New Technologies for Music Education

2013 ◽  
Author(s):  
J. Sastre ◽  
J. Cerda ◽  
W. Garcia ◽  
C.A. Hernandez ◽  
N. Lloret ◽  
...  
Keyword(s):  
Music Education ◽  
New Technologies

scholarly journals El lenguaje musical y las nuevas tecnologías en las enseñanzas profesionales de Música / The Musical Language and New Technologies in the Professional Music Education

2015 ◽  
Vol 2 (2) ◽  
Author(s):  
María del Mar Bernabé Villodre
Keyword(s):  
Music Education ◽  
New Technologies ◽  
New Technology ◽  
Compulsory Education ◽  
Educational Experience ◽  
Training Needs ◽  
Musical Language ◽  
Ministry Of Education ◽  
Traditional Institution ◽  
Nuevas Tecnologías

ABSTRACTThe Ministry of Education of the Generalitat Valenciana has long been investing in digital renewing their classrooms; this has led to teachers having to amortize the investment without enough training to harness these resources. This communication includes an educational experience in the classroom Musical Language of Professional Music Education in a conservatory of Valencia. The process of adapting a more traditional institution (Conservatories of Music) in their pedagogy that compulsory education centers, is more complex than in these other institutions. In this communication the adaptation of teaching is shown to apply this new technology should facilitate both their work and learning this subject students Musical Language conservatory. The problems that led to the use of the whiteboard in this subject, in escasísima (if not null) tradition also show that all experiences are limited to Kindergarten, Primary and Secondary; as well as the training needs of teachers in the specialty of Musical Language to use this resource in their classes.RESUMENLa Consejería de Educación de la Generalidad Valenciana lleva muchos años invirtiendo en la renovación digital de sus aulas; lo que ha llevado a que el profesorado tenga que amortizar dicha inversión sin formación suficiente para aprovechar dichos recursos. Esta comunicación recoge una experiencia educativa en el aula de Lenguaje Musical de las Enseñanzas Profesionales de Música, en un conservatorio de la Comunidad Valenciana. El proceso de adaptación de una institución más tradicionalista (conservatorios de Música) en cuanto a su pedagogía que los centros de educación obligato-ria, es más complejo que en estas otras instituciones. En esta comunicación se muestra el proceso de adaptación del docente para poder aplicar esta nueva tecnología que debía facilitar tanto su labor como el aprendizaje de esta materia a los estu-diantes de Lenguaje Musical del conservatorio. También, se muestran los problemas que supuso el uso de la pizarra digital en esta asignatura, de escasísima (cuando no nula) tradición porque todas las experiencias se limitan a Infantil, Primaria y Secundaria; así como las necesidades formativas de los docentes de la especialidad de Lenguaje Musical para poder utilizar este recurso en sus clases. Contacto principal: [email protected]

Remediation of practices: How new media change the ways we see and do things in practical domains

First Monday ◽  
2010 ◽  
Vol 15 (6) ◽  
Author(s):  
Giovan Francesco Lanzara
Keyword(s):  
New Media ◽  
Music Education ◽  
New Technologies ◽  
Video Recording ◽  
Apparent Distance ◽  
Practical Skills ◽  
Judicial Practice ◽  
Ethnographic Studies ◽  
Media Change ◽  
The Relationship

Based on two ethnographic studies of technology-driven innovation in music education and judicial practice, in this paper I investigate the nature and meaning of mediation as a primary aspect of our way of experiencing and understanding reality. I explore what happens in an established domain of practice when the introduction of new technologies, such as the computer and video recording, requires practitioners to work with a new medium for carrying out their practices. In spite of the apparent distance of the two practical domains, music and the judicial, the two cases point to surprisingly similar phenomena affecting the nature of objects, the relationship between objects and their representations, and the perceptual and practical skills of the practitioners. The paper shows to what extent a practice is embedded in the medium and discusses the coping strategies that musicians and judges enact in order to make sense of and master the new media, and to reweave the ripped fabric of their practice.

Exploring Intersections of Technology, Play, Informality, and Innovation

2017 ◽  
pp. 248-254
Author(s):  
Gillian Howell
Keyword(s):  
Music Education ◽  
Social Environment ◽  
Learning Style ◽  
New Technologies ◽  
Technological Capabilities ◽  
Specific Time ◽  
Creative People ◽  
Time Space ◽  
Starting Point

The idea that “humans are the ones making the music” (Pignato, this volume) is the starting point for reflection upon the factors beyond new technologies that encourage musical innovation. In their core perspectives, Pignato, Peppler, and Kigozi offer illustrations of practices that demonstrate the inseparability of context, informality, and innovation. Context is critical, as different settings afford access to different technologies and produce diverse sociocultural structures. Informality—as a learning style, an approach to engagement, and settings beyond the formal music education institutions—is important for its accommodation of playfulness, open-ended exploration, and improvisation around imposed constraints. I argue that these factors, and the innovative responses that emerge when technologies and creative people converge, are interrelated and multidirectional. Regardless of how advanced our technological capabilities become, innovation and new musical expressions remain products of humans interacting and exploring technological possibilities within a specific time, space, and social environment.

Sound, Electronics, and Music: A Radical and Hopeful Experiment in Early Music Education

2017 ◽  
Vol 41 (3) ◽  
pp. 36-49 ◽  
Author(s):  
Lauren Hayes
Keyword(s):  
Music Education ◽  
Computer Music ◽  
Large Scale ◽  
New Technologies ◽  
Music Technology ◽  
Musical Ability ◽  
Early Music ◽  
Field Recording ◽  
Additional Support ◽  
The University

Discussions of pedagogical approaches to computer music are often rooted within the realm of higher education alone. This article describes Sound, Electronics, and Music, a large-scale project in which tutelage was provided on various topics related to sound and music technology to around 900 schoolchildren in Scotland in 2014 and 2015. Sixteen schools were involved, including two schools for additional support needs. The project engaged several expert musicians and researchers to deliver the different areas of the course. Topics included collective electroacoustic composition, hardware hacking, field recording, and improvisation. A particular emphasis was placed on providing a form of music education that would engender creative practice that was available to all, regardless of musical ability and background. The findings and outcomes of the project suggest that we should not be restricting to the university level the discussion of how to continue to educate future generations in the practices surrounding computer music. We may be failing to engage an age group that is growing readily familiar with the skills and vocabulary surrounding new technologies.

scholarly journals Music education in the context of new information and distance technologies

2021 ◽  
pp. 127-132
Author(s):  
Evgeniya R. Toropkova ◽  
Keyword(s):  
Music Education ◽  
Information Technologies ◽  
New Technologies ◽  
Educational Process ◽  
Children's Art ◽  
Music School ◽  
Russian Music ◽  
New Information ◽  
Musical Scores ◽  
Art Schools

The article is dedicated to the analysis of forms and methods of application of information technologies in the educational process of children’s art schools in the implementation of programs in the field of musical performance. The article considers the synthesis of the unconditional preservation of the existing traditions of the primary level of the Russian music school and the methodological expediency of using new technologies in the educational process of children’s art schools. Specific software developments, electronic educational resources are proposed for use, the application effect in the educational process is described. The article shows that the introduction of new musical information technologies provides additional opportunities for musicians when working with musical scores, orchestral parts, when performing creative tasks in subjects of the theoretical cycle. The article also discusses and analyzes the interactive educational programs of the series «Playing with Music».

From Seed to Song

2014 ◽  
Vol 3 (3) ◽  
pp. 314-335 ◽  
Author(s):  
Claire Hollingsworth ◽  
Avis Ridgway
Keyword(s):  
Young Children ◽  
Music Education ◽  
New Technologies ◽  
Case Study Methodology ◽  
Audio Technology ◽  
Study Methodology ◽  
Young Students ◽  
Affective Dimensions ◽  
Preschool Aged Children

Increasingly researchers are trying to show how new technologies can be used to provide opportunities for creative and more expansive music education for young children. Accepting that young children’s capacity for self expression is vastly underestimated, two young students and I set about musicking through an example of collaborative songwriting. Drawing on case study methodology using digital visual and audio technology, I offer the reader and listener an experience of the affective dimensions involved in composing music with two preschool-aged children. I challenge preconceived notions of music pedagogies for young children, and provoke implications for generating far greater vitality, self expression, and imagination in music education.

Working towards a theory for music technologies in the classroom: how pupils engage with and organise sounds with new technologies

2005 ◽  
Vol 22 (2) ◽  
pp. 167-180 ◽  
Author(s):  
Jonathan Savage
Keyword(s):  
Action Research ◽  
Music Education ◽  
Information And Communication Technologies ◽  
Teaching And Learning ◽  
New Technologies ◽  
Communication Technologies ◽  
Teacher Researcher ◽  
Information And Communication

The use of information and communication technologies (ICT) in schools is now commonplace and, for many, an unquestionable part of everyday teaching and learning. But detailed studies of the use of ICT in classroom-based music education are rare. This article explores how pupils aged between 11 and 16 used ICT to create and perform music in new ways. Working as a teacher-researcher, the author used the methodologies of action research and case study to investigate how pupils engage with and organise sounds with ICT.

Microelectronics in Special Education

1987 ◽  
Vol 4 (1) ◽  
pp. 17-24 ◽  
Author(s):  
Phil Ellis ◽  
Rosemary Dowsett
Keyword(s):  
Music Education ◽  
New Technologies ◽  
School Curriculum ◽  
Considerable Change ◽  
General Music ◽  
Musical Activity ◽  
Wide Range ◽  
Mainstream Education ◽  
Secondary School Curriculum ◽  
General School

The place of music in the general school curriculum has undergone considerable change in the last few years. During the 1970s, the Schools Council Project ‘Music in the Secondary School Curriculum’ identified a number of approaches, all having a common philosophy – to engage all children in practical musical activity of an expressive, aesthetic nature. More recently, the HMI document ‘Curriculum Matters 4 – Music from 5 to 16’ has brought many of the ideals of this project into sharp focus, with its emphasis on composing, performing and listening as practical, integrated activities. The aims of music education, as stated in this document, highlight the changing direction of music in the curriculum; and the new GCSE should reflect this, so becoming a more relevant examination for a broader cross-section of pupils than has hitherto been possible.With this changing emphasis in mainstream education, it is worth considering if any developments are possible in terms of general music activities for children with special needs. Is it possible for them to experience a more practical music curriculum; to engage in the process of composition and have heightened listening experiences as a result? Here microelectronics can make a significant contribution, just as it is beginning to do in mainstream education. By using some of the new technologies, pupils with a variety of handicaps are able to explore, create and perform a wide range of music.

scholarly journals Integration of Hybrid Musical Instruments into Russian Piano School

2019 ◽  
pp. 137-149
Author(s):  
Irina V. Malykhina
Keyword(s):  
Music Education ◽  
Visual Analysis ◽  
New Technologies ◽  
Musical Instrument ◽  
Educational Institutions ◽  
Higher Educational Institutions ◽  
Russian Music ◽  
Additional Equipment ◽  
New Instrument ◽  
Higher Educational

Introduction. The article presents the introduction of the hybrid musical instrument (disklavier) into the system of Russian music education. This new instrument has appeared relatively recently. It is relevant to study the world experience of using the hybrid piano and to analyze the prospects for applying it in the field of Russian piano performance. The purpose of the article is to analyze the specifics of using the hybrid musical instrument with additional equipment among students of higher educational institutions of Moscow. Materials and Methods. In the experimental part of the study, the American method of K. Riley was used. The additional techniques of working with disklavier and additional equipment based on Riley’s method were developed and applied. An activity criterion was chosen to assess the professional ski lls of students. Results. Based on pedagogical observation and interviewing, it was established that the use of a hybrid musical instrument and additional equipment improves the intellectual, research and creative abilities of students. The disklavier allows students to hear themselves in acoustic format from the position of a teacher. The instrument provides auditory and visual analysis of performance. The students can compare their feelings from the game with the exact data recorded by the disklavier and make changes to the record without losing its quality. Discussion and Conclusion. The study demonstrates the effectiveness of the use of specially developed methods of working with the disklavier and additional equipment. More work will need to be done to determine the influence of new technologies in the class of a special piano and chamber ensemble at various levels of education. This study may be of interest both for students and teachers of the piano department at secondary special and higher educational institutions.

Popular practices for online musicking and performance: Developing creative dispositions for music education and the Internet

2020 ◽  
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Leisure Time ◽  
New Technologies ◽  
Participatory Culture ◽  
The Internet ◽  
Online Platforms ◽  
Do It Yourself ◽  
And Performance

Musicians’ drive to be productive on the Internet led to the development of practices that can inform popular music education. Expanding the concept of popular music education to include online participatory culture practices provides inspiration for musicking online relevant not only in times of uncertainty (like during mandated quarantines experienced during the COVID outbreak in 2020), but also during times of prosperity when practices can be explored in classrooms and during leisure time. In this article, the author discusses three dispositions towards online musicking: DIY-disposition (do-it-yourself), DIWO-disposition (do-it-with-others) and DIFO-disposition (do-it-for-others). The development of these dispositions leads to online and musical literacies that help develop the skills needed for online musicking and performance. This text offers a creation theory about approaching online musicking that can be applied to new technologies and media as online platforms appear and fade on the Internet.

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