Connecting music education and virtual performance practices from YouTube

Flipped Lessons and the Secondary-Level Performance-Based Music Classroom: A Review of Literature and Suggestions for Practice

“…Although effective, the authors raised questions about the overall lack of student motivation and the perceived need for human interaction to help in this area. Furthering the conversation about the use of YouTube , Cayari (2018) asked in a case study of a prominent YouTube music content creator whether online virtual ensembles have a place in music education. Cayari suggested that understanding the skills needed for online content creation may inform current music educators about necessary content to be added into a curriculum.…”

¿Cómo han gestionado los conservatorios de música españoles los procesos de enseñanza-aprendizaje durante el confinamiento del COVID-19?

“…Sobre cómo este proceso producirá cambio en el futuro, los entrevistados en general se han mostrado firmes defensores de la presencialidad en el aprendizaje musical, del mismo modo que Ekwunife-Orakwue y Teng (2014). Existen resultados positivos de experiencias sobre virtualización, blended learning y educación en línea en la educación musical (Koutsoupidou, 2014;Crawford, 2017;King et al, 2019;Cayari, 2018;Brook y Upitis;, los cuales cabría presentar a los docentes, que no los tienen presentes, aunque ya valoran positivamente nuevos enfoques pedagógicos.…”

Exploring the Music Identity Development of Elementary Education Majors Using Ukulele and YouTube

“…While researchers have thoroughly examined teacher identity development in preservice and practicing teachers (Freer & Bennett, 2012; Isbell, 2008), less has been written about music identity development in people without extensive music training (Woody & Parker, 2012). In recent years, researchers in the fields of music education, ethnomusicology, and community music have supplemented the growing body of work on music amateurism (Cayari, 2018; Court, 2017; Higgins, 2012; Secoy, 2016a; Smith, 2016). Court (2017) defined amateurism as, “a set of beliefs, a body of knowledge, and a way of knowing all organized around the principle that it is possible, and perhaps preferable, to play music without established musical knowledge” (p. ii).…”

“…Thibeault and Evoy (2011) described their vision of a sustainable model of musicianship that would allow students to continue making music throughout the life span, with music experiences arising from both local culture and digital communities. Research in the area of music identity formation through digital platforms could be a key step in helping music educators design effective instruction focused on meeting the multifaceted music identities of students (Cayari, 2018; Thibeault & Evoy, 2011).…”

“…One of the final assignments for our courses was a project we called the Ukulele YouTube Tutorial Project. Since it was established as a platform for sharing digital media in 2005, YouTube has become a catalyst that has allowed amateur musicians to spread their music to a wider audience (Cayari, 2018; Thibeault & Evoy, 2011) as well as develop new music skills. Students created a YouTube playlist that included: (a) ukulele tutorials of songs they had learned in class, (b) ukulele tutorials of songs they wanted to learn, and (c) one video of themselves singing and playing ukulele on a song of their choice.…”