Music Learning Today

2020 ◽  
Author(s):  
William I. Bauer
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Promising Practices ◽  
Learning Context ◽  
Music Learning ◽  
Software Applications ◽  
Use Of Technology ◽  
Digital Pedagogy ◽  
Teaching Learning ◽  
Pedagogical Approaches

Grounded in a research-based, conceptual model called Technological Pedagogical and Content Knowledge (TPACK), the essential premise of Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes—creating, performing, and responding to music. Insights on how technology can be used to advantage in both traditional and emerging learning environments are provided, and research-based pedagogical approaches that align technologies with specific curricular outcomes are described. Importantly, the book advocates that the decision on whether or not to utilize technology for learning, and the specific technology that might be best suited for a particular learning context, should begin with a consideration of curricular outcomes (music subject matter). This is in sharp contrast to most other books on music technology that are technocentric, organized around specific software applications and hardware. The book also recognizes that knowing how to effectively use the technological tools to maximize learning (pedagogy) is a crucial aspect of the teaching-learning process. Drawing on the research and promising practices literature in music education and related fields, pedagogical approaches that are aligned with curricular outcomes and specific technologies are suggested. It is not a “how to” book per se, but rather a text informed by the latest research, theories of learning, and documented best practices, with the goal of helping teachers develop the ability to understand the dynamics of effectively using technology for music learning.

Technology in PerspectiveWho is in Control?

2017 ◽  
pp. 310-316
Author(s):  
Patricia Gonzales
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
Learning Technologies ◽  
Music Teacher ◽  
Traditional Teaching ◽  
Music Teacher Education ◽  
Innovative Teaching ◽  
Use Of Technology ◽  
Teaching Learning

It is commonly known that the assimilation and use of technology that is vertically mandated, without a critical consideration of final users, presents various risks such as an inadequate and unreflective use of technology. For instance, new technological tools tend to be used only to facilitate aspects of traditional teaching practices, without changing previous pedagogical paradigms. One of the main causes is that many teachers have not acquired the expertise to take full advantage of innovative teaching/learning technologies. For adequate music education provision, music educators must respond distinctively and effectively by considering the sociocultural and educational context. This chapter argues that music teacher education and professional initiatives must be focused on empowering music teachers to critically decide the degree of technological assimilation and distinction in order to meet the standards of quality education.

Advocacy for Students with Autism in Music Education

2020 ◽  
pp. 143-160
Author(s):  
Alice M. Hammel ◽  
Ryan M. Hourigan
Keyword(s):  
Learning Environment ◽  
Music Education ◽  
Special Educators ◽  
Music Educators ◽  
Classroom Teachers ◽  
Special Education Administrators ◽  
Music Learning ◽  
Educational Support ◽  
Students With Autism ◽  
Education Administrators

Music students with autism are frequently placed in music learning environments not conducive to their needs. Music educators must advocate for the most appropriate learning environment for their students. This chapter focuses on establishing relationships with parents, special educators, special education administrators, and classroom teachers to advocate for the most appropriate learning environment. In addition, this chapter focuses on understanding the necessary components of the musical learning environment for students with ASD and reaching out to community organizations for educational support.

Developing Self-Efficacy to Improve Music Achievement

2020 ◽  
Vol 107 (2) ◽  
pp. 42-50
Author(s):  
Michael S. Zelenak
Keyword(s):  
Learning Environment ◽  
Music Education ◽  
Self Efficacy ◽  
Positive Relationship ◽  
Music Educators ◽  
Music Achievement ◽  
Self Perception ◽  
Music Learning ◽  
Albert Bandura

Albert Bandura identified self-efficacy as the dominant self-perception shaping action, effort, and achievement. In music education, researchers have identified a positive relationship between self-efficacy and achievement, but how can music educators develop self-efficacy to improve achievement? This article offers a description of self-efficacy and provides practical strategies to promote its development in music education. These strategies can be applied in any music learning environment so that music educators may be more fully prepared to integrate activities that build self-efficacy into their instruction, enabling their students to reach higher levels of achievement.

Cultivating Meaningful Personal Learning Networks in an Era of Multimodal and Globalized Music Learning and Education

2020 ◽  
pp. 335-356
Author(s):  
Deanna C. C. Peluso
Keyword(s):  
Music Education ◽  
Classroom Practices ◽  
Music Educators ◽  
Learning Networks ◽  
Online Forums ◽  
Music Learning ◽  
Personal Learning Networks ◽  
Personal Learning ◽  
Informal Music Learning ◽  
Musical Knowledge

A continual ebb and flow of technological progressions provide diverse contexts in which music learning, participation, and education can occur. Youth are deeply immersed within a culture of globalized and multimodal knowledge-sharing, through which music learning occurs within formal, nonformal, and informal contexts, both in the physical and online worlds. These interconnected environments provide learners with a diverse collection of tools and resources that enable them to take charge of their own musical learning. Further, they can connect and share with other learners, educators, and experts through their own digitally mediated personal learning networks (PLNs). In these PLNs, extensive repertoires of formal music education combined with informal music learning practices that provide self-directed forums for musical experiences can enable music learners to flourish and adapt to globalized and diverse contexts. Learners cultivate, in their own personally relevant ways, networks of musical knowledge by drawing on the resources and tools available both on- and offline. By examining PLNs supported by multimodal social media resources as well as online forums for sharing and exploring music knowledge, this chapter presents practical examples and applications to inform music educators and classroom practices.

The Oxford Handbook of Social Media and Music Learning

2020 ◽  
Keyword(s):  
Social Media ◽  
New Media ◽  
Music Education ◽  
Network Connectivity ◽  
Music Educators ◽  
International Perspective ◽  
Music Learning ◽  
Rapid Pace ◽  
Media Communications ◽  
Networked Society

The rapid pace of technological change over the last decade, particularly in relation to social media and network connectivity, has deeply affected the ways in which individuals, groups, and institutions interact socially: This includes how music is made, learned, and taught globally in all manner of diverse contexts. The multiple ways in which social media and social networking intersect with the everyday life of the musical learner are at the heart of this book. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a music learner, teacher, producer, consumer, individual, and community member in an age of technologically-mediated relationships that continue to break down the limits of geographical, cultural, political, and economic place. This book is aimed at those who teach and train music educators as well as current and future music educators. Its primary goal is to draw attention to the ways in which social media, musical participation, and musical learning are increasingly entwined by examining questions, issues, concerns, and potentials this raises for formal, informal, and non-formal musical learning and engagement in a networked society. It provides an international perspective on a variety of related issues from scholars who are leaders in the field of music education, new media, communications, and sociology in the emerging field of social media.

The Oxford Handbook of Social Justice in Music Education

2015 ◽  
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Music Educators ◽  
Pedagogical Practices ◽  
Refugee Camps ◽  
Student Agency ◽  
Music Learning ◽  
Cultural Perspectives ◽  
Starting Point ◽  
Comprehensive Survey

This handbook seeks to present a wide-ranging and comprehensive survey of social justice in music education. Contributors from around the world interrogate the complex, multidimensional, and often contested nature of social justice and music education from a variety of philosophical, political, social, and cultural perspectives. Although many chapters take as their starting point an analysis of how dominant political, educational, and musical ideologies serve to construct and sustain inequities and undemocratic practices, authors also identify practices that seek to promote socially just pedagogy and approaches to music education. These range from those taking place in formal and informal music education contexts, including schools and community settings, to music projects undertaken in sites of repression and conflict, such as prisons, refugee camps, and areas of acute social disadvantage or political oppression. In a volume of this scope, there are inevitably many recurring themes. However, common to many of those music education practices that seek to create more democratic and equitable spaces for musical learning is a belief in the centrality of student agency and a commitment to the too-often silenced voice of the learner. To that end, this Handbook challenges music educators to reflect critically on their own beliefs and pedagogical practices so that they may contribute more effectively to the creation and maintenance of music learning environs and programs in which matters of access and equity are continually brought to the fore.

Human Potential, Technology, and Music Education

2017 ◽  
pp. 218-224
Author(s):  
Smaragda Chrysostomu
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Human Potential ◽  
Technology In Education ◽  
School Life ◽  
Music Learning ◽  
Humane Education ◽  
The Core ◽  
Use Of Technology ◽  
Formal And Informal Learning

Technology, music, and education, the interrelations and interactions between them as well their impact on music education and young people’s lives, are explored in the Core Perspectives of this part of this book. Writers describe how technology enables transcendence of boundaries between formal and informal learning and between school life and personal life, potentially providing the necessary bridge that would transform music learning. At the same time, a number of threats from the use of technology in education and music education are recognized. Common threads from three different Core Perspectives’ chapters are explored and discussed in relation to the ultimate goal of education. Further discourse and caution, as well as further research, is important in order to explore and clarify potential opportunities for a more humane education and future.

A Model for Online Music Education

2018 ◽  
pp. 202-225
Author(s):  
Radio Cremata
Keyword(s):  
Music Education ◽  
Secondary Level ◽  
Music Teaching ◽  
Technological Advancement ◽  
Music Learning ◽  
Post Secondary ◽  
Online Music ◽  
Education Profession ◽  
Teaching Learning

This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.

A Model for Online Music Education

2021 ◽  
pp. 193-216
Author(s):  
Radio Cremata
Keyword(s):  
Music Education ◽  
Secondary Level ◽  
Music Teaching ◽  
Technological Advancement ◽  
Music Learning ◽  
Post Secondary ◽  
Online Music ◽  
Education Profession ◽  
Teaching Learning

This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.

The Role of “Place” and Context

2017 ◽  
pp. 64-70
Author(s):  
Janice L. Waldron
Keyword(s):  
Music Education ◽  
Technology Use ◽  
Local Context ◽  
Music Learning ◽  
Cultural Assumptions ◽  
Learning And Teaching ◽  
Musical Genre ◽  
Use Of Technology ◽  
Local Contexts

In our eagerness to embrace the virtues of the “new,” we sometimes fail to critically examine the a prioris of the thing we are extolling—which, in the case of this book, is the use of technology in music learning and teaching. Advocates of technology use in the field usually begin by raising relevant issues based on personal but localized narratives. Although this is a good place to start—people rarely argue for change not grounded in their own experiences—building arguments for technology use requires a nuanced interpretation of what technology in music learning and teaching means to and for practitioners and researchers in specific local contexts. How does technology’s evolution from “thing” to “thing and place” change our perceptions of its use(s) in music learning and teaching? How do the roles of local context, cultural assumptions, and musical genre fit into a discussion of what constitutes technology and technology in music education?

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