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Caleb Warnar
Kari K Veblen
Music 1800
October 11, 2015

Veblen, K.K. (2012). Community music making: Challenging the stereotypes of traditional
music education. In C.A. Beynon & K.K. Veblen (Eds.). Critical perspectives in Canadian
music education. Waterloo, ON: Wilfrid Laurier University Press.

Throughout this article, I found it interesting that community music is recognized as a

diversified form of music education. This is because community music is what connects people
together as they find a sense of identity, bond with one another, and vitalize self-expression.
Additionally, I came to realize that music with purpose is essential in community music, because
the target audience may then find the music meaningful to them. For example, the intent for
music within community centres and parks will often be to celebrate or entertain, while music in
hospitals and prisons may be used to encourage, rehabilitate and heal individuals. As a result, the
individuals within each of these community groups will likely find the music to be meaningful in
their own way.
I was surprised by the various types of structures in Canadian community music that were
listed in this article. I was already fairly familiar with a few structures such as religious-based
community music and community music schools prior to reading this article. Although, as I
became more familiar with the other structures listed I came to realize just how important it is
that people identify and connect with others that share similar musical preferences.
Towards the end of the article, I became slightly frustrated as the lack of musical funding

in Canada was made evident. As Veblen states, the Canadian Federal and Provincial
governments do not provide adequate support for arts programs, whether it is through awards or
grants. I find it frustrating that the majority of music within communities is made possible
through self-funding. This is because I believe that through proper funding, music as a whole
will be allowed to flourish and expand as more of society engages with the music in their
community.
As a comment to the author, I was intrigued by the question posed near the end of the
article: how can we make connections and structures so that all Canadians of all ages and
circumstances can learn and make music in ways that are meaningful and fulfilling for them?. I
feel that in order to make music meaningful and fulfilling for all Canadians, we must make
music purposeful while targeting as many settings and locations as possible. As I mentioned
earlier, I think that music created with purpose is more likely to become music that is interpreted
to have meaning.