The Experience of Computer Music Technology Reform in Music Education Mode

2022 ◽  
pp. 1823-1828
Author(s):  
Yuan Fang
Keyword(s):  
Music Education ◽  
Computer Music ◽  
Music Technology

Sound, Electronics, and Music: A Radical and Hopeful Experiment in Early Music Education

2017 ◽  
Vol 41 (3) ◽  
pp. 36-49 ◽  
Author(s):  
Lauren Hayes
Keyword(s):  
Music Education ◽  
Computer Music ◽  
Large Scale ◽  
New Technologies ◽  
Music Technology ◽  
Musical Ability ◽  
Early Music ◽  
Field Recording ◽  
Additional Support ◽  
The University

Discussions of pedagogical approaches to computer music are often rooted within the realm of higher education alone. This article describes Sound, Electronics, and Music, a large-scale project in which tutelage was provided on various topics related to sound and music technology to around 900 schoolchildren in Scotland in 2014 and 2015. Sixteen schools were involved, including two schools for additional support needs. The project engaged several expert musicians and researchers to deliver the different areas of the course. Topics included collective electroacoustic composition, hardware hacking, field recording, and improvisation. A particular emphasis was placed on providing a form of music education that would engender creative practice that was available to all, regardless of musical ability and background. The findings and outcomes of the project suggest that we should not be restricting to the university level the discussion of how to continue to educate future generations in the practices surrounding computer music. We may be failing to engage an age group that is growing readily familiar with the skills and vocabulary surrounding new technologies.

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.

A Musical Technography of John Bischoff

2004 ◽  
Vol 14 ◽  
pp. 75-79
Author(s):  
Douglas Kahn
Keyword(s):  
San Francisco ◽  
Early Development ◽  
Computer Music ◽  
Turning Point ◽  
San Francisco Bay Area ◽  
Experimental Music ◽  
Music Technology ◽  
Electronic Components ◽  
Bay Area ◽  
The Impact

John Bischoff has been part of the formation and growth of electronic and computer music in the San Francisco Bay Area for over three decades. In an interview with the author, he describes his early development as a student of experimental music technology, including the impact of hearing and assisting in the work of David Tudor. Bischoff, like Tudor, explored the unpredictable potentials within electronic components, and he brought this curiosity to bear when he began working on one of the first available micro-computers. He was a key individual at the historical turning point when computer music escaped its institutional restric-tions and began becoming widespread.

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

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