Teaching Teachers to Use Technology in the Music Classroom: A Model for in-service Training [online]. (original) (raw)
Related papers
Canadian Journal of Learning and Technology, 2023
This study examined the use of music software as a pedagogical tool for the delivery of specific content in a music education course offered to Certificate and Bachelor of Education Program students at a Caribbean university. The existing course uses a traditional approach, and thus, the study is significant as the results would propel a shift toward transformational teaching. Twenty-four university students were chosen for the study which adopted a mixed methods approach. Over one semester, participants used a free, open-source music software program to learn simple time signatures. Students produced an assignment as well as completed a questionnaire. Ninety percent of students were able to compose eight bars of music according to a simple time signature using the software. Most participants intimated they felt comfortable and motivated using the software, they understood concepts taught, and they suggested its continued use. The majority of participants also stated that they required more training. Some participants even said that they would adopt this methodology on their teaching practicum. Based on the results, recommendations include the adoption of this and other technological teaching tools within the music program, a teaching practicum assessment, and a progressive training component for both students and staff.
Prodigy Project: supporting music technology pedagogy in schools and further education institutions.
Five practical workshops were carried out in local schools and colleges with level 2 and 3 students with the purpose of introducing technologies utilised at University Centre Doncaster. These workshops were designed to elicit key data from both students and staff to explore the current provision of music technology and learner skills, ascertain responses to the technology and techniques introduced in the workshop, and develop a clearer picture of educational and career progression potential in students. This data was then reflected upon in the light of recent changes made to GCSE and GCE music technology specifications, and several conclusions were drawn. This subsequently informed several recommendations that were suggested to help support schools and further education institutions in their provision of music and music technology courses. These recommendations focused on a closer working relationship between institutions with increased opportunity for staff development, sharing of resources and staff support.
Proquest Llc, 2010
for their friendship which began through Boston University. Thank you to Dr. Ronald Kos for helping me with my proposal. Thank you to Dr. Patrick Jones for supporting me in my initial research agenda. Lastly, thank you to my family. Thank you to my father Radio Cremata, Jr. who instilled everything he could in me to be the best I can. You are with me now and always. Thank you for all your love. I will get my straw hat now. Thank you to my mother Claire Cremata who has been my best friend in life. From playing baseball in the house when I was a toddler to introducing me to piano, forcing me to practice in her own loving way, to supporting me and all my interests as I developed, to reading all my works, listening to all my compositions and to listening to all my stories about all my challenges. Thank you mom for being the most solid pillar of support in my life. Your love is amazing! Thank you to my sisters Denise and Michelle for their understanding and encouragement. I know it was not easy some days to deal with my emotions. Thank you for all your love, support and generosity. Thank you to my wife Mahuma for loving me throughout this process and encouraging me when it seemed that situations were out of control. Your positive outlook on life is contagious and it helped me handle so many challenges. I am honored to share this memory with you. Thank you to all my other friends and family who I may have failed to mentioned here.
UTILIZATION AND EFFECTIVENESS OF TECHNOLOGY IN MUSIC EDUCATION
UTILIZATION AND EFFECTIVENESS OF TECHNOLOGY IN MUSIC EDUCATION, 2015
The primary purpose of this study was to examine the utilization and effectiveness of technology in music education. The study surveyed music educators’ perceptions and attitudes towards technology use and its effectiveness in teaching and learning. It also explored the relationship between personal development and self-efficacy. A cross- sectional designed survey was employed to investigate attitudes and perceptions of music educators on utilization and effectiveness of technology in the classroom. The data collected was used to provide information about participant’s demographics, basic technology operational proficiencies and self-efficacy using technology. A convenience sample for this study was obtained by responses from an online questionnaire that was sent to state music educators who were members of two major professional organizations. The survey targeted a population of current and retired K-12 music educators n=1,273 with 117 responding to the survey which resulted in an 11% return rate (n=117). Respondents used a hyper-texted link connecting to the online survey that was incorporated via a sent email for the data collection process. The results of the study indicated that despite primary and secondary barriers towards technology utilization, the majority of music educators that participated in the survey actively endorsed the use of technology and its effectiveness in teaching. The implications of the survey suggest that music educators need and want to use technology in their classrooms and that authentic professional development/teacher training is the foremost way to increase self-confidence and self-efficacy in technology use.
The College Music Symposium, 2015
Technology has greatly influenced today's world of music, including the means by which people produce, consume, and share it. Teachers have many options for utilizing technology as a tool to facilitate their students' engagement with and understanding of music. The 69 Music Learning Activity Types that have been identified to date and appear below are designed to help educators connect musical content, pedagogy, and various technologies in authentic ways that enable students to create, perform, and respond to music. Meant to stimulate a teacher's thinking about effective ways to plan music learning that is assisted by digital tools, each activity type is described and then aligned with a list of possible technologies that may be used to support it. The Music Learning Activity Types Taxonomy is organized in terms of the three artistic processes in which musicians engage: creating, performing and responding to music. This is a well-accepted way to conceptualize musicality (Ernst & Gary, 1965; Shuler, 2011; Shuler & Connealy, 1998). Further, these musical processes provide the organizational structure for the National Standards for Music Education 3 , the basis for many state and local music curricula. The taxonomy reflects typical creating, performing and responding activities and technologies for beginning to intermediate-level K-12 students. It was derived from an examination and synthesis of the research and pedagogical literature in music teaching and learning, and has undergone peer review. Successful technology integration in music classrooms requires careful planning of student learning experiences. The Music Learning Activity Types Taxonomy provides guidance for teachers to use when planning lessons that effectively integrate musical content, pedagogy, and technology. When developing lesson plans, teachers often think in terms of types of learning activities that will help students achieve curricular outcomes (John, 2006; Yinger, 1979). An activity type captures what is most essential about the structure of a particular kind of learning action as it relates to what students do when engaged in that particular learning-related activity (e.g., "group discussion;" "role play;" "field trip"). Activity types are combined to create lesson plans, projects and units (Harris & Hofer, 2009, p. 3). Choosing from a palette of available activity types that can be selected according to learning goals informed by content standards can allow teachers to more effectively plan lessons that integrate technology, while simultaneously developing their Technology, Pedagogy and Content Knowledge (TPACK) 4 (Harris & Hofer). The Music Learning Activity Types follow, organized by the overarching musical processes of creating, performing, and responding to music, then further delineated by musical actions
Technology of Education and Music Teaching
Incorporating Advancements, 2000
This chapter discusses the relationship between education technologies and music teaching with reference to four activities developed in an Italian middle school as part of the project of experimentation "Classi2.0." This project aimed to enhance the ability to perform songs in ensemble and offer experience in the practice of arranging. It also sought to strengthen rhythmic competences, and offer experience in composing rhythms using digital sequencers while also stimulating critical reflections on the musical taste of the class. Furthermore the project sought to provoke critical reflection on media and youth consumption practices.
THE ROLE OF ICT ON THE TEACHING AND LEARNING OF MUSIC AT THE SECONDARY SCHOOL LEVEL
This seminar paper explores the current availability and use of information communication and technology (ICT) for music education purposes, and music technology resources and facilities in secondary schools. Survey data is presented providing a snapshot of the status of computer and technology resources in secondary schools in several Metropolitan Regions. Discussion is focused on a case study into all secondary school and the perceptions of music teacher and their students regarding class music and ICT. While preferential treatment for resources, particularly access to ICT, was accorded to some disciplines, arts subjects such as music were frequently excluded. Results indicated that reforming music education to reflect contemporary music practice will not only engage student interest, but also assist in raising the status of music in the school curriculum by demonstrating its relevancy. An effective use of ICT and music technology can assist in emulating real life or authentic learning contexts to achieve this pedagogical change. However, a major challenge illustrated in this case study was the paucity of resources, a concern shared by many music educators. Therefore, this study adopted a descriptive survey which ascertained whether the potentials of ICTs when used in teaching would motivate secondary school students’ interest in studying music education amongst others.
Technology in Music Education in England and across Europe
Oxford Handbooks Online
In this chapter, adopting an autobiographical perspective, I reflect upon the use of music technology within English school classrooms during the last 50 years. The chapter illustrates that this has become so important—particularly for creative work—that formal music technology examination syllabi for older students now exist alongside courses that focus on “traditional” music skills. The chapter also discusses the less positive position of information communications technology within the music curricula for primary school children and secondary students aged 11–14, and offers thoughts on the future of music technology within the English education system. As a backdrop to the discussion the chapter presents a short reflection on music technological developments in society during the twentieth and twenty-first centuries. The chapter also includes the perspectives of music educators from a wide range of European countries, during the period 2008–2011, on the position of music technolo...