Digital audio technology in music teaching and learning: A preliminary investigation

2021 ◽  
Vol 13 (2-3) ◽  
pp. 219-237 ◽  
Author(s):  
Jonathan Kladder
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Preliminary Investigation ◽  
The United States ◽  
Music Technology ◽  
Special Focus ◽  
Music Teaching ◽  
Digital Audio ◽  
Audio Technology ◽  
Music Classrooms

The inclusion of digital audio technology for sampling, editing, mixing and producing music in formal music classrooms has been considered a needed area of expansion across the music teaching and learning landscape. Current research suggests that music technology, defined broadly, is often disregarded in many music classrooms. However, the ubiquity of music technology suggests its relevancy in the digital age, especially for sampling editing, mixing and producing music. The purpose of this research was to survey the current climate of music education across all levels of instruction, with a special focus on teaching digital audio technology using MIDI controllers and audio production techniques. A researcher-developed survey was distributed to a population of music teachers across the United States (N=83). Results found that participants taught few digital audio technology concepts, used Garageband extensively, were self-taught, relied on out-of-date hardware and used a variety of MIDI controllers. Implications for music education and considerations for additional research are provided in conclusion.

The Impact of State Testing on American Music Classrooms

2019 ◽  
pp. 20-36
Author(s):  
Sarah McQuarrie ◽  
Ronald Sherwin
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
American Music ◽  
State Testing ◽  
Music Teaching ◽  
Positive Effects ◽  
Mandated Testing ◽  
Teachers And Students ◽  
The Impact ◽  
Music Classrooms

This chapter examines the impact that state testing of both music and nonmusic subjects has had on American music classrooms. We sought to identify the effects the American educational assessment movement has had on music teaching and learning in classrooms and rehearsal halls. Beginning with an overview of the movement, and continuing with the response from teachers and students, the results of the assessment movement on teaching and learning are challenged. Our review suggests that state testing has had some positive effects on music education. Nonetheless, it is cautioned that a concerted effort must be made to ensure that state-mandated testing is used to benefit all programs and to promote learning in all areas.

Digital Natives Unplugged: Challenging Assumptions of Preservice Music Educators’ Technological Skills

2020 ◽  
pp. 105708372095146
Author(s):  
Julie K. Bannerman ◽  
Emmett J. O’Leary
Keyword(s):  
Music Education ◽  
Undergraduate Students ◽  
Teaching And Learning ◽  
Online Survey ◽  
Music Teachers ◽  
Daily Basis ◽  
Music Technology ◽  
Net Generation ◽  
Music Teaching ◽  
K 12

Generational labels such as digital native and the “net” generation may obscure the gap that exists between preservice music teachers’ personal uses of technology and how they will use technology professionally. The study’s purpose was to examine preservice music teachers’ personal use of technology, views toward technology in music teaching and learning, and experience with music technology. We distributed an online survey to collegiate members of the National Association for Music Education, with 360 undergraduate students providing responses. Participants reported using technology for a variety of purposes on a daily basis, but mostly in passive ways. Preservice music teachers were most comfortable using music technology common to undergraduate music curricula and less familiar with technology used in K–12 music classrooms. Skilled use of music technology in music teaching and learning situations requires meaningful and intentional facilitation in music teacher education curricula.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

Music Education in P-12 Schools to Learn From Each Other

2020 ◽  
pp. 176-196
Keyword(s):  
Social Interaction ◽  
Social Context ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Community Members ◽  
Music Learning ◽  
Technical Aspects ◽  
K 12

This chapter describes cases of music teaching and learning from Pre-K-12 schools. As a trait of book, instead of focusing on how-to instruction and technical aspects of music teaching, the author puts a special emphasis on music learning in a social context. Both music and music education consist of social interaction among learners, teachers, and community members. This process is especially unique to music because we always learn from each other and perceive music in a shared sense. The author wishes you also learn from these cases and implement the idea of your practice for students to learn from each other.

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.

Nonregulated Assessment in Music Education

2019 ◽  
pp. 494-511
Author(s):  
Nasim Niknafs
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Top Down ◽  
Proactive Approach ◽  
Self Organized ◽  
Music Making ◽  
Local Activism ◽  
Do It Yourself

Without access to official state-sanctioned, public music education, Iranian youth, specifically rock and alternative musicians, follow a self-organized and anarchistic path of music making. Expertly negotiating between the act of music making and the unpredictable situations they face daily, they have become creative in finding new ways to propagate their music and learn the rules of their profession. Meanings attached to assessment in these circumstances become redefined and overshadow the quality of music being created. Assessment becomes a local activism that countervails the top-down, summative model. This chapter provides some characteristics of assessment in music teaching and learning in urban Iran that follow Nilsson and Folkestad’s (2005) ecocultural perspective, consisting of four elements: (a) Gibson’s (1979) concept of affordances, (b) orality, (c) theories of play, and (d) theories of chance. Consequently, assessment in urban Iranian music education can be categorized as follows: (1) do-it-yourself (DIY) and do-it-with-others (DIWO), (2) interactive and decentralized, (3) local anarchism, and (4) lifestyle. This chapter concludes that the field of music education should take a “slightly outside perspective” (Lundström, 2012, p. 652) and proactive approach toward assessment, rather than the reactionary approach to music teaching and learning in which assessment becomes an end goal rather than an approach embodied within learning.

Assessment and the Dilemmas of a Multi-Ideological Curriculum

2019 ◽  
pp. 446-463
Author(s):  
Sidsel Karlsen ◽  
Geir Johansen
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Core Curriculum ◽  
Progressive Education ◽  
Assessment Criteria ◽  
Moral Foundations ◽  
Music Teaching ◽  
Music Curriculum ◽  
Formal Curriculum ◽  
Education Foundations

The Norwegian compulsory school formal curriculum consists of two separate parts, implemented in 1993 and 2006. The older Core Curriculum provides guidelines for the broader aims of education and for its cultural and moral foundations. Ideologically, it is marked by the humanist Bildung tradition and progressive education ideas, emphasizing holistic development of the human being as the primary goal. The newer curriculum part, named Knowledge Promotion, consists of individual syllabi for all subjects, including music. While the first page of the music syllabus mirrors values expressed in the Core Curriculum, the latter part is an operationalization of a positivist-oriented ends-means approach to music education. This chapter explores this multi-ideological split of the music curriculum, pursuing a twofold interest: What are the consequences of ends-means related assessment criteria shaping the context of music teaching and learning? What other assessment criteria exist that would align better with the Bildung and progressive education foundations of the curriculum?

Policy, Standards, and Assessment in Technology-Based Music Instruction

2019 ◽  
pp. 828-854
Author(s):  
Jay Dorfman
Keyword(s):  
Education Policy ◽  
Music Education ◽  
The United States ◽  
Music Instruction ◽  
Technology In Education ◽  
Education Standards ◽  
Theoretical Perspectives ◽  
Based Instruction ◽  
Music Classrooms ◽  
Theoretical Foundations

This chapter examines the intersections of technology-based music instruction, education policy, and education standards. Theoretical foundations of music teaching and technology-based instruction have influenced the ways in which technology has been integrated into music classrooms. This chapter provides an analysis of the treatment of technology in education policy documents in the United States, and ways in which standards and policies have both shaped and been shaped by theoretical perspectives on technology-based education in music classrooms. Finally, It discusses the outcomes of technology-based music education that should be considered assessable, and suggests ways that preservice and in-service teachers might approach assessment of students’ learning.

Building a Broad View of Technology in Music Teacher Education

2017 ◽  
pp. 122-128
Author(s):  
Heidi Partti
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Teaching And Learning ◽  
Holistic Approach ◽  
Music Teacher ◽  
Music Teaching ◽  
Music Teacher Education ◽  
Use Of Technology ◽  
Musical Practices ◽  
Collaborative Skills

In addition to innovative policy schemes, program visions, and curricular changes, the transformation of the school classroom necessitates also the development of teacher education. Inspired by the Core Perspective chapters in this section of the handbook, this chapter discusses issues related to the use of technology in supporting the cultivation of creative and collaborative skills in music teaching, particularly from the viewpoint of music teacher education. The chapter argues that there is a gap between the potential that technology could provide for music teaching and learning processes and the cultivation of this potential in schools. To bridge this gap, a holistic approach to technology and its use in music education is required. According to this approach, technology is viewed as a powerful way to facilitate more possibilities to participate in different musical practices and to use musical imagination.

Sign in / Sign up

Export Citation Format

Share Document