aimed to attract a more diverse audience of gamers and non-gamers – and to bring video games off the screen and into the living room. While not all games are well suited for multiplayer play – ‘It’s hard to avoid getting in each other’s way and impeding rather than advancing game progress’ (p. 133) – most games are intended to be played while in the room with other people. ‘The Wii is just the latest attempt by Nintendo to bring a version of this kind of social gaming into the living room, closer to arcade parties and karaoke than to, say, bouts of online multiplayer military simulations’ (p. 142). Jones and Thiruvathukal’s book is as much a user’s manual for the potential of the Nintendo Wii as it is an academic and technical deconstruction of the console as a computing platform. Their joint approach to considering the topic works well, but it isn’t until the very end of the book that Jones’ cultural contextual approach really shines. In the final six pages of the sixth chapter (pp. 143–148), the authors consider the paratext of the Wii, as well as the diegetic and nondiegetic elements of video games – and the various layers of the platform and the games, interactions and activities it supports. ‘This social layer of a video game platform is an essential part of what the system means, because it’s the environment in which the platform gets used’ (p. 148). Much of the existing literature on Nintendo – such as Osamu Inoue’s (2010) Nintendo Magic: Winning the Videogame Wars and Jeff Ryan’s (2011) Super Mario: How Nintendo Conquered America – concentrates on the company’s success as a business. The more technical literature to date focuses on the use of the Wii Balance Board, another controller for the platform, in healthcare and therapeutic settings. This text sits comfortably in the middle, Wiimote and Nunchuk controllers in hand, making a valuable contribution to the study of the Nintendo Wii and how technology and culture work together.

It’s Complicated: The Social Lives of Networked Teens

Music In Everyday Life

: Textual Poachers: Television Fans and Participatory Culture . Henry Jenkins.

Music Matters: A New Philosophy of Music Education:

Music as Social Life: The Politics of Participation

In this paper I examine the music learning and teaching in the Banjo Hangout online music community (www.banjohangout.org/) using cyber ethnographic methods of interview and participant observation conducted entirely through computer-mediated communication, which includes Skype and written narrative texts – forum posts, email, chat room conversations – along with hyperlinks to YouTube and other Internet music-learning resources. The Hangout is an example of an online community based on the pre-existing offline interests of its founding members and it is thus connected to and overlaps with the offline Old Time and Bluegrass music banjo communities. Although I focus on the Banjo Hangout online community, this study also provides peripheral glimpses – embedded in the participants’ narratives – into the offline Old Time and Bluegrass banjo communities of practice. As a cyber ethnographic field study, this research also highlights the epistemological differences between on- and offline community as reflected i...

YouTube, fanvids, forums, vlogs and blogs: Informal music learning in a convergent on- and offline music community

In this paper, I draw on seminal literature from new media researchers to frame the broader implications that user-generated content (UGC), YouTube, and participatory culture have for music learning and teaching in online communities; to illustrate, I use examples from two contrasting online music communities, the Online Academy of Irish Traditional Music (OAIM, www.owim.ie) and the Banjo Hangout (www.banjohangout.org). The different ways people employ UGC such as YouTube videos for music learning and teaching in online participatory communities has significant implications for music learning and teaching in on and offline contexts.

User-generated content, YouTube and participatory culture on the Web: music learning and teaching in two contrasting online communities

Exploring a virtual music community of practice: Informal music learning on the Internet

The four perspectives in this paper were first presented as an interactive research/workshop symposium at RIME 9. The purpose of the symposium was to connect new media scholar Henry Jenkins’s theory of ‘participatory culture’ (1992, 2006, 2009) to possible practices of ‘participatory culture’ in diverse music teaching and learning contexts. We ask: If participatory culture exists in music learning contexts – what is it? What are its dimensions? What does participatory culture look like and mean in other music cultures and different contexts/‘places’ (e.g. online, offline, and convergent settings)? Who can and who can’t participate? How might this idea cause us to re-think some of our practices?

Janice Waldron

Papers

YouTube, fanvids, forums, vlogs and blogs: Informal music learning in a convergent on- and offline music community

User-generated content, YouTube and participatory culture on the Web: music learning and teaching in two contrasting online communities

Exploring a virtual music community of practice: Informal music learning on the Internet

A brave new world: theory to practice in participatory culture and music learning and teaching

The medium is the message: cyberspace, community, and music learning in the Irish traditional music virtual community