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.

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.

Developing 21st-Century Musicianship: Tablet-based Music Production in the General Music Classroom

2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
21St Century ◽  
Contemporary Music ◽  
Music Instruction ◽  
Technology Skills ◽  
General Music ◽  
Music Classroom ◽  
Music Production ◽  
Essential Skills

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.

John Philip Sousa’s Historic Resistance to Technology in Music Learning

2021 ◽  
pp. 153660062110339
Author(s):  
Matthew D. Thibeault
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Digital Music ◽  
Washington Dc ◽  
Music Learning ◽  
Sound Recordings ◽  
Us Congress ◽  
The Us

In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.

Stylistic Morphing: Notes on the Digitisation of Contemporary Music Culture

2005 ◽  
Vol 11 (4) ◽  
pp. 106-121 ◽  
Author(s):  
Barry Sandywell ◽  
David Beer
Keyword(s):  
Cultural Change ◽  
Contemporary Music ◽  
Digital Music ◽  
Music Culture ◽  
Final Word ◽  
Cultural Transformations ◽  
The Social ◽  
Wide Range ◽  
Cultural Implications ◽  
Definitive Statement

This article is a series of notes concerned with tracking the social and cultural implications of the digitisation of music. In this piece we explore a number of emerging questions and phenomena with the explicit intention of opening new sets of questions and creating opportunities for further reflections and more detailed empirical case studies. This article, therefore, is not intended as a final word or a definitive statement on the phenomenon of cultural morphing, but rather it represents an attempt to experiment, to develop, and to explore the field of hybridisation and popular cultural change. It is hoped that these exploratory notes will illuminate some of the cultural transformations resulting from the proliferation and appropriation of a wide range of digital music technologies.

Balance Problems: Neoliberalism and New Music in the American University and Ensemble

2018 ◽  
Vol 71 (3) ◽  
pp. 749-793 ◽  
Author(s):  
William Robin
Keyword(s):  
Contemporary Music ◽  
Historical Analysis ◽  
The United States ◽  
New Music ◽  
First Century ◽  
American University ◽  
Duke University ◽  
Contemporary Status ◽  
The University ◽  
The Impact

Between 2013 and 2015, the ensemble yMusic collaborated with graduate student composers in a residency at Duke University. This article positions the residency as a result of the transformation of the university and the new-music ensemble from a technocratic Cold War paradigm to their contemporary status under the market- and branding-oriented logics of neoliberalism. The works written for yMusic by the Duke composers were deeply informed by the ensemble's musical brand, including its idiosyncratic instrumentation, preexisting repertory, collaborative ethos, and relationship to popular music. In accounting for the impact of these institutional developments on the production of musical works, this article argues that the economic and ideological practices of neoliberalism have discernible aesthetic consequences for American new music. Given the key role of the ensemble and the university in the contemporary music landscape, the issues raised by my ethnographic and historical analysis have significant implications for new music in the twenty-first century, and for the way composers work in the United States and beyond.

scholarly journals “Gimme a Beat!”

2020 ◽  
Vol 32 (4) ◽  
pp. 95-117
Author(s):  
Christine Capetola
Keyword(s):  
Popular Music ◽  
Visual Representation ◽  
Music Technology ◽  
Music Videos ◽  
Digital Music ◽  
Pop Music ◽  
The Senses

In 1986, Janet Jackson forever changed the direction of pop music and its music videos with the release of her third and breakthrough album, Control. Working with producers Jimmy Jam and Terry Lewis, choreographer Paula Abdul, and director Mary Lambert, Jackson created songs and videos that conveyed a new kind of feminist affect that intertwined individual stories of endurance, the forcefulness of relatively new digital music technology, and Black and female collectivity. In this article, I chart how Jackson transmitted this feminist affect through what I call hyperaurality, or sounds and vibrations that work in excess of the limitations of visual representation. Through tracing the affective excesses of Jackson’s visuals, sounds, and movements, I unpack how hyperaurality both intensifies and reintegrates the senses of sight, hearing, and feeling. In the process, I posit that vibration, or sound’s materially felt oscillations, works as a point of connection across these three aspects of hyperaurality. By demonstrating its connective power, I assert that vibration is a source of affective politics within popular music, one with the power of repurposing capitalism's excesses.

Advocating for Mobile Music Technology

2021 ◽  
pp. 145-157
Author(s):  
Dominic Pisano
Keyword(s):  
Mobile Technology ◽  
Traditional Music ◽  
Learning Opportunities ◽  
Music Technology ◽  
Media Arts ◽  
Music Classroom ◽  
Mobile Music ◽  
New Learning ◽  
The World ◽  
Selection Of

The chapter reviews the benefits of implementing mobile technology in the music classroom. Matters relating to integrating mobile devices in the traditional music rehearsal setting and addressing new learning opportunities in music and media arts are presented. A detailed schedule of a class day with incorporating music technology is offered. Strategies for financing and maintaining mobile technology, as well as ways to avoid common implementation minefields, are given. A large selection of suggested apps useful in the rehearsal space is given. Further, the chapter includes practical, real-world strategies from the field to help teachers successfully adventure into the world of mobile technology in the music classroom.

Record Labels

Industry ◽  
2021 ◽  
pp. 190-220
Author(s):  
William Robin
Keyword(s):  
Contemporary Music ◽  
New Music ◽  
Bang On A Can ◽  
New Institutions

In the 1990s, Bang on a Can jumped from releasing albums on the academic label Composers Recordings, Inc. to signing a contract with the major label Sony Classical. Their path emblematized an unusual moment in recording contemporary music: after Nonesuch’s 1992 recording of Henryk Górecki’s Symphony No. 3 became extraordinarily popular, major labels looked to contemporary music as a means to reach new listeners. Whereas new music had previously been the provenance of noncommercial labels like CRI, major labels began investing in new composers and new institutions like Bang on a Can in the hopes of turning new profits. From Sony, Bang on a Can jumped to Philips’s Point Music and released their rendition of Brian Eno’s Music for Airports, an album designed to reach new rock audience; and from there, amidst the industry tumult of the late 1990s, they struck out on their own with the independent label Cantaloupe Music.

Paz, Juan Carlos (1897–1972)

2018 ◽  
Author(s):  
Violeta Nigro-Giunta
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Chamber Music ◽  
Contemporary Music ◽  
New Music ◽  
Film Scores ◽  
Twelve Tone ◽  
Avant Garde ◽  
The Press ◽  
Traditional Institutions

Juan Carlos Paz (1897–1972) was an Argentine composer, critic, writer, and self-described "compositional guide" who played a key role in twentieth-century Argentine contemporary music. Known for his rebellious attitude towards traditional institutions and academia, and as an advocate of avant-garde music throughout his life, Paz was a pioneer in the use of the twelve-tone technique in Latin America. Paz founded such groups as Grupo Renovación [Renovation Group] and Asociación Nueva Música [New Music Association], both devoted to promoting and performing new music. Paz wrote music for solo instruments, chamber music, orchestra, and theatre, as well as film scores. He published three important books dedicated to new music and three volumes containing his memoirs, and collaborated intensively with the press and magazines (Crítica, Reconquista, Acción de Arte, La Protesta, La Campana de Palo, Argentina Libre, among others).

The Pittsburgh Festival: A Survey of Modern Music

Tempo ◽  
1953 ◽  
pp. 34-38
Author(s):  
Colin Mason
Keyword(s):  
Twentieth Century ◽  
Contemporary Music ◽  
Modern Music ◽  
Quarter Century ◽  
Music Festival

At the end of last November, Pittsburgh, on the initiative of Roy Harris, resident composer of the Pennsylvania College for Women, organized an ambitious First International Contemporary Music Festival. It was an attempt to give a survey of music written in the last quarter-century, and although lasting only one week, boldly challenged comparison with the American-sponsored Festival of Twentieth-century Masterpieces held in Paris throughout last May. It says much for all concerned that the Pittsburgh festival emerged from the comparison with much credit.

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