scholarly journals Technology in Music Education in England and across Europe

Author(s):  
Marina Gall

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.

2020 ◽  
Vol 13 (1) ◽  
pp. 57-77
Author(s):  
Ed Hughes ◽  
Alice Eldridge ◽  
Chris Kiefer

The benefits of ensemble performance are well recognized; notation supports group performance, but cuts in music education and changing musical cultures mean that notation is increasingly perceived as a barrier to entry. In an extended participatory design (PD) project, we co-designed and developed a software system for networked notation called Syncphonia with the aim of enhancing access to and experience of notation-based ensemble performance. In previous work, our formal evaluation and informal observations and feedback revealed a wide range of benefits. In this article, we are concerned with articulating the knowledge generated and insights gained through this extended PD process. To do so, we employ a framework for systematic reflection that has been designed to support investigation into the tacit knowledge generated in participatory design. Through this method, we focus inward and share three insights into the value of networked notation in contemporary musical cultures; we also look outward and articulate five approaches to PD with musical ensembles that might benefit others adopting this rich research method. A pluralistic and inclusive vision of notation is espoused and speculation is submitted that a dynamic, networked notation might ameliorate the boundaries between composing, improvising and performing to the benefit of all three.


2021 ◽  
Vol 6 ◽  
Author(s):  
Hyeseung Jeong ◽  
Anna Elgemark ◽  
Bosse Thorén

As reflected in the concept of Global Englishes, English mediates global communication, where English speakers represent not merely those from English-speaking countries like United Kingdom or United States but also global people from a wide range of linguistic backgrounds, who speak the language with diverse accents. Thus, to communicate internationally, cultivating a maximized listening proficiency for and positive attitudes toward global Englishes speakers with diverse accents is ever more important. However, with their preference for American English and its popular culture, it is uncertain whether Swedish youth learners are developing these key linguistic qualities to be prepared for the globalized use of English. To address this, we randomly assigned 160 upper secondary students (mean age = 17.25) into six groups, where each group listened to one of six English speakers. The six speakers first languages were Mandarin, Russian/Ukrainian, Tamil, Lusoga/Luganda, American English, and British English. Through comparing the six student groups, we examined their listener intelligibility (actual understanding), listener comprehensibility (feeling of ease or difficulty), accentedness perception (perceiving an accent as native or foreign), and accentedness acceptance (showing a positive or negative attitude toward an accent) of diverse English accents. The results showed that the intelligibility scores and perception/attitude ratings of participants favored the two speakers with privileged accents–the American and British speakers. However, across all six groups, no correlation was detected between their actual understanding of the speakers and their perception/attitude ratings, which often had a strong correlation with their feelings of ease/difficulty regarding the speakers accents. Taken together, our results suggest that the current English education needs innovation to be more aligned with the national syllabus that promotes a global perspective. That is, students need to be guided to improve their actual understanding and sense of familiarity with Global English speakers besides the native accents that they prefer. Moreover, innovative pedagogical work should be undertaken to change Swedish youths’ perceptions and attitudes and prepare them to become open-minded toward diverse English speakers.


The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education offers global, comprehensive, and critical perspectives on a wide range of conceptual and practical issues in music education assessment, evaluation, and feedback as these apply to various forms of music education within schools and communities. The central aims of this Handbook focus on broadening and deepening readers’ understandings of and critical thinking about the problems, opportunities, “spaces and places,” concepts, and practical strategies that music educators and community music facilitators employ, develop, and deploy to improve various aspects of music teaching and learning around the world.


2019 ◽  
Vol 3 (2) ◽  
pp. 245-260 ◽  
Author(s):  
Robert Pethel

Guitar education has emerged as a discipline in K-12 institutions alongside ‘traditional’ music education such as band, orchestra and chorus in recent decades. Despite the substantial body of literature containing practical advice on teaching guitar, research-supported scholarship is lacking. The purpose of this study was to provide an evidentiary-based understanding of the professional profiles of guitar educators. A large sample (n = 1269) of guitar educators participated in the Guitar Educator Questionnaire (GEQ). Findings from the GEQ suggest a low per cent (7.9%) of music educators who teach guitar class consider themselves to be ‘guitar specialists’. A substantial number of respondents (68.5%) indicated that they rarely or never participated in guitar-related professional development, and 76.1% of respondents reported that their pre-service training provided little or no preparation for a career in guitar education.


2019 ◽  
Vol 37 (2) ◽  
pp. 286-297
Author(s):  
Beth Tuinstra

Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an understanding of the practices, experiences, and attitudes of these educators ( N = 80). Through this examination, I discovered that although 84% of respondents felt that it was important for students to receive a diverse, non-Western music education, only 63% currently utilized non-Western musics in their teaching practices. Respondents included the benefits or difficulties that they have experienced while including non-Western musics in their teaching practices, but they also talked about the barriers that have prevented them from including non-Western musics into their teaching practices. However, educators reported that by including non-Western musics, students showed greater joy, self-expression, engagement, open-mindedness, and empathy for others, causing a positive shift in classroom culture.


2020 ◽  
Vol 3 (1) ◽  
pp. 54-66
Author(s):  
Chamil Arkhasa Nikko Mazlan ◽  
Mohd Hassan Abdullah

This article proposes a pragmatism approach useful in explaining the logic of learning jazz guitar reharmonization techniques. Music and practices are both unseparated and unified in the field of music education. This poses challenges for traditional and western music consolidation because reharmonization technique is only known in western music repertoires while traditional music normally utilizes old-style repertoires. Some practitioners rooted in dogmatic thinking still maintain authenticity and traditions. In this study, our data is gathered using qualitative content analysis. We then identified similarity of pragmatism principles along with the interpretation of jazz reharmonization techniques. We suggest that pragmatism approach is a useful pathway for music educators to reconceptualize teaching and learning of traditional music using jazz reharmonization technique and then, recreate and innovate a new sound and context of learning jazz harmony rather than using jazz standards repertoires.


2021 ◽  
Vol 108 (1) ◽  
pp. 43-49
Author(s):  
Julia Clipper ◽  
Keishel X. Lee

Composition is an important and creative part of any child’s music education, yet many music educators feel unprepared to teach composition to students with special needs. This article explores the value of incorporating music composition in a special education classroom and outlines two compositional lessons based on creating a musical scenery. The first lesson took place in a classroom with seven students, ages six to twenty-three, and the follow-up lesson involved fourteen students, ages four to twenty-three, all possessing a wide range of ability levels. By encouraging students to collaborate and freely compose, teachers can guide students with special needs beyond playing precomposed music and into creative thinking and building an overall sense of confidence, community, and musicianship.


Author(s):  
Adam Patrick Bell

The field of music education has moved beyond the infancy stage with music technology and has taken many strides forward; however, with new growth comes a new challenge: how can a music educator stay current in the rushing river of technologically-churned change? The Music Technology Cookbook responds to this question with many answers from seasoned practitioners in the field. The primary contribution this edited book makes to the field of music education is its broad and diverse presentation of practice-based possibilities for making music with technology in the classroom. It was designed to provide teachers with new ideas and strategies for teaching music technology, and to extend conceptions of what constitutes “music technology.” Music educators are engaging with music technologies to make music with learners of all ages and abilities, and this compilation of lessons provides readers with a singular resource from which to update and expand their current teaching practices.


Author(s):  
Leah Kardos

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.”


Author(s):  
Ailbhe Kenny

This chapter focuses on the themes of context and community in “situating” technology within music education in this part of this book. Here, the centrality of both musical and social interactions within technological developments is explored. Opportunities are discussed in light of the Core Perspectives provided to examine how we might develop further ways to engage learners in technology-mediated musical experiences that espouse collaborative knowledge building and learning through participation. As music educators, learners, researchers and/or policy-makers, we are prompted to challenge our assumptions about what technology within music education actually means to different contexts, places, and peoples. An argument for fostering “communities of musical practice” within technology and music education is thus put forward.


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