There is a gap between secondary school music teacher’s knowledge of digital audio workstations (DAWs) and the phenomena of the digital musician. A digital musician is a student who uses a computer as their primary instrument for composing and performing music. This case study of in-service professional learning development (PLD) was based on the DAW Ableton Live and its integrated hardware controller, the Push. A review of professional learning literature informed the blended learning design (BLD) approach of the study. The analysis used a six-phase inductive approach for interpretive analysis of the themes. Results of this pre-COVID-19 study revealed that time, BLD, facilitation and videos impacted on the learning of the participants. Additionally, the participants underwent two linked paradigm shifts: first to include a computer and DAW in their conception of what music-making could be, and second that Ableton Live and the Push were musical instruments. Findings suggest that future PLD could increase learner readiness for using videos and a BLD in addition to preparing them for a paradigm shift.
{"title":"Ableton Live professional learning development for secondary school music teachers","authors":"M. Emo","doi":"10.1386/jmte_00033_1","DOIUrl":"https://doi.org/10.1386/jmte_00033_1","url":null,"abstract":"There is a gap between secondary school music teacher’s knowledge of digital audio workstations (DAWs) and the phenomena of the digital musician. A digital musician is a student who uses a computer as their primary instrument for composing and performing music. This case study\u0000 of in-service professional learning development (PLD) was based on the DAW Ableton Live and its integrated hardware controller, the Push. A review of professional learning literature informed the blended learning design (BLD) approach of the study. The analysis used a six-phase inductive approach\u0000 for interpretive analysis of the themes. Results of this pre-COVID-19 study revealed that time, BLD, facilitation and videos impacted on the learning of the participants. Additionally, the participants underwent two linked paradigm shifts: first to include a computer and DAW in their conception\u0000 of what music-making could be, and second that Ableton Live and the Push were musical instruments. Findings suggest that future PLD could increase learner readiness for using videos and a BLD in addition to preparing them for a paradigm shift.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43186804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over the years, a growing number of researchers have been developing models that would automatically generate assessments of music performances. Yet the number and usage of automatic singing evaluation systems is still rather rudimentary, addressing, for the most part, a limited amount of performance features and lacking verification. This study reports on a newly designed automatic singing assessment tool based on a score-based model and its validation. Short music segments (N = 2640) were gathered via recordings made by music education students (N = 55) of a specially inscribed vocal music excerpt. Recorded data evaluation was generated by a specially devised automatic tool as well as by three human experts, addressing pitch intonation (examined for its overall display, single note accuracy and interval manifestation), dynamics transmission and vocal resonation quality. Findings indicated a higher rating given by the experts in regard to pitch intonation and vocal resonation. However, a similitude was found for the dynamics transmission scoring, and a correlation was found for pitch intonation and the dynamics transmission scoring level: in both performance parameters, the higher the experts’ gradings were, the higher the gradings provided by the automatic tool. Results attest to the automatic tools’ qualification as an aid for human judgement of singing proficiency. The tool could assist investigations in various musical domains, such as music pedagogy, music performance or music perception research.
{"title":"Tool for a real-time automatic assessment of vocal proficiency","authors":"Eitan Ornoy, Shai Cohen","doi":"10.1386/jmte_00034_1","DOIUrl":"https://doi.org/10.1386/jmte_00034_1","url":null,"abstract":"Over the years, a growing number of researchers have been developing models that would automatically generate assessments of music performances. Yet the number and usage of automatic singing evaluation systems is still rather rudimentary, addressing, for the most part, a limited amount\u0000 of performance features and lacking verification. This study reports on a newly designed automatic singing assessment tool based on a score-based model and its validation. Short music segments (N = 2640) were gathered via recordings made by music education students (N = 55) of\u0000 a specially inscribed vocal music excerpt. Recorded data evaluation was generated by a specially devised automatic tool as well as by three human experts, addressing pitch intonation (examined for its overall display, single note accuracy and interval manifestation), dynamics transmission\u0000 and vocal resonation quality. Findings indicated a higher rating given by the experts in regard to pitch intonation and vocal resonation. However, a similitude was found for the dynamics transmission scoring, and a correlation was found for pitch intonation and the dynamics transmission scoring\u0000 level: in both performance parameters, the higher the experts’ gradings were, the higher the gradings provided by the automatic tool. Results attest to the automatic tools’ qualification as an aid for human judgement of singing proficiency. The tool could assist investigations\u0000 in various musical domains, such as music pedagogy, music performance or music perception research.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45493956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Popular music education involves engaging students with using a range of music technologies found in recording studios, through utilization of multiple hardware and software devices to enable the recording process. Student users can struggle to keep up with the volume of knowledge required to operate these environments to their full potential. Providing just-in-time learning resources to support these students could improve student learning through augmenting gaps in their knowledge. Just-in-time learning is the provision of active learning opportunities that engage learners with skill development as part of the working process. This approach to supporting music technology education was trialled within a programme teaching popular music. The research found that students welcomed the provision of just-in-time learning opportunities delivered through a mobile phone application and that this suited their learning approach in the recording studio. This article suggests that mobile learning resources can benefit the curriculum of programmes working with music technology. The study was conducted using a design-based research methodology with students within a conservatorium teaching popular music. This popular music programme heavily utilized the recording studio as a learning and teaching tool, requiring students to engage with music technology routinely. Thirty students from all year levels of the undergraduate programme participated in the research project through surveys and focus groups. The research involved iterative cycles of mobile application design and testing over an eighteen-month period. Previously, a pilot study identified that students felt that on-demand learning opportunities delivered through mobile devices would be beneficial to their learning. The research from the design and testing of the mobile application evolved a series of design principles, which could be used as a guide for developing just-in-time resources to support music technology education.
{"title":"Design principles for music technology education support: Just-in-time learning in the recording studio using mobile technologies","authors":"Brett Voss","doi":"10.1386/jmte_00032_1","DOIUrl":"https://doi.org/10.1386/jmte_00032_1","url":null,"abstract":"Popular music education involves engaging students with using a range of music technologies found in recording studios, through utilization of multiple hardware and software devices to enable the recording process. Student users can struggle to keep up with the volume of knowledge required\u0000 to operate these environments to their full potential. Providing just-in-time learning resources to support these students could improve student learning through augmenting gaps in their knowledge. Just-in-time learning is the provision of active learning opportunities that engage learners\u0000 with skill development as part of the working process. This approach to supporting music technology education was trialled within a programme teaching popular music. The research found that students welcomed the provision of just-in-time learning opportunities delivered through a mobile phone\u0000 application and that this suited their learning approach in the recording studio. This article suggests that mobile learning resources can benefit the curriculum of programmes working with music technology. The study was conducted using a design-based research methodology with students within\u0000 a conservatorium teaching popular music. This popular music programme heavily utilized the recording studio as a learning and teaching tool, requiring students to engage with music technology routinely. Thirty students from all year levels of the undergraduate programme participated in the\u0000 research project through surveys and focus groups. The research involved iterative cycles of mobile application design and testing over an eighteen-month period. Previously, a pilot study identified that students felt that on-demand learning opportunities delivered through mobile devices would\u0000 be beneficial to their learning. The research from the design and testing of the mobile application evolved a series of design principles, which could be used as a guide for developing just-in-time resources to support music technology education.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41985450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Many adults are motivated to learn about music independently; YouTube is a particularly popular resource. This study analysed YouTube searches, videos and viewer comments for evidence regarding the feasibility of learning music concepts through YouTube in the context of instruments that are popular among independent learners. It appeared that many such learners successfully use this resource, but multiple barriers to novice-level learning were also found. Music educators can help prepare students for lifelong learning by teaching independent use of online resources.
{"title":"Instrument-based music theory on YouTube: Entries and barriers to lifelong learning","authors":"Catherine Schmidt-Jones","doi":"10.1386/jmte_00031_1","DOIUrl":"https://doi.org/10.1386/jmte_00031_1","url":null,"abstract":"Many adults are motivated to learn about music independently; YouTube is a particularly popular resource. This study analysed YouTube searches, videos and viewer comments for evidence regarding the feasibility of learning music concepts through YouTube in the context of instruments\u0000 that are popular among independent learners. It appeared that many such learners successfully use this resource, but multiple barriers to novice-level learning were also found. Music educators can help prepare students for lifelong learning by teaching independent use of online resources.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48261590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Against the backdrop of the rapid technological and cultural developments involving new media in China, this research aims to examine music education in primary and secondary schools with a focus on new media and popular music. This article incorporates a discussion, based on the research results, of the influence of new media and popular music on primary and secondary education. Data for this study were collected in the form of a questionnaire from a sample of 1986 pupils and 200 teachers from twenty primary and secondary schools in Xi’an, China. Results show that employing new media to teach popular music in primary and secondary schools enhances the overall audio-visual experience for both learners and educators, and it also has positive influences on learning, teaching and sharing popular music. Moreover, the use of new media has been proven to encourage independent learning, as well as triggering changes in aesthetic appreciation towards music. The research reflects on the importance of teaching tools, interaction and independent learning skills in the acquisition of knowledge by primary and secondary pupils.
{"title":"New media as facilitators and tools of (popular) music education: Facts and findings from mainland China","authors":"Liang Yu","doi":"10.1386/jmte_00035_1","DOIUrl":"https://doi.org/10.1386/jmte_00035_1","url":null,"abstract":"Against the backdrop of the rapid technological and cultural developments involving new media in China, this research aims to examine music education in primary and secondary schools with a focus on new media and popular music. This article incorporates a discussion, based on the research\u0000 results, of the influence of new media and popular music on primary and secondary education. Data for this study were collected in the form of a questionnaire from a sample of 1986 pupils and 200 teachers from twenty primary and secondary schools in Xi’an, China. Results show that employing\u0000 new media to teach popular music in primary and secondary schools enhances the overall audio-visual experience for both learners and educators, and it also has positive influences on learning, teaching and sharing popular music. Moreover, the use of new media has been proven to encourage independent\u0000 learning, as well as triggering changes in aesthetic appreciation towards music. The research reflects on the importance of teaching tools, interaction and independent learning skills in the acquisition of knowledge by primary and secondary pupils.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48731360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Online music courses are becoming more common in higher education thanks to the always increasing technological advances. Due to the COVID-19 pandemic many universities around the world have been forced to turn to online learning. There are currently several options to deliver online musical tuition, but most of them offer limited results. Online learning provides many advantages related to time and money saving, as well as ecological-related matters, access from remote areas and interaction between students and teachers around the world. However, most often communication will take place using platforms tailored for speech, which will have a significant impact on the lesson quality. Although face-to-face lessons cannot be completely replaced to guarantee quality tuition, online lessons can be a helpful complement in certain situations. This article aims to identify the most common limitations of the platforms available at the moment, suggesting different approaches to lessen the weaknesses of online instrumental one-to-one teaching.
{"title":"Online learning in higher music education: Benefits, challenges and drawbacks of one-to-one videoconference instrumental lessons","authors":"A. Hernández","doi":"10.1386/jmte_00022_1","DOIUrl":"https://doi.org/10.1386/jmte_00022_1","url":null,"abstract":"Online music courses are becoming more common in higher education thanks to the always increasing technological advances. Due to the COVID-19 pandemic many universities around the world have been forced to turn to online learning. There are currently several options to deliver online\u0000 musical tuition, but most of them offer limited results. Online learning provides many advantages related to time and money saving, as well as ecological-related matters, access from remote areas and interaction between students and teachers around the world. However, most often communication\u0000 will take place using platforms tailored for speech, which will have a significant impact on the lesson quality. Although face-to-face lessons cannot be completely replaced to guarantee quality tuition, online lessons can be a helpful complement in certain situations. This article aims to\u0000 identify the most common limitations of the platforms available at the moment, suggesting different approaches to lessen the weaknesses of online instrumental one-to-one teaching.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47626682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Applying technology in music education is not always obvious for music teachers. Pre-service music teachers should be trained in technology-supported music pedagogy, but this requires more than isolated lessons, short projects and ad hoc support. This article reports on an exploration towards a structural implementation of digital pedagogy in higher music education (i.e. a bachelor of music in schools). This exploration was based on student-centred approaches that were iteratively developed over time and have been investigated through an action research strategy. The aim of this article is to inform about the design of the approaches, such as the structure of courses with its assignments, participants and external collaborations, and turning points and insights that steered the approach. Focus is put on the so-called technological pedagogical content knowledge (TPACK), technology acceptance and students’ motivation. In the end, this article presents recommendations for designing education that prepares students to enhance their practice with technology: (1) adapt to your students; (2) be concrete to your students; and (3) embrace collaboration. This article concludes with explaining the value of these recommendations beyond higher music teacher education by providing examples of how these recommendations can be translated to higher music performance education.
{"title":"Towards a sustainable, student-centred approach for technology-supported music education: A Dutch perspective","authors":"B. P. A. (Benno) Spieker","doi":"10.1386/jmte_00026_1","DOIUrl":"https://doi.org/10.1386/jmte_00026_1","url":null,"abstract":"Applying technology in music education is not always obvious for music teachers. Pre-service music teachers should be trained in technology-supported music pedagogy, but this requires more than isolated lessons, short projects and ad hoc support. This article reports on an exploration\u0000 towards a structural implementation of digital pedagogy in higher music education (i.e. a bachelor of music in schools). This exploration was based on student-centred approaches that were iteratively developed over time and have been investigated through an action research strategy. The aim\u0000 of this article is to inform about the design of the approaches, such as the structure of courses with its assignments, participants and external collaborations, and turning points and insights that steered the approach. Focus is put on the so-called technological pedagogical content knowledge\u0000 (TPACK), technology acceptance and students’ motivation. In the end, this article presents recommendations for designing education that prepares students to enhance their practice with technology: (1) adapt to your students; (2) be concrete to your students; and (3) embrace collaboration.\u0000 This article concludes with explaining the value of these recommendations beyond higher music teacher education by providing examples of how these recommendations can be translated to higher music performance education.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47469855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article details the design for Aglaya Play, a proposed software system that aims to meet three basic needs in the music classroom: the incorporation of creative processes, the adoption of collaborative-cooperative strategies and the reduction of reading‐writing- and theory-based learning in the early stages of music education. The text contextualizes the needs that the software intends to meet and describes its phases of construction from a design-based research perspective. Finally, a full description of the system is offered based on its functions, and suggestions for its didactic implementation are provided.
{"title":"Aglaya Play: Designing a software solution for group compositions in the music classroom","authors":"Adolf Murillo, María Elena Riaño, Jesús Tejada","doi":"10.1386/jmte_00025_1","DOIUrl":"https://doi.org/10.1386/jmte_00025_1","url":null,"abstract":"This article details the design for Aglaya Play, a proposed software system that aims to meet three basic needs in the music classroom: the incorporation of creative processes, the adoption of collaborative-cooperative strategies and the reduction of reading‐writing- and theory-based\u0000 learning in the early stages of music education. The text contextualizes the needs that the software intends to meet and describes its phases of construction from a design-based research perspective. Finally, a full description of the system is offered based on its functions, and suggestions\u0000 for its didactic implementation are provided.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44981724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent decades, advancements in digital technologies have become a rich source of inspiration for artists, who seek to leave the trodden paths and find novel ways of expression. In addition, digital technologies are increasingly implemented in the development of artistic skills, providing new means to develop the artists’ reflection on their own development. As such, they hold great potential to shape artistic research. Moreover, digital technologies offer possibilities to capture the learning process based on quantitative measurement, thereby becoming a potential interface between artistic and scientific approaches to investigating artistic growth. This contribution presents two artistic projects illustrating the potentialities of the art‐science encounter. Embedded in the research paradigm of embodied music cognition, both projects explore the role of the body in music performance (interpretation and improvisation). The first project investigates the relation between gesture and interpretative intentions in a contemporary piano composition. The second project concerns the development of one’s musical language through kinemusical improvisation. A mixed methodology and the use of technology as ‘an augmented mirror’ to monitor artistic practice were applied. Both projects illustrate how the implementation of digital technologies may boost the evolution in artistic research and facilitate novel approaches to music teaching and learning.
{"title":"When arts and science meet: Digital technology in artistic research","authors":"Giusy Caruso, L. Nijs","doi":"10.1386/jmte_00019_1","DOIUrl":"https://doi.org/10.1386/jmte_00019_1","url":null,"abstract":"In recent decades, advancements in digital technologies have become a rich source of inspiration for artists, who seek to leave the trodden paths and find novel ways of expression. In addition, digital technologies are increasingly implemented in the development of artistic skills,\u0000 providing new means to develop the artists’ reflection on their own development. As such, they hold great potential to shape artistic research. Moreover, digital technologies offer possibilities to capture the learning process based on quantitative measurement, thereby becoming a potential\u0000 interface between artistic and scientific approaches to investigating artistic growth. This contribution presents two artistic projects illustrating the potentialities of the art‐science encounter. Embedded in the research paradigm of embodied music cognition, both projects explore\u0000 the role of the body in music performance (interpretation and improvisation). The first project investigates the relation between gesture and interpretative intentions in a contemporary piano composition. The second project concerns the development of one’s musical language through kinemusical\u0000 improvisation. A mixed methodology and the use of technology as ‘an augmented mirror’ to monitor artistic practice were applied. Both projects illustrate how the implementation of digital technologies may boost the evolution in artistic research and facilitate novel approaches\u0000 to music teaching and learning.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44083618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The inclusion of digital audio technology for sampling, editing, mixing and producing music in formal music classrooms has been considered a needed area of expansion across the music teaching and learning landscape. Current research suggests that music technology, defined broadly, is often disregarded in many music classrooms. However, the ubiquity of music technology suggests its relevancy in the digital age, especially for sampling editing, mixing and producing music. The purpose of this research was to survey the current climate of music education across all levels of instruction, with a special focus on teaching digital audio technology using MIDI controllers and audio production techniques. A researcher-developed survey was distributed to a population of music teachers across the United States (N=83). Results found that participants taught few digital audio technology concepts, used Garageband extensively, were self-taught, relied on out-of-date hardware and used a variety of MIDI controllers. Implications for music education and considerations for additional research are provided in conclusion.
{"title":"Digital audio technology in music teaching and learning: A preliminary investigation","authors":"Jonathan Kladder","doi":"10.1386/jmte_00024_1","DOIUrl":"https://doi.org/10.1386/jmte_00024_1","url":null,"abstract":"The inclusion of digital audio technology for sampling, editing, mixing and producing music in formal music classrooms has been considered a needed area of expansion across the music teaching and learning landscape. Current research suggests that music technology, defined broadly, is\u0000 often disregarded in many music classrooms. However, the ubiquity of music technology suggests its relevancy in the digital age, especially for sampling editing, mixing and producing music. The purpose of this research was to survey the current climate of music education across all levels\u0000 of instruction, with a special focus on teaching digital audio technology using MIDI controllers and audio production techniques. A researcher-developed survey was distributed to a population of music teachers across the United States (N=83). Results found that participants taught few\u0000 digital audio technology concepts, used Garageband extensively, were self-taught, relied on out-of-date hardware and used a variety of MIDI controllers. Implications for music education and considerations for additional research are provided in conclusion.","PeriodicalId":42410,"journal":{"name":"Journal of Music Technology & Education","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46024292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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