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.

scholarly journals E-Simulations for Educating the Professions in Blended Learning Environments

2012 ◽  
pp. 1-23
Author(s):  
Dale Holt ◽  
Stephen Segrave ◽  
Jacob L. Cybulski
Keyword(s):  
Blended Learning ◽  
Digital Media ◽  
Learning Environments ◽  
Workforce Development ◽  
Online Community ◽  
Computer Mediated Communication ◽  
Simulation Design ◽  
Mediated Communication ◽  
Learning And Teaching ◽  
Role Based

This chapter introduces digital, role-based simulations as an emerging and powerful educational approach for the professions and for broader workforce development purposes. It is acknowledged that simulations used for education, professional development, and training, have a long history of development and use. The focus is on digital simulations (e-simulations) situated in blended learning environments and the improved affordances of the newer digital media used via the web to enhance the value of their contribution to learning and teaching in professional and vocationally-oriented fields. This is an area which has received less attention in the whole “e-learning” literature compared with the voluminous body of knowledge and practice on computer-mediated communication, online community building, social networking, and various forms of online (usually automated) assessment. A framework of blended e-simulation design is outlined. The chapter concludes by examining what the future might hold for simulations in further and higher education, and ongoing work-based learning.

scholarly journals Culturally responsive and meaningful music education: Multimodality, meaning-making, and communication in diverse learning contexts

2021 ◽  
pp. 1321103X2110093
Author(s):  
Georgina Barton ◽  
Stewart Riddle
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Meaning Making ◽  
Music Learning ◽  
Cultural Contexts ◽  
Learning And Teaching ◽  
Learning Contexts ◽  
Diverse Learning ◽  
Musical Modes ◽  
Online Music

Music is learned and taught in multiple ways dependent on the socio-cultural contexts in which learning occurs. The processes employed by music teachers have been extensively explored by music educators and ethnomusicologists in a range of contexts, although there has been limited research into which modes are most predominantly used in different socio-cultural contexts. Further, it is unknown how students make meaning in these different contexts. This article presents three distinct music learning and teaching contexts—Carnatic music, instrumental music in Australian schools, and online music learning. Using a socio-cultural semiotic tool to identify musical modes, this article examines the ensembles of modes used during music learning events and considers how this knowledge may improve the learning and teaching of music for all students, particularly those whose culture and language differs from the majority of the population. It aims to identify how students make meaning in learning contexts through distinct modes of communication. Findings demonstrated that different “ensembles of modes” were used in diverse learning contexts and that these approaches were influenced by socio-cultural contexts. It is important for teachers to understand that varied combinations of modes of communication are possible because students may find learning more meaningful when related to their own personal frames of reference. Without this knowledge, music learning and teaching practices may continue to privilege some modes over others.

scholarly journals E-Simulations for Educating the Professions in Blended Learning Environments

2013 ◽  
pp. 1102-1123
Author(s):  
Dale Holt ◽  
Stephen Segrave ◽  
Jacob L. Cybulski
Keyword(s):  
Blended Learning ◽  
Digital Media ◽  
Learning Environments ◽  
Workforce Development ◽  
Online Community ◽  
Computer Mediated Communication ◽  
Simulation Design ◽  
Mediated Communication ◽  
Learning And Teaching ◽  
Role Based

This chapter introduces digital, role-based simulations as an emerging and powerful educational approach for the professions and for broader workforce development purposes. It is acknowledged that simulations used for education, professional development, and training, have a long history of development and use. The focus is on digital simulations (e-simulations) situated in blended learning environments and the improved affordances of the newer digital media used via the web to enhance the value of their contribution to learning and teaching in professional and vocationally-oriented fields. This is an area which has received less attention in the whole “e-learning” literature compared with the voluminous body of knowledge and practice on computer-mediated communication, online community building, social networking, and various forms of online (usually automated) assessment. A framework of blended e-simulation design is outlined. The chapter concludes by examining what the future might hold for simulations in further and higher education, and ongoing work-based learning.

scholarly journals “Just Chatting”: Research Ethics and Cyberspace

2007 ◽  
Vol 6 (2) ◽  
pp. 95-105 ◽  
Author(s):  
Ellen Whiteman
Keyword(s):  
Qualitative Research ◽  
Research Ethics ◽  
Participant Observation ◽  
Computer Mediated Communication ◽  
Internet Research ◽  
Research Ethic ◽  
Mediated Communication ◽  
Computer Mediated ◽  
Changing Role

Research conducted through computer-mediated communication is challenging traditional definitions of what is ethical research. In this article the author examines the changing role of assent/consent, confidentiality, and participant observation in qualitative research conducted in cyberspace. She concludes that REBs (research ethic boards) might be becoming more conservative in their decisions at the very moment that Internet research requires more flexibility and broader ethical definitions.

Maschine-itivity: How I found my creativity using a digital sampling device to compose music

2016 ◽  
Vol 9 (3) ◽  
pp. 289-313
Author(s):  
Jonathan Kladder
Keyword(s):  
Music Education ◽  
Learning Strategies ◽  
Creative Process ◽  
Contemporary Music ◽  
Music Learning ◽  
Sampling Device ◽  
Digital Sampling ◽  
Informal Music Learning ◽  
Contextual Understanding ◽  
Auto Ethnography

The ubiquity of digital music technology has prompted researchers and scholars to examine how music educators might support music learning that encourages creativity through the use of these mediums. Infusing technology into current curricular offerings offers one avenue in fostering a diversity of music learning experiences for students when teachers are interested in developing creativity in their students. Research examining current practising teachers and their experiences with digital sampling and beat making technology is limited. The purpose of this research was to offer my experiences learning, writing and sharing music using a sampling and beat-making device called the Maschine. This auto-ethnography uses Sawyer’s eight stages of the creative process as the theoretical framework to guide analysis of my creativity. The aims of this research were to: (1) reflect on the creative process involved in making music on a digital sampling and beat-making device; (2) provide a contextual understanding of my challenges and successes along the way; and (3) suggest implications for both current and future music teachers interested in learning to use this type of technology in their music teaching to provide contemporary music making experiences for their students. Results suggest that vernacular and informal music learning strategies were common over the 14-week semester, as YouTube tutorials supported my learning. My creativity occurred in small incremental steps and yielded three completed compositions at the culmination of the project. A conceptual model of the creative process is proposed, outlining the non-linearity of my creative process. Implications for music education are offered in conclusion.

Information Navigation and Knowledge Discovery in Virtual Communities

2011 ◽  
pp. 273-278
Author(s):  
Wenyuan Li ◽  
Kok-Leong Ong
Keyword(s):  
Knowledge Discovery ◽  
Information Exchange ◽  
Online Community ◽  
Virtual Communities ◽  
Computer Mediated Communication ◽  
Virtual Community ◽  
The Internet ◽  
Media Technology ◽  
Mediated Communication ◽  
Information Navigation

Over the past decade, advances in the Internet and media technology have literally brought people closer than ever before. It is interesting to note that traditional sociological definitions of a community have been outmoded, for community has extended far beyond the geographical boundaries that were held by traditional definitions (Wellman & Gulia, 1999). Virtual or online community was defined in such a context to describe various forms of computer-mediated communication (CMC). Although virtual communities do not necessarily arise from the Internet, the overwhelming popularity of the Internet is one of the main reasons that virtual communities receive so much attention (Rheingold, 1999). The beginning of virtual communities is attributed to scientists who exchanged information and cooperatively conduct research during the 1970s. There are four needs of participants in a virtual community: member interest, social interaction, imagination, and transaction (Hagel & Armstrong, 1997). The first two focus more on the information exchange and knowledge discovery; the imagination is for entertainment; and the transaction is for commerce strategy. In this article, we investigate the function of information exchange and knowledge discovery in virtual communities. There are two important inherent properties embedded in virtual communities (Wellman, 2001):

Informal music learning, improvisation and teacher education

2010 ◽  
Vol 27 (1) ◽  
pp. 71-87 ◽  
Author(s):  
Ruth Wright ◽  
Panagiotis Kanellopoulos
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Student Teachers ◽  
Music Learning ◽  
Teachers Perceptions ◽  
Free Improvisation ◽  
Informal Music Learning ◽  
The Social ◽  
Narrative Methodology ◽  
Communicative Context

This paper1 explores firstly the sense in which improvisation might be conceived of as an informal music education process and, secondly, the effects of a course in free improvisation on student teachers' perceptions in relation to themselves as musicians, music as a school subject and children as musicians. The results of a study conducted in two Greek universities are presented. Using a narrative methodology, examples of data from the reflective diaries or learning journals which 91 trainee teachers kept as part of their participation in an improvisation module are presented and discussed. The argument is made that improvisation, as a particular type of informal music learning process, has an important role to play in fostering the qualities required of teachers to work with informal pedagogies in music education. Furthermore, we would suggest that such musical experiences might gradually lead to the development of a critical perspective on both music education theories and practices. Improvisation might emerge as a moment and a practice of rupture with linearity of progress, working against reification of knowledge and glorification of received information. The findings suggest that improvisation might offer a route for creating an intimate, powerful, evolving dialogue between students' identities as learners, their attitudes towards children and their creative potential, and the interrelationships of the notions of expressive technique and culture, thus becoming ‘an act of transcendence’ (Allsup, 1997, p. 81). We propose that the issue of connecting informal learning and improvisation might be resolved by regarding improvisation as an exemplary case of creating a communicative context where most representations/conceptualisations/struggles to solve problems are left implicit. Such experiences for pupils and teachers alike might further extend the social and personal effectiveness of informal learning as music pedagogy.

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.

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.

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