This article examines the concept of community music (CM) from a variety of perspectives and in relation to a wide array of living examples of CM around the world. The author does not seek a definition of CM; she is not aiming for closure. The point of her essay is to emphasize the inherent diversity of CM programmes, their situated natures and the fluidity of this global phenomenon.
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Kari Veblen (2007) studied this question.
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