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 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.

Traditional Music in Japanese Music Education

2019 ◽  
pp. 94-107
Author(s):  
Kensho Takeshi
Keyword(s):  
Music Education ◽  
Traditional Music ◽  
Cultural Background ◽  
Folk Songs ◽  
Research Topic ◽  
New Music ◽  
Training Method ◽  
Music Curriculum ◽  
Children's Songs ◽  
Japanese Music

The research topic deals with the development of a music education on fundamental approach of teaching shakuhachi traditional music. The shakuhachi is a Japanese bamboo flute with four finger holes in the front and one thumb hole in the back. It is a very simple instrument and is played without a reed. The purpose of the study is to investigate the extent of the interaction of traditional musical issues on Japanese music education by tracing the new music curriculum in 2019. The topic of this study is the development of a fundamental approach of teaching Japanese traditional music. The author demonstrates a basic shakuhachi training method using two to five tones in Japanese traditional children's songs, and Japanese warabeuta (traditional children's songs) and minyo (folk songs). Students study how to make sound, then they play a simple piece. Also, they will be able to study Japanese cultural background through to shakuhachi.

Toward a Creative Music Curriculum

2021 ◽  
pp. 3-11
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Project Based Learning ◽  
Philosophy Of Music ◽  
Technology Program ◽  
Music Production ◽  
Creative Music ◽  
School Music ◽  
And Performance ◽  
Support Students

Research has shown the need for new types of music classes that emphasize amateur music production and popular music. The new types of programs contrast with traditional classical and performance-based music programs. Digital audio production offers an unprecedented opportunity to support students in active, culturally authentic music-making. A successful music technology program requires a change from the teacher-led ensemble model to a creative workshop structure. Furthermore, it requires the recognition that current popular styles have their own distinct aesthetics and creative approaches. Project-based learning also requires teachers to develop their own pedagogical creativity. This approach can attract students who do not currently participate in or identify with school music, but who nevertheless consider themselves to be musicians. The constructivist philosophy of music education, using teaching strategies that support students’ agency in their own learning, fosters self-motivation and a critical stance toward popular culture.

Composing with mobile technology: High school students and GarageBand for iPad1

2020 ◽  
Vol 4 (3) ◽  
pp. 349-369 ◽  
Author(s):  
Steven Sabet
Keyword(s):  
High School ◽  
High School Students ◽  
Music Education ◽  
Music Teachers ◽  
Music Technology ◽  
First Century ◽  
Future Research ◽  
School Students ◽  
Technology In The Classroom ◽  
New Era

Given that a new era of music education technology has emerged in the twenty-first century and that technology presents increased opportunities for creativity, I investigated one application of integrating technology in the classroom using GarageBand for iPad. The purpose of this case study was to examine the experiences of high school students using GarageBand for iPad in a music technology class to compose original music. Students then shared and presented their works in class during peer-review critique sessions for growth and reflection. This study was carried out in my own classroom, and I served as both teacher and researcher. Three themes emerged from my research: music and production features, thinking creatively and instructional roadblocks. Recommendations for music teachers and for future research using music technology are also included.

The Impact of Technologies on Society, Schools, and Music Learning

2017 ◽  
pp. 276-290
Author(s):  
Valerie Peters
Keyword(s):  
Music Education ◽  
New Technology ◽  
Traditional Music ◽  
First Century ◽  
Music Culture ◽  
Professional Musicians ◽  
Rock Band ◽  
Music Making ◽  
And Performance ◽  
The Impact

This chapter examines how music education can benefit from the use of new electronic tools and materials for music making that allow learners to combine their interests and prior understandings toward deepening their engagement in music. By exploring how rhythmic video games like Rock Band bridge the large chasm that exists between youths’ music culture and traditional music education; how inexpensive recording hardware and software such as Audacity and GarageBand have provided youth with opportunities to compose and perform as only professional musicians could in the past; and how software like Impromptu successfully engages youth in music composition and analysis by enabling users to create and remix tunes using virtual blocks that contain portions of melodies and rhythmic patterns, this chapter argues that twenty-first-century music education, with the help of new technology, has the potential for engaging greater numbers of young learners in authentic music making and performance.

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.

Why Isn’t Music Education in the United States More Twenty-First-Century PC?

2017 ◽  
pp. 648-654
Author(s):  
Barbara Freedman
Keyword(s):  
Preservice Teachers ◽  
Music Education ◽  
The United States ◽  
Music Technology ◽  
First Century ◽  
Class Culture ◽  
Economic Class ◽  
The Core ◽  
Technological Competence ◽  
Musical Cultures

This chapter addresses three themes in the Core Perspectives. First, it argues that preservice teachers should be trained in music technology and technology pedagogy as one would train preservice teachers on brass, woodwinds, percussion, or piano. Second, she suggests that in-service teachers are the experts in their classrooms, regardless of their preexisting competence with any individual subdomain—brass, percussion, or, in this case, technology. Just as experienced band teachers have no problem asking their advanced trumpet player students to help the beginning trumpet player students, teachers can similarly capitalize on students with technological competence. Third, the chapter argues that the U.S. music education system, K-university, is implicitly skewed toward middle to upper economic class culture and, by nature, disinherits those who seek to engage in other musical cultures. Technology, she suggests, is an excellent way to better meet the needs of all students.

Marching backwards into the future: the introduction of the English creative music movement in state secondary schools in Victoria, Australia

2013 ◽  
Vol 31 (1) ◽  
pp. 41-54
Author(s):  
Harry Burke
Keyword(s):  
Secondary Education ◽  
Secondary Schools ◽  
Music Education ◽  
Personal Development ◽  
Music Teachers ◽  
Progressive Education ◽  
Music Notation ◽  
Education Department ◽  
Creative Music ◽  
And Performance

In 1910, Victoria established an elite form of state secondary education that remained essentially unchanged until the introduction of a progressive curriculum during the late 1960s. This radical and voluntary curriculum introduced child-centred learning and personal development skills to state secondary schools. Many state secondary music teachers took advantage of the reform and introduced the English creative music movement (Rainbow, 1989). As music teachers were unfamiliar with progressive education they would require extensive retraining. Continual disruption to state secondary education during the 1970s, together with the lack of expertise in progressive music education in the Victorian Education Department led to music teachers being given little assistance in developing strategies for teaching creative music. No rationale was developed for creative music education until the late 1980s. As research in music education was in its infancy in Australia during the late 1960s, teachers had little understanding of the difficulties faced by many creative music teachers in England in regard to students developing traditional skills, for example music notation and performance-based skills. Dissatisfaction with progressive education led to the introduction of standards-based education in 1995. Progressive educational theories were no longer considered an important goal. Similar to the late 1960s Victorian education reforms, music teachers received little assistance from the Victorian Education Department. The introduction of standards-based Arts education has seriously reduced the teaching of classroom music throughout the state, leaving many classroom music programmes in a perilous position that is analogous to state music education before the introduction of progressive education in the late 1960s.

Technology and Music Collaboration for People with Significant Disabilities

2017 ◽  
pp. 404-412
Author(s):  
Donald DeVito
Keyword(s):  
Music Education ◽  
Online Communication ◽  
Music Technology ◽  
First Century ◽  
Inclusive Classroom ◽  
Significant Disabilities ◽  
Modern Music ◽  
Complex Needs ◽  
Music Classroom ◽  
Available Technology

This chapter centers on the potential of technology to greatly transform the way people with disabilities experience and express themselves through music. A variety of methods for developing the untapped potential of music participants with complex needs in the modern music classroom are discussed. Widely available technology, such as Skype, Google Hangout, and simple online communication technology, create real and enduring international connections and interactions in music education for all learners. The definitions of music and musicianship are discussed, considering twenty-first-century issues and trends in the inclusive classroom. How we define who is a musician and who is considered to have the prerequisite music skills and expertise to be referred to as a performer will increasingly change, or in fact become irrelevant, with the advent of personal music technology. The result will be music opportunities for all special needs populations around the world.

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.

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