Issues of doing gender and doing technology–Music as an innovative theme for technology education (original) (raw)

Music as a vehicle to encourage girls' and boys' interest in technology

5th European symposium on gender & ICT. …, 2009

This paper will present first results of the research project "Engineer Your Sound!" (EYS;-2009) funded by the Austrian Federal Ministry of Science and Research. EYS explores the potential of addressing young people's interest in music and music technology in order to raise their interest in technology and engineering. The project aims at developing didactic concepts for installing gender-inclusive technology education in Austrian highschools. The concept and first results of the teenagers' projects will be presented.

Attracting teenagers to engineering by participatory music technology design

Proceedings of 37th Annual Conference of SEFI.“ …, 2009

This paper will present first results of the research project "Engineer Your Sound!" (EYS;-2009) funded by the Austrian Federal Ministry of Science and Research. EYS explores the potential of addressing young people's interest in music and music technology in order to raise their interest in technology and engineering. The project aims at developing didactic concepts for installing gender-inclusive technology education in Austrian high-schools. At the SEFI conference, first results from pupils' work in their music technology projects will be presented.

Gender, Creativity and Education in Digital Musics and Sound Art

2016

This special issue examines the politics of gender in relation to higher education, creative practices and historical processes in electronic music, computer music and sound art. The starting point is a summary of research findings on the student demographics associated with the burgeoning of music technology (MT) undergraduate degrees in Britain since the mid-1990s. The findings show a clear bifurcation: the demographics of students taking British MT degrees, in comparison to traditional music degrees and the national average, are overwhelmingly male, from less advantaged social backgrounds, and slightly more ethnically diverse. At issue is the emergence of a highly (male) gendered digital music field. The special issue sets these findings into dialogue with papers by practitioners and scholars concerned with gender in relation to educational, creative and historical processes. Questions addressed include: What steps might be taken to redress gender inequalities in education, and i...

Working towards a theory for music technologies in the classroom: how pupils engage with and organise sounds with new technologies

British Journal of Music Education, 2005

The use of information and communication technologies (ICT) in schools is now commonplace and, for many, an unquestionable part of everyday teaching and learning. But detailed studies of the use of ICT in classroom-based music education are rare. This article explores how pupils aged between 11 and 16 used ICT to create and perform music in new ways. Working as a teacher-researcher, the author used the methodologies of action research and case study to investigate how pupils engage with and organise sounds with ICT.

Theory, practice and the in-between: some thoughts on music, technology and education

2004

Music technology' has been progressively gaining strength as an umbrella term for a number of professional and academic practices carried out within a context in which new media for the production, storage and distribution of music, as well as the relative decrease in the cost of electronic musical equipment -possibly amongst a plethora of other aspects -have enabled an unprecedented dissemination of both music as a product and music--making as an activity. Examining the potential of 'music technology' to be construed as a subject area in its own right, this paper examines two areas of crucial import to 'music technology' education: (a) the tension between academic concerns with curriculum content in respect to academic legitimacy and credibility, on the one hand, and practical considerations of placement within the job market, on the other hand; (b) the tension between different conceptions of 'music', both as embodied in specific curricula and as expected by the student construed (often self-construed) as 'client'. Adopting a post--structuralist stance, the paper argues that these areas of concern are characterised by dilemmas associated with the polarisation theory--practice that characterises predominant discourses on music. It is proposed that this polarisation has traditionally infused musical scholarship (by opposing scholarly to performance practices, for example) and music--making (by opposing 'professional' to 'amateur' practices, for example) alike. In deconstructing this dichotomy, this paper suggests a possible conception of 'music technology' neither as opposed to a '"hard" technology of music' nor as a collection of techniques and tools taught alongside more traditional subjects within music programmes, but as an 'in--between' site for the emergence of new musics, new technologies, and new discourses.