вЂњIn 2020, we look at this and say, of course you do that. вЂњPeople on these discussion boards would upload YouTube videos of famous musicians or themselves and ask for feedback,вЂќ says Waldron. A member of the Irish music discussion board Chiff and Fipple since 2000, she hadnвЂ™t thought of that activity as a way people were learning music. Waldron herself plays whistle, Irish pipes, and flute. She notes that Oxford handbooks are prized as publications because they are so broadly read and referenced. They completed the submission process to Oxford University Press and received a contract for the handbook in June 2016. Horsley and Veblen about her idea for the handbook in 2015. Find an online community and itвЂ™s the next best thing.вЂќ вЂњIt is not a substitute for face-to-face learning, as we all know, but itвЂ™s one of those things people use when you canвЂ™t do face-to-face learning. вЂњI look at how people use a platform to learn music,вЂќ says Dr. The handbook contains 32 chapters with more than 50 authors contributing. She explores the ways which social media is now firmly engrained in all aspects of music education in The Oxford Handbook of Social Media and Music Learning, which she edited with Western University colleagues Stephanie Horsley and Kari Veblen.Д¬hapters in the book draw attention to the ways in which social media, musical participation, and formal, informal, and non-formal musical learning are increasingly entwined in a networked society. The rapid pace of technological change over the last decade has deeply affected the ways in which we interact, says Janice Waldron, associate professor of music education in the School of Creative Arts.

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