Hatsune Miku is a virtual pop star who rose to fame in Japan and has gained a global following in recent years. She is known for her distinct appearance, which includes long turquoise hair, a futuristic outfit, and a pair of large headphones. One of the signature accessories associated with Hatsune Miku is the "Hatsune Miku Watch". This watch is modeled after her iconic headphones and is a popular item among her fans. It features a sleek design with a vibrant color scheme, often incorporating shades of blue and green to match her image. The Hatsune Miku Watch not only serves as a fashionable accessory but also functions as a functional timepiece.
“We wanted to make it easy to use for amateurs who want to make music as a hobby,” he said. “Some people can’t sing very well, and here you have a 16-year-old girl singing your song.”
Miku s success was always about the fan community and the ability for fans to become all Miku s producers at once, said Boas, whom the Japanese government named as the country s Cool Japan Ambassador, a symbolic honor. On Friday, thousands of people packed a concert hall in a Tokyo suburb to watch their virtual idol dance and sing while accompanied by human musicians.
The Hatsune Miku Watch not only serves as a fashionable accessory but also functions as a functional timepiece. It typically includes features such as a digital display, alarm settings, and sometimes even a built-in flashlight. It is not only a way for fans to show their support for Hatsune Miku but also a practical accessory that can be used in everyday life.
The Oxford Handbook of Social Media and Music Learning
The rapid pace of technological change over the last decade, particularly the rise of social media, has deeply affected the ways in which we interact as individuals, in groups, and among institutions to the point that it is difficult to grasp what it would be like to lose access to this everyday aspect of modern life. The Oxford Handbook of Social Media and Music Learning investigates the ways in which social media is now firmly engrained in all aspects of music education, providing fascinating insights into the ways in which social media, musical participation, and musical learning are increasingly entwined.
In five sections of newly commissioned chapters, a refreshing mix of junior and senior scholars tackle questions concerning the potential for formal and informal musical learning in a networked society. Beginning with an overview of community identity and the new musical self through social media, scholars explore intersections between digital, musical, and social constructs including the vernacular of born-digital performance, musical identity and projection, and the expanding definition of musical empowerment. The fifth section brings this handbook to full practical fruition, featuring firsthand accounts of digital musicians, students, and teachers in the field. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a musical community member in an age of technologically mediated relationships that break down the limits of geographical, cultural, political, and economic place.
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Why Should We Care About Social Media? Part I Community Identity and Social Media Convergent Music Making and Social Media Musical Identity and Social Media Continuity and Change in Teaching and Learning Through Social Media Provocations and Social MediaДругие издания - Просмотреть все
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Об авторе (2020)
Janice L. Waldron is Associate Professor of music education at the University of Windsor, Windsor, Canada with research interests in informal music learning practices, online music communities, social media and music learning, vernacular musics, and participatory cultures. Published in Music Education Research, The International Journal of Music Education, Action, Criticism, and Theory in Music Education, The Journal of Music, Education, and Technology and The Philosophy of Music Education Review, Dr. Waldron also has authored several Oxford Handbook chapters in its Music Education series. She serves on the editorial boards of Action, Theory, and Criticism in Music Education, The International Journal of Music Education, The Journal of Music, Education, and Technology, and T.O.P.I.C.S.
Stephanie Horsley is Acting Associate Director, eLearning at the Centre for Teaching and Learning at Western University, Canada, where she is also Adjunct Assistant Professor of music education in the Don Wright Faculty of Music. Her research interests include music education policy, democratizing access to sites of music education, and "fringe" musical learning spaces. Her latest publications include chapters in The Oxford Handbook of Social Justice and Music Education and Policy and the Political Life of the Music Educator. Her work has been presented at various international conferences.
Kari K. Veblen is Professor Emerita of Music Education, Western University in Canada where she teaches cultural perspectives, music for children, and graduate research methods. Thus far her career spans four decades of work as: an elementary public school music teacher, community musician, faculty member at University of Wisconsin-Stevens Point, curriculum consultant to orchestras and schools, visiting scholar at University of Toronto, and research associate at University of Limerick. Veblen has served in numerous professional capacities, including the International Society for Music Education board, and as co-founder and now board member of the International Journal of Community Music. Author and co-author of five books and 90 peer-reviewed works, Veblen's research interests include community music networks, lifespan music learning, traditional transmission, vernacular genres, interdisciplinary curriculum, musical play, and social media and music learning.
Библиографические данные
| Название | The Oxford Handbook of Social Media and Music Learning Oxford handbooks |
| Редакторы | Janice L. Waldron , Stephanie Horsley , Kari K. Veblen |
| Издание: | иллюстрированное |
| Издатель | Oxford University Press, 2020 |
| ISBN | 0190660775, 9780190660772 |
| Количество страниц | Всего страниц: 760 |
| Экспорт цитаты | BiBTeX EndNote RefMan |
Miku is 158 centimeters tall (5-foot-2) and weighs 42 kilograms (93 pounds), is perpetually 16 years old, and favors songs with tempos between 70 and 150 beats per minute, according to Crypton.
In addition to being a fashion statement, the Hatsune Miku Watch also holds sentimental value for many fans. It serves as a symbol of their love and dedication to the virtual pop star, and wearing it is a way for them to express their admiration for her. The popularity of Hatsune Miku and her associated merchandise, including the Hatsune Miku Watch, has led to a thriving community of fans and collectors. These watches often sell out quickly and can be difficult to find, making them highly sought after by dedicated fans. Overall, the Hatsune Miku Watch is not just a watch but a representation of a global phenomenon in the world of virtual pop stars. Its unique design and functionality make it a must-have item for fans of Hatsune Miku, allowing them to feel closer to their beloved idol while also being a stylish accessory..
Reviews for "Creating Hatsune Miku: The Story behind the Creation of a Virtual Idol"
1. Sarah - 1/5
I was really disappointed with Hatsune Miku Watch. The graphics were pixelated and the colors were dull, making it hard to enjoy the visuals. The gameplay was repetitive and lacked any real challenge, making it boring after just a few minutes. Additionally, the sound quality was subpar, with the songs not matching the beat of the game. Overall, it felt like a rushed and poorly executed game.
2. John - 2/5
As a longtime fan of Hatsune Miku, I was excited to try out Hatsune Miku Watch. However, it fell short of my expectations. The controls were unresponsive, which made it frustrating to play, especially during fast-paced songs. The lack of variety in the gameplay was disappointing as well. It became repetitive quickly, and there was no incentive to continue playing. I was hoping for a fun and immersive experience, but unfortunately, that was not the case with this game.
3. Emily - 2/5
I found Hatsune Miku Watch to be underwhelming. The concept was interesting, but the execution was lacking. The visuals were pixelated, and the character designs were lackluster. The gameplay was monotonous, as it mainly consisted of tapping the screen to the beat of the songs. I was expecting more interactive elements and a greater sense of engagement. Overall, it failed to captivate me like I had hoped.
4. Michael - 1/5
I was extremely disappointed with Hatsune Miku Watch. The game felt more like a cash grab exploiting the popularity of Hatsune Miku rather than a well-thought-out and enjoyable experience. The controls were clunky, and the timing for tapping on the screen was inconsistent. This made it difficult to score high on the songs, which ultimately took away from the fun. I would not recommend this game to anyone who is looking for a quality rhythm game.