Introduction

Abstract

The rapid development of social media reflects both technologies and a field of scholarship that are constantly in flux. However, as boyd (2014) explains, although “the spaces may change, the organizing principles aren’t different” (p. 4). The chapters in this book explore theory, research, and practice in social media, along with the resulting implications for both how people think about social media and the practical applications for music learning and teaching. This includes informing and lowering boundaries between formal and informal music education practices in a digitally networked society. Social media and social networking in the 21st century have quickly changed the landscape of music learning and will continue to do so.

Delete the PDF and Start Again? Exploring the Potential for Innovative Dissemination Methods of Music Education Scholarship

“…Exploring the potential for innovative dissemination methods of music education scholarship. Action, Criticism, and Theory for Music Education 22 (4): 159-83. https://doi.org/10.22176/act22.4.159 from social media sites, which actively encourage readers to publicly engage in dialogue with content creators and other members of their audience (Waldron et al 2020).…”

“…Though each social media platform includes its own unique discourses, ideals, and encouraged behaviors, Waldron et al (2020) identify factors common across them. These factors include the sharing of user-generated content (UGC) that expresses the thoughts, values, and practices of individuals; and the encouragement of audience members to respond to this content in unique ways.…”

“…Thus, posts which are critical, confronting, and/or promote non-conformist practices may not be easily seen or engaged with by teachers on social media sites. Hartung et al (2023) and Waldron et al (2020) highlight that social media platforms utilize creative forms of media to engage users. The use of images, video, animation, and sound within social media posts is typical.…”

Shifting from offline to online collaborative music-making, teaching and learning: perceptions of Ethno artistic mentors

“…When referencing Turino in the context of online communities, the literature has largely focused on demonstrating how they fall within the participatory music-making field as they are 'socially and culturally contextualised in a community', often relating this to Henry Jenkins (2006) and 'participatory culture' (Tobias 2020;Waldron 2016Waldron , 87, 2018. 4 There are a number of music communities that already engage in online learning (Keegan-Phipps and Wright 2020;Tobias 2020;Kenny 2016;Waldron 2016;2018;Waldron, Horsley, and Veblen 2020). Online music learning supports people in their practice, particularly in learning pieces on their own (Waldron 2016).…”

“…The recontextualisation to a new learning environment or contextual space can become an opportunity to refine practice (Schippers and Grant 2016). Or, in the case of music teaching and learning, allows music educators to change their approach and attitudes towards music pedagogy (Waldron 2018;Waldron, Horsley, and Veblen 2020;). An adjustment in pedagogical approach when shifting to online folk music learning is identified in the literature with the recognition that whilst some elements of the oral tradition, such as learning by ear or repetition, can be maintained, learning can additionally take on an instructional mode (Keegan-Phipps and Wright 2020; Kenny 2016;Waldron and Bayley 2012).…”