
Contents
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Context: Open Online Communities Context: Open Online Communities
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Background Background
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The WELL’s influence and community music: Open online music communities The WELL’s influence and community music: Open online music communities
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Research and development: Online and/or convergent communities Research and development: Online and/or convergent communities
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Research frameworks Research frameworks
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Online community research methods: Cyber-ethnography Online community research methods: Cyber-ethnography
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Illustrations of practice: Music OOCs and online music communities formed through social media sites Illustrations of practice: Music OOCs and online music communities formed through social media sites
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Open online music communities Open online music communities
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Music education research and open online music communities Music education research and open online music communities
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Music education research: Online music communities formed through social media—YouTube Music education research: Online music communities formed through social media—YouTube
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YouTube as central factor in creating and sustaining a music fan community YouTube as central factor in creating and sustaining a music fan community
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YouTube as significant ‘artifact’ in music OOCs/Facebook CoPs YouTube as significant ‘artifact’ in music OOCs/Facebook CoPs
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YouTube as vehicle for creating online digital music composition and digital performing ensemble communities YouTube as vehicle for creating online digital music composition and digital performing ensemble communities
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Music education research: Online music communities formed through social media—Facebook Music education research: Online music communities formed through social media—Facebook
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Online music community and outreach: Disenfranchisement, disability, access, geographical isolation, and health issues Online music community and outreach: Disenfranchisement, disability, access, geographical isolation, and health issues
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Implications/conclusions: Online music community participation and future community music practice Implications/conclusions: Online music community participation and future community music practice
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Reflective Questions Reflective Questions
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Additional sources Additional sources
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Notes Notes
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References References
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6 Online Music Communities and Social Media
Get accessJanice L. Waldron is an associate professor of music education at the University of Windsor, with research interests in informal music learning practices, online music communities, social media and music learning, vernacular musics, and participatory cultures. Janice has been a music educator for nearly four decades, including a 25-year career as a band director in Houston, Texas, and Oakville, Ontario, Canada, as well as 25 years as an Irish traditional musician, playing tin whistle, Irish flute, and Uillieann pipes. Her bi-musical background in formal music education and informal music learning informs her research: she is published in Music Education Research; the International Journal of Music Education; Action, Criticism, and Theory in Music Education; the Journal of Music, Education, and Technology; and the Philosophy of Music Education Review. Dr. Waldron has also authored several Oxford Handbook chapters in its Music Education series and also serves on the editorial boards of Action, Theory, and Criticism in Music Education; the International Journal of Music Education; the Journal of Music, Education, and Technology, and TOPICS for Music Education Praxis. She was named the 2012 “Outstanding Researcher: Emerging Scholar” at the University of Windsor. Since 2011, Waldron’s research has been funded by the Social Science and Humanities Research Council of Canada for her work on music learning in on- and offline convergent music communities of practice.
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Published:05 February 2018
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Abstract
Academic debate has long surrounded the term 'community,' first defined as a sociological construct in the late nineteenth century. In the 1990s, widespread Internet use disrupted earlier ideas of what defines and bounds community, but there is now general scholarly consensus that online affinity groups can also function as communities, including those focused on any number of different music genres. In this chapter, I posit that online music communities can function as significant spaces of community music activity. This discussion includes contextualizing the online community by drawing on New Media literature on the evolution of online groups, theories, research, and frameworks of online community; illustrations of practice from current online and convergent music communities; the role of social media in online music communities; online music community as community music outreach; and implications for current and future implications for practice.
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