- Copyright Page
- Foreword
- List of Contributors
- Introduction: Why Should We Care About Social Media?
- Social Media and Theoretical Approaches to Music Learning in Networked Music Communities
- Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures
- Applications of Affinity Space Characteristics in Music Education
- Creating Multiple Sites of Engagement for Music Learning
- Reflections From the Field of New Media and Sociology: Networked Music Learning
- Diaspora, Transnational Networks, and Socially Mediated Musical Belonging
- Twenty-First-Century Implications for Media Literacy and Music Education
- Online Collaboration in Supporting Music Teaching and Learning
- Swedish Hip hop Youth Association “The Movement” Goes Online
- The Disquiet Junto as an Online Community of Practice
- Reports From the Field: Building a New Social Contract for Community Engagement Through Musical Virtual Hangouts
- Reports From the Field: The Multiple Affordances of Social Media for Classical Music Composers
- Reports From the Field: Confessions of a Facebook Punk, or How Not to Do Social Media
- Reports From the Field: Learning to Play the Guitar With the Novaxe Online Learning Platform
- Reports From the Field: Connect: Resound as a Support for Music Making in Rural England
- Reports From the Field: “Vini Ansanm” Come Together for Inclusive Community Music Development in Port-au-Prince, Haiti
- Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning
- A Content Analysis of Creating and Curating Musical Identity on Social Media
- Cultivating Meaningful Personal Learning Networks in an Era of Multimodal and Globalized Music Learning and Education
- Musical (Dis)Empowerment in the Digital Age?
- Learning by Lip-Synching
- Fanception and Musical Fan Activity on YouTube
- Reflections From the Field of Communications and Anthropology: Learning to Dream and Dreaming to Learn
- Social and Informational Affordances of Social Media in Music Learning and Teaching
- “Tradition,” Vernacularism, and Learning to Be a Folk Musician With Social Media
- Ethnomusicology, Music Education, and the Power and Limitations of Social Media
- New Materiality and Young People’s Connectedness Across Online and Offline Life Spaces
- Reflections From the Field of Communications: Weird Materiality
- Learning From Japanese Vocaloid Hatsune Miku
- Children’s Musical Play in a Digital Era
- Resonating Bodies Online: Social Justice, Social Media, and Music Learning
- Can The Disabled Musician Sing?: Songs, Stories, and Identities of Disabled Persons In/Through/With Social Media
- Nurturing Vulnerability to Develop Pedagogical Change Through MOOC Participation and Public Blogging
- The Good, the Bad, and the Ugly of Social Media in Music Education
- Educating Musical Prosumers for the Economic Conditions of the 21st Century
- Creativity and Commerce in Social Media, Digital Technology, and Music Education
- Afterword
- Index
Abstract and Keywords
This chapter explores the educational importance of Hatsune Miku, a Japanese Vocaloid, or singing vocal android, whose name translates as “first sound from the future.” Drawing on a theoretical framework from sound studies, we characterize Vocaloids such as Miku as a medium for musical development and experience in which people, practices, institutions, and technologies create recurrent patterns of social interaction from which the recognizable medium of “Miku” emerges. A vignette from one of the author’s experiences creating with Miku leads to an exploration of educational issues within Miku. Also examined are recent efforts by Yamaha to introduce Vocaloid to schools. The discussion explores continuing challenges and issues for the profession going forward, including speculation on potential challenges and outstanding issues.
Keywords: music education, technology, media, sound studies, Hatsune Miku, Vocaloid, musical development
Matthew D. Thibeault is an associate professor of cultural and creative arts at the Education University of Hong Kong. He publishes regularly in the areas of technology, media, and participatory music. Thibeault was a faculty fellow at the Illinois Program for Research in the Humanities (2012–2013) and named Outstanding Emerging Researcher by the Suncoast Music Education Research Symposium (2013). Thibeault chairs the Philosophy Special Interest Research Group for the National Association for Music Education (USA). He was educated at Florida State University (BME) and Stanford University (MA, PhD). He was a public school music teacher for the Portola Valley School District, the School of the Arts in San Francisco, and a University Laboratory School in Toyama, Japan. He enjoys playing bass, ukulele, guitar, and Okinawan sanshin.
Koji Matsunobu is a musician, educator, and ethnographer. After completing a PhD in music education, he became a Fulbright Graduate Scholar and earned another PhD in secondary and continuing education at the University of Illinois at Urbana-Champaign. Prior to joining the Education University of Hong Kong, he held academic positions at the University of Queensland, Australia, and the University of Kumamoto, Japan. He has written widely on spirituality, creativity, mindfulness, silence, arts integration, world music pedagogy, place-based education, and qualitative research. He teaches psychology and sociology of music education, primary and secondary music, world music, mindfulness, interdisciplinary arts, and research methodology courses. He is currently a member of the board of directors of the International Society for Music Education. He also serves on the advisory boards of the Bulletin of the Council for Research in Music Education, the Korean Association of Qualitative Inquiry, and the International Journal of Music Education.
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- Copyright Page
- Foreword
- List of Contributors
- Introduction: Why Should We Care About Social Media?
- Social Media and Theoretical Approaches to Music Learning in Networked Music Communities
- Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures
- Applications of Affinity Space Characteristics in Music Education
- Creating Multiple Sites of Engagement for Music Learning
- Reflections From the Field of New Media and Sociology: Networked Music Learning
- Diaspora, Transnational Networks, and Socially Mediated Musical Belonging
- Twenty-First-Century Implications for Media Literacy and Music Education
- Online Collaboration in Supporting Music Teaching and Learning
- Swedish Hip hop Youth Association “The Movement” Goes Online
- The Disquiet Junto as an Online Community of Practice
- Reports From the Field: Building a New Social Contract for Community Engagement Through Musical Virtual Hangouts
- Reports From the Field: The Multiple Affordances of Social Media for Classical Music Composers
- Reports From the Field: Confessions of a Facebook Punk, or How Not to Do Social Media
- Reports From the Field: Learning to Play the Guitar With the Novaxe Online Learning Platform
- Reports From the Field: Connect: Resound as a Support for Music Making in Rural England
- Reports From the Field: “Vini Ansanm” Come Together for Inclusive Community Music Development in Port-au-Prince, Haiti
- Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning
- A Content Analysis of Creating and Curating Musical Identity on Social Media
- Cultivating Meaningful Personal Learning Networks in an Era of Multimodal and Globalized Music Learning and Education
- Musical (Dis)Empowerment in the Digital Age?
- Learning by Lip-Synching
- Fanception and Musical Fan Activity on YouTube
- Reflections From the Field of Communications and Anthropology: Learning to Dream and Dreaming to Learn
- Social and Informational Affordances of Social Media in Music Learning and Teaching
- “Tradition,” Vernacularism, and Learning to Be a Folk Musician With Social Media
- Ethnomusicology, Music Education, and the Power and Limitations of Social Media
- New Materiality and Young People’s Connectedness Across Online and Offline Life Spaces
- Reflections From the Field of Communications: Weird Materiality
- Learning From Japanese Vocaloid Hatsune Miku
- Children’s Musical Play in a Digital Era
- Resonating Bodies Online: Social Justice, Social Media, and Music Learning
- Can The Disabled Musician Sing?: Songs, Stories, and Identities of Disabled Persons In/Through/With Social Media
- Nurturing Vulnerability to Develop Pedagogical Change Through MOOC Participation and Public Blogging
- The Good, the Bad, and the Ugly of Social Media in Music Education
- Educating Musical Prosumers for the Economic Conditions of the 21st Century
- Creativity and Commerce in Social Media, Digital Technology, and Music Education
- Afterword
- Index
