Veblen, K.K. (2012). Community music making: Challenging the stereotypes of traditional music education.
Veblen’s article speaks to the presence of community music in the world of music education. This form of music plays an important role both in the community setting and the educational setting. As Veblen writes, community music is “often music education at its most diverse” (pg. 124). Community music offers an open, unique opportunity for people of all musical backgrounds and abilities to learn and develop together. Community music provides more opportunities for music-making, opening the doors for learning outside of the classroom. It is important that music educators to encourage their pupils to take part in music activities outside of school. It provides a chance for students to apply their learning in a different environment and discover musical opportunities within their community.
This article provides many clear examples of how community music, as a whole, has a positive influence on members of communities. It is interesting how Veblen focuses specifically on community music in Canada. Reading this part of the article causes me to reflect upon Canadian music and the role it has played, and continues to play, in our country’s heritage and culture. It is crucial that we preserve this culture and sense of community. I was not previously aware of the strong influence of community music. In addition to performing, music groups use their talents to aid in other community settings. Examples include involvement in social justice, music therapy, and outreach programs. The fact that music in the community can be used for the betterment of both the members involved in the musical group and other members of the community is amazing to me. I agree with Veblen, in that community music should be recognized and encouraged my music educators. Before reading this article, I had not often thought about the importance of community music. Now, I understand its purpose and hope that it continues to be a vibrant, inclusive element in communities across the world.
I would like to ask the author to expand on the role of music therapy in communities. She mentioned it briefly in her article, and I would like to know more about its connection to music education. In my understanding, music can be therapeutic every time it is listened to, played, or studied; it does not have to be in a ‘music therapy context’ in order to serve as a stimulus or method of relaxation. I would like to know more about how music therapy, as it becomes more widespread, and how it will be incorporated into the educational system. Is it expected to be used in classroom settings? Will community groups utilize this form of therapy more often? Music therapy, in my opinion, is something that should be recognized and used more often, especially educators. It is a natural, enlightening method to find peace and healing.
Veblen’s article speaks to the presence of community music in the world of music education. This form of music plays an important role both in the community setting and the educational setting. As Veblen writes, community music is “often music education at its most diverse” (pg. 124). Community music offers an open, unique opportunity for people of all musical backgrounds and abilities to learn and develop together. Community music provides more opportunities for music-making, opening the doors for learning outside of the classroom. It is important that music educators to encourage their pupils to take part in music activities outside of school. It provides a chance for students to apply their learning in a different environment and discover musical opportunities within their community.
This article provides many clear examples of how community music, as a whole, has a positive influence on members of communities. It is interesting how Veblen focuses specifically on community music in Canada. Reading this part of the article causes me to reflect upon Canadian music and the role it has played, and continues to play, in our country’s heritage and culture. It is crucial that we preserve this culture and sense of community. I was not previously aware of the strong influence of community music. In addition to performing, music groups use their talents to aid in other community settings. Examples include involvement in social justice, music therapy, and outreach programs. The fact that music in the community can be used for the betterment of both the members involved in the musical group and other members of the community is amazing to me. I agree with Veblen, in that community music should be recognized and encouraged my music educators. Before reading this article, I had not often thought about the importance of community music. Now, I understand its purpose and hope that it continues to be a vibrant, inclusive element in communities across the world.
I would like to ask the author to expand on the role of music therapy in communities. She mentioned it briefly in her article, and I would like to know more about its connection to music education. In my understanding, music can be therapeutic every time it is listened to, played, or studied; it does not have to be in a ‘music therapy context’ in order to serve as a stimulus or method of relaxation. I would like to know more about how music therapy, as it becomes more widespread, and how it will be incorporated into the educational system. Is it expected to be used in classroom settings? Will community groups utilize this form of therapy more often? Music therapy, in my opinion, is something that should be recognized and used more often, especially educators. It is a natural, enlightening method to find peace and healing.