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.

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.

Multimedia Music Teaching System Application

2011 ◽  
Vol 474-476 ◽  
pp. 1903-1908 ◽  
Author(s):  
Jia Zhu
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Music Teaching ◽  
Modern Music ◽  
Teaching System ◽  
Network Teaching ◽  
Software Configuration ◽  
Multimedia Teaching ◽  
Management Application ◽  
Education Concept

Early 1980's MIDI technology coming into being, it has created condition for the development of modern music technology. From the MIDI, computer music, multimedia music to music computer and network teaching, it has already played an important role in music education concept and the reform of the teaching means. In the higher music college's teaching, the best solution to realize the music teaching means modernization development is the configuration and application of multimedia teaching systems. We have the analysis and introduction on the teaching system hardware and software configuration and their in music teaching, creation, scientific research and management application.

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.

scholarly journals Social Justice in the English Secondary Music Classroom

2015 ◽  
pp. 425-445
Author(s):  
Chris Philpott ◽  
Jason Kubilius
Keyword(s):  
Social Justice ◽  
Secondary School ◽  
Secondary Schools ◽  
Music Education ◽  
First Century ◽  
Music Teacher ◽  
Music Classroom ◽  
Secondary Music ◽  
History Of ◽  
Key Questions

Taking as its context the development of music education within English secondary schools (students aged 11–18) over the last 50 years, and supported by “vignettes” from a practicing music teacher in a secondary school on the outskirts of London, this chapter seeks to address some key questions around social justice and music education, including: What is meant by social justice in the music classroom? What are the indicators for a socially just classroom? The chapter goes on to explore significant moments in the history of classroom music in England and how, in spite of best efforts, the promotion of social justice has been “confounded” by subtle cultural forces. The chapter concludes by speculating on the implications of this analysis for the music classroom in the twenty-first century and by reflecting on whether the classroom can ever provide the appropriate “space” for a socially just approach to music education.

scholarly journals Application of Digital Music Technology in Music Pedagogy

2017 ◽  
Vol 12 (12) ◽  
pp. 4
Author(s):  
Peiwei Zhang ◽  
Xin Sui
Keyword(s):  
Contemporary Music ◽  
Music Technology ◽  
New Music ◽  
Digital Music ◽  
Traditional Teaching ◽  
Music Pedagogy ◽  
Current Development ◽  
Modern Music ◽  
Learning Capacity ◽  
Music Classroom

This paper expounds the concept and current development of digital music technology in modern times by exploration and analysis around the music technology, in order to better develop music pedagogy. In allusion to the contemporary music pedagogy, a new instruction idea is proposed by analyzing the digital music technologies such as MIDI, digital audio and other new music carriers, namely, an instruction model which integrates the digital music technology and the traditional teaching mode and means in the music classroom of middle school. In order to validate the availability of digital music technology, this paper also contemplates the current development of digital music industry and demonstrates the importance of digital music in modern music pedagogy by drilling down the digital music characteristics. In the end, it is concluded that the digital music technology introduced in music classroom instruction of middle schools contributes to cultivating students' music learning capacity.

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.”

Alternative Assessment for Music Students with Significant Disabilities

2019 ◽  
pp. 224-241
Author(s):  
Donald DeVito ◽  
Megan M. Sheridan ◽  
Jian-Jun Chen-Edmund ◽  
David Edmund ◽  
Steven Bingham
Keyword(s):  
Public School ◽  
Music Education ◽  
Students With Disabilities ◽  
Student Performance ◽  
Alternative Assessment ◽  
Performance Outcomes ◽  
General Music ◽  
Significant Disabilities ◽  
School Music ◽  
K 12

How is it possible to move beyond assessment for the purposes of evaluating teacher proficiency and student performance outcomes and instead to consider assessment for understanding student musical experiences and preferences for the purpose of promoting lifelong musical engagement? This chapter includes and examines three distinct music education approaches that have been taken at the K–12 Sidney Lanier Center School for students with varying exceptionalities in Gainesville, Florida. Megan Sheridan illustrates inclusion and assessment using the Kodály approach. David Edmund and Jian-Jun Chen-Edmund examine creative lessons developed for exceptional learners in a general music setting. Steven Bingham and Donald DeVito illustrate adaptive jazz inclusion and performance for public school and university students with disabilities. This collaborative development in qualitative music assessment has taken place through (1) developing methods of communicating recognition of student engagement and affective responses during inclusive engagement in public school music education settings, specifically in Kodaly-based music instruction, K–12 general music classes, and secondary jazz ensembles; (2) using students’ interest and engagement as a means of curriculum development and assessment in inclusive public school music settings; and (3) building collaborative relationships with parents and the community for post-school lifelong music learning.

Habits of Mind as a Framework for Assessment in Music Education

2019 ◽  
pp. 201-224
Author(s):  
Jillian Hogan ◽  
Ellen Winner
Keyword(s):  
Music Education ◽  
Arts Education ◽  
Habits Of Mind ◽  
Public High School ◽  
Student Agency ◽  
Thinking Dispositions ◽  
Music Classroom ◽  
Music Ensembles ◽  
School Music ◽  
High School Music

Music making requires many kinds of habits of mind—broad thinking dispositions potentially useful outside of the music room. Teaching for habits of mind is prevalent in both general and other areas of arts education. This chapter reports a preliminary analysis of the habits of mind that were systematically observed and thematically coded in twenty-four rehearsals of six public high school music ensembles: band, choir, and orchestra. Preliminary results reveal evidence of eight habits of mind being taught: engage and persist, evaluate, express, imagine, listen, notice, participate in community, and set goals and be prepared. However, two habits of mind that the researchers expected to find taught were not observed: appreciate ambiguity and use creativity. These two nonobserved habits are ones that arts advocates and theorists assume are central to arts education. The chapter discusses how authentic assessment of habits of mind in the music classroom may require novel methods, including the development of classroom environments that foster additional levels of student agency.

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