The Reform of College Music Education Mode Based on Computer Delay Factor Algorithm Music Technology

2022 ◽  
pp. 1699-1704
Author(s):  
Libo Wang
Keyword(s):  
Music Education ◽  
Music Technology ◽  
College Music ◽  
Delay Factor

John Philip Sousa’s Historic Resistance to Technology in Music Learning

2021 ◽  
pp. 153660062110339
Author(s):  
Matthew D. Thibeault
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Digital Music ◽  
Washington Dc ◽  
Music Learning ◽  
Sound Recordings ◽  
Us Congress ◽  
The Us

In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.

American Gamelan and the Ethnomusicological Imagination

2020 ◽  
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
North America ◽  
Music Education ◽  
Performing Arts ◽  
Music Teachers ◽  
American Music ◽  
World Music ◽  
Music Programs ◽  
Music Ensembles ◽  
College Music

The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.

scholarly journals Technology in Music Education in England and across Europe

2017 ◽  
pp. 30-48
Author(s):  
Marina Gall
Keyword(s):  
Music Education ◽  
Secondary Students ◽  
English Education ◽  
Traditional Music ◽  
Music Educators ◽  
Music Technology ◽  
Primary School Children ◽  
Information Communications Technology ◽  
Wide Range ◽  
Technological Developments

In this chapter, adopting an autobiographical perspective, I reflect upon the use of music technology within English school classrooms during the last 50 years. The chapter illustrates that this has become so important—particularly for creative work—that formal music technology examination syllabi for older students now exist alongside courses that focus on “traditional” music skills. The chapter also discusses the less positive position of information communications technology within the music curricula for primary school children and secondary students aged 11–14, and offers thoughts on the future of music technology within the English education system. As a backdrop to the discussion the chapter presents a short reflection on music technological developments in society during the twentieth and twenty-first centuries. The chapter also includes the perspectives of music educators from a wide range of European countries, during the period 2008–2011, on the position of music technology within their own educational contexts.

scholarly journals The implementation of virtual choir recordings during distance learning

2020 ◽  
Vol 15 (5) ◽  
pp. 1117-1127
Author(s):  
Hakki Cengiz Eren ◽  
Emine Kıvanç Öztuğ
Keyword(s):  
Distance Education ◽  
Distance Learning ◽  
Music Education ◽  
Real Life ◽  
Music Technology ◽  
Sound Recording ◽  
Student Opinions ◽  
Future Potential ◽  
Education Tool ◽  
Question Survey

This study investigates the implementation of virtual choir recordings in a choir class during distance learning. In this particular study, a virtual choir is defined to be a computer-generated sound recording that emulates a realistic choir sound. Students practiced their parts using virtual choir recordings for a period of eight weeks; each student received a recording that excluded his/her own part but included the rest of the parts. After eight weeks of progressive study, students recorded their own voices on top of the virtual choir recordings and submitted them as final projects. Student opinions regarding the virtual choir recordings were obtained through a 12-question survey. In addition, two experts evaluated the final submissions turned in by the students. The data suggests that virtual choir recordings can be helpful to students with efficiency of practice and can provide a suitable audio environment to foster conscious-listening, accurate intonation and perception of pacing. Improvements are suggested to make the virtual choir recordings also more encouraging of musicality, highlighting its future potential not only as a reliable distance education tool, but also as a supplementary device for real-life choir classes, when in-person learning resumes.   Keywords: music education, distance learning, choir, virtual choir, music technology

Sign in / Sign up

Export Citation Format

Share Document