Conclusion

2020 ◽  
pp. 207-208
Author(s):  
Amy M. Burns
Keyword(s):  
Technology Integration ◽  
Music Educator ◽  
Traditional Methods ◽  
Music Classroom ◽  
Music Making

Technology integration can look different depending on the specific music classroom. Think of technology as a way to reach students who are not being reached with current methods. In addition, think of technology as a tool that can help a student in achieving success in music-making where traditional methods could not. It will never be the end-all-be-all or replace the music educator. However, it can be used to assist all students with active music-making.

Why Would We Use Technology in the Elementary Music Classroom?

2020 ◽  
pp. 11-18
Author(s):  
Amy M. Burns
Keyword(s):  
Learning Styles ◽  
Music Educators ◽  
Elementary Music ◽  
Space Technology ◽  
Student Centered ◽  
Music Classroom ◽  
Music Making ◽  
Elementary Music Educators

If the music classroom is meant to be a creative, safe, music-making space, how do educators balance technology in that space? Technology can be used in the simplest teacher-directed ways, as well as in a more student-centered “doing music” environment, depending on how the teacher wants to utilize it and how the students respond to it. Using approaches like Dr. Ruben Puentedura’s SAMR (Substitution, Augmentation, Modification, and Redefinition) model and Liz Kolb’s Triple E (Engage, Enhance, Extend) Framework can help elementary music educators realize how much technology they want to use and when it would be the best tool for the students’ learning styles.

Choosing Engaging Tools for the Music Classroom

2021 ◽  
pp. 43-55
Author(s):  
James Thomas Frankel
Keyword(s):  
Case Studies ◽  
Music Teachers ◽  
Music Educators ◽  
Music Classroom ◽  
Software Designers ◽  
Music Making ◽  
The World ◽  
Software And Hardware ◽  
Teaching Learning ◽  
Music Classrooms

Over the course of the past fifty years, countless software and hardware products have been introduced into music classrooms around the world with varying degrees of pedagogical success. The majority of these products were geared toward professional and amateur musicians and composers, only to be introduced to music teachers, either organically (teachers bringing real-world products into their classrooms) or through the efforts of manufacturers to obtain a new revenue stream for their products by selling them to schools. Knowing this, teachers often find it difficult to become aware of, identify, and choose these tools for use in their classroom instruction. The chapter presents key elements in successfully identifying and implementing creative, intuitive, and engaging tools for teaching, learning, and music making in the music classroom, as well as measuring their efficacy. Case studies focusing on the practices of several music educators are presented, including interviews with the software designers to illuminate the process behind innovative design. In addition to these case studies, a discussion of current products and their individual features and design ethos is given, with an emphasis on concepts instead of brands and devices.

scholarly journals Changing the landscape of professional learning : a practitioner inquiry study of technology integration within literacy

2015 ◽  
Author(s):  
◽  
Tami Ensor
Keyword(s):  
Professional Development ◽  
Technology Integration ◽  
Teacher Perceptions ◽  
Professional Learning ◽  
Practitioner Inquiry ◽  
Traditional Methods ◽  
Audio Recordings ◽  
Teacher Researcher ◽  
Faculty Surveys

Practitioner inquiry provided the framework for teachers (participants) and the teacher researcher to work collaboratively to discover how teachers learn about literacy technology integration, how they apply this in their classroom instruction, and how they share their ideas about literacy and technology integration with other teachers. Data was gathered from faculty surveys, lesson plans, blog posts, videotaped collaboration, audio recordings, researcher's field journal and final reflections of the faculty. Data was analyzed using in vivo coding, looking at each data source independently and then creating larger categories that led to a descriptive view of the data. Key findings that positively impacted teacher learning were acknowledging teacher perceptions, providing time for collaboration with colleagues, application of practice, scaffolding learning, and job embedded reflection. Implications include re-envisioning the roles of educators as well as traditional methods of professional development. Collaborative Inquiry Circles were suggested as an alternative to the traditional methods of professional development.

Pedagogical Decision-Making

2017 ◽  
pp. 494-502
Author(s):  
Ryan Bledsoe
Keyword(s):  
Decision Making ◽  
Music Educators ◽  
Teacher Conceptions ◽  
Creative Processes ◽  
Music Classroom ◽  
Teacher Confidence ◽  
Music Making ◽  
Teaching Music ◽  
Teacher's Perspective ◽  
School Curricula

The implementation of technology may present challenges to music educators. These challenges include varying levels of teacher confidence with technology and aspects of creative processes such as student exploration; teacher conceptions of when music happens, risk, and failure; and school curricula. This chapter provides examples of these challenges from a music teacher’s perspective. One of the questions from my own practice is in what ways could students be makers, tinkerers, or engineers in the music classroom? I identify three principles that guide my own implementation of technology in a creativity-driven music classroom. These principles are not unique to teaching music with technology, and could underlie all music-making experiences for children.

Using Visual Mapping to Promote Higher-Level Thinking in Music-Making

2019 ◽  
Vol 106 (2) ◽  
pp. 58-65
Author(s):  
Joshua Groffman ◽  
Zora M. Wolfe
Keyword(s):  
Main Concept ◽  
Student Centered ◽  
Critical Thought ◽  
Music Classroom ◽  
Visual Mapping ◽  
Higher Level Thinking ◽  
Music Making ◽  
Ideal Tool ◽  
Teaching Music

What tools are available to foster independent and critical thought in the music classroom? We propose that visual mapping—a method of representing relationships and associations between a main concept and other ideas, subtopics, or examples—is an ideal tool for doing exactly this. After examining the principles and usefulness of mapping in a variety of contexts, we discuss several specific ways in which mapping might be implemented in teaching music. We argue that the central strength of mapping is its ability to encourage users to be explicit and metacognitive about their knowledge. As such, it can be part of a constructivist stance whereby the instructor creates a student-centered classroom in which learners are active, engaged participants in their education.

scholarly journals Research-to-Resource: Effective Incorporation of World Music Into the Music Classroom

2018 ◽  
Vol 37 (1) ◽  
pp. 5-8
Author(s):  
Jacqueline Henninger
Keyword(s):  
Ethnic Groups ◽  
Music Educators ◽  
World Music ◽  
Background Information ◽  
Opportunities To Learn ◽  
Instructional Approaches ◽  
Music Preferences ◽  
Music Classroom ◽  
Music Making ◽  
Provide Background Information

As the demographics of our nation continue to evolve, music educators have a responsibility to embrace the opportunities they have to increase their students’ levels of awareness and acceptance of others who may represent different ethnic groups. The following research-to-resource article will provide background information and recommendations for instructional approaches one may use when sharing world music with students in the music classroom. Researchers have shown that providing students with opportunities to learn about and perform music representative of other cultures may positively affect their music preferences, music familiarities, and levels of respect for, acceptance of, and appreciation for others. To do this most effectively, teachers should address music concepts and sociocultural contexts, involve cultural insiders, be cognizant of elements of authenticity, and enable students to be engaged in active music-making opportunities.

Constructing Informal Experiences in the Elementary General Music Classroom

2018 ◽  
Vol 104 (3) ◽  
pp. 46-53 ◽  
Author(s):  
Donna Hewitt
Keyword(s):  
Upper Elementary ◽  
General Music ◽  
Classroom Setting ◽  
Music Learning ◽  
Music Classroom ◽  
Informal Music Learning ◽  
Music Making ◽  
Learning Practices ◽  
Elementary General Music ◽  
Out Of School

Children often spontaneously yet purposefully sing songs or create rhythms outside the formal classroom setting to reflect the ways in which they naturally engage with music. Researchers have studied these informal music learning practices to incorporate these experiences into the classroom to offer lessons that are engaging and better reflective of children’s out-of-school musical worlds. This article offers strategies for teachers to incorporate these practices into an upper elementary general music classroom through combining elements of constructivism and the research of Lucy Green on informal music learning and popular musicians. Informal music learning offers another way of thinking about music learning and providing joyful and meaningful music-making experiences in the classroom.

Aspiring to Music Making as Leisure through the Musical Futures Classroom

2017 ◽  
Author(s):  
Abigale D'Amore ◽  
Gareth Dylan Smith
Keyword(s):  
Young People ◽  
Secondary Schools ◽  
Leisure Activities ◽  
Music Learning ◽  
Pedagogical Approach ◽  
Music Classroom ◽  
Informal Music Learning ◽  
Music Making ◽  
School Music ◽  
Music Classrooms

The chapter discusses the centrality of music making to the lives of young people, framing teenagers’ out-of-school music making and attendant identity realization as leisure activities. It presents arguments for including in school music classrooms the music that students enjoy outside of school. It describes Musical Futures, an approach to informal music learning developed from understanding how popular musicians learn and adopting these practices for the music classroom. Citing examples of nationwide research on Musical Futures from secondary schools in England, the chapter balances benefits and challenges of adopting the approach, and considers implications of a focus in school on the process rather than the product of music making. The authors argue that framing and aspiring to music making as leisure through this particular pedagogical approach could stand to benefit students, teachers, schools, and society.

scholarly journals Encouraging Participatory Music Making Through Differentiation on the Ukulele

2020 ◽  
Vol 34 (1) ◽  
pp. 29-36
Author(s):  
Cara Faith Bernard ◽  
Christopher Cayari
Keyword(s):  
Skill Levels ◽  
Music Classroom ◽  
Music Making ◽  
Participatory Music ◽  
K 12 ◽  
Music Classrooms

Students come to the music classroom with varying degrees of skill, interest, and comfort toward making music, yet educators must consider how to meet the needs of all students regardless of ability. Using differentiation as a framework, we examine how participatory music making (PMM) might meet these needs. We offer strategies for implementing PMM using ukulele in various types of music classrooms, including differentiating music making for participation, extending participation through performance, and mediating participation through technologies. We extend PMM strategies to the K–3 music classroom using a variety of instruments and songs. These strategies can be used to differentiate music making, giving students options that encourage comfortable interactions with music and ensuring all students experience success in all skill levels. The meaningful music experiences made possible through PMM may inspire students to engage in autonomous music making outside of the classroom and beyond their K–12 education.

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