Community music is not just performing of music activities by local citizens, but can be a part of the daily lives of individuals. However, in Korea, there are not many studies dealing with the substance of community music activities and community music education from the point of participants' view in the field.

This study was conducted to explore what kind of experiences do the participants of community music group have through 'community music' activities,

Three research questions were as follows:

1. What are musical and social experiences of participants in community music group through music activities?

2. What is the essential meanings or phenomenological experience in community music group?

3. What implies the collective experiences of community music group have for the development of community music?

The data were collected from December, 2021 to April, 2022, and one to one in-depth interviews were performed for data collection. The subject of this study was the flute ensemble in A city, Gyeongsangnam-do, Korea. The researcher is the group's artistic director and founder. All members were about 30, but the number of participants in the activities decreased in part, due to the recent pandemic. Nevertheless, the group continues to practice for intermittent concerts and special performances. The study participants were selected as the final 10 members in consideration of the human back ground, musician career and attendance rate that can reflect the representation of this group.

Interviews were conducted through participant observation and in-depth interviews, and remembering the efforts of suspension of judgment(epoche) and bracketing to remove prejudice caused by the researcher's special status.

The data collection and data analysis were performed simultaneously using Colaizzi(1978)'s method. In order to improve the validity and reliability of the study, the triangularation method was verified.

The study results identified 6 themes from 23 formulated meanings 396 meaning units in regarding the experiences as follows:

1) did not know much about 'community music group' before joining

2) wanted to improve performance competence through ensemble activities

3) practice environment and activities with trust and faith was satisfactory

4) achieved musical growth and competence with practice and training

5) practicing together with communication and consideration, gained sense of belonging, reward, and satisfaction

6) confidence and self-esteem increased, and using in daily life the experience of 'community music group'

The phenomenological writing on the basic structure of the experiences of music group members that can be inferred from the themes and central meaning is summarized as follows;

The participants of the community music group, did not know much about community music groups before joining. After joining, they wanted to improve performance competence through ensemble activities. Being satisfied with the practice environment and activities with trust and faith. With practice and training they achieved musical growth and competence. Practicing together with communication and consideration, gained sense of belonging, reward, and satisfaction. Now they have confidence and self-esteem are increased, and utilizing the experience of 'community music group' in everyday life,

These themes are the reality of daily experiences that ensemble members experienced through music group activities.

There are three essential meanings of the experience of music group members that can be inferred from the themes and central meaning.

First, personal identity is discovered through repeating practice and performance activities in community music group, and to confirm the social identity of the community through exchanges or interactions with others through empathy and communication in group activities.

Second, confidence and self-esteem are increased through community music activities to gain vitality in life, and the value of community music that contributes not only to individual growth but also to the development of the community by exercising musical growth and social relations skills acquired in ensemble activities in the community.

Third, we realize that the community values and identity of community music cannot be succeeded by individual skills and abilities alone. Because the lack of musical experience and skills of prejudice and conflict deteriorating the group's musical level and image quietly disappears in the results of the harmony's, shown by the earnestness and concentration of colleagues.

In conclusion, this study has found what are the essential meanings of the experiences of community music group members. The result of this study may help in understanding the experiences of the community music group members, which can be used to develop the empirical research, and provide basic data to direct future the experiences of community music group study.