The Oxford Handbook of Social Media and Music Learning

Janice L. Waldron is Associate Professor of music education at the University of Windsor, Windsor, Canada with research interests in informal music learning practices, online music communities, social media and music learning, vernacular musics, and participatory cultures. 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 also has authored several Oxford Handbook chapters in its Music Education series. She 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 T.O.P.I.C.S. Stephanie Horsley is Acting Associate Director, eLearning at the Centre for Teaching and Learning at Western University, Canada, where she is also 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 is Professor Emerita of Music Education, 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. Author and co-author of five books and 90 peer-reviewed works, Veblen's research interests include community music networks, lifespan music learning, traditional transmission, vernacular genres, interdisciplinary curriculum, musical play, and social media and music learning.

Foreword
Huib Schippers

Introduction
Why Should We Care About Social Media?
Janice L. Waldron, Stephanie Horsley, & Kari K.Veblen

Part I. Community Identity and Social Media

1. Social Media and Theoretical Approaches to Music Learning in Networked Communities
Janice L. Waldron

2. Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures
Evan S. Tobias

3. Application of Affinity Space Characteristics in Music Education
Jared O'Leary

4. Creating Multiple Sites of Engagement for Music Learning
Jonathan Savage

Reflections from the Field of New Media and Sociology: Networked Music Learning
Somrita Ganchoudhuri & Barry Wellman

5. Diaspora, Transnational Networks, and Socially-Mediated Musical Belonging
John O'Flynn

Part II: Convergent Music Making and Social Media

6. 21st-Century Implications for Media Literacy and Music Education
Daniel A. Walzer

7. Online Collaboration in Supporting Music Teaching and Learning
Radio Cremata & Bryan Powell

8. Swedish Hip-Hop Youth Association "The Movement" Goes Online
Alexandra Söderman & Johan Söderman

9. The Disquiet Junto as an Online Community of Practice
Ethan Hein

Reports From the Field: Genres of Classical Music

10. Building a New Social Contract for Community Engagement Through Music Virtual Hangouts
Patrick Schmidt

11. The Multiple Affordances of Social Media for Classical Composers
Heidi Partti

Reports From the Field: Genres of Popular Music
12. Confessions of a Facebook Punk or How Not To Do Social Media
Gareth Dylan Smith

13. Learning to Play the Guitar with the Novaxe Online Learning Platform
Anne-Marie Burns & Caroline Traube

Reports From the Field: Supportive Networks

14. Connect Resound as a Support for Music Making in Rural England
Andrew King, Helen M. Prior, & Caroline Waddington-Jones

15. "Vini Ansanm" Come Together for Inclusive Community Music Development in Port Au Prince, Haiti Gertrude Bien-Aime
Donald DeVito, Hannah Ehrli, & Jamie Schumacher

Part III: Musical Identity and Social Media

16. Feminist Cyber-Artivism, Musicing, and Teaching and Learning
Marissa Silverman

17. A Content Analysis of Creating and Curating a Musical Identity on Social Media
Julie Derges Kastner

18. Cultivating Meaningful Personal Learning Networks in an Era of Multimodal and Globalized Music Learning and Education
Deanna C. C. Peluso

19. Musical (Dis)Empowerment in the Digital Age?
Ketil Thorgersen

20. Learning by Lip-Synching
Patricia G. Lange

21. Fanception and Musical Fan Activity on YouTube
Christopher Cayari

Reflections from the Field of Communications and Anthropology:

Learning to Dream and Dreaming to Learn
Patricia G. Lange

Part IV: Continuity and Change in Teaching and Learning Through Social Media

22. Social and Informational Affordances of Social Media in Music Learning and Teaching
Anabel Quan-Haase

23. "Tradition," Vernacularism, and Learning to be a Folk Musician with Social Media
Simon Keegan-Phipps & Lucy Wright

24. Ethnomusicology, Music Education, and the Power and Limitations of Social Media
David G. Hebert & Sean Williams

25. New Materiality and Young People's Connectedness Across Online and Offline Life Spaces
Susan O'Neill

Reflections from the Field of Communications:

Weird Materiality
Jeremy Hunsinger

26. Learning from Japanese Vocaloid Hatsune Miku
Matthew D. Thibeault & Koji Matsunobu

27. Children's Musical Play in a Digital Era
Kari K. Veblen & Nathan B. Kruse

Part V: Provocations and Social Media

28. Social Media, Social Justice, and Music Learning
Joseph Abramo

29. Can the Disabled Musician Sing? Songs, Stories, and Identities of Disabled Persons In/Through/With Social Media
adam patrick bell & Jesse Rathgeber

30. Nurturing Vulnerability to Develop Pedagogical Change Through MOOC Participation and Public Blogging
James Humberstone, Catherine Zhao, & Danny Liu

31. The Good, The Bad, and The Ugly of Social Media in Music Education
Vincent C. Bates & Daniel J. Shevock

32. Educating Musical Prosumers for the Economic Conditions of the 21st Century
Lauri Väkavä


33. Creativity and Commerce in Social Media, Digital Technology and Music Education
David Lines

Afterword
Janice L. Waldron, Stephanie Horsley, & Kari K. Veblen