Girls, Boys and Technology in Music Education

1993 ◽  
Vol 10 (2) ◽  
pp. 123-134 ◽  
Author(s):  
Chris Comber ◽  
David J. Hargreaves ◽  
Ann Colley
Keyword(s):  
Information Technology ◽  
Music Education ◽  
Crucial Role ◽  
Music Technology ◽  
Educational Computing ◽  
Equal Opportunities ◽  
Music Curriculum ◽  
Profound Impact ◽  
Preliminary Results ◽  
The University

Information technology is having a profound impact upon the music curriculum, and there is general agreement that boys and girls should have equal opportunities to benefit from it. Although music has traditionally been a subject in which girls predominate, technology is clearly stereotyped as a male preserve. The present paper reports some findings from the Leverhulme Trust-funded ‘Gender and educational computing in the humanities’ project at the University of Leicester, which is using survey and interview techniques with a large sample of pupils and teachers in the Midlands to investigate these questions. The preliminary results suggest that boys are more confident in their use of music technology; that they are showing an increasing interest in music as a result of it; and that teachers have a crucial role to play in ensuring that girls are not disadvantaged in the use of 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.

The Curious Musician

2017 ◽  
pp. 316-322
Author(s):  
Leah Kardos
Keyword(s):  
Music Education ◽  
Cultural Landscape ◽  
Traditional Music ◽  
Music Technology ◽  
First Century ◽  
Music Notation ◽  
Music Curriculum ◽  
Creative Music ◽  
Almost All ◽  
Contemporary Practice

Music technologies have lead us to a transformation of perceptions and the reinvention and refinement of our creative music making. They have also transformed our language and are providing access to musical and sonic possibilities that transcend the facilities of traditional music notation and analysis. They can facilitate new ways of collaborating and sharing and have become intertwined with almost all commercial and contemporary arts practices in the twenty-first century. Within this contemporary digital cultural landscape, a fluent and adaptable working knowledge of music technology should be foundational to any taught music curriculum. This chapter looks at examples from contemporary practice to inform a strategy for developing effective curricula for higher music education where fluency in digital literacies is promoted through practice-led enquiry and adopting the mindset of the “curious musician.”

scholarly journals Theory, technology and the music curriculum

2004 ◽  
Vol 21 (2) ◽  
pp. 215-221 ◽  
Author(s):  
Tim Cain
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Music Curriculum ◽  
Conceptual Frameworks ◽  
Short Article

In this short article I present a case for developing a new theory of music education, arguing that advances in music technology have undermined some of the most basic conceptual frameworks we currently possess. I describe some problems that might make the development of a new theory difficult and suggest some ways in which they might be overcome. My hope is that this paper will inspire people to consider the development of such a theory.

Diagnostics of professional competence of IT students based on digital footprint data

2020 ◽  
pp. 4-11
Author(s):  
I. G. Zakharova ◽  
Yu. V. Boganyuk ◽  
M. S. Vorobyova ◽  
E. A. Pavlova
Keyword(s):  
Information Technology ◽  
Educational Program ◽  
Professional Competence ◽  
Objective Data ◽  
Text Data ◽  
Data Set ◽  
Job Requirements ◽  
Digital Footprint ◽  
Graduate Employment ◽  
The University

The article goal is to demonstrate the possibilities of the approach to diagnosing the level of IT graduates’ professional competence, based on the analysis of the student’s digital footprint and the content of the corresponding educational program. We describe methods for extracting student professional level indicators from digital footprint text data — courses’ descriptions and graduation qualification works. We show methods of comparing these indicators with the formalized requirements of employers, reflected in the texts of vacancies in the field of information technology. The proposed approach was applied at the Institute of Mathematics and Computer Science of the University of Tyumen. We performed diagnostics using a data set that included texts of courses’ descriptions for IT areas of undergraduate studies, 542 graduation qualification works in these areas, 879 descriptions of job requirements and information on graduate employment. The presented approach allows us to evaluate the relevance of the educational program as a whole and the level of professional competence of each student based on objective data. The results were used to update the content of some major courses and to include new elective courses in the curriculum.

Illustrations and the genesis of Barrett and Yonge's Collins pocket guide to the sea shore (1958)

2010 ◽  
Vol 37 (2) ◽  
pp. 274-291 ◽  
Author(s):  
P. G. Moore
Keyword(s):  
Crucial Role ◽  
British Isles ◽  
Publishing History ◽  
Biological Station ◽  
Marine Biological ◽  
Illustrated Text ◽  
History Of ◽  
The University

Twenty nine items of correspondence from the mid-1950s discovered recently in the archives of the University Marine Biological Station Millport, and others made available by one of the illustrators and a referee, shed unique light on the publishing history of Collins pocket guide to the sea shore. This handbook, generally regarded as a classic of its genre, marked a huge step forwards in 1958; providing generations of students with an authoritative, concise, affordable, well illustrated text with which to identify common organisms found between the tidemarks from around the coasts of the British Isles. The crucial role played by a select band of illustrators in making this publication the success it eventually became, is highlighted herein. The difficulties of accomplishing this production within commercial strictures, and generally as a sideline to the main employment of the participants, are revealed. Such stresses were not helped by changing demands on the illustrators made by the authors and by the publishers.

Students’ Attitudes Towards Starting a Business, on the Example of Students at the University of Information Technology and Management in Rzeszów (Poland)

e-Finanse ◽  
2018 ◽  
Vol 14 (4) ◽  
pp. 90-103
Author(s):  
Karolina Palimąka ◽  
Jacek Rodzinka
Keyword(s):  
Information Technology ◽  
Young People ◽  
Family Member ◽  
Economic Activity ◽  
Age Groups ◽  
The Cross ◽  
Students Attitudes ◽  
The University ◽  
Starting A Business

AbstractEntrepreneurship understood as a manifestation of economic activity is an issue widely discussed in literature, especially in the field of economics. Today, a large part of society is involved in establishing and running a business, hence the shaping of entrepreneurial behaviors gains importance among all age groups, especially young people. The main objective of the conducted research was to examine the interest in starting their own business by students and to verify whether the direction of their studies or role in the group affects the students’ willingness to start a business and whether a family member runs a business influences this interest and moreover, whether capital and the idea are the two main criteria conditioning the decision.. The conclusions were based on a study, i.e. (mainly) the cross-analysis of data collected as part of a survey conducted among students of the University of Information Technology and Management in Rzeszów.

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.

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