Game Technology in the Music Classroom: A platform for the design of music and sound (original) (raw)
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Technology’s place in music education is largely related to how it is socially constituted. Despite how technology enables intersections of and blurred boundaries between ways of being musical, it is often situated in terms of hard boundaries and compartmentalized notions of musical engagement. Furthermore, music education often situates technology as tools without necessarily considering related social, cultural or musical contexts. This chapter addresses how philosophical, pedagogical, and curricular perspectives play a key role in the types and degree of change that occur in relation to technology and music education. To forward related praxis, I propose that music educators re-conceptualize curriculum and re-situate technology to address social and cultural issues explicitly. I invite music educators to consider the potential of digitally mediated musical engagement within the contexts of curriculum as experience and as social reconstruction. The chapter considers how such change might occur and conceptual frameworks that might help in forwarding such work.
Realising the Possiblities of Technology in the Music Education Research and Philosophy
2007
Interaction design research often models philosophical and theoretical principles in concrete form and the observation of how these ideas interact with users is a commonplace research activity. This approach is strongly influenced by ideas about reflection in action. The musician’s actions are also creative and reflection in and on action is also commonplace but because musical practice is ephemeral and does not always leave behind an object to reflect upon this presents a problem. Sound and video recording technologies have been used in music education to provide objects for reflection. The use of digital capture of musical events is an important basis for ways in which computers can assist music education.
Music Education and the Meaningful Use of Technology
The presence of personal computers in the music classroom might suggest upward mobility and a cutting-edge curriculum. However, a growing voice is also beginning to reflect more critically on the use of technology and to advocate a balance between things digital and things natural. Each educator must learn how and when to go unplugged and when the use of the personal computer is capable of adding depth and value to the learning. This paper will explore issues around the appropriate and meaningful use of technology for music educators. It will differentiate between the notions of learning about technology and learning with technology. Lastly, it will consider how the principles of music education according to the Kodály concept offer a solid base for thinking about the appropriate use of music technology.
The Curious Musician (in 'The Oxford Handbook of Technology and Music Education' (2017): 317)
The Oxford Handbook of Technology and Music Education', 2017
Music technologies can lead us to a transformation of perceptions and the reinvention and refinement of our processes— from the way we see, interact with, and understand the materials of sound and music to the way we learn new skills, communicate, and share with each other, the way we represent ourselves to the world as music creators and professionals, and especially, the way we teach. Technology has and is transforming our language around music content and consumption (“I streamed a podcast of glitchcore mashups, reblogged it and gave it a ‘like’ ”). It is creating musical and sonic possibilities that transcend the facilities of traditional music notation and analysis. It sometimes requires interdisciplinary and collaborative approaches to bring projects, artworks, and products to fruition. (Music technology resides not in the field of music only but also in the fields of media; science, technology, and society [STS]; electronics and computer science.) Finally, it grants music creators agency and control of their works (Taylor, 2014). As a composer, I am completely enchanted and continually inspired by the way new music technology applications so readily challenge my own understanding of what music is and can be. The proliferation of digital applications, computerization, and online connectedness has given rise to a diverse and evolving collection of practices or “literacies” that are advantageous skills for creative musicians working in commercial and contemporary new music scenes to possess (Durant, 1990; Hugill, 2012). At the time of writing, these literacies can include skills associated with multitrack recording and production using digital audio workstations, MIDI sequencing, audio editing, sound design, synthesis, sampling, looping, triggering, live sequencing, coding, controlling music and sound with interfaces and apps, instrument and effect building, app development, hacking and circuit bending, mixing, remixing, and mashing up, score typesetting, publishing, broadcasting, and contributing knowledge and expertise to online communities of practice. To the composer in me, these technologies represent an opportunity to expand my creative vocabulary with pure magic: to capture any sound and turn it into music that is meaningful; to conjure up ghosts of the past; to bend space and time; to hold the air. Speaking from my perspective as a teacher, they represent a new promise of freedom: never before have the materials of music been so pliable, touchable, easy to understand and access.
International Journal on Integrating Technology in Education, 2022
This paper presents the development of Synth4kids, a music educational software for music teachinglearning processes designed to be used for kids aged five to eight years. Synth4kids integrates elements from the traditional music-pedagogical methods –Dalcroze Eurhythmics, Orff Schulwerk, Kodály Method– along with features aligned with incorporating merging technologies in music education –augmented reality, use of tangible interfaces / sensors, eye-tracking processes, QR-codes implementation, and collaborative online music practices– providing new and extended ways of music-making, expression, and learning to the young ages. As a pedagogical tool, it was designed with the ultimate goal to be incorporated into musical-educational activities following a STEAM perspective, based on project-based, inquiry and cooperative learning, transdisciplinarity, as well as game-based, and authentic problemsolving experiences.
The Role of Technology in Primary School Classroom Music with a Specific Focus on Composition
The Role of Technology in Primary School Classroom Music with a Specific Focus on Composition, 2018
This article offers a look into how technological advances have changed music in the industry, in society, and in education and seeks to find a solution to the misaligned between the two. People experience music in a dramatically different way than previous generations and the education must evolve alongside this to avoid becoming irrelevant. Barriers to composition are being broken down with new technologies and the development of a participatory culture has changed the way people interact with music and musicians. This article discusses ways that technology is being brought into the classroom and offers solutions to assist music educators and classroom teachers with integrating technology into the music classroom in a way that reflects students out-of-school experiences in order to make music education at primary school more engaging and relevant to the students’ lives.