- 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 examines issues surrounding social justice in social media and music making. The first part of the chapter frames social media as holding the potential to enact democratic practice. Using the work of Jean-Luc Nancy’s concept of “listening” and Peter Szendy’s concept of “arrangement,” the author explores how viral videos and their user-generated covers might be a form of communication and sharing of ideas. This is investigated particularly through the different iterations of the 2012 hit song and video “Call Me Maybe” and the ways users created and circulated parodies. The second part of the chapter undoes this sanguine reading of democracy through social media. It does this, first, by exploring how market forces of profit seeking work to intervene in this process. Through this exploration, the author notes how market forces form the desires and subjectivity of users so that practices that feel like expression of desires are urged on by market forces for the benefit of the market. Then, the chapter looks at how viral videos are constrained by identity politics, and it explores this through covers of Beyoncé’s “Formation,” particularly what happens when this song and video—which is an articulation of black feminist identity—were (mis)appropriated and covered by a white male. Finally, the author addresses the implications for music learning both in and out of school by borrowing from media literacy to develop what he deems “musical social media literacy.”
Keywords: social justice in music education, social media, viral videos, participatory culture, democracy in music education
Joseph Michael Abramo, EdD, is an assistant professor of music education in the Neag School of Education at the University of Connecticut, where he supervises student teachers and teaches undergraduate courses in instrumental methods and graduate courses in the theoretical foundations of music education and popular music and informal learning. His areas of research include popular music, music teacher education, gender, cultural studies, race and multiculturalism, disability studies, post-structuralism, and constructivism. He is also the Immediate Past Chair of the Philosophy Special Research Interest Group of the National Association for Music Education. He has published and presented internationally and serves on several editorial boards and committees.
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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
