This thesis explores musical skill development in community music ensembles. It reveals how participation in such ensembles can contribute to the gaining or strengthening of musical skills and investigates what strategies are used to develop those skills, as well as how players conceptualise their musical experience.

Through close observation of two local amateur instrumental ensembles, the Christchurch Accordion Orchestra and the Nor’West Brass Band, the above questions were explored within a methodological framework of the qualitative and collective case study. Video observations of the ensemble rehearsals and VSR-prompted semi-structured focus group interviews were employed as data collection methods. The software was used to generate VSR materials, analyse and code data gathered via both methods, and Interpretative Phenomenological Analysis was also adopted as an analytical approach.

The research revealed a large variety of musical skills that were used and can be potentially developed or further improved in the rehearsal setting of community music ensembles. The learning opportunities ranged across technical skills, ensemble skills, music literacy skills, and musical and interpretational development. A broad range of strategies was implemented to support such skill development, including the conductor’s verbal, vocal and gestural feedback and some player-initiated strategies. Through frequent use of verbatim quotations, the study also indicated ensemble players’ conceptualisations of this ensemble experience, ranging from how they viewed their learning to the social experience itself.

The findings of the thesis contribute to the research field of non-formal music education, specifically, knowledge about the experiences and musical learning gained through participation in community-based music ensembles. By providing further insights into the many educational opportunities offered through such communal music-making activity, a more thorough understanding of this activity is achieved, and the multifaceted nature is revealed. Finally, a series of suggestions are offered for community music practice and future research.