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.

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.

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.

The Oxford Handbook of Music Education, Volume 1

2012 ◽  
Keyword(s):  
Music Education ◽  
Later Life ◽  
Music Educators ◽  
Shopping Mall ◽  
Music Learning ◽  
Learning And Teaching ◽  
Making Sense ◽  
Key Issues ◽  
The Many ◽  
Do So

Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these articles examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of this text update and redefine the discipline, and show how individuals across the world learn, enjoy, and share the power and uniqueness of music.

Creating Multiple Sites of Engagement for Music Learning

2020 ◽  
pp. 87-104
Author(s):  
Jonathan Savage
Keyword(s):  
Social Media ◽  
Music Education ◽  
Careful Consideration ◽  
Music Learning ◽  
The Core ◽  
The United Kingdom ◽  
Teachers And Students ◽  
Meaningful Relationships ◽  
Mindful Teaching ◽  
Specific Technology

Music education exists in multiple spaces. Within formal approaches to music education in academic institutions, there has been an acknowledgment that more informal pedagogical approaches can be useful (as evidenced in the work of movements such as Musical Futures). However, constructive links between formal and informal contexts for music education remain difficult to navigate for many teachers. Within the United Kingdom, the newly defined roles for music education hubs have made some headway in recasting these relationships in a more productive direction. Similarly, social media has an important role to play in developing new relationships between key agencies within music education. Like any specific technology, there are positive affordances and more negative limitations to such approaches. People have a complex relationship with technology, but they are not gadgets! Lanier’s (2010) thesis argues strongly that recent cultural developments can deaden personal interaction, stifle genuine inventiveness, and change people. Within an educational setting, careful consideration needs to be given to the affordances and limitations of social media. For teachers and designers of learning spaces and opportunities, pedagogy should be underpinned by careful, mindful choices—including wise choices about the tools that teachers and students are using. It is about a focus on the core, asking: What is the key learning that this music lesson is facilitating? Is this tool the best one for the job? Does this tool or approach allow one to teach music musically? Done skillfully and conscientiously, social media can help develop collaborative approaches to music education that provide teachers with pedagogical strength and security. They result in mindful teaching and mindful learning that will last a lifetime. They can also help teachers develop meaningful relationships with students that help them make sense of their musical experiences in whatever context they have emerged through: a truly, “joined-up” approach to music education with the student at the core.

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.

New Materiality and Young People’s Connectedness Across Online and Offline Life Spaces

2020 ◽  
pp. 487-502
Author(s):  
Susan O’Neill
Keyword(s):  
Social Media ◽  
Music Education ◽  
Educational Outcome ◽  
Music Learning ◽  
Time Space ◽  
The Social ◽  
New Learning ◽  
Musical Resources ◽  
Meaningful Connections ◽  
Digital Cultures

This chapter examines new materiality perspectives to explore the influence of social media on young people’s music learning lives—their sense of identity, community and connection as they engage in and through music across online and offline life spaces. The aim is to provide an interface between activity, materiality, networks, human agency, and the construction of identities within the social media contexts that render young people’s music learning experiences meaningful. The chapter also emphasizes what nomadic pedagogy looks like at a time of transcultural cosmopolitanism and the positioning of youth-as-musical-resources who “make up” new musical opportunities collaboratively with people/materials/time/space. This involves moving beyond the notion of music learning as an educational outcome to embrace, instead, a nomadic pedagogical framework that values and supports the process of young people deciphering and making meaningful connections with the world around them. It is hoped that implications stemming from this discussion will provide insights for researchers, educators, and policymakers with interests in innovative pedagogical approaches and the creation of new learning and digital cultures in music education.

Commentary: Music Learning and Teaching through Technology

2012 ◽  
pp. 428-432 ◽  
Author(s):  
Evangelos Himonides
Keyword(s):  
Music Education ◽  
Music Learning ◽  
Learning And Teaching ◽  
Modus Vivendi

This article presents an overview of Section 5 of the Oxford Handbook of Music Education, Volume 2. The section commences a critical but also constructive discourse about the role of “any” technology within the broader fields of music and education. The contributors have chosen different perspectives and foci in instigating this discourse, all of them diverse but, arguably, all celebrating how essential technology is (or should be) in our music infused modus vivendi.

A Path From Self to Social

2020 ◽  
pp. 81-101
Keyword(s):  
New York ◽  
Music Education ◽  
Teaching Experience ◽  
Music Learning ◽  
Teaching Experiences ◽  
Cultural Contexts ◽  
Learning And Teaching ◽  
Narrative Account ◽  
The U.S ◽  
Critical Perspectives

This chapter presents a narrative account of the author's music learning and teaching experience both in Japan and the U.S. The author reflects upon the processes of developing critical perspectives in musical pedagogy and developing the idea of transforming music education from self to social. The author analyzes how he encountered and learned music, and how those experiences improved and changed his playing with interaction in two different cultural contexts: Japan and the U.S. The author begins with the story of his early musical experiences in Japan. He then goes on to discuss his violin learning experiences at conservatories in Tokyo and New York. The author concludes with his performing and teaching experiences in Miami and New York as a professional violinist.

The Role of “Place” and Context

2017 ◽  
pp. 64-70
Author(s):  
Janice L. Waldron
Keyword(s):  
Music Education ◽  
Technology Use ◽  
Local Context ◽  
Music Learning ◽  
Cultural Assumptions ◽  
Learning And Teaching ◽  
Musical Genre ◽  
Use Of Technology ◽  
Local Contexts

In our eagerness to embrace the virtues of the “new,” we sometimes fail to critically examine the a prioris of the thing we are extolling—which, in the case of this book, is the use of technology in music learning and teaching. Advocates of technology use in the field usually begin by raising relevant issues based on personal but localized narratives. Although this is a good place to start—people rarely argue for change not grounded in their own experiences—building arguments for technology use requires a nuanced interpretation of what technology in music learning and teaching means to and for practitioners and researchers in specific local contexts. How does technology’s evolution from “thing” to “thing and place” change our perceptions of its use(s) in music learning and teaching? How do the roles of local context, cultural assumptions, and musical genre fit into a discussion of what constitutes technology and technology in music education?

YouTube, fanvids, forums, vlogs and blogs: Informal music learning in a convergent on- and offline music community

2012 ◽  
Vol 31 (1) ◽  
pp. 91-105 ◽  
Author(s):  
Janice Waldron
Keyword(s):  
Music Education ◽  
Online Community ◽  
Participant Observation ◽  
Computer Mediated Communication ◽  
Music Learning ◽  
Mediated Communication ◽  
Learning And Teaching ◽  
Informal Music Learning ◽  
Music Community ◽  
Online Music

In this paper I examine the music learning and teaching in the Banjo Hangout online music community ( www.banjohangout.org/ ) using cyber ethnographic methods of interview and participant observation conducted entirely through computer-mediated communication, which includes Skype and written narrative texts – forum posts, email, chat room conversations – along with hyperlinks to YouTube and other Internet music-learning resources. The Hangout is an example of an online community based on the pre-existing offline interests of its founding members and it is thus connected to and overlaps with the offline Old Time and Bluegrass music banjo communities. Although I focus on the Banjo Hangout online community, this study also provides peripheral glimpses – embedded in the participants’ narratives – into the offline Old Time and Bluegrass banjo communities of practice. As a cyber ethnographic field study, this research also highlights the epistemological differences between on- and offline community as reflected in music education online narrative qualitative research and research practice.

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