scholarly journals Rolf Gehlhaar A Pioneer in Creative Music Technology

2020 ◽  
Vol 4 (0) ◽  
Keyword(s):  
Music Technology ◽  
Creative Music

Tech You Will Need for Your Program

2021 ◽  
pp. 27-39
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Teachers ◽  
Music Technology ◽  
Digital Audio ◽  
Music Production ◽  
Creative Music ◽  
Wear And Tear ◽  
Digital Audio Workstation ◽  
Practical Recommendations

This chapter presents an optimal equipment list for establishing a creative music technology lab. While preservice music teachers are taught how to purchase and maintain instruments, they are rarely given equivalent advice for music production tools. This chapter provides practical recommendations for purchasing and maintaining hardware, software, and furniture, including computers, digital audio workstation software, headphones, MIDI controllers, microphones, tables, podiums, display screens, and soundproofing. Suggestions are given for arrangement and design of the overall space as well as design of individual workstations. The chapter also includes suggestions for managing wear and tear on equipment, for maintenance and cleaning routines, and for sustainable budgeting. Finally, for situations where the optimal setup is not immediately attainable, the various items described here are ranked in terms of priority.

Toward a Creative Music Curriculum

2021 ◽  
pp. 3-11
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Project Based Learning ◽  
Philosophy Of Music ◽  
Technology Program ◽  
Music Production ◽  
Creative Music ◽  
School Music ◽  
And Performance ◽  
Support Students

Research has shown the need for new types of music classes that emphasize amateur music production and popular music. The new types of programs contrast with traditional classical and performance-based music programs. Digital audio production offers an unprecedented opportunity to support students in active, culturally authentic music-making. A successful music technology program requires a change from the teacher-led ensemble model to a creative workshop structure. Furthermore, it requires the recognition that current popular styles have their own distinct aesthetics and creative approaches. Project-based learning also requires teachers to develop their own pedagogical creativity. This approach can attract students who do not currently participate in or identify with school music, but who nevertheless consider themselves to be musicians. The constructivist philosophy of music education, using teaching strategies that support students’ agency in their own learning, fosters self-motivation and a critical stance toward popular culture.

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.”

Playing (in) the Digital Studio

2017 ◽  
pp. 382-396
Author(s):  
Ethan Hein
Keyword(s):  
Young People ◽  
Music Education ◽  
Hip Hop ◽  
Music Technology ◽  
Digital Tools ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

When schools address music technology, they tend to focus on the nuts and bolts of the technology itself, rather than its creative applications. But to truly engage new digital tools for creative music making, we must address their most culturally significant context: electronic dance music and hip-hop. This music falls well outside the canon of what is widely considered suitable music for the classroom. Nevertheless, such music should be included, and not (only) because young people enjoy it. Rather than “dumbing down” music education, the inclusion of popular dance music would significantly enrich the curriculum, particularly in areas traditionally neglected: groove, timbre, and space.

Preschool children’s play and alignments in a bracketed framing of a music-technological breakdown

2018 ◽  
Vol 2 (1) ◽  
pp. 120-142
Author(s):  
Pernilla Lagerlöf ◽  
Louise Peterson
Keyword(s):  
Social Interaction ◽  
Everyday Life ◽  
Detailed Analysis ◽  
Music Technology ◽  
Popular Media ◽  
Media Culture ◽  
Children's Play ◽  
Experimental Activity ◽  
Children’S Play

Music technologies are becoming important in children's play in everyday life, but research on children's communication and interaction in such activities is still scarce. This study examines three children's social interaction in an 'experimental' activity in preschool, when the music technology breaks down. Detailed analysis is carried out by using a Goffmanian approach. The findings illustrate the children's interpretive framings of the adult's introduction and their orientation to the technological material in order to perform different alignments and how they change footings. The children's social interaction is organised according to the playful framing of the bracketed activity. This suggests the significance to pay attention to children's definitions of situations and to consider children's experiences of participation in popular media culture.

Max/MSP/Jitter for Music

2011 ◽  
Author(s):  
V. J Manzo
Keyword(s):  
Video Game ◽  
Music Technology ◽  
Camera Tracking ◽  
Instructional Tools ◽  
Music Therapists ◽  
Interactive Music ◽  
Pitch Tracking ◽  
Special Value ◽  
And Performance ◽  
Private Studio

In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips you with everything you need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile devices, and more. This book will be of special value for everyone who teaches music at any level, from classroom instructors to ensemble directors to private studio instructors. Whether you want to create simple exercises for beginning performers or more complex programs for aspiring composers, this book will show you how to write customized software that can complement and even inspire your instructional objectives. No specialist foreknowledge is required to use this book to enliven your experience with music technology. Even musicians with no prior programming skills can learn to supplement their lessons with interactive instructional tools, to develop adaptive instruments to aid in composition and performance activities, and to create measurement tools with which to conduct research. This book allows you to: -Learn how to design meaningful projects for composition, performance, music therapy, instruction, and research -Understand powerful software through this accessible introduction, written for beginners -Follow along through step-by-step tutorials -Grasp the principles by downloading the extensive software examples from the companion website This book is ideal for: -Music educators at all levels looking to integrate software in instruction -Musicians interested in how software can improve their practice and performance -Music composers with an interest in designing interactive music -Music therapists looking to tailor programs to the needs of specific groups or individuals And all who are interested in music technology. Visit the companion website at www.oup.com/us/maxmspjitter

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