- Copyright Page
- 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
Abstract and Keywords
Digital media’s convergence continually influences teaching and learning in the arts and interdisciplinary fields through freely accessible technology. Similarly, the rise of democratized participatory communities of new media composers on the internet affords new collaborative opportunities for all levels of creation. This chapter examines media literacy’s relationship with participatory culture and digital technology in music education. Establishing a baseline theoretical understanding of media literacy and its possible implications for teaching and learning sheds light on how these tools advance collaborative praxis, creative expression, and thoughtful teacher-facilitators in the traditional and virtual music classroom. Key questions include: How can educators and students unpack challenging concepts by producing collaborative new media content with digital technology? In what ways do music and media educators advance critical thinking, reflective learning, and new modes of networked creativity through “making” philosophy and curriculum?
Daniel Walzer is an Assistant Professor of Music and Arts Technology at Indiana University Purdue University of Indianapolis (IUPUI). Originally trained as a percussionist, Walzer maintains an active career as a composer, performer, and audio production specialist. Walzer’s research and writings on music technology appear in Leonardo Music Journal, Journal of Music, Technology & Education, Music Educators Journal, and in numerous edited collections. He is the co-editor of Audio Education: Theory, Culture, and Practice (w/ Dr. Mariana Lopez) on Focal Press.
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