The rapid pace of technological change over the last decade, particularly the rise of social media, has deeply affected the ways in which we interact as individuals, in groups, and among institutions to the point that it is difficult to grasp what it would be like to lose access to this everyday aspect of modern life. The Oxford Handbook of Social Media and Music Learning investigates the ways in which social media is now firmly engrained in all aspects of music education, providing fascinating insights into the ways in which social media, musical participation, and musical learning are increasingly entwined.
In five sections of newly commissioned chapters, a refreshing mix of junior and senior scholars tackle questions concerning the potential for formal and informal musical learning in a networked society. Beginning with an overview of community identity and the new musical self through social media, scholars explore intersections between digital, musical, and social constructs including the vernacular of born-digital performance, musical identity and projection, and the expanding definition of musical empowerment. The fifth section brings this handbook to full practical fruition, featuring firsthand accounts of digital musicians, students, and teachers in the field. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a musical community member in an age of technologically mediated relationships that break down the limits of geographical, cultural, political, and economic place.

Janice L. Waldron is Associate Professor of music education at the University of Windsor, Windsor, Canada with research interests in informal music learning practices, online music communities, social media and music learning, vernacular musics, and participatory cultures. Published in Music Education Research, The International Journal of Music Education, Action, Criticism, and Theory in Music Education, The Journal of Music, Education, and Technology and The Philosophy of Music Education Review, Dr. Waldron also has authored several Oxford Handbook chapters in its Music Education series. She serves on the editorial boards of Action, Theory, and Criticism in Music Education, The International Journal of Music Education, The Journal of Music, Education, and Technology, and T.O.P.I.C.S.
Stephanie Horsley is Acting Associate Director, eLearning at the Centre for Teaching and Learning at Western University, Canada, where she is also Adjunct Assistant Professor of music education in the Don Wright Faculty of Music. Her research interests include music education policy, democratizing access to sites of music education, and "fringe" musical learning spaces. Her latest publications include chapters in The Oxford Handbook of Social Justice and Music Education and Policy and the Political Life of the Music Educator. Her work has been presented at various international conferences.
Kari K. Veblen is Professor Emerita of Music Education, Western University in Canada where she teaches cultural perspectives, music for children, and graduate research methods. Thus far her career spans four decades of work as: an elementary public school music teacher, community musician, faculty member at University of Wisconsin-Stevens Point, curriculum consultant to orchestras and schools, visiting scholar at University of Toronto, and research associate at University of Limerick. Veblen has served in numerous professional capacities, including the International Society for Music Education board, and as co-founder and now board member of the International Journal of Community Music. Author and co-author of five books and 90 peer-reviewed works, Veblen's research interests include community music networks, lifespan music learning, traditional transmission, vernacular genres, interdisciplinary curriculum, musical play, and 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