Playing with a Web of Music: Connecting and Enriching Online Music Repositories

2021 ◽  
pp. 263-282
Author(s):  
David M. Weigl ◽  
Werner Goebl
Keyword(s):  
2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.


Author(s):  
Lucia Kantorova ◽  
Jiří Kantor ◽  
Barbora Hořejší ◽  
Avi Gilboa ◽  
Zuzana Svobodova ◽  
...  

Background: In the midst of a worldwide COVID-19 pandemic, music therapists previously not involved in telehealth had to develop effective remote forms of music therapy. The objective of this review was to systematically explore how music therapists previously working in-person adapted to the transfer to remote forms of therapy in the context of the coronavirus outbreak. Methods: We searched Scopus, Web of Science Core Collection, CINAHL, Medline, ProQuest Central, PubMed, EMBASE, PsycINFO and PsyARTICLES, grey literature (to October 2020), and websites of professional organizations. We followed the JBI methodology for scoping reviews. Results: Out of the 194 screened texts, we included ten very heterogeneous articles with an overall very low quality. Most texts described remote therapy in the form of synchronous video calls using the Internet, one paper described a concert in a patio of a residential home. We report the authors’ experience with the adaptation and activities, challenges and benefits of remote forms of therapy, recommendations of organizations, and examples and tips for online therapies. Conclusions: Music therapists have adapted the musical instruments, the hours, the technology used, the therapeutic goals, the way they prepared their clients for sessions, and other aspects. They needed to be more flexible, consult with colleagues more often, and mind the client-therapist relationship’s boundaries. It seems, when taken as a necessary short-term measure, online music therapy works sufficiently well. The majority of papers stated that benefits outweighed the challenges, although many benefits were directly linked with the pandemic context.


Author(s):  
Jennifer Potter

The purpose of this pretest-posttest study was to investigate elementary preservice teachers’ perceptions of and level of comfort with music in the elementary classroom after enrolling in an online music integration course. Participants were preservice elementary teachers ( N = 93) enrolled in three sections of an online music integration course at a large university in Southern California. Results showed significant differences in participants’ agreement with aspects of music teaching, comfort with music, and music integration. Findings also indicated significant differences in participants’ rankings of musical outcomes in an elementary setting. There were no significant differences found among participants’ ranking of music and other subjects in the elementary classroom.


2021 ◽  
Vol 13 (2-3) ◽  
pp. 163-179 ◽  
Author(s):  
Adam Martin ◽  
Morten Büchert

Online collaboration between musicians in 2020 is a rapidly developing practice due to a range of environmental, epidemiological and creative motivations. The technical facility to collaborate in a variety of different formats exists via file-sharing services, video conferencing suites and specialist music services such as Splice and Auddly. Yet, given this proliferation of technologies, little attention has been paid into how creative musicians can most meaningfully utilize these new collaborative opportunities within their working practice. In this article, we wish to share some reflections from a case study of online music collaboration gained through our experience of facilitating three online songwriting camps with students from Leeds Conservatoire in the United Kingdom and Rhythmic Music Conservatory in Denmark. This article will particularly focus on the importance of managing roles, the impact of communication tools and the requirement for time management when collaborating online before proposing a set of guidelines derived from this study to help enable productive online creative collaboration.


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