Afterword

Abstract

We all feel the implications of the force of social media—for good and for ill—in our lives and in our professional world. At the time of this writing, Facebook continues with its struggle to “clean up its act” as more revelations surrounding breaches of trust and hacked user data surface in the news and various countries attempt to hold Facebook to account. Despite this, social media use continues to grow exponentially, and the potential for responsible, ethical, and transparent social media to transform the ways in which we interact with and learn from each other increase with it. As we wait to see what the future holds for social media in society, we are reminded once again that it is the careful selection of pedagogical tools such as social media, as well the guided awareness of the challenges and benefits of those tools, that remains constant, even as tools may change, disappear, or fall out of fashion.

Stimulating music educator worldview change through a pedagogy of provocation, critical thinking and peer-review

“…The introduction of technology into society and education has brought about radical changes in the past two decades (Benedict & O'Leary, 2019;Peters, 2017). Specifically, in the field of music, it has changed three key areas: the instruments and techniques that a number of music professionals use -from instrumentalists to DJs to producers to composers (Bell, 2013;Ruthmann & Mantie, 2017;Smith et al, 2017); the educational methodologies that are available for classroom music instruction (Green, 2002(Green, , 2008Waldron, 2013;Waldron et al, 2020;Waldron, 2018); and how, how often, and in what forms students experience music outside of school (Hone, 2017;Lamont et al, 2003;Temmerman, 2005;Youth Music & Ipsos MORI, 2019). But due to the way school music graduates are trained as classroom music educators in university music departments, teachers' experiences and their expectations largely derive from a traditional, Western art music (WAM) approach to music education (Bull, 2019;Bull & Scharff, 2017;Dwyer, 2016;Green, 1988;Philpott, 2010).…”

Vernacular Music and Theories of Change: Transformation on Intersecting Paths

“…As O'Flynn (2006) noted, vernacular music "can be regarded as [a] broad musical-cultural field encompassing many genres and practices" (141). Thus, the term vernacular has been a wide-ranging yet imprecise label for synonymously naming a variety of musical activities such as informal music-making (Waldron et al 2018, Waldron and Veblen 2009, Green 2008, Folkestad 2006, pop music (Sorenson 2021, Mercado 2019, Randles 2019, hip-hop (Hess 2018, Kruse 2016, modern band (Gramm 2021, Powell 2021, Randles 2019, songwriting (Giotta and Kruse 2022, Randles 2022, Kratus 2016, composition (Kaschub in press, Kerschner and Strand 2016, Stringham 2016, Kaschub and Smith 2013, Randles and Stringham 2013, improvisation (Siljamäki andKanellopoulos 2020, Biasutti 2017), and online music learning (Waldron et al 2020, Waldron 2012. Given these extensive skills and practices, the term vernacular will be used in the current investigation as a way to refer to the breadth of terminology surrounding teaching and learning practices that parallel and intersect Western classical practices (e.g., informal, popular, folk, rock, jazz, indigenous).…”

Whoa.Nu: (Re)Constructing and Learning Swedish Hip-Hop Online

“…The core of Whoa.nu was the community, which featured artists, fans, and critics. Whoa.nu was a version of social media before social media became what it is today [1].…”

“…This has been studied by researchers such as Janice Waldron and Kari Veblen [16,17], Eva Georgii-Hemming [18,19], Heidi Partti [20], and myself [21][22][23][24]. As a sign of the increased interest in this area of research, a new Oxford handbook on the topic came out in 2020 [1]. Some of these studies references musical learning on educational websites where research concerns how special pedagogical enterprise works online, i.e., partly asynchronous and partly synchronous via video conference and chats.…”