hop. This class will focus on note recognition, rhythm, and harmony.

Toddlers

The Perry and Marty Granoff Music Center is the heart of Tufts University’s music community. The facility hosts year-long music classes for children and adults, the Tufts Youth Philharmonic, and the Sunday Community Concert Series.

Nicole is the Richmond District Branch Registrar and brings experience in public programming and event management in historic and artistic settings. She enjoys facilitating community engagement through creative expression and loves playing guitar.

Three-year-olds

There are plenty of clubs and organizations to join at Tufts. From the more traditional acapella groups to many sports teams, there is something for everyone.

Students can also take part in the year-long music classes and ensembles at the new Perry and Martin Granoff Music Center on the Medford/Somerville campus. The center includes a 95-seat performance space and classrooms. It is open to the public.

Four-year-olds

In this class, students play music games and songs that hone their ears and bodies in preparation for group or private instruction. Methods include Music Learning Theory, Dalcroze Eurhythmics and Orff Schulwerk.

The new Granoff Music Center features a 95-seat performance space, classrooms and rehearsal rooms as well as offices. Its opening marks a major expansion of Tufts’ commitment to community arts education and programming.

Five-year-olds

Master rhythm games and songs that prepare children for group or private music instruction. Class taught using strategies from Dalcroze Eurhythmics and Music Learning Theory. Limit seven students per section.

The new Perry and Marty Granoff Music Center provides a performance hall, classrooms, practice rooms, and offices. It is the center of a wide array of community music programs. Tufts also hosts concerts that are open to the public.

Six-year-olds

The new Perry and Martin Granoff Music Center reaffirms Tufts’ commitment to the arts. The $27 million center connects to Tufts’ Aidekman Arts Center and offers a variety of performing arts courses.

Lexi is a piano teacher and community engagement specialist who loves working to make music accessible to all students. She holds a BA in Cultural Anthropology and International Affairs from Northeastern University.

Seven-year-olds

Tufts’ new Granoff Music Center opens with a festival of performances and workshops in February. The new facility also includes classrooms and meeting spaces.

Lexi joined the CMC staff in 2022 and brings her experience in nonprofit management and community arts programming to this role. She enjoys jamming on the piano and traveling in her spare time. She holds a BA in Cultural Anthropology and International Affairs from Northeastern University.

Eight-year-olds

Students will learn rhythm games and songs in this class that prepares them for group or private music instruction. Students will also play a simple keyboard instrument in class and practice at home.

Lexi is thrilled to join the Community Music Program team and work with community members to bring music into their lives. She has a background in social impact and advocacy, and studied abroad at Northeastern University.

Nine-year-olds

The new Perry and Marty Granoff Music Center is a hub for year-long music classes for children and teens, Tufts Youth Philharmonic and other ensembles, and community workshops. It also hosts weekly family and children’s concerts.

CFKF offered a match grant from our Hilger reserve to encourage their efforts. Read more about their work here.

Ten-year-olds

Tufts University’s new $27 million Perry and Marty Granoff Music Center reaffirms the university’s commitment to the arts and community music programs. The facility offers a variety of music and dance classes for all ages.

Kids ages 7-12 can take part in summer music program which is run from 9am to 3:30pm daily and lunch included. They can take music and movement classes, instrument lessons or a group band class.

Teens

The renowned Tufts University in Medford/Somerville is big on music. It has a new state-of-the-art performance hall, and hosts many community music programs.

Students will explore ways to think about and compose music, while learning to read Western notation. Maximum six students per class, with one piano. Prerequisite: at least two years of piano lessons. Attendance at rehearsals is crucial.

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Community Music Making

Making music with others is important for human social development. It helps people feel better about themselves and it can help to improve their health.

For community musicians this ethos was central to their work. They wanted to deconstruct cultural hierarchies through participation and empowerment. Their work echoed the ideas of Paulo Freire’s approach to liberatory education outlined in Pedagogy of the Oppressed.

1. Community Engagement

Community engagement in community music making can be found in a wide range of groups based on location, interest or age group. It involves musicians from any musical discipline working with a group of people to enable them to actively participate in music-making.

It emerged as a sub-strand of the community arts movement in the period of political and social change following the Second World War, with its destruction of long established working class communities and consequent trends towards mobile employment. Community arts practice was often led by the New Left which reworked Marxism into an open, critical and humanist project emphasising agency, culture and class consciousness.

Many community music groups work with young and older adults facing a variety of challenges, including illness, isolation, educational difficulties, behavioural problems and offending. Taking part in meaningful group activities such as a music project is increasingly seen as an effective means to combat these issues and provide resilience, confidence, improved mood, communication skills and artistic expression.

2. Community Musicians

Community musicians are people from any musical discipline who facilitate groups of people to enable them to develop active participation in music. They have an overarching concern with putting equal opportunities into practice (Macdonald, 1995).

They work in a range of settings, from youth orchestras and brass bands to coffeehouse choirs and prison performing groups. The work they do includes delivering music-making workshops, leading ensembles and playing concerts.

Their motivations vary, but they typically share a dislike of cultural hierarchies and believe that the creative potential of all sections of society can be harnessed to bring about change. Their approaches often draw on Paulo Freire’s approach to liberatory education outlined in his book Pedagogy of the Oppressed.

The work they do is complex, challenging and rewarding. They occupy a unique position at the intersection of community and music, and their contributions deserve to be recognized and supported. They are a vital part of the community of musicians who make up the world of Community Music.

3. Community Music Technology

As music technology continues to develop, there are new opportunities for community engagement and musical development. However, it is important to note that incorporating technological tools into your practice should never take the place of a strong foundation of basic skills.

Community music involves musicians from any musical discipline working with groups of people to enable them to develop active and creative participation in music. It is concerned with putting equal opportunities into practice and focuses on the communities in which it takes place.

Laurier’s Bachelor of Music in Community Music is a world-recognized degree program that explores how music can be harnessed toward social intervention and change. You’ll learn a broad suite of musical and communication skills, while still having the flexibility to focus on areas that are relevant to your interests and career goals.

4. Community Music Styles

Throughout history community musicians have preserved the local identities of their communities, promoted their life and made music that strengthens their social bonds. Their work is vital because it offers people a form of expression and identity, a medium that moves deeply into the senses.

Musical styles have varied across time and culture. In some cases, these styles have been seen as tools of activism. The emergence of punk rock for example, reflected class politics and the rejection of hegemonic ideas such as that which separates ‘high’ and ‘low’ art.

Community Music is a broad field that encompasses music education, music activism, and applied ethnomusicology. It sits at the intersection of several scholarly fields and has an important role to play in society. This article outlines an emerging model for observing meaningful engagement in community music making and highlights its implications for the design of musical experiences for maximum impact.

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