Developing strategies for delivering music technology in secondary PGCE courses

1999 ◽  
Vol 16 (2) ◽  
pp. 197-213 ◽  
Author(s):  
Maria Busen-Smith
Keyword(s):  
Music Educators ◽  
Student Evaluations ◽  
Music Technology ◽  
University Student ◽  
Post Graduate ◽  
Secondary Music ◽  
Graduate Certificate ◽  
Partner Schools ◽  
Developing Strategies

For some years, music technology has been incorporated into the secondary music Post-Graduate Certificate in Education (PGCE) course at Kingston University. Student evaluations of this work have been supportive in the main, but identified continuing challenges in relation to establishing a sense of ease with its application in education. A range of course developments were devised in response, and closely monitored in 1997. The first half of this article outlines the rationale behind them. It draws upon a range of texts that document the reception of IT in schools and colleges, and on an interpretative response (based on theories of cognition), which the writer feels holds much relevance for music educators. The second half outlines course developments, and includes feedback from students and partner schools. Eighteen months on, the fundamental strategy is still in place, and staff have found it consistent with the requirements for ICT outlined in circular 4/98 by the DfEE.

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.

Learner Engagement and Technology Integration

2017 ◽  
pp. 594-600
Author(s):  
Michael Medvinsky
Keyword(s):  
Technology Integration ◽  
Music Educators ◽  
Music Technology ◽  
Content Area ◽  
Methods Courses ◽  
Learner Engagement ◽  
Learning With Technology ◽  
Ways Of Being

If music educators use technology to do old things in new ways, they are still doing old things. Music is constantly evolving with technological advancements. Technology can be used in many different ways in music classes. Technology best serves music educators when they reimagine musicianship and design opportunities to explore nontraditional ways of being a musician. This should begin with the teacher’s preservice experiences. Music educators need a rich understanding of their content area so that technology becomes a support for authentic musical processes, as opposed to being an add-on. The integration of music technology must be contextualized within methods courses in order for music educators to feel comfortable enough with the technology itself that it becomes transparent to the musical experiences. Technology will never replace a great educator, but a great educator who understands the possibilities of supporting learning with technology will replace a great educator who does not.

Making Assessment Meaningful, Measurable, and Manageable in the Secondary Music Classroom

2019 ◽  
pp. 324-350
Author(s):  
Paul Kimpton ◽  
Ann Kimpton
Keyword(s):  
Best Practices ◽  
Music Educators ◽  
Assessment Process ◽  
Learning Goals ◽  
Classroom Teachers ◽  
Music Classroom ◽  
Secondary Music ◽  
Specific Performance ◽  
Specific Feedback ◽  
Do So

The purpose of this chapter is to challenge secondary music educators to incorporate assessment best practices in creating music assessments that are meaningful, measurable, and manageable. To do so, music educators must recognize the commonalities between assessment of music and assessment of other disciplines. Assessments also should assess specific performance, written theory, and listening theory skills that directly relate to the music being taught in the classroom. Teachers then will be able to identify individual and ensemble strengths and weaknesses, share visual displays of data, provide specific feedback, and adjust instruction accordingly. Additionally, students must be involved in the assessment process by being given opportunities to self-assess and peer assess, articulate and/or demonstrate standards, set and adjust learning goals, and reflect on progress. As a result of rethinking assessment in the music classroom, music educators have the opportunity to strengthen music’s role as a valuable curricular subject in US schools.

Generating Intersections between Music and Technology

2017 ◽  
pp. 654-664
Author(s):  
Matthew Hitchcock
Keyword(s):  
School Curriculum ◽  
Music Educators ◽  
Music Technology ◽  
Music Teacher ◽  
Recording Studio ◽  
Relative Paucity ◽  
Music Making ◽  
Music And Technology ◽  
Copy And Paste

This chapter, drawing on the author’s background as a professional performing musician, recording studio owner, record producer, recording engineer, software programmer, and music teacher in Australia, discusses the dichotomy between the ubiquity of music technology in the music world and technology’s relative paucity in the school curriculum. He goes on to discuss how music educators should remain aware of global music trends, specifically how the democratization of technology has decimated the barriers to making music resulting in greatly expanded opportunities for individuals to create and publish, contrasted however by the prevalence of copy-and-paste music making. Ultimately, the chapter presents a taxonomy (imitation, emulation, inspiration, origination) for understanding how technology can be deployed in musically generative ways.

Computational Thinking in Sound

2014 ◽  
Author(s):  
Gena R. Greher ◽  
Jesse M. Heines
Keyword(s):  
Computational Thinking ◽  
Music Educators ◽  
Music Technology ◽  
Student Centered ◽  
Multiple Strategies ◽  
Complex Process ◽  
Hands On ◽  
Music And Technology ◽  
Veteran Educators ◽  
Music Fundamentals

With Computational Thinking in Sound, veteran educators Gena R. Greher and Jesse M. Heines provide the first book ever written for music fundamentals educators that is devoted specifically to music, sound, and technology. Using a student-centered approach that emphasizes project-based experiences, the book provides music educators with multiple strategies to explore, create, and solve problems with music and technology in equal parts. It also provides examples of hands-on activities that encourage students, alone and in groups, to explore the basic principles that underlie today's music technology and freely available multimedia creation tools. Computational Thinking in Sound is an effective tool for educators to introduce students to the complex process of computational thinking in the context of the creative arts through the more accessible medium of music.

The Oxford Handbook of Assessment Policy and Practice in Music Education, Volume 2

2019 ◽  
Keyword(s):  
Music Education ◽  
Music Performance ◽  
State Level ◽  
The United States ◽  
Music Technology ◽  
Policy And Practice ◽  
Education Practice ◽  
Music Assessment ◽  
Secondary Music ◽  
Technical Issues

This volume of the handbook addresses music education practice and technology in 37 chapters written by fifty three leading experts from across the world. The volume is divided into three sections and closes with an epilogue. Part 1, “Music Assessment in the United States,” presents a review of legislation and case law, national assessment trends, and state-level assessment programs in eight states. Part 2, “Assessment of Student Music Learning,” covers the practice of assessment in early childhood, special needs, primary, and secondary music classrooms and ensembles. Part 3, “Assessment and Music Technology,” covers policy and practice for technologically assisted music assessment, and details technical issues related to computerized assessment of music performance. The epilogue brings the handbook to a close with a review of the state of the art of music assessment, and introduces the International Principles of Assessment in Music Education.

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