Building connections among participatory creative music practitioners in Canada

References

1. Bartleet, B.-L. (2023), ‘A conceptual framework for understanding and articulating the social impact of community music’, International Journal of Community Music, 16:1, pp. 31–49, https://doi.org/10.1386/ijcm_00074_1.
   [Google Scholar]
2. Bartleet, B.-L. and Heard, E. (2024), ‘Can community music contribute to more equitable societies? A critical interpretive synthesis’, Social Justice Research, 37:2, pp. 180–204, https://doi.org/10.1007/s11211-024-00431-3.
   [Google Scholar]
3. Bartleet, B.-L. and Higgins, L. (2018), ‘Introduction: An overview of community music in the twenty-first century’, in B.-L. Bartleet and L. Higgins (eds), The Oxford Handbook of Community Music, Oxford: Oxford University Press, pp. 1–20.
   [Google Scholar]
4. Camlin, D. A. (2014), ‘Whose quality is it anyway? Inhabiting the creative tension between presentational and participatory music’, Journal of Arts & Communities, 6:2, pp. 99–118, https://doi.org/10.1386/jaac.6.2-3.99_1.
   [Google Scholar]
5. Campbell, L. (2017), ‘Musings on making music with anyone’, 20 March, https://louisecampbell.ca/wp/en/2017/03/. Accessed 20 June 2025.
6. Campbell, L. and Hron, T. (2023), ‘The Participatory Creative Music Hub: Process over product’, Performance Matters, 9:1–2, pp. 236–52, https://doi.org/10.7202/1102397ar.
   [Google Scholar]
7. Canadian New Music Network (n.d.), ‘Keyword Definitions’, https://www.newmusicnetwork.ca/pcm-hub/tips-tools/keyword-definitions/. Accessed 17 August 2025.
8. Community Music in Canada (2024), ‘Louise Campbell: Participatory creative music in nature with adults with disabilities’, YouTube, 2 May, https://www.youtube.com/watch?v=BG1i4OJzSSk. Accessed 28 May 2025.
9. Culture pour tous (n.d.), ‘Médiation culturelle’, https://www.culturepourtous.ca/professionnels-de-la-culture/mediation-culturelle/. Accessed 1 July 2025.
10. de Banffy-Hall, A. (2024), ‘Community music in Germany’, March, https://www.researchgate.net/publication/378821859_Community_Music_in_Germany. Accessed 27 November 2025.
11. Deane, K. and Mullen, P. (2013), ‘Community music in the United Kingdom’, in K. Veblen, S. Messenger, M. Silverman and D. Elliott (eds), Community Music Today, Lanham, MD: Rowman & Littlefield Education, pp. 25–40.
    [Google Scholar]
12. Henley, J. and Higgins, L. (2020), ‘Redefining excellence and inclusion’, International Journal of Community Music, Special Issue: ‘Redefining Excellence and Inclusion’, 13:2, pp. 207–16, https://doi.org/10.1386/ijcm_00020_1.
    [Google Scholar]
13. Higgins, L. (2012), Community Music: In Theory and in Practice, Oxford: Oxford University Press.
    [Google Scholar]
14. Higgins, L. and Campbell, P. S. (2010), Free to Be Musical: Group Improvisation in Music, Lanham, MD: Rowmand & Littlefield Education.
    [Google Scholar]
15. Higgins, L. and Willingham, L. (2017), Engaging in Community Music: An Introduction, Abingdon: Routledge.
    [Google Scholar]
16. Howell, G. and Bartleet, B.-L. (2022), ‘A capability approach to evaluating the social impact of music residencies and touring in remote Australia’, Community Development Journal, 57:4, pp. 673–94, https://doi.org/10.1093/cdj/bsab022.
    [Google Scholar]
17. Jones, A. (2019), ‘Ontario eliminates Indigenous culture fund, cuts millions for the arts’, CTV News, 26 May, https://www.ctvnews.ca/canada/article/ontario-eliminates-indigenous-culture-fund-cuts-millions-for-the-arts/. Accessed 15 August 2025.
    [Google Scholar]
18. Mantie, R. (n.d.), ‘Canadian community music group database’, University of Toronto Scarborough, https://utsc.library.utoronto.ca/communitymusicgroups. Accessed 25 June 2025.
19. Matarasso, F. (2019), A Restless Art: How Participation Won, and Why It Matters, Lisbon: Calouste Gulbenkian Foundation.
    [Google Scholar]
20. Meissner, F. and Vertovec, S. (2015), ‘Comparing super-diversity’, Ethnic & Racial Studies, Special Issue: ‘Comparing Super-Diversity’, 38:4, pp. 541–55, https://doi.org/10.1080/01419870.2015.980295.
    [Google Scholar]
21. Morelli, J. (2022), ‘(Un)caring: A framework for understanding care in community music(k)ing’, International Journal of Community Music, 15:3, pp. 323–40, https://doi.org/10.1386/ijcm_00066_1.
    [Google Scholar]
22. Mullen, P. (2018), ‘Community music’, Music and Arts in Action, 6:2, pp. 4–15.
    [Google Scholar]
23. Organisation for Economic Co-operation and Development (OECD) (2019), Recruiting Immigrant Workers: Canada 2019, Paris: Organisation for Economic Co-operation and Development, https://www.oecd.org/migration/mig/recruiting-immigrant-workers-canada-2019-4abab00d-en.htm. Accessed 13 August 2019.
    [Google Scholar]
24. Robinson, D. (2020), Hungry Listening: Resonant Theory for Indigenous Sound Studies, Minneapolis, MN: University of Minnesota Press.
    [Google Scholar]
25. Valois-Nadeau, B. (2025), ‘À l’aube du budget provincial, les artistes se mobilisent à nouveau’, Le Devoir, 22 March, https://www.ledevoir.com/culture/858589/nouvelle-manifestation-financement-culture?utm_source=recirculation&utm_medium=hyperlien&utm_campaign=corps_texte. Accessed 15 August 2025.
    [Google Scholar]
26. Vaugeois, L. C. (2013), ‘Colonization and the institutionalization of hierarchies of the human through music education: Studies in the education of feeling’, Ph.D. dissertation, Toronto: University of Toronto.
    [Google Scholar]
27. Veblen, K. (2008), ‘The many ways of community music’, International Journal of Community Music, 1:1, pp. 5–21, https://doi.org/10.1386/ijcm.1.1.5_1.
    [Google Scholar]
28. Veblen, K. and Olsson, B. (2002), ‘Community music: Toward an international overview’, in R. Colwell and C. Richardson (eds), The New Handbook of Research on Music Teaching and Learning, Oxford: Oxford University Press, pp. 730–44.
    [Google Scholar]
29. Veblen, K., Messenger, S., Silverman, M., Elliott, D. and National Association for Music Education (2013), Community Music Today, Lanham, MD: Rowman & Littlefield Education.
    [Google Scholar]
30. Vertovec, S. (2007), ‘Super-diversity and its implications’, Ethnic and Racial Studies, 30:6, pp. 1024–54, https://doi.org/10.1080/01419870701599465.
    [Google Scholar]
31. Yerichuk, D. (2006), ‘Transforming our world through song’, Women and the Environments International, 72:73, pp. 36–37.
    [Google Scholar]
32. Yerichuk, D. (2014), ‘“Socialized music”: Historical formations of community music through social rationales’, Action, Criticism, and Theory for Music Education, 13:1, pp. 126–54.
    [Google Scholar]
33. Yerichuk, D. (2015), Discursive Formations of Community Music and the Production of Canadian Citizens in Toronto’s Settlement Movement, 1900s–1930s, Toronto: University of Toronto.
    [Google Scholar]
34. Yerichuk, D. and Krar, J. (2021), ‘The problem of community: What does it really mean to be inclusive?’, in L. Willingham (ed.), Community Music at the Boundaries, Waterloo: Wilfrid Laurier University Press, pp. 7–25.
    [Google Scholar]
35. Yerichuk, D., de Bánffy-Hall, A., Coffman, D., Cooper, N., Deane, K., Johnston, T., Kleber, M., Shiobara, M., Willingham, L. and Veblen, K. (2016), ‘Policy directions for community music: Looking back, looking forward’, in M. Cohen (ed.), CMA Proceedings 2016, Edinburgh College, Edinburgh, 19–23 July, Kenosha, WI: International Society for Music Education, pp. 131–52.
    [Google Scholar]