Descriptive and inferential statistics analyses were made. The questionnaire captured the perceived helpfulness of learning strategies at school, other educational institutions, and informal approaches. A cross-sectional, self-administered questionnaire was conducted at Super Music and Gaming Festival™ (Super MAGFest), an annual convention held near Washington DC, to capture data from respondents ( n = 137) who were adult musicians who published VGM online. This study was conducted to explore how musicians perceived how helpful various learning strategies were for gaining the skills to publish VGM online.
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Video game music (VGM) inspires performance and the creation of derivative music in both online and offline contexts. Music is an integral part of video games and the cultures that surround them, and the sound of video games enhances the user’s immersive game-play experience. The case is later discussed and analysed, and in conclusion we draw attention to the online media’s role both in sustaining historical culture for new generations, and in cumulatively reinventing itself as a pedagogical process both within and outside educational settings. Here, we offer a discursive practice that can contribute to future studies, which we follow up with an exemplary case study.
Subsequently, we introduce agential realism as an approach to studying early music performance, particularly through the lense of Barad (2007). We ask: How does early music performance intra-act with YouTube as medium, and how does this intra-action enable informal learning? We first address the significance and prevailing interpretation of rhetoric in this context, and what a move from a single-case rhetoric to an ecological one offers. In this chapter, we draw on music education and Baradian agential realism perspectives to offer what we perceive as a promising procedure for studying early music performance from a less anthropocentric stand. Increasing history consumption in today’s society creates, in different social formations, a common expectation of what historical music is, can and should be. By exploring cases such as this, educators may be able to translate virtual performance practices to the classroom, thus preparing students to create digital music within the classroom and beyond.
A narrative describes François's formal music education, which was supplemented by informal music and technological learning. This case study explores how David Wesley François, a virtual ensemble creator who published arrangements on YouTube, acquired the skills needed to become a productive virtual performer. As amateur Internet musicians develop practices to create and produce performances, educators may benefit by understanding their processes so that music making practices from outside of the classroom can be incorporated into formal educational settings.
Social media sites like YouTube provide spaces for musicians to share their works, and the advances of technologies that afford venues and opportunities for performers to share their crafts. The Internet has inspired musicians to explore technologies to produce recorded music performances.
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