Affinity spaces are the physical, virtual, or combination of locations where people come together around a shared affinity (interest) (Duncan & Hayes, 2012). Online affinity spaces can act as a participatory hub for music making and learning through social networking and sharing. Although music affinity spaces exist in myriad informal spaces, little scholarship explores potential application of affinity space characteristics within formalized learning spaces. This chapter introduces characteristics of an affinity space and explores potential pedagogical, curricular, and social applications of each characteristic within formalized learning environments. I then question not only the role of this framework within pedagogical spaces or places, but also the role of the framework in relation to another framework commonly used in online music learning communities: communities of practice. This chapter concludes with an example of how these questions informed classes I designed and facilitated and a discussion on future research.
Coding environments and curricula with puzzles and challenges often utilize engaging platforms which guide young coders to learn fundamental coding concepts and practices. These environments and curricula often progress from simple through complex algorithmic sequences with clearly defined solutions. This approach not only provides useful resources for young coders new to coding, but for adults new to teaching, facilitating, or evaluating coding classes. . . .
This chapter is concerned with the diverse ways that people engage with music or sound within, through, and around video games. It begins with a review of literature on games as a leisure activity and sonic space, followed by highlighting various frameworks of participatory cultures. The bulk of the chapter connects these participatory culture frameworks with examples of engagement in sonic participatory cultures and sonic participation within, through, and around video games. Although these categories of sonic participation are divided into three sections, the chapter concludes with a discussion on the overlapping nature of sonic participation and implications for leisure as sonic participation.
"When considering the potential of technology for musical engagement, teaching, and learning, music educators can acknowledge a range of contexts and ways of being musical to inform their practice. Video games offer a compelling locus for musical experience and engagement. Video games are digital, interactive, and immersive multimedia or intermedia that people play, and often in a social context. Characteristics of play, interactivity, immersion, and social engagement are critical to understanding the popularity of video games in contemporary society and their potential in music education. Video games are not simply media objects, but designed experiences with rules and mechanics which create systems that often invite problem solving, creative and critical thinking, and meaning making (Squire, 2006).
Though video games are a popular and established form of media in contemporary society, scholarship addressing video games in relation to music teaching and learning is at an early stage compared to the corpus of research addressing other aspects of music technology such as music creation or performance (Finney & Burnard, 2007; Webster, 2011). Building upon existing discourse in music education, this chapter draws on scholarship beyond the immediate scope of music teaching and learning to address the following three areas: 1) video games and music education; 2) game-based learning and learning theories; and 3) music and musical engagement within video games. Throughout this chapter we refer to video games in their myriad forms along with the devices on which they are played such as console systems, computers, and mobile devices."