The Oxford Handbook of Social Media and Music Learning

Foreword Huib Schippers Introduction Why Should We Care About Social Media? Janice L. Waldron, Stephanie Horsley, & Kari K.Veblen Part I. Community Identity and Social Media 1. Social Media and Theoretical Approaches to Music Learning in Networked Communities Janice L. Waldron 2. Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures Evan S. Tobias 3. Application of Affinity Space Characteristics in Music Education Jared O'Leary 4. Creating Multiple Sites of Engagement for Music Learning Jonathan Savage Reflections from the Field of New Media and Sociology: Networked Music Learning Somrita Ganchoudhuri & Barry Wellman 5. Diaspora, Transnational Networks, and Socially-Mediated Musical Belonging John O'Flynn Part II: Convergent Music Making and Social Media 6. 21st-Century Implications for Media Literacy and Music Education Daniel A. Walzer 7. Online Collaboration in Supporting Music Teaching and Learning Radio Cremata & Bryan Powell 8. Swedish Hip-Hop Youth Association "The Movement" Goes Online Alexandra Söderman & Johan Söderman 9. The Disquiet Junto as an Online Community of Practice Ethan Hein Reports From the Field: Genres of Classical Music 10. Building a New Social Contract for Community Engagement Through Music Virtual Hangouts Patrick Schmidt 11. The Multiple Affordances of Social Media for Classical Composers Heidi Partti Reports From the Field: Genres of Popular Music 12. Confessions of a Facebook Punk or How Not To Do Social Media Gareth Dylan Smith 13. Learning to Play the Guitar with the Novaxe Online Learning Platform Anne-Marie Burns & Caroline Traube Reports From the Field: Supportive Networks 14. Connect Resound as a Support for Music Making in Rural England Andrew King, Helen M. Prior, & Caroline Waddington-Jones 15. "Vini Ansanm" Come Together for Inclusive Community Music Development in Port Au Prince, Haiti Gertrude Bien-Aime Donald DeVito, Hannah Ehrli, & Jamie Schumacher Part III: Musical Identity and Social Media 16. Feminist Cyber-Artivism, Musicing, and Teaching and Learning Marissa Silverman 17. A Content Analysis of Creating and Curating a Musical Identity on Social Media Julie Derges Kastner 18. Cultivating Meaningful Personal Learning Networks in an Era of Multimodal and Globalized Music Learning and Education Deanna C. C. Peluso 19. Musical (Dis)Empowerment in the Digital Age? Ketil Thorgersen 20. Learning by Lip-Synching Patricia G. Lange 21. Fanception and Musical Fan Activity on YouTube Christopher Cayari Reflections from the Field of Communications and Anthropology: Learning to Dream and Dreaming to Learn Patricia G. Lange Part IV: Continuity and Change in Teaching and Learning Through Social Media 22. Social and Informational Affordances of Social Media in Music Learning and Teaching Anabel Quan-Haase 23. "Tradition," Vernacularism, and Learning to be a Folk Musician with Social Media Simon Keegan-Phipps & Lucy Wright 24. Ethnomusicology, Music Education, and the Power and Limitations of Social Media David G. Hebert & Sean Williams 25. New Materiality and Young People's Connectedness Across Online and Offline Life Spaces Susan O'Neill Reflections from the Field of Communications: Weird Materiality Jeremy Hunsinger 26. Learning from Japanese Vocaloid Hatsune Miku Matthew D. Thibeault & Koji Matsunobu 27. Children's Musical Play in a Digital Era Kari K. Veblen & Nathan B. Kruse Part V: Provocations and Social Media 28. Social Media, Social Justice, and Music Learning Joseph Abramo 29. Can the Disabled Musician Sing? Songs, Stories, and Identities of Disabled Persons In/Through/With Social Media adam patrick bell & Jesse Rathgeber 30. Nurturing Vulnerability to Develop Pedagogical Change Through MOOC Participation and Public Blogging James Humberstone, Catherine Zhao, & Danny Liu 31. The Good, The Bad, and The Ugly of Social Media in Music Education Vincent C. Bates & Daniel J. Shevock 32. Educating Musical Prosumers for the Economic Conditions of the 21st Century Lauri Väkavä 33. Creativity and Commerce in Social Media, Digital Technology and Music Education David Lines Afterword Janice L. Waldron, Stephanie Horsley, & Kari K. Veblen