Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures

2020 ◽  
pp. 39-63
Author(s):  
Evan S. Tobias
Keyword(s):  
Social Media ◽  
Music Educators ◽  
Participatory Culture ◽  
Music Pedagogy ◽  
Music Learning ◽  
Media Arts ◽  
Learning And Teaching ◽  
Musical Engagement ◽  
Musical Practices ◽  
Pedagogy And Curriculum

Contemporary society is rich with diverse musics and musical practices, many of which are supported or shared via digital and social media. Music educators might address such forms of musical engagement to diversify what occurs in music programs. Realizing the possibilities of social media and addressing issues that might be problematic for music learning and teaching calls for conceptualizing social media in a more expansive manner than focusing on the technology itself. Situating people’s social media use and musical engagement in a larger context of participatory culture that involves music and media may be fruitful in this regard. We might then consider the potential of social media and musical engagement in participatory cultures for music learning and teaching. This chapter offers an overview of how people are applying aspects of participatory culture and social media in educational contexts. Building on work in media studies, media arts, education, and curricular theory, the chapter develops a framework for translating and recontextualizing participatory culture, musical engagement, and social media in ways that might inform music pedagogy and curriculum. In this way, it may help music educators move from an awareness of how people engage with and through music and social media in participatory culture to an orientation of developing related praxis.

Divergent Perspectives on Musical Knowledge, Expertise, and Science

2020 ◽  
Vol 4 (2) ◽  
pp. 121-134
Author(s):  
Sandra E. Trehub
Keyword(s):  
Cognitive Neuroscience ◽  
Vocal Performance ◽  
Music Learning ◽  
Learning And Teaching ◽  
Skilled Performance ◽  
Musical Engagement ◽  
Musical Knowledge ◽  
Behavioral Responsiveness

Abstract I review two recent books on music, both inspired by cognitive neuroscience but differing in most other respects. Isabelle Peretz, an expert in the cognitive neuroscience of music, describes how we perceive and produce music, as reflected in neural and behavioral responsiveness. Her book is intended for general readers who are interested in music and curious about the science behind our musical nature—brains that are prepared for music and changed by active musical engagement. Lynn Helding, an expert in vocal performance and pedagogy, draws on findings from psychology and neuroscience to inform her approach to music learning and teaching. Aimed at musicians, aspiring musicians, and those who teach them, her book focuses largely on the means of optimizing learning and skilled performance.

scholarly journals MERLOT: Belajar Musik di Era Digital

2020 ◽  
Vol 3 (1) ◽  
pp. 75-90
Author(s):  
Riyan Hidayatullah
Keyword(s):  
Information Literacy ◽  
Music Teachers ◽  
Digital Tools ◽  
Learning Needs ◽  
Music Pedagogy ◽  
Music Learning ◽  
Learning And Teaching ◽  
Educational Backgrounds ◽  
Multimedia Education ◽  
Online Music

This article is a literature review on MERLOT (Multimedia Education Resources for Online Learning and Teaching), an open-source multimedia-based learning resource for asynchronous music learning needs. Conventional music learning methods that deal with practical activities and theory classes. This activity is usually done in a classical or private class. In addition to general problems in music pedagogy and psychology, access to music materials in the form of music theory, music forms, and music literature is a problem that is specifically for music teachers in Indonesia. Access and publishing of music books are still minimal. These kinds of stuff carry out music teachers with non-music educational backgrounds to arrange music materials systematically, find out credible music learning resources, the latest issues about music learning and digital tools that can be used for online music courses. Various pieces of literature show that MERLOT is contributing to information literacy, digital, and supporting the learning of music nowadays.

The Oxford Handbook of Social Media and Music Learning

2020 ◽  
Keyword(s):  
Social Media ◽  
New Media ◽  
Music Education ◽  
Network Connectivity ◽  
Music Educators ◽  
International Perspective ◽  
Music Learning ◽  
Rapid Pace ◽  
Media Communications ◽  
Networked Society

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.

Commentary: Music Learning and Teaching During Adolescence: Ages 12–18

2012 ◽  
pp. 435-440
Author(s):  
Gary Spruce ◽  
Oscar Odena
Keyword(s):  
Young People ◽  
Teaching And Learning ◽  
Music Educators ◽  
Music Teaching ◽  
Music Learning ◽  
Learning And Teaching ◽  
Key Issues ◽  
The Way

This article focuses on music teaching and learning during the adolescent years by identifying and exploring key issues, concepts, and debates that particularly impact on, or are significant for, the musical experiences and development of young people during this period of their lives. A number of key themes emerge from the discussions that cause us to question assumptions about the role of music in the lives of adolescents, including how young people use and relate to music, and the way music educators can best meet the challenges of addressing young people's musical and wider needs in the range of contexts in which their musical learning and experiences take place.

Demystifying World Music Education: From Guiding Principles to Meaningful Practice

2018 ◽  
Vol 32 (2) ◽  
pp. 18-23
Author(s):  
Jennifer M. Mellizo
Keyword(s):  
Music Education ◽  
Music Educators ◽  
World Music ◽  
Theory And Practice ◽  
General Music ◽  
Music Pedagogy ◽  
Music Curriculum ◽  
Music Learning ◽  
Music Educator ◽  
World Music Pedagogy

Over the past several decades, music education scholars have put forth a variety of convincing rationales for world music education. Yet the gap between theory and practice in this area persists. In theoretical ways, practicing music educators acknowledge the value of world music learning experiences, but many remain reluctant to fully embrace and embody this approach in practice. Through this article, one practicing general music educator shares her personal experience of writing, implementing, and subsequently observing another music educator use a new world music curriculum resource, inspired by the music traditions of the Fon people in southern Benin. As our understanding of world music pedagogy continues to evolve, more practicing music educators should share their unique perspectives and experiences. These “snapshots” from the field can help other (perhaps more hesitant) music educators envision what this pedagogical approach might look like in their own classrooms.

Introduction

2020 ◽  
pp. xxvi-17
Author(s):  
Janice L. Waldron ◽  
Stephanie Horsley ◽  
Kari K. Veblen
Keyword(s):  
Social Media ◽  
Music Education ◽  
Rapid Development ◽  
Music Learning ◽  
Practical Applications ◽  
Learning And Teaching ◽  
Theory Research ◽  
Networked Society ◽  
Organizing Principles ◽  
Do So

The rapid development of social media reflects both technologies and a field of scholarship that are constantly in flux. However, as boyd (2014) explains, although “the spaces may change, the organizing principles aren’t different” (p. 4). The chapters in this book explore theory, research, and practice in social media, along with the resulting implications for both how people think about social media and the practical applications for music learning and teaching. This includes informing and lowering boundaries between formal and informal music education practices in a digitally networked society. Social media and social networking in the 21st century have quickly changed the landscape of music learning and will continue to do so.

Social and Informational Affordances of Social Media in Music Learning and Teaching

2020 ◽  
pp. 425-442
Author(s):  
Anabel Quan-Haase
Keyword(s):  
Social Media ◽  
Music Education ◽  
Future Research ◽  
Positive Outcomes ◽  
Music Learning ◽  
Learning And Teaching ◽  
The Social ◽  
21St Century Learners ◽  
The Many

This chapter examines the role of social media in music learning and teaching with the aim of discerning the affordances created by specific features and functions. While much scholarship has outlined the many merits and possibilities of including social media in formal and informal music education, not much is known about what aspects of social media lead to positive outcomes. Music education is defined broadly here and includes both learning about music and learning with the purpose of achieving classroom goals. The majority of research either tends to focus on single platforms or discusses social media more generally. The present chapter starts with a close look at the affordance concept, tracing its historical roots and problematizing its definition. The chapter then discusses how various affordances can contribute to different aspects of music education. Much of the literature on social media has examined the social affordances of social media and neglected to consider the informational affordances. The chapter argues that both social and informational affordances are important in investigations of social media for music education. Finally, conclusions are discussed for 21st-century learners, and the advantages of employing the affordances framework in studies of music education and social media are outlined. Future research based on the affordances framework that could examine what features and functions of social media are beneficial for music learning and teaching are examined, including discussion of a series of constraints placed on learners and teachers by the technology.

Social Media and Theoretical Approaches to Music Learning in Networked Music Communities

2020 ◽  
pp. 19-39
Author(s):  
Janice L. Waldron
Keyword(s):  
Social Media ◽  
Music Learning ◽  
Early 21St Century ◽  
Learning And Teaching ◽  
Theoretical Approaches ◽  
Network Building ◽  
History Of ◽  
Building Community ◽  
Community Growth ◽  
Networked Music

Academic debates surrounding “community” have existed since theorist Frederick Tonnes first defined the term as a sociological construct in 1887. However, since the early 21st century, easy internet access and the development of social media sites have led to an escalating discourse surrounding “community,” as both the web and social media sites continue to disrupt earlier ideas of community creation and bounding, while simultaneously creating previously unimagined opportunities for network building, community growth, and collaborative learning. This chapter examines the ramifications of social media use and networked community for music learning and teaching. It begins with a history of social media in on- and offline convergent communities. It then addresses the role of social media and education theories in examining on- and offline convergent music communities, using two case studies as illustrations.

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