The Oxford Handbook of Social Media and Music Learning
The Oxford Handbook of Social Media and Music Learning
Janice 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.
Stephanie Horsley is the acting associate director, eLearning at the Centre for Teaching and Learning at Western University, Canada, where she is also an adjunct assistant professor of music education in the Don Wright Faculty of Music. Her research interests include music education policy, democratizing access to sites of music education, and “fringe” musical learning spaces. Her latest publications include chapters in The Oxford Handbook of Social Justice and Music Education and Policy and the Political Life of the Music Educator. Her work has been presented at various international conferences.
Kari K. Veblen serves as professor of music education at Western University in Canada, where she teaches cultural perspectives, music for children, and graduate research methods. Thus far her career spans four decades of work as an elementary public school music teacher, community musician, faculty member at University of Wisconsin-Stevens Point, curriculum consultant to orchestras and schools, visiting scholar at University of Toronto, and research associate at University of Limerick. Veblen has served in numerous professional capacities, including the International Society for Music Education board, and as co-founder and now board member of the International Journal of Community Music. Her research interests include community music networks, lifespan music learning, traditional transmission, vernacular genres, interdisciplinary curriculum, musical play, and social media and music learning. Author and co-author of five books and 90 peer-reviewed works, Veblen’s work on music learning in on- and offline convergent music communities of practice is funded by the Social Science and Humanities Research Council of Canada.
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Abstract
The rapid pace of technological change over the last decade, particularly in relation to social media and network connectivity, has deeply affected the ways in which individuals, groups, and institutions interact socially: This includes how music is made, learned, and taught globally in all manner of diverse contexts. The multiple ways in which social media and social networking intersect with the everyday life of the musical learner are at the heart of this book. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a music learner, teacher, producer, consumer, individual, and community member in an age of technologically-mediated relationships that continue to break down the limits of geographical, cultural, political, and economic place. This book is aimed at those who teach and train music educators as well as current and future music educators. Its primary goal is to draw attention to the ways in which social media, musical participation, and musical learning are increasingly entwined by examining questions, issues, concerns, and potentials this raises for formal, informal, and non-formal musical learning and engagement in a networked society. It provides an international perspective on a variety of related issues from scholars who are leaders in the field of music education, new media, communications, and sociology in the emerging field of social media.
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Front Matter
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I Community Identity and Social Media
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1
Social Media and Theoretical Approaches to Music Learning in Networked Music Communities
Janice L. Waldron
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2
Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures
Evan S. Tobias
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3
Applications of Affinity Space Characteristics in Music Education
Jared O’Leary
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4
Creating Multiple Sites of Engagement for Music Learning
Jonathan Savage
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Reflections From the Field of New Media and Sociology: Networked Music Learning
Somrita Ganchoudhuri andBarry Wellman
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5
Diaspora, Transnational Networks, and Socially Mediated Musical Belonging
John O’Flynn
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1
Social Media and Theoretical Approaches to Music Learning in Networked Music Communities
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II Convergent Music Making and Social Media
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6
Twenty-First-Century Implications for Media Literacy and Music Education
Daniel A. Walzer
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7
Online Collaboration in Supporting Music Teaching and Learning
Radio Cremata andBryan Powell
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8
Swedish Hip hop Youth Association “The Movement” Goes Online
Alexandra Söderman andJohan Söderman
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9
The Disquiet Junto as an Online Community of Practice
Ethan Hein
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10
Reports From the Field: Building a New Social Contract for Community Engagement Through Musical Virtual Hangouts
Patrick Schmidt
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11
Reports From the Field: The Multiple Affordances of Social Media for Classical Music Composers
Heidi Partti
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12
Reports From the Field: Confessions of a Facebook Punk, or How Not to Do Social Media
Gareth Dylan Smith
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13
Reports From the Field: Learning to Play the Guitar With the Novaxe Online Learning Platform
Anne-Marie Burns andCaroline Traube
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14
Reports From the Field: Connect: Resound as a Support for Music Making in Rural England
Andrew King and others
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15
Reports From the Field: “Vini Ansanm” Come Together for Inclusive Community Music Development in Port-au-Prince, Haiti
Donald DeVito and others
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6
Twenty-First-Century Implications for Media Literacy and Music Education
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III Musical Identity and Social Media
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16
Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning
Marissa Silverman
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17
A Content Analysis of Creating and Curating Musical Identity on Social Media
Julie Derges Kastner
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18
Cultivating Meaningful Personal Learning Networks in an Era of Multimodal and Globalized Music Learning and Education
Deanna C. C. Peluso
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19
Musical (Dis)Empowerment in the Digital Age?
Ketil Thorgersen
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20
Learning by Lip-Synching
Patricia G. Lange
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21
Fanception and Musical Fan Activity on YouTube
Christopher Cayari
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Reflections From the Field of Communications and Anthropology: Learning to Dream and Dreaming to Learn
Patricia G. Lange
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16
Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning
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IV Continuity and Change in Teaching and Learning Through Social Media
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22
Social and Informational Affordances of Social Media in Music Learning and Teaching
Anabel Quan-Haase
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23
“Tradition,” Vernacularism, and Learning to Be a Folk Musician With Social Media
Simon Keegan-Phipps andLucy Wright
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24
Ethnomusicology, Music Education, and the Power and Limitations of Social Media
David G. Hebert andSean Williams
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25
New Materiality and Young People’s Connectedness Across Online and Offline Life Spaces
Susan O’Neill
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Reflections From the Field of Communications: Weird Materiality
Jeremy Hunsinger
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26
Learning From Japanese Vocaloid Hatsune Miku
Matthew D. Thibeault andKoji Matsunobu
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27
Children’s Musical Play in a Digital Era
Kari K. Veblen andNathan B. Kruse
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22
Social and Informational Affordances of Social Media in Music Learning and Teaching
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V Provocations and Social Media
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28
Resonating Bodies Online: Social Justice, Social Media, and Music Learning
Joseph Michael Abramo
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29
Can The Disabled Musician Sing? Songs, Stories, and Identities of Disabled Persons In/Through/With Social Media
Adam Patrick Bell andJesse Rathgeber
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30
Nurturing Vulnerability to Develop Pedagogical Change Through MOOC Participation and Public Blogging
James Humberstone and others
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31
The Good, the Bad, and the Ugly of Social Media in Music Education
Vincent C. Bates andDaniel J. Shevock
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32
Educating Musical Prosumers for the Economic Conditions of the 21st Century
Lauri Väkevä
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33
Creativity and Commerce in Social Media, Digital Technology, and Music Education
David Lines
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Afterword
Janice L. Waldron and others
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28
Resonating Bodies Online: Social Justice, Social Media, and Music Learning
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End Matter
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