Despite several decades of ground-breaking achievements in music education research and practice, the discipline’s status continues to stagnate, especially among our children and our governments. To address this stagnation, in 2016 the University of Sydney launched an internationally available Massive Open Online Course (MOOC) titled “The Place of Music in 21st-Century Education.” The intent of offering this course was to provoke critical thinking among music educators in order to break the cultural cycle that centers curricular music education around teachers’ (most likely Western art music) experience, and ask them to grapple with social and technological changes in education more broadly. To address concerns with authenticity in learning and the MOOC model, the MOOC integrated social media use into every main assessment. Participants—over 1,600 educators, students, artists, and the general public—were asked to publicly blog their responses to provocations on these topics and then to read each other’s posts and respond. In this study, we analyze funneled (Clow, 2013) data from the blogs and MOOC interactions. We find evidence for critical thinking and worldview transformation from a number of participants, and conclude that the experience of engaging publicly via social media engendered a vulnerability that may have made those new to the field and experienced professionals alike more open to change. The blogging-feedback loop prompted the formation of a social structure reminiscent of a community of practice or affinity space.

This chapter engages with the Core Perspectives and Provocations by proposing that it is possible to revolutionize music education by engaging with the kind of music made with technology that Ethan Hein advocates in chapter 36; but at the same time, not to abandon what we know about tried and tested music pedagogies. It proposes that the way to do this is to take a truly pluralist approach to music, one that embraces all genres, especially popular music genres, by taking the time to learn about them and legitimize them in the music classroom. Recent research on the creative processes of traditional composers and DJs reveals that technology directly affects both, and this understanding, alongside Barbara Freedman’s approach, which allows students to lead with technology, breaks down the borders that prevent such a pluralist approach from being taken. The chapter concludes that such barriers have already been broken in the professional, metamodern musical world.

El Análisis de redes sociales consiste en examinar estructuras de entidades: datos, objetos, grupos de personas, etc.; y sus interacciones dentro de una comunidad centrándose en las relaciones que existen entre ellas. En la presente investigación se expone una metodología para determinar las comunidades virtuales que interactúan en la plataforma de la red social Twitter. Como validación, se realizó la captura de datos de tres eventos mediáticos relacionados a la acción política de los candidatos a la presidencia de El Salvador 2019.

The lesson in this chapter explains a compositional approach for students who do not have any theoretical understanding of chords or harmony. Students are often put off by a music theory-first approach to composing, which can be a barrier for many interested but inexperienced students. This lesson emphasizes having fun and making music. This approach gets students who are using a keyboard (MIDI, on-screen, piano, it does not matter) to “randomly” create chords, then order them, and sequence them, to create an original piece of music. By diving directly into composing, students can gain both knowledge and confidence in their own musical voice.