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Both sides Now.. Designing an online community for creative musical activities and learning
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Both sides Now.. Designing an online community for creative musical activities and learning


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A paper presented at the Research in Music Education conference (RIME 2007) at Exeter on april 12. 2007

A paper presented at the Research in Music Education conference (RIME 2007) at Exeter on april 12. 2007

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    • 1. Both Sides Now.. Designing an online community for creative musical activities and learning Miikka Salavuo Sibelius Academy
    • 2.
      • “ The challenge for music teachers is to create scaffolding structures which are sufficiently integrated with the third environment to provide knowledge, skills and even resources to support it, yet to remain sufficiently distant from it”
      • (Hargreaves et al. 2003).
    • 3. The context
      • The culture is changing rapidly
        • The change is more a cultural than technological
        • Participatory culture and user generated content on the rise
          • Connectivism , networked society (Siemens 2006), (informal) communities of practice (Wenger 1998); communal constructivism (Holmes et al. 2001)
          • Skills of lifelong learning being realized
      • Institutional online education relies often on paradigms of teacher-led and content-centred education
        • Collaborative activities not flourishing in institutional online courses
          • Engaging in activities to get grades
    • 4. Research on online communities
      • A Finnish -community
        • 100 000 members, almost 90 000 songs
      • Learning does take place in discussion forums (Salavuo & Häkkinen 2005)
      • Reasons to contribute & participate
        • to have one’s music heard by others,
        • to receive feedback,
        • to listen to peers’ music & give feedback (Salavuo BJME 3/2006)
      • HOWEVER : Constructive feedback not as common as it could be!
      • Individuals may disappear into the masses
    • 5. The purpose of Funkdammen
      • To construct an environment, which motivates for creating and sharing music and for collaborating and learning
      • To support out-of-school activities and integrate them to school activities
    • 6.
      • To enhance the sense of community among musicians
      • To connect (young) musicians for new collaborations
      • To encourage composing, recycling, remixing, recreating
      • To experiment on novel environments that would resemble communities of practice (Wenger 1998)
    • 7. Important starting points
      • Small enough for individuals to stand out, large enough for diversity to prosper
          • Diverse expertise, “cognitive diversity” (Brown et al. 1993)
          • Allowing various forms of musical expression
      • Grant the ownership of the environment to its users
    • 8. Description of Funkdammen
      • An online community for a geographically scattered Swedish-speaking minority (6% of p0pulation)
      • Contributing music, loops and samples; describing them
      • Rating & reviewing contributions (feedback)
      • Possibility to create remixes of loops or original songs
      • All materials protected by CreativeCommons license
      • A song writing contest was launched to motivate people to join
        • 5 voted by professional artists to record in a professional studio
        • Winner will make a music video
    • 9. Experiences from the first months
      • 350-400 registered users
      • 130 songs contributed by over 40 artists
      • Site visited daily by 50-150 different users
      • 0-20 reviews, 1-80 ratings
      • Discussions at the forum mainly procedural, revolve around the contest
    • 10. Reviews
        • Preliminary study on the reviews based on theories of collaborative learning and research on web-based discussions
      • No big difference between professional artist and user reviews
      • Most peer-to-peer feedback “cumulative” (Mercer 1996)
        • e.g. “good voice”, “love the song”, “excellent guitar playing”...
      • Many artists reply to reviews (sign of participation) (Sfard 1998)
    • 11. Examples of reviews
      • Related to producing, arranging, quite often to form
        • "Chorus could be longer / shorter”
        • “ I like the (e.g. vocoder effect, guitar distortion) effect”
      • Related to mixing or tempo (simple parameters)
        • ” The vocals are not loud enough in the chorus”
        • “ The song could be slower/faster”
    • 12.
      • Comments related to style or personal preferences ( descriptive )
        • ” ..a little less 80's and a little more rock would work for me”
        • “ Sounds a bit like [a name of a famous band]”
      • Artists sometimes clarify what they had used to produce something
        • “ the vocoder effect is an autotune+high pass filter”)
      • More reviews on songs with vocals
      • Few key members give constructive feedback
        • They should be rewarded for doing so
    • 13. Importance of feedback
      • Expert and peer feedback have striking effect on motivation
      • Teachers & professional artists should be encouraged to give constructive feedback
        • It takes only a few minutes to write constructive comments
    • 14. Way ahead
      • A wiki is included to allow creation of learning materials according to demand
      • Motivating people, especially professional artists and teachers to join!
      • Educating teachers to be able to aid in producing and recording music
      • Creating a concept for micro-communities
        • Folk music, classical composers etc.
      • Adding advanced features
        • Joined a pan-European project of musical data mining
    • 15.
      • http://www. funkdammen . fi
      • http: //ccmixter .org
      • http://www. mikseri .net/
      • http: //weblog . siba . fi/msalavuo