However, without a strong recognition of cultural responsibility this richness may result in a homogenous melting pot. With more artists sharing and interacting, the result could be a richer environment in the future. However, it does seem to have acted as a catalyst for fresh vigour within online communities seeking new ways to connect. Without doubt, the pandemic has had serious negative effects on individual musicians’ and live venues’ income streams. Data were analysed using the protocols of Inductive Thematic Analysis generating seven codes, regarding the impact of COVID-19 on virtual guitar communities. An immersive netnographic study investigated activities in online guitar communities from the perspective of UNESCO’s Convention for the Safeguarding of Intangible Cultural Heritage. However, in the twenty-first century, community domains also include virtual spaces. Guitar players have traditionally formed local networks and communities in geo-located domains. The arrival of the internet instigated varying, sometimes contradictory, cultural concerns including dispersion, dissipation, preservation, development, homogenization and heterogeneity. Prior to the COVID-19 pandemic, the music industry was already experiencing uncertainty as musicians experimented with new modes of dissemination and monetization following developments in telecommunications.
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The focus of this paper is: (1) to elaborate a critical discourse on notions of fluency with arts-based technologies, particularly in a music context (2) to explore the relationship between FITness and FATness based on criteria elaborated by the National Research Council and (3) to discuss the dilemma that music, and music education, faces in a society where software packages such as GarageBand may enable any person to seemingly compose music without traditional forms of music knowledge and music literacy.
al., 1999) has chosen to promote a notion of "fluency within information technology," or FITness, the author has chosen to promote a notion of FATness (i.e., "fluency within arts technologies") as a label for the arts-based, broad understandings that are necessary in the use of emerging arts technologies. While the National Research Council's Committee on Information Technology Literacy (Snyder, et.
Fluency is defined by creative expression. The author embraces a notion of "fluency" to describe the ability that all humans possess to create (e.g., compose, produce, perform) arts media (Gouzouasis, 2001 Gouzouasis, 2003 Gouzouasis & LaMonde, 2004). Contrary to an information technologist's reductionist perspective, animation and image creation is more than the mere movement and manipulation of bits and bytes of so-called "information." With arts-based technologies, the content and all forms of media are dependent upon the creative abilities and skills of artists, and artists learn those skills in a variety of traditional and new contexts. al., 1999), public policies are also profoundly influenced by the sounds and images that form the content of all aspects of broadcast and print media. While one may argue that "public policy debates are connected to information technology" (Snyder, et. In many ways, culture is rooted in the arts.
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