The Pagan handfasting ceremony is a sacred ritual practiced by some Pagan traditions to mark the joining of two individuals in marriage or a committed partnership. This ancient ceremony dates back to pre-Christian times and is often held outdoors, in nature, to connect with the elements and the spiritual energies of the earth. During a handfasting ceremony, the couple's hands are bound together with cords or ribbons, symbolizing their union and commitment to one another. The cords used in the ritual may have specific colors or meanings related to the couple's personal beliefs and intentions. For example, red may represent passion and love, while green symbolizes fertility and growth. The ceremony itself is highly customizable and can include various elements depending on the couple's preferences and the traditions they follow.
“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 ceremony itself is highly customizable and can include various elements depending on the couple's preferences and the traditions they follow. Some handfasting ceremonies may include the calling upon of the four elements - earth, air, fire, and water - to invoke their blessings and energies. Others may involve the exchange of vows and promises, the sharing of symbolized elements like wine or bread, and the participation of friends and family in the celebration.
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.
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| 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.
Handfasting ceremonies can be as elaborate or as simple as desired, but they are always deeply meaningful and spiritual for those involved. The couple may choose to have an officiant, such as a Pagan priest or priestess, lead the ceremony or opt for a self-guided or guided by loved ones. Aside from the wedding aspect, handfasting ceremonies can also be used to celebrate other significant milestones in a couple's relationship. For example, some couples may choose to renew their vows or reaffirm their commitment to one another through a handfasting ceremony after a certain number of years together. In conclusion, the Pagan handfasting ceremony is a beautiful and ancient ritual that symbolizes the joining of two individuals in marriage or partnership. It is a deeply spiritual and meaningful celebration that connects the couple with nature, the elements, and their own beliefs and intentions..
Reviews for "Incorporating modern elements into a traditional Pafan handfasting ceremony"
1. Emma - ★☆☆☆☆
I was really disappointed with the Pafan handfasting ceremony. The entire event felt disorganized and lacking in authenticity. The officiant stumbled through the vows and seemed unprepared. The decorations were minimal and the overall atmosphere was underwhelming. I expected a meaningful and heartfelt ceremony, but instead, it felt rushed and impersonal. I wouldn't recommend it.
2. David - ★★☆☆☆
As a guest at the Pafan handfasting ceremony, I didn't feel connected to the event at all. The couple seemed more focused on the performative aspects of the ceremony rather than the emotional context. The script was overly rehearsed and it felt more like a theatrical performance than a genuine celebration of love. I was hoping for a more intimate and personal experience, but unfortunately, it fell short.
3. Samantha - ★★☆☆☆
The Pafan handfasting ceremony left a lot to be desired. The ceremony itself was quite short and lacked any real substance. The vows were generic and didn't capture the uniqueness of the couple. Additionally, the officiant had a monotone voice and seemed disinterested in the proceedings. I expected a more heartfelt and authentic experience, but unfortunately, it felt like a cookie-cutter wedding ceremony. I won't be recommending it to others.
4. Mike - ★☆☆☆☆
I found the Pafan handfasting ceremony to be incredibly dull and unengaging. There was no real connection between the couple and the guests, and it felt like we were just going through the motions. The lack of personalization in the vows and the overall vibe of the event left me extremely unimpressed. I was expecting a memorable and meaningful ceremony, but all I got was a forgettable experience. I would advise others to look elsewhere for a more special handfasting ceremony.